ISSUE #30
BEAM FROM THE BOOTH | GRAND RAPIDS FILM SOCIETY
[EDITED BY: GRIFFIN SHERIDAN]
Hello and welcome back to an all-new installment of BEAM FROM THE BOOTH brought to you by GRAND RAPIDS FILM SOCIETY!
What else is there to say about this past Friday’s screening of FRIDAY THE 13th PART III in 3D other than, thank you? So many of you came out to ring in this infamous date — you packed the place! You all rule.
While our screenings for October have come to a close, we still have TWO events this week: OPEN PROJECTOR NIGHT: HALLOWEEN EDITION on WEDNESDAY NIGHT (10/18) and FILM SOCIETY PITCH NIGHT on THURSDAY NIGHT (10/19). Find all the information you need about the events and more below...
OPEN PROJECTOR NIGHT: HALLOWEEN EDITION PREVIEW
[BY: SPENCER EVERHART]
OPEN PROJECTOR NIGHT is an event we continue to be absolutely thrilled to host time and time again, and we’re particularly excited for this first ever “Halloween Edition” of OPN centered around the horror and thriller genres. We highly encourage you all to join us on the evening of the 18th to support and celebrate local independent filmmaking.
Our very own Spencer Everhart — who also helps in selecting works for the event — interviewed each filmmaker about their short film as a preview for you all of this spooky special edition’s lineup. Check it out...
Devils (Bret Miller)
While taking a final tour of an investment home, a distracted developer is horrified to discover that the deceased owner never left. And she never will.
Spencer Everhart: What was the primary inspiration behind your film? How did the project come about?
Bret Miller: The film came from several different inspirations. Off the top, I enjoy making short horror films using different sub-genres. I’ve done a gothic romance, a creature feature, a home invasion, and a cosmic horror short. Devils was a take on my favorite sub-genre, the gothic ghost story. So I worked on a script using contemporary themes that I felt were important, watched a lot of films for inspiration (The Changeling and The Shining are all over Devils), and got a great cast and crew together.
Any haunted house film is almost always about that space as a character itself as much as what happens within it. What types of creative choices did you make in mapping out the geography of the house and creating the atmosphere inside?
I’m a firm believer in treating the setting like a character. Obviously, it’s true throughout the genre, but no more so than a good haunted house film. I had gone through several drafts, tweaking a lot of early ideas and concepts after we found the location itself. Once that happened, I knew we had to continue the characters' journey up to the third floor. This, speaking of, leads me to something we worked really hard to prioritize: subverting genre expectations. There’s the prophetic neighbor who turns out to be nothing more than a nosy old man. The films takes place during daylight hours, because ghosts come out during the day too. And, during the climax, our protagonist climbs higher in the house, closer to heaven and further from the creepy basement (hell) that we’re all so used to. Whether audiences pick up on that, I have no idea, but it was a really fun exercise either way. Technically speaking, I wanted to incorporate slow moves, building up to early scares and panicked chases. We blasted the windows with light and smoked the house with fog, giving the frame a really soft image with appropriate contrast.
Your film foregrounds the connections between a haunting and ownership, a home and real estate; how much of this project is rooted in contemporary economic anxieties surrounding property and housing?
100% of the film is based on economic anxieties. I live in a historically protected neighborhood that just saw an enormous property tax hike. People who have been here for decades are starting to weigh their options. There is a corporation component, and there is a human component. But the thing that scares me is that we’re all just kinda...watching it happen. And that’s not just here, it’s across the country. While I didn’t think it was appropriate to make a film solely about gentrification, the strains and fears around housing were the very first building block of the script. I’m very sentimental about architecture, the memories and emotions that have been seeped within the walls. The idea of someone being forced out of a home they’ve built a life in, or the person who never got the chance to make those memories in the first place, really weighs on me. That’s the ghost mother, really. Unable to let go of the memory of her dead son, she protects the last standing memory of his life. I think I’d probably do the same if it were me.
What about this film are you most proud of?
I’m proud of what the film is, to its core. A lot of people talk about what a film is about, I’m more interested in what a film is. Oh...and I’m really proud of the jump scares. They’re so fun to craft; slowly building like a good comedy set. And then watching an audience leap out of their seat? Man. It’s the best feeling.
