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Joe and Sal discuss their favorite indie horror movies to watch on Halloween.  We may catch some flack for what’s included as a true indie horror movie. Companies such as Lions Gate are known for their big budget horrors. They hardest part for us was only being able to choose 5!  We also find out Joe’s obsession with Bruce Campbell may be cause for concern.

All we can say in advance about the list is that Sal and Joe only agreed on two movies but not where they belong on the list. From classics to modern terror, let us know what horror movies you love or who’s picks you disagree with.

Sal’s Top 5 Indie Horror Movies

#5. Hush – Released in 2016 by Intrepid Pictures. Directed by Mike Flanagan.

Hush was an official selection at the SXSW Film Festival and it won Best Director at the iHorror Awards and Best Independent Film at the Rando Hatton Classic Horror Awards. After losing her hearing as a teenager, author Maddie Young (Kate Siegel) lives a life of utter isolation and becomes the prey of a psychotic masked killer. This movie is an intense game of cat and mouse as Maddie fights to survive the night! If you want an intense thrill ride that will leave you breathless, watch Hush!

Watch Hush the Movie

 

#4. The Blair Witch Project – Released in 1999 by Artisan Pictures. Directed by Eduardo Sanchez & Daniel Myrick.

There is no doubt this film deserves a spot on the list and was a pioneer of the found footage genre. It cleaned up at the box office and won many awards from Cannes Film Festival to the Razzie Awards. Let’s just say The Blair Witch Project isn’t for everyone but it definitely brings the terror. I’d personally stay clear of the sequel made in 2016.

In case you haven’t seen this classic here’s the synopsis. Presented as a straightforward documentary, the film opens with a title card explaining that in 1994, three students went into the Maryland back woods to do a film project on the Blair Witch incidents. These kids were never seen again, and the film you are about to see is from their recovered equipment, found in the woods a year later.

Watch The Blair Witch Project

 

 

#3. Halloween – Released in 1978 by Compass International Pictures. Directed by John Carpenter.

Made for an estimated $300,000, John Carpenter’s Halloween doesn’t need much introduction from us. In 1978 a psychotic killer was born, none other than Michael Myers. This movie is likely at the top of many horror best of lists and has been scaring the pants of audiences for decades! It won a number of awards and set the bar for what thriller horror movies should be. Plus, Jamie Lee Curtis!

Watch Halloween 

 

 

#2. Shaun of the Dead – Released in 2004 by Focus Features. Directed by Edgar Wright.

Horror comedy is something that’s near and dear to our hearts. This isn’t going to give you the fright and fear of other horror movie classics but Shaun of the Dead holds it place in history as one the all time greatest. It won two awards for Best Screenplay and grossed over $13 million dollars at the box office.  If you’re a fan of Evil Dead, Zombieland or other horror comedy classics, go watch Shaun of the Dead. I guarantee you won’t be disappointed.

Watch Shaun of the Dead

 

 

 

#1 Saw – Released in 2004 by Lions Gate. Directed by James Wan.

Saw marks the directorial debut of James Wan and spawned a new type of horror thriller killer named Jigsaw. Mind bending psychological death machines haunted our nightmares. the Saw franchise of horror is still alive and well today with its latest release called Jigsaw. It combines the best elements of psychological thriller with a slasher film. It won a number of awards including Best Screenplay and took 3rd place at the Fangoria Chainsaw Awards.

Watch Saw Directed by James Wan

 

 

 

Joe’s Top 5 Indie Horror Movies

#5. Nosferatu – Released in 1922. Directed by F.W. Murnau.

Black and white, silent films are not what one may think of when it comes to horror movies. To completely understand the genre we must first understand and appreciate where it all began.  The performance of actor Max Schreck as the vampire set the bar for all vampire portrayals to come.

Watch Nosferatu

 

#4. The Blair Witch Project – Released in 1999 by Artisan Pictures. Directed by Eduardo Sanchez & Daniel Myrick.

The found footage classic landed in the same spot on the countdown for both of us. Is the Blair Witch real? At the time, that was a question that was being legitimately asked. Now that the thrill is gone, reboots and sequels haven’t held as much sparkle with audiences. What the directors accomplished with the original film was a major achievement. Shot for a measly $60,000 this horror movie scared the dollars out of many wallets to the tune of $248 million dollars!

If you’re desperate for a thrill here’s the underwhelming Book of Shadows: Blair Witch 2 

 

 

 

#3. Evil Dead – Released in 1981 by Newline Cinema. Directed by Sam Raimi.

