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Funeral Home/Mortuary Records Galacia Games Gazetteers GEDmatch Geneablogs Genealogical Computing Genealogical Education Genealogical. My question madame. I had no intention- I was just talking to. Don't make him mad now- with your jealousy Jeanne! Goes out. Biology Science Made Simple Cell Biology Study Guide Mobilereference Cell Biology Test Bank Questions Cell Biology Unit Study Guide Answer. I wrote Gavin about his review of Hell's Threshold, and what we were trying to do. Actually, he nailed it in his article about "experimenting. Gavin was kind enough to extend the following. Edited down for IMDb storage reasons. Please enjoy.
GS: So, you've read the review?
FD: Wow! What a scathing review of my film! Oh my God! It should have brought me to tears, but instead I truly enjoyed it. I can't stop laughing. Not at your review, but at the memories of the shoot that it brought back. THANK YOU!
GS: I suggest in the review this film might best be thought of as an experiment. br> FD: You are correct. This was an experiment in story telling. We just wanted to see if we could shoot a feature in under 24 hours. We never dreamed it would actually draw a crowd or get distribution so quickly. And foreign at that (Russia) The US street date is 04/01/08, Brain Damage Films.
GS: I believe I also accused you of not writing an actual script.
FD: The entire script was improvised on-set. We only had a light skeleton outline (Romero loved that part.
GS: So we can't place the blame on the actors for anything lacking.
FD: Please don't blame my actors for their director being insane. They were really given no advance prep time at all. And we really pushed their buttons to get some true emotions out of them. They were given a world of story, but only a shoe box to perform it in. I'd put them up against any actor out there.
GS: There was some confusion about the origins of Dethman. br> FD: We didn't explain where Dethman came from because we didn't want to reveal that storyline until Hell's Threshold II. Oh yeah, there's gonna be one! You see, the concept was to have the first confusing, the second OVER-explanatory, and then the third linking it all together dead on, with the first two coming out simultaneously, and the third a year later. But getting distribution so quickly kinda messed that up for us. So now we have to retool.
GS: What about the scenes with the long, silent stares? Was it just a way to waste time?
FD: Oh no. The Victorian flashbacks with the LONG stares and NO dialogue were very intentional. I wanted to push the audience to somewhere new. Not just give the usual blood here, sex there, crap. I wanted them to, well, do exactly what you did. Wonder what the F was going on. And I wanted to make the actors work. With no lines to hide behind. Only body language and reaction. Most actors don't use those tools much anymore. And that p*sses me off sometimes. So we made sure they had to get back to the basics. Those poor actors. We pushed the hell out of them, Gavin. And they were exhausted when the shoot ended. It was an intense shoot.
GS: The lines of dialog were very spaced out between a bunch funny faces and pauses. Again, was this necessary?
FD: Absolutely. To push the audience (any audience) sometimes you have to take real risks. King or fool risks. And also, this film was designed for a screening setting first, and TV second. And the credits played twice because I feel that independent actors don't get enough credit.
GS: You know the one thing I loved was the bathroom scene because I was wondering what you were thinking.
FD: I loved the bathroom scene! It's my favorite because NO ONE has ever done that. Other than fetish or porn maybe. And I wasn't thinking anything. In fact, someone else shot it. It was just improv happening that I built-up in Post. Nuance acting.
GS: I also liked you did your own music.
FD: Thanks. I wanted to do more, but I only had a day to score it.
GS: Tell everyone what your credentials are for being a film-maker.
FD: I don't have any. I never went to film school or anything. I just picked up a 35mm camera one day and started shooting. Next thing I knew, I started shooting other people's movies.
GS: You told me you didn't mind I considered the film to be a "waste of time. br> FD: Art doesn't always please everyone. And to me, that means you actually DID make art.
GS: I heard that something bigger has come out of "Hell's Threshold.
FD: Oh, some fodder for you. Our film festival "Terror Film Festival" is a direct result of our making of Hell's Threshold. It all came from this one little movie. How's that for synergy?
GS: That's amazing. and anyone within driving distance of Pennsylvania should do their part to check it out. Thank you, Felix, for sharing some insights into the film-making process with us!
FD: Thank you.

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