Hypnosis Psychosis (Devan Shulman)
A college student visiting a psychologist soon realizes that she has him under a hypnotic spell, dragging him into a strange and painful mind-bending nightmare.
SE: What was the primary inspiration behind your film? How did the project come about?
Devan Shulman: Two main reasons: I've always loved watching and writing psychological thrillers/horror, and I've always had a fascination with hypnosis. It's crazy to know that hypnosis is a legitimately real thing. It's like a real life superpower. And then I thought if it was actually possible to torture someone with hypnosis, that would be terrifying. There's really no limit as to what can be imagined through hypnosis, so there's a huge amount of creative freedom when you think about it that way. And that idea gave credit to some of the more bizarre moments in the film, which I loved writing and were some of the first scenes I could easily visualize.
Your two main characters have a mysterious relationship that you slowly divulge with particular details — how important was it for you to have the script be so precise in controlling exactly what the viewer knows as the plot progresses?
More or less, especially on a first watch, I wanted the viewer to be in James’ position. I wanted there to be an air of strangeness (or maybe even a hint of sinisterness) but not to fully understand why that was present. Jumps in time between scenes in the first act should seem as simple as a stylistic choice at first, but by the end of the film I'm hoping the viewer understands the context of little details like that in a much more complete way.
The structure of your film hinges on both escalating tension and linking two spaces (one real and one imagined) through editing; how did you approach the edit here with those two goals in mind?
I probably don't need to even say it, but a huge comp for this film was Jordan Peele's Get Out. Specifically the hypnosis scenes, which I attempted to pay homage to with my own ‘void’ scenes. But another big comp for this film was Kevin Smith's Tusk. In both films there is a huge amount of escalating tension that kind of just comes with the genre. My main method of sustaining the tension in my film was to keep it slow; lower the amount of cuts and hold shots longer. My first rough cuts of the film were way quicker cutting-wise, so this was something I learned while editing. It also just paired well with the mood I was aiming for in each scene. In both Get Out and my film, there is the addition of a void-like space, representing the internal condition of the main characters. I think it's important to include these scenes because it easily shows the imbalance of power. The main characters can't fight back against their tormentors because they are mentally and visually shown elsewhere.
What about this film are you most proud of?
This film was made in my Fiction Filmmaking II class at GVSU. I've written and directed short films before but never one at this scale. Paid actors, meals on set, and a dedicated crew of 10+ people were all new to me. But I was extremely grateful for the opportunity. Along with all those things, the film would not be anywhere near as successful without our in-class read throughs of the script and rough edit critiques. Hearing feedback at so many stages of production for this film was invaluable and helped me make the film the best it could be. I'm proud of the final product as a representation of both my skills as a filmmaker being tested at a larger scale and the collaboration of my crew and other classmates helping to bring my vision to life.
Sisters (Josh Martin)
Willow's a troubled young woman being watched. She faces the shadows in the dark fearing for her life. Will the sister who abandoned her years ago come to her rescue before it's too late?
SE: What was the primary inspiration behind your film? How did the project come about?
Josh Martin: The initial inspiration for the film was to tell a more character-driven short; build a strong dynamic between the two lead characters that drives the plot forward. Also, my own relationship with my sister which in the past has been contentious but built on a foundation of deep compassion and love. The project came about when I spoke about the idea with my cinematographer Zachary Clark who brought to the table adding a thriller element rather than a straightforward drama. Specifically, he said the phrase "the match should be lit since the opening frame" which stuck with me to make it a more propulsive narrative. From that initial meeting we slowly started working on the project in phases until its conclusion.
So much of the emotional heft of your film is grounded in the contentious back-and-forth between the sisters — what was your process for working with the two performers to get them to realize and embody such a fraught dynamic?
There was a lot of work done during pre-production, specifically having in-depth conversations with each of the actors about their individual characters, back stories, motivation, neurosis, etc. I explained to each actor who the individual character was to the other sister, and what led to their strained relationship. Afterwards, it was running lines through Zoom and via telephone since the two principal actors lived far outside of Michigan. Once on set, I spoke to each about how Willow, our lead character's frantic state of mind would take control over the more measured emotional balance her sister Sara holds. How my own experience dealing with family members who struggle with mental illness at times can feel all too much, and you yourself can get caught up in the turmoil your loved one is going through. It turns from cooler heads prevailing to the boiling point without us really being conscious of how we are reacting to someone who's spiraling without a safety net.