Who can argue with Evil Dead? What’s not to love? Shot for $350,000, Bruce Campbell and the directorial feature debut of Sam Raimi it has all the elements of a zombie movie you could ask for and more. Arguably, more people fell in love with Evil Dead 2 which is rare for any sequel but Joe loves his classics and you have to give him kudos for making sure Evil Dead got their props. Now if we could only get Bruce Campbell on our podcast! Which do you like better? Evil Dead or Evil Dead 2?

Watch Evil Dead

 

 

 

https://www.youtube.com/watch?v=72nlQp9xe5o

#2. Texas Chainsaw Massacre – Released in 1974 by Bryanston Pictures. Directed by Tobe Hooper.

Texas Chainsaw Massacre was a game changer in the slasher horror movie genre. Leatherface and his thirst for human flesh paved the way for horror legends and psycho killers including Michael Myers, Jigsaw, Jason, Freddy and many others we didn’t get to include in our list. If you’ve missed out on this classic, you’re missing out. Period.

Watch Texas Chainsaw Massacre

 

 

https://www.youtube.com/watch?v=Vs3981DoINw

#1. Halloween – Released in 1978 by Compass International Pictures. Directed by John Carpenter.

Halloween is the classic horror movie that has been the inspiration for many horror filmmakers. Already mentioned in Sal’s list, I don’t think anyone can argue putting Halloween in the top spot. As discussed on the podcast, we’ve both watched the Rob Zombie Halloween remake and think he did a phenomenal job capture the horror and nuance of this psychological slasher thriller.  I’ve been a big fan of Rob Zombie’s film work and The Devil’s Rejects is one of the films that got an honorable mention from Sal.

Watch Halloween Directed by Rob Zombie

 

 

https://www.youtube.com/watch?v=3elMmW5i1tI

BONUS! Watch our Short Horror Film TWiSTED

 

Cinematographer, Valentina Caniglia has worked on over 60 film productions, documentaries, music videos commercial work and more. She is known for her work on the film “The Stand” where her astonishing lighting and camera work caught the attention of American Cinematographer magazine which featured an exclusive article in March 2017 issue.

As a DP (Director of Photography). Valentina is the real deal and brings her positive attitude to her work and life. We discussed the challenges of shooting on location in Palestine to being snowed in in New Jersey. Her eye for coloring and lighting are what makes Valentina’s work unique and why she’s won so many awards. As a female cinematographer her journey to success has not be so easy.

“Pomegranates and Myrrh” winner of the Golden Dagger for Best Cinematography, premiered in USA at Sundance film Festival and received the Audience Award at Doha Tribeca Film Festival handed out by Robert De Niro.  “Madeline’s Oil” was the winner of the Best Cinematography award at the Louisiana International Film festival.

 

Keep up with Valentina Caniglia on Social Media

Website: http://valentinacaniglia.net/

Instagram: https://www.instagram.com/valentinacanigliadp/

Twitter: http://twitter.com/ValeCanigliaDP

Facebook: https://www.facebook.com/valentinacanigliadirectorofphotography

Valentina’s philosophy on Film Making

“I always adapt at filming each project with versatile visual style that best translates each story’s unique concept into breathtaking moving images that unravel the characters’ state of mind throughout the progression of the storytelling. Cinematography represents a concept of beauty that stands beyond the aesthetic aspects, something more intense that supports, follows and enhances the story where the camera can capture and show the transparency and the awareness of visuals drawn by the emotions.” – Valentina Caniglia

Where did you catch the filmmaking bug?

In reality, my father wanted to be a Director so I took a lot of inspiration from him. Then I realized his dream became mine.

Is film school in Italy difficult to get accepted to?

I didn’t go to film school in Italy.  I came to New York after London and majored in film at New York University.

What filmmakers inspire you?

I think it was mostly paintings coming from a country where art is important. There was a lot of influence when I saw these paintings in Italy and all over Europe. I realized I wanted to be a cinematography because I wanted to work with lighting. I wanted to recreate what these artists were doing on the canvas.

How did the film Blindness include your love of art?

Blindness was interesting because it was about a woman who was losing her sight. We had to tell the story with visuals and not many words. The camera was capturing what she was seeing but not very well. It was a long journey because I had to see beyond what we see normally. What I said to the director was sometimes what you don’t see is more powerful than what you do.

I like European film because isn’t a lot of dialogue and there’s more visuals. It’s also nice to see how independent films are being done in the United States as well.

What is your relationship with the lighting crew?

When I decided I wanted to be a DP (director of photography) I made a point to meet all the lighting rental businesses and owners. I knew I really cared about lighting so I wanted to explore how I could get them to give me what I needed and also new equipment that’s becoming available.

It’s also important to say you don’t need a lot of light, you just need the right light to make it work.

How much interaction do you have with the director on set?

