Horror Underground Film Festival goes above and beyond for indie filmmakers. From the hybrid screening and detailed audience feedback to the filmmaker interview and generous promotional tools, every step felt intentional and supportive. I’m truly honored to receive the Best Director award from the audience—thank you for creating such a dynamic and engaging platform for the storytellers!
HORROR Underground was an incredible experience and I highly suggest it to any film maker. They really care about speaking with the artist, getting to know their story and why they make films while also doing an incredible job helping uplift emerging artists. Their feedback videos are very helpful as well. Can’t wait to submit my next project!
Such a great festival! They were really supportive after my film won, providing me with audience feedback for my movie and resources to help spread the word about it and connect with other filmmakers. I highly recommend this festival!
This was a fun one! Great communication, networking opportunities, and I enjoyed the viewer reactions. I’ll be back!
Really nice festival that helps filmmakers promote themselves!
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.) 1) Full Feedback on your script 2) Actors performance video reading of your script 3) Blog interview promotion. 4) Podcast interview on the Film Festival ITunes show
NON-FICTION – Can be about the origins, preparations, families, or nutritional values of food. Can be about different types of cuisine and/or about the history of certain foods or drink.
FICTION – In a novel food and drink can show the culture, history, and environment of a fictional world. For example, the spices used in a stew or the rites around a particular beverage can reveal a lot about the society that created them. It can also represent and symbolic theme in the novel about society, status, and norms.
HORROR Underground Film & Screenplay Festival:
Bookshelves with books for children. Educational library with literature for preschoolers and kids. Reading and studying. Fairy Tales, Encyclopedias and Dictionary. Cartoon flat vector illustration
WALL UNIT, 10min., Poland Directed by Joanna Polak A ramshackle wall unit is a symbol of the monotonous life of a certain 40-year-old man living in a grey, dirty post-communist block of flats district. Right after his birthday, suffering from the midlife crisis, the man decides to change his dull and routine-based existence. Alas, his wife stands in the way.
Lagom Svensk (Swedish Just Right), 18min., Sweden Directed by Jamil Walli After experiencing xenophobia, a Syrian guy re-enacts a verbal attack on a Swede and gets caught in a fight over what it means to be Swedish.
ALIADAS, 27min., USA Directed by Juan Diego Ramirez Laura, a college professor, is contemplating participating in a Pro Palestinian demonstration during commencement as an act of solidarity. Her coworker’s approach her with concern what that might do to her job security. Laura, now must decided whether to follow her beliefs or keep her job.
LARIAT, 5min., India Directed by Komalankutty Methil Any companion becomes an unwelcome companion at times
BATTLE, 11min., Ukraine Directed by Olga Samolevska Poetic interpretation of the russian war against Ukraine. There are no actual fighting in the film. Three poems by Olga Samolevska. Song based on a poem by Vasyl Stus. The film is based on documentary footage of the results of the battle.
FEEDBACK Toronto Comedy Film and Screenplay Festival is a must for filmmakers because you get direct feedback that allows you to know if your film works. Do people get it? Does it engage conversation? All of these questions were answered and more. Thank you. And Thank you for recognizing the actors that put in a great performance. There is a lot of talent out there and to tip your hat to two of ours, makes us giddy.
Awesome festival. So happy to have had my work be apart of it!
A fantastic festival that gives you audience feedback through a video compilation – nothing I’ve ever experienced a festival do before! It was incredible hearing what people thought of our film and the depth the were able to get from it – it was even slightly emotional hearing what they had to say. A Brilliant festival!
Fantastic festival – the feedback was amazing in that it was detailed and intelligent. The reviewers really understood the bigger concepts and subtitles of the my film (Spot The Indifference). I was also delighted that it won Best Performances and I’m very proud for the actors involved. Thank you once again!!
Thanks, Toronto. You have been a rock in my quest to get my screenplays produced. Your input is intelligent and always helpful.
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.) 1) Full Feedback on your script 2) Actors performance video reading of your script 3) Blog interview promotion. 4) Podcast interview on the Film Festival ITunes show
GERMANY IN WINTER – HANAU, 80min., Germany Directed by Uwe Boll Febr 19.2020 a right wing fascist ruined Amok in the city of Hanau, Germany and killed 9 Migrants. This films shows what happened that night.