Your prominent use of tape static, glitches, datamoshing, and other special effects gives the imagery a very unique texture; what drove your decision making for how these visual elements would be used and where they would occur in the film?
This decision was actually not creatively realized until the editing process of the film. Ina Foster-Goodrich, our extremely talented editor, brought up this idea to me which I immediately thought was a wonderfully creative touch. It stems from us having discussions of the entire film being through Willow, our lead's fractured state of mind. We are seeing through Willow's eyes who is distraught and erratic due to the fact she is being watched — the audience should feel her instability. Also, she is right. She is being filmed. Watched. By the end they reveal there's reason and validity to her panic and terror. We wanted to give subtle hints through the editing and texture of the film that she is being filmed, and the film itself is muddied and dirtied because of how invasive the act of being preyed upon is. Ina the editor specifically chose where to place the static, glitches, etc. much of it was heavy on when our lead villain The Disturbing Man is near Willow, it's almost as if its presence itself distorts the footage which it is in complete control of.
What about this film are you most proud of?
Honestly, looking back upon this film I'm most proud of the collaborative nature of the project. I think from the set decorator, editor, cinematographer, sound mixer, every crew member on the project, we all collectively came together to support a distinct vision from start to finish. Each person brought their unique talents to create something stronger than it'd be without. I realize how important it is that each individual role is filled by someone not only talented but passionate about the creative process and finding fresh and new ways to tell the story that's being told.
Riccar500 (Arie Antonakis)
With powerful suction, EcoPure filtration and a variety of attachments, the Riccar 500 upright vacuum is perfect for keeping your home spotless. The vacuum is ideal for use on both carpets and hard floors, and the upright design makes it easy to maneuver around furniture and other obstacles.
SE: What was the primary inspiration behind your film? How did the project come about?
Arie Antonakis: I'd love to claim that this film was meticulously planned from the start, but it actually emerged in a rather anti-climatic manner. We’ve got this old vacuum cleaner at my house that I quite like the look of, so one night I decided to gaff tape a camera to the front of the machine while I was cleaning the living room. I had just finished a film that took me forever to edit so the idea of creating something in one take with no manipulation really appealed to me at the time (not to mention the thought of viewers engaging with a film wholly composed of me vacuuming was pretty amusing). The full idea really took shape when one my housemates had just gotten home and laid on the floor so we just started experimenting from there.
This film feels reflective of the recent interest in "lo-fi" or minimalist horror, utilizing genre aesthetics to create dread or scares without resorting to a strict narrative; how much did ambiguity influence your concept while developing it here?
I strongly believe that the viewer's imagination, in the absence of a clear explanation, will always create a more unsettling experience than anything explicitly shown on screen. This sense of ambiguity is what firmly roots the film within the horror genre in the first place. Initially, I found the concept of vacuuming around someone lying on the floor, as if they didn't exist, to be more comically bizarre than scary. However, the anticipation of what the vacuum slowly uncovers in the darkness evoked reminiscent feelings of found footage horror. The audience is placed in a vaguely familiar situation with an unsettling undertone, and just as we expect answers or narrative progression from the cleaning routine, we are instead left with more questions and an inexplicable repeating pattern. This trend of exploring ambiguity in familiar settings or scenarios has gained significant popularity in online and short-form content especially through the use of liminal spaces or analog horror. Personally, as someone who has always thought to themself “what if I was trapped here forever?” whenever entering the carpet room in a furniture store, I have enjoyed this trend, and I’m happy to contribute to the genre in any way.
One of the most unsettling aspects of this film is how the perspective is tied to an object — I'm curious what you think about how this nonhuman POV functions in relation to the viewer?
As spectators, we recognize from our life experiences that a vacuum cleaner is typically a controlled object. However, in this film, we are presented with a perspective that obscures the identity of the person controlling it. We’re left in a rather vulnerable position of not knowing and expecting some sort of reveal or resolution. However, when we do eventually discover who is responsible, the vacuum inexplicably maintains its operation without them. I believe this approach subverts our preconceived notion of an everyday object and reverses the power dynamic, leading to an unnerving feeling of what we previously thought was a familiar scenario.
