Ears for Fears

Say what? Exactly. This audio mixing business is dragging, but it’s getting done. And redone, unfortunately. But we can’t say we didn’t know this would happen. Back when the idea for shooting this film in live settings was conceived, we expected some difficult audio challenges. You can’t yell “quiet on the set” when your set is a raging horror convention. The regular sounds of a busy hotel do enough damage, as it is. Loud televisions in the room next door, the tap-tap-tap of renovations and repairs, flocks of south-heading geese; we had our hand’s full, even if those hands were as capable as those belonging to experienced pro Max Kalmanowicz.

Yet, it feels right to be targeting our finish date in October. The colors associated with fall –– mottled greens, golden browns, blackened reds –– match our color palette well. Of course, most horror fans’ favorite holiday caps a glorious end to an already beautiful month. The natural order of things begins ticking to a stop, until the stillness of winter brings short days and long nights. These are perfect conditions to celebrate all things scary. And dammit, we’ll be among those celebrations if we have to work around the clock.

There’s also the matter of our score. If you’ve been following along on our Facebook Page, you will have already learned that the task of making the music to accompany our story has fallen to yours truly. I plan to color in only those shapes that support and highlight the narrative depth, and I’ll be taking my cues from some wonderful artists who have been generous enough to lend us their talents. Among them, The Michael Miller Crusade, Hot as Sun, and most recently, The Mouth of Ghosts. A full-on performance by The Young Werewolves takes the production up to a musical level of which I could never have dreamed. I’m so excited about how this all works together. Now, it’s up to me to link their compositions into a larger statement by weaving a minimalist fabric of shared musical themes sprinkled with some flavor of my own.

Many have asked what our plans are going forward once we’re done. I’m happy to say I’m not sure. Why does that make me happy? It makes me happy because there are so many wonderful new distribution opportunities for indie filmmakers. The traditional route –– if the film is well enough received –– is an exciting one as it injects all of our names into the realm of the industry known. We get theater schedules and press junkets and probably our share of red carpets. While that sounds like a dream, it can come at a high cost. You see, I’m nobody in this industry. I will have to hand over the rights to everything we’ve worked for just to be allowed beyond the velvet rope. Is it worth it in an age of digital distribution? Ten years ago, that answer might have been a different one.

Ten years later, I’m excited about the idea of spreading the film around to festivals and conventions and private screenings. Because I financed the picture against the value of my home, I’m not in a terrible hurry to pay back investors (although there are a few who have it coming). I will never be in a better position to test the waters and learn from my mistakes. Also, HorrorCon is a different animal than most, one that is designed to last and hopefully find its way into the libraries of the genre faithful. Therefore, I’m not overly concerned about being a hit out of the gate. Its time will come, and if I’ve played my hand well, remain. It’s a long love letter to the colorful fringes of popular culture, a place to which, in my own way, I’m proud to belong.

The software is fired up and the headphones are on. Time to isolate the hisses, hiccups and hot spots and seal it all with a wicked kiss. Let the leaves flutter to the ground. I much prefer a mottled green, golden brown and blackened red carpet to any I’ve seen walked by my more accomplished contemporaries. With that, I leave you with our favorite fuzzy trio.

Stay well…

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One Response to “Ears for Fears”

  1. mims stevens says:

    Really looking forward to seeing Horrorcon in theatre!!!!

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