RIVER, 26min,. Hong Kong Directed by Lap Fung Cheung Based on the inescapable karma of the eight sufferings, assassin Fuk Kin Dai Ho runs and hides in the home of an eccentric old man Chung Ha Gong after being injured in the firefight during a mission. Could it be simply chance or fate that brings these two men together since they are both suffering from personal angst relating to the loss of loved ones and does this meeting help them in resolving some of that pain?
Stan’s Plan, 14min., Canada Directed by Barry Nerling, Baille Reid Stan, Izzy and Rip, three drug fuelled low life criminals return after a botched robbery of a local gangster. In the process, Stan is shot in the stomach and in a panic, they take one of the Gangster’s men as a bargaining chip only to find out they have taken the Boss’s oldest son.
Crisis Point, 3min,. Romania Directed by Valentin Raileanu As a result of resource depletion, a virus outbreak stripping the afflicted of what makes them human and finally, war, humanity’s sovereignty has fallen. In dwindling numbers, the survivors have been driven out of their homes in the search for safety, while a former soldier travels through the toxic environment in search of a cure.
Emerging from the Shadows, 15min., Belgium Directed by Mark Stas Takeda was forced to leave Asia after a tragic incident. He travelled but stayed close to the woods in order to remember his heart, but also to live a new life in Europe and tries to forget his past. After three years this peace is suddenly disturbed. While he goes running in the woods
HELLBOUND FUGITIVE, 5min,. USA Directed by Christopher Patrick Vallone In a desperate bid for freedom, a convict seeks refuge in a decaying fortress within the mountains. He inadvertently enters a nightmarish arena where ancient demons punish the wicked, and survival means fighting hell itself.
Phantom Quartz, 12min., France Directed by Marc David Nolan Le, a former DGSE agent, aspires to lead an ordinary life with his daughter after several years of service, but fate intervened differently
STAYCATION, 93min,. USA Directed by Russell Emanuel How is the world affected by a catastrophic event? Everyday people live through a government mandated quarantine during a global pandemic while desperate scientists race to find a cure before it’s too late.
Dear WILDsound FEEDBACK Film and Screenplay Festival,
Congratulations! Your festival has ranked as one of the Top 100 Best Reviewed Festivals on FilmFreeway for the month of June!
According to reviews from real FilmFreeway users, your festival ranks in the top 1% of more than 14,000 film festivals and creative contests around the world. No doubt, this ranking is a testament to the countless hours of hard work and care that you and your staff have devoted to creating such a wonderful event.
We’re especially proud to be partnered with amazing events like yours that help independent film continue to thrive.
David Hackl was the production designer and second unit director for Saw II, Saw III and Saw IV, as well as for Repo! The Genetic Opera. He then went on to direct Saw V to critical and financial success. R
I was fortunate to sit down with David to talk about his career and what’s next:
Matthew Toffolo: You have worked in the Art Department and Directed over 25 films, is there a film or two that you’re most proud of?
David Hackl: I’m very proud of the Saw franchise and feel grateful to have had the opportunity to work on it. It a piece of cinema history now. I also have a real fondness for Outlander as it was one of the most epic projects that I’ve done. I had to research it like crazy and learn everything about viking architecture, culture, weaponry etc. We had to build everything, weaponry and huge sets that included a viking village with 22 buildings and an 80 foot Viking ship that was fully practical. The craftsmanship from the whole crew was outstanding in every department. I’ve always loved viking stories and would love to direct a viking feature now.
PHOTO: Still shot from the film OUTLANDER (2008):
MT: Tell us about your first Production Designer assignment in “Jerry and Tom”. Kind of an underrated film with a lot of camera movements and set/scene transitions. Some very inventive cinematic designs too. How did you get that assignment? Would you agree that this film really jump-started your career?