What about this film are you most proud of?
I always enjoy working with artistic restrictions, so I take great pride in this film for its embodiment of the "less is more" philosophy. With absolutely zero budget, pre-production, or editing, I still managed to create something that people might find interest in. Moreover, I can honestly say this project stands out as the first artistic endeavor that left my house cleaner than when I started.
Thrashed (Joe Nicholas Post)
Beaches are closed after body parts wash ashore. With a killer shark to blame, two local surfers take matters into their own hands to catch the beast.
SE: What was the primary inspiration behind your film? How did the project come about?
Joe Nicholas Post: My primary inspiration when conceiving Thrashed was “what would Jaws 2 be if the shark wasn’t replaced by another abnormally gigantic, rogue shark?” We all know Quint is as scary as the shark. Let’s see that story. And after the obvious homage to Jaws, I wanted to express my love and fear of the ocean, wrapped up in a fun and exciting story.
The beach is a recurring location in your film that you stage and capture in various ways; what kinds of visual strategies did you develop in order to showcase that locale as a crucial setting?
I'm a no-budget filmmaker from Michigan. Growing up there, I used what was available to me as well as what was unique to my geography, and free of course. So I tended to shoot in the woods and at lakes. I thought to myself before writing Thrashed, “what do I have access to now that I live in California that I didn’t have in Michigan?” I figured now I have the choice of shooting in the desert or at the beach (so I guess you now know where I’m filming next). From a cinematography standpoint, I knew June would be mostly overcast giving us a softer quality of light and a moodier atmosphere. Luckily, the weather was on our side and that worked out great — especially for the climax with Dylan and the Fisherman. We needed to shoot that scene at sunset but didn’t want to have a typically ‘beautiful’ setting sun look, the clouds really helped us achieve what I was going for in that instance. I wanted to capture the environment as an evolving character. By shooting at different times of the day, I hoped to paint the setting in a way that set the tone of each scene. For the most simple example, as the sun sets the danger rises for our characters. The ocean I couldn’t control besides filming it at certain times of day and hoping for the best. I could control it with the editing, though, by choosing when to show the water and what state of roughness it was in. I tried to use the ocean to portray Dylan’s inner struggles, matching his feelings with the waves and tide.
The use of multiple radio broadcasts creates an interesting soundscape and positions the unseen DJ as a kind of narrator — what influenced this decision and how did that element impact your shaping and structuring of the story?
The DJ’s narration was trying to show the scope of the situation without casting tons of extras and actors. I wish I could have done that, but the more people involved the more expensive and the harder it is from a scheduling standpoint. The DJ was also used to show the passage of time with those transitional monologues to expand our story in time and in community reach. Our DJ was played by Cody Beyer, a fantastic musician that I met while shooting his music videos. He also scored this whole film.
What about this film are you most proud of?
The thing I’m most proud of about Thrashed is that the film went as planned with a happy cast and crew. I really wanted to make sure that everyone that was part of this project got something out of it as well as being proud of their contribution. I cast people that wanted the experience and had the excitement to make this story, that really made this project a joy to make. I didn’t have a budget to pay people what they are worth, so I had to make sure they were fulfilled by the process and had their own personal benefits for being part of the film. I’m very proud that everyone seemed to be pleased with creating Thrashed, that means the most to me.
What’s in Our Son’s Room? (Dan Paris)
A mother and father struggle to come to terms with what happened to their son.
SE: What was the primary inspiration behind your film? How did the project come about?
Dan Paris: This film was a combination of a few things. What’s In Our Son’s Room? was a project that I had the opportunity to make for my Fiction Filmmaking class at Grand Valley. Around the time I was thinking of ideas to pitch, I was reading The Metamorphosis by Franz Kafka and felt this would be a good story to pull inspiration from. The first draft of the script that I wrote was completely aimless and lacked meaning, so I felt I needed to add some ‘personal’ element to it. Almost two years ago, one of my friends passed away from cancer, so this was my interpretation of grief and coming to terms with someone’s passing.