We do a lot in pre-production where the director will tell me what he or she wants in terms of mood and movements. I anticipate and interpret what they want while reading the script and translate the words into visuals. I write my notes and compare each scene and character. Sometimes I give each character a color to identify them because I see their personality.

It’s a visual way to tell the story and the director how I see it. During pre-production they have the final say and that’s when they’ll let me know if they like my idea or maybe need to go another way. It’s important to listen to what the director wants.

How important is still photography for setting up your film shoot?

It’s actually very important because I like to capture the moment. Things may look very well lit but sometimes I just observe what’s around me and I just snap it. It depends on the situation as well. If I shoot a documentary I like go and explore right in the moment. To be honest, I’m coming from a culture where everything can be done in the moment and I’m not afraid of that. Basically we live day by day and I like to take this approach to film as well.

Maybe in that moment even though you do a lot of pre-production, it may not work the way you and the director thought. You have to be ready to have a plan B, plan C, and plan D as well. Maybe the actor doesn’t want to do certain things so you just have to come up with an idea.

I shot a movie in Palenstine behind the wall. In a place like that where theres a lot of bombing, I realized to get the story out there you have to think in the moment.

What was the most challenging shoot you had to film?

Every shoot you do is not really difficult because you love what you do. One of the most challenging was definitely another Palestinian film. Not because of the crew but because of the situation. I shot a movie in Italy that was complicated because we shot in Sicily and difficult to get to the location. I shot another movie all in New York called Without Grace that just opened. It was a small crew with an emmy nominated actress Ann Dowd. We shot in Jersey during the winter and it snowed like crazy and couldn’t move it so we were blocked in the apartment we were shooting in. We had to just stop and go home and come back in two days because we couldn’t put up lights or do anything

I always translate the worst into the best. It’s survival. You have a lot of support and never give up because you want to make something good. Even if you have a big budget, it’s not going to be any easier. The producer may be afraid to take more risks.

What award did Madeline’s Oil win at the Louisiana Film Festival?

Madeline’s Oil was a period piece about slavery and racial discrimination. I loved it because we shot all over the fields and in the mud and every swamp in Louisiana after the hurricane. In that moment you will see people were all united including the actors. It’s challenging because you really have to deal with what you have at that time even though we had a bigger budget.  The film won Best Cinematography at the Louisiana Film Festival. I’m very happy about it and love Louisiana.

I actually shot another film in Louisiana called The Stand. It was interesting because it was all shot on a bus and there was a terrorist attack with Christians and Muslims all together. They had to make it look like they were all the same people. We shot in Louisiana where it was supposed to look like West Africa. Big fields with dirt roads. I really relied on natural light and worked a lot with mirrors.

I say it was easy but it really was not.  Buses are wider in the United States so I thought I could put up a light but I didn’t count on every seat being occupied. I couldn’t put up any light whatsoever and the windows were small. I actually put the mirror on the ceiling creating triangles of light using what I had.

You have to worry when you see the faces of your Gapher, your Key Grip and First AC go pale and they don’t actually know how to tell you the problem. When you see that you start to see there is a problem.

What challenges did you face breaking into the industry?

As a woman cinematographer it’s difficult to break in because especially when I started in 1998, I was one of the few DP’s around. Every time I was on set I was the only woman on set. I had discrimination but I didn’t have much because I also had a lot of people that believed in me and supported me. I’m bothered by women who don’t support each other as men do.

I used to have a big shirt over my shoulder but I’m a boxer and they didn’t know. A lot of women would start to panic wondering if I could do it. If you train it’s not about the strength it’s about the power you have from your legs as well.

What is your go to camera?

I think it really depends on the project. I can’t always say I want to use a particular camera. I do prefer the Alexa. My work is not all the same. Every story calls for a different cinematography style. You have to go with the story. You can use any camera really, it’s about the story.

I shot a TV pilot with Joseph Sikora. I thought I wanted to shoot with an Alexa but I did some tests and showed the director how it looked with a Red anamorphic lense and we just liked that much better.

What is your new film Amytal Therapy about?

The short film I just directed and DP called The Amytal Therapy. It’s about a woman who has a double identity looking for the murderer of a companion.

She’s a psychiatrist, living in New York that spies on her own patients, though the security cameras she’s personally installed in their homes. She knows what they do. She knows what they want. She knows how to stop them.

The good thing is if I wanted to put someone in the darkness I didn’t have to turn around and ask someone. The bad thing is I didn’t have a companion. I really did miss the collaboration between directory and cinematographer though.  It’s amazing because you have someone who covers your back. I think my next move I want to continue to be a DP (Director of Photography).

https://www.youtube.com/watch?v=PnTye4YrxUk