DH: “Jerry and Tom” was a fantastic first experience as a Production Designer. I had been designing and directing commercials for 10 years by then but I wanted to get into long format. I’m good friends with Saul Rubinek and we were location scouting another film when he told me about Jerry and Tom and I said “that should be your first film”. The story was written by Rick Cleveland (West Wing, Six Feet Under, Mad Men, House of Cards) and it sounded so great. The film we were on fell apart but then Saul called and said the Jerry and Tom was green lit.
We wanted to create a visual signature for the film and Saul brought up the idea of transitioning between scenes seamlessly rather then cutting. I loved what they did in Red Rock West and I took the idea and ran with it. The crazier an idea was the more Saul wanted to do it. So I wasn’t going hold back. I was thrilled to work with suck a stellar cast (Charles Durning, Ted Danson, William H. Macy, Sam Rockwell, Joe Montegna) and I think I wanted to show off a bit. It’s definitely an underrated film, though when I look at it now it seems so dated.
PHOTO: Still shot from JERRY AND TOM (1998):
MT: What is the biggest difference when Production Designing a TV series in comparison to a feature film?
DH: When you’re production designing a TV series everything tends to move a lot faster and on a shorter timeline then features. I love the pace of TV and the fact that you plough through so much work. I’m very comfortable with working fast and I’ve always been lucky to have great teams to support me. Features, on the other hand, give you the chance to develop ideas more,not because you have so much more time but because you generally start with a more solid script and singular focus. But both features and television are starting to feel similar on all aspects.
I love the more cinematic quality of television we’re seeing where the bar is getting raised constantly.
MT: How would you describe your SAW experience in one sentence?
DH: Wow that’s tough, one sentence? Working on the SAW franchise was fantastic creative challenge.
MT: What was the biggest thing you learned when you directed your first film SAW V?
DH: I learned how frigging hard it is to direct a feature. As a production designer you often have people lined up at your door to ask hundreds of questions a day. But as a director it’s more like a thousand questions. Designing is a good place to prepare yourself for directing and my directing now informs my PD work better as well.
PHOTO: Meagan Good in the film SAW V:
MT: From an outside perspective, the SAW franchise seemed to work like a corporation. Someone creates an idea, then as you grow people at the top move onwards while the key production heads move up the ladder of responsibility. Gaffer to DP. Art Director to Production Designer. Production Designer to Director (YOU). They really helped the growth of a lot of careers. Is this a true assessment?
DH: It’s true SAW gave a lot of people wonderful opportunities but I don’t know if that was a strong intention as much as a next natural progression. I think the producers felt more comfortable about keeping it in the family and it was certainly a nice gesture of gratitude. We all had such a great shorthand that it seemed to make sense to keep it in the family.
MT: Some argue that SAW V is the best of the franchise. Is there a reason why you didn’t direct SAW VI?
DH: I was originally in talks to direct Saw IV but the very day they called to make me and offer I had just found out my wife had cancer. (She’s clear and great now) But the producers suggested that I direct Saw V and VI instead. But after Saw V Kevin Greutert was keen to direct one and rightfully so. He had edited every one of the Saw films from the beginning. Few people knew the franchise better then Kevin. At the same time the producers decided to do a 3D Saw film and asked me to direct it. They asked me to stay on for the whole year and learn everything there was about 3D filmmaking and how we could best use it on a Saw film. Unfortunately 3 days before we shot SAW 3D the producers exercised my pay or play deal bumping me off the picture and exercised their 2nd picture option with Kevin Greutert forcing him off Paranormal Activity 2 when it was announced that it was going to open the same day as Saw 3D.
Welcome to directing!!
MT: What are you currently working on?
DH: I’m busy building a slate of films for my company with a few optioned novels and scripts for both TV and features. I’m writing a lot and working with writers, which I love. I’m also pushing hard to move into television directing.
MT: What film, besides the ones you worked on, have you seen the most times in your life?
DH: That’s easy. Apocalypse Now and Bladerunner. My two favourites films
MT: What is the future of the horror franchise?
DH: If you’re asking about SAW 8: Legacy it’s coming. Writers were just announced. I’m excited see what they’ll do next.
In more general terms horror franchises are all about an idea that has legs and I’m certain there’s going to be a new one any minute. I have a couple myself. (…he says with a smile!)
_____
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
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