Offscreen space — particularly the titular room itself — is crucial in this film, and it's always interesting to see how a filmmaker navigates around a limited area. How did you plan your visual approach based on utilizing only a few locations?
I really just thought the minimalistic approach best fit the tone of the story. It started with the aspect ratio and really just took off from there. I wanted to do 4:3, I felt the smaller size of the frame would compliment the scale and mood of the story. I think it helped add to the claustrophobic atmosphere and conveyed some tension between Sean and Maria. I feel since it was pretty much three scenes — dining room, hallway, and bedroom — it helped create an intimate and personal atmosphere.
Part of the suspense here is not knowing exactly what is going on at first, with details kept to an ominous minimum. What role did suggestion and carefully revealing exposition play in your writing process?
Trying to write the script to where information was slowly but steadily revealed within the span of 10-12 pages was somewhat of a challenge and even a balancing act. I didn’t want to give away any big hints until the end, so finding the happy medium between tension and release was key. I wrote the dialogue to be intentionally vague so Sean and Maria implied that something happened to their son rather than flat-out saying what had happened. The sound of the thumps were also in certain spots, being sparse enough to build intrigue but not too much in the sound design to give anything away.
What about this film are you most proud of?
There’s a lot to pick from honestly. I couldn’t have asked for a better cast and crew, the entire production was practically flawless (aside from my basement flooding the morning of shooting), but I think the aspect I’m most proud of is the hallway scene. I think we only did one or two takes for that scene, both Sheri Beth and Hans were absolutely amazing to work with. When Joey Gusumano, the cinematographer, and I were experimenting with shots, we tried angles and camera placements that didn’t really work, but when we set up the shot where half of the wall was in frame I immediately knew it was the one. We had the telephone scene in Rosemary’s Baby in mind and just kind of went with it. I think it adds to the claustrophobic tone of the film. For me, just something about the asymmetry of the shot makes it stand out from the others.
Blind (Griffin Pettyes)
A young girl absorbed in technology is harassed by an ominous entity disguised as a blind man.
SE: What was the primary inspiration behind your film? How did the project come about?
Griffin Pettyes: The primary inspiration behind Blind came from thoughts I had about technology stealing our attention from the world around us. We take our eyes for granted and let our screens dictate our lives and distract us while not considering the long-term negative effects. I knew there was a way to spin this concept into a fun and entertaining horror film while staying true to its meaning. I started by testing shots with the eyeball prop that you see at the end of the film, and from there the rest of the project just naturally unfolded, and filming was completed after a 2 day shoot.
You establish, work through, escalate, and wrap up your narrative through precise editing and careful compositions all while utilizing a minimum of plot and no dialogue; did this film evolve or change much during the shoot and edit phases or did you mostly stick to an early plan of storyboards or other prep?
Most of the film stayed true to the storyboards and original concepts, however, there was some improvisation, cinematography and timing-wise — especially during the outdoor scenes. Originally, I wasn’t going to reveal the “face” of the blind man until the elevator sequence, but the reveal looked so much cooler and spookier with the lighting from under the train tracks. So I decided to reveal his face earlier on. Other than that and a couple extra ideas for “eye” motifs, the film unfolds and concludes pretty much exactly as written.
There's a strong sense of place in the film with how you frame the environment, especially the exterior of the building and those concrete hallways — was your visual approach influenced by finding that location beforehand or did you adapt to the specifics of the space during production?
When it came to the framing, I knew I really wanted a strong use of symmetry. I took a lot of inspiration from Kubrick when framing this film. I wanted shots showcasing the long hallways and converging lines, and I knew I wanted to utilize some extreme wides during the outdoor sequence. I feel like it adds a much more eerie energy. I also love cutting from extreme wides to extreme close-ups, and vice versa; I feel like it adds a disorienting and unsettling aspect. The locations themselves offered more specific inspiration that led to some spontaneous cinematography choices, but overall I wanted the film to feel clean, stable, and symmetrical while also feeling open/exposing, uncanny, and traditionally spooky.
What about this film are you most proud of?
I made this film about a year ago, and while there are definitely aspects of it that I would change if I made it now, I’m really proud of how true I stayed to the original idea and how I found a way to execute all the scenes as written. As far as specific sequences, I am most proud of the elevator sequence — I feel like I achieved a good level of suspense in that scene; I find it to be the most intense moment in the film. I also am proud of the pacing; I feel like the editing is quick and clean and doesn’t drag like horror films can sometimes.
Gorge (Hannah Scout Dunaway)
After being released from rehab, a teen girl is forced to confront both her overbearing mother and her eating disorder at a birthday party for two.
SE: What was the primary inspiration behind your film? How did the project come about?
Hannah Scout Dunaway: Gorge was originally a PSA about eating disorders that I reworked for the Fiction Filmmaking I class at Grand Valley. I was heavily influenced by Carrie (1976) and Yellowjackets, both expressing femininity and girlhood in a violent, bloody manner. Issues that affect women, especially those that predominantly affect teen girls, are seldom taken seriously in real life and media. As a special effects artist, it felt natural to combine my love of gore with my passion for highlighting underrepresented issues.
The increasing tension between the two characters shapes the dynamic of the story up until the end, so what was it like working with your actors to create that relationship? Did anything change from what was in the script to when you were on set with them?
I sat with Sheri Beth (Mom) and Cat (Maya) for over an hour on the first day of filming just talking. We talked about body image, food, parents, and the experience of being a girl. It was crucial that they felt comfortable and safe while acting, especially when tackling such a heavy topic. While filming the argument, I wouldn’t say cut after they had finished the written dialog. Selfishly, I wanted to push them and make them dig into the characters, so we would keep on rolling. About 60% of the dialogue in the final cut was improv, and I truly think the film is better for it.
You did the special effects yourself, which are both impressive and visceral. What was your process for crafting this element of the film?
A lot of research went into the special effects for Gorge. I spent hours watching how films in the past had handled the effect, but all of the examples strayed too far from reality. If the effect was going to work, it had to be believable so I designed my own stomach piece for the film. A few days before filming began, I ran my production designer, Macie Huntoon, through an SFX crash course. By the end, we had multiple versions, backup pieces, and gallons of blood ready to go.
What about this film are you most proud of?
The conversations that came from Gorge are by far what I am most proud of. I was honestly terrified of how people would react to it, as we faced some pushback early on in the process. After it first played at GVSU, I had so many people come up to me saying that they could relate to Maya and her pain. Gorge was created so I could let go, at least a bit, of the angry teenage girl inside of me. It’s an experience so many can relate to, but it often goes unspoken. Hearing people have an open conversation about eating disorders, body image, and girlhood was simply amazing.
GRBBR (Pete Johnston)
After being laid off from her tech job, a young woman fights her way through the increasingly terrifying world of gig work.
SE: What was the primary inspiration behind your film? How did the project come about?
Pete Johnston: I was standing at a taco truck on election night 2020 waiting for my food when an older woman working for Grubhub or DoorDash went to pick up an order. The woman behind the counter said “no, we're not on those apps” (sure enough, they have their own delivery driver they work with). The driver was confused and upset — she had driven there in the dark, money on the line, and it turns out the app had added this restaurant without their consent. It hammered home how dehumanizing the experience was for the person ordering, the restaurant making the food, and the person delivering, and kind of the absurdity of late capitalism. This was fall 2020 with the pandemic in full swing and everyone feeling alienated already, but it got me thinking about how far removed Silicon Valley companies are from this woman out alone at night trying to make some money. That seemed kind of horrifying, and the vision of a spooky food truck out in the middle of nowhere popped into my head.
You incorporate phone notifications and other digital messages as part of the film's visual construction; how did you go about designing these fictional app names, logos, etc. and how did you conceive of these as a device for storytelling?
Apps now are kind of like prescription drugs with the specific naming convention they've adopted, so the apps in the film are mostly based around removing vowels from an action verb. I imagined Justin Timberlake's line from The Social Network, advising they drop the “the” from Facebook: “It's cleaner.” So there's GRBBR, DRVR, SPRNTR...I was just having fun imagining how dumb you can make them while pretending they sound cool. They're not much dumber than the real thing! And for the character Trish, she's doing all the apps at once, driving people around, picking up groceries, delivering food, so she is getting pinged constantly with notifications, and I wanted that sound and that constant distraction to be an element of the horror. The logos were just trying to find a futuristic looking font and then embellish with a little something extra that, again, is very dorky and dumb but trying to look cool.
This film is primarily concerned with the precarity of gig work, so what drew you to this very real subject matter and how did you come to explore it specifically through the lens of a horror satire?
At the time, I felt like we were all staying in our houses and ordering around this army of faceless people to come bring our stuff to us, so that felt a little post-apocalyptic. Sometimes the only vehicles I'd see on the road were Amazon trucks. The image of all the drivers waiting to pickup food with their various company t-shirts came from that as well. I use the food delivery apps once in a while and have used grocery delivery too, so it's not like I was above it, but at the same time it felt a little hellish to me so the horror satire was a way of kind of poking fun at it and at ourselves. I don't want to demonize people who use these apps — but tip your drivers well! I spent a lot of time hearing from gig workers on Reddit, a lot of the worst stories made their way into the script. I do think if there's a malevolent force in this film it's the company executives...they really couldn’t care less about the wellbeing or safety of the drivers.
What about this film are you most proud of?
I'm proud of the performances, shoutout to Clara Mae Fields especially who plays the lead who I thought was fantastic. Proud of how we used the look of Okemos to become this kind of suburban nightmare. And proud of the sound and score, I worked with my composer Jeff Brooks-Gillies to bring some John Carpenter vibes to the score, and I think he knocked it out of the park.
FILM SOCIETY PITCH NIGHT: WHAT TO EXPECT
This THURSDAY (10/19), starting at 6:30pm, we’ll be hosting our very first FILM SOCIETY PITCH NIGHT event. An off-shoot of our Film Society Roundtable social gatherings, this event aims to bring creatives together to share their concepts with other filmmakers and meet potential collaborators.
Our own Breana Malloy prepared a helpful video to answer some questions we’ve been getting about the event:
Those looking to pitch at the event should RSVP ahead of time, but we highly encourage other likeminded locals to attend as well!
If you have any further questions, go ahead and send us an email at grandrapidsfilmsociety (at) gmail.com.
PROGRAMMING RETURNS TO THE FOUR STAR THEATRE!
Starting October 23rd, the newly renovated Four Star Theatre — along with the Michigan Arts and Culture Council — will be hosting a series of screenings and discussions. Check out the lineup:
OCTOBER 23rd: Crash
…see the award-winning movie then talk about its portrayal of modern racism with a panel that includes: Steff Rosalez, Brandon Copeland and Hwa-Jeen Na.
OCTOBER 25th: Rosemary’s Baby
…take part in a discussion of the book “Monsters: A Fan’s Dilemma” – then watch the classic film by Roman Polanski, starring Mia Farrow.
OCTOBER 26th: Blade Runner 2049
…hear experts talk about artificial intelligence (A.I.) – then watch the critically-acclaimed film about a future with sentient machines.
Visit Four Star Theatre’s official website for more information!
JOIN CMC FOR THE ‘CHAIR TO SET’ WORKSHOP
Calling all makeup artists/enthusiasts, hair stylist, & beauticians -- On November 4th, there will be a workshop on makeup and hair specifically for film & tv production. Presented by Grand Rapids Community Media Center, Grand Rapids Media Initiative & Film Incubator, and Film & Media Alliance of West Michigan.
If you’re interested in attending this new workshop, you can find more information [HERE].
UPCOMING EVENTS
OPEN PROJECTOR NIGHT: HALLOWEEN EDITION
WHAT: Highlighting short films specifically of the horror/spooky genre from Michigan filmmakers.
WHEN: Wednesday, October 18th, 8:00pm
WHERE: The Wealthy Theatre
FILM SOCIETY PITCH NIGHT
WHAT: An extension of our FILM SOCIETY ROUNDTABLE social events —20 screenwriters will have the opportunity to pitch their script to independent filmmakers.
WHEN: Thursday, October 19th, 6:00pm
WHERE: The Wealthy Theatre
And so we’ve arrived at the end of another BEAM FROM THE BOOTH! We appreciate you taking the time to read it and truly hope you’ll continue to do so. Be sure to SUBSCRIBE to get each issue in your inbox every SUNDAY, and stay up-to-date on all things GRFS.
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Look for ISSUE #31 in your inbox NEXT SUNDAY, 10/22!
Until then, friends...
