Stoker Hills interview with film director Benjamin Louis

Recent release Stoker’s Hill is an entertaining thriller that combines found footage with traditional filmmaking to create an engaging and engaging viewing experience. Now available digitally and on request, Stoker’s Hill Follows three college students whose plans for a horror film fail when they find themselves trapped in a horrifying situation. They had to rely on two detectives who happened to find the camera they left behind.

1428 Elm had the opportunity to talk with the director of the film, Benjamin Louis, about his feelings towards found drama, working with Tony Todd, and more!

Stoker Hills interview with film director Benjamin Louis

Stoker's Hill

Stoker Hills – Courtesy of Screen Media

1428 Elm: How You Become Attached to Direct Stoker’s Hill?

Benjamin Louis: It all started with the movie script. I know the writer Jonsi [Kuehner] for a while, we used to play basketball together, we still play basketball together, but I don’t know him, he’s just one of the men.

One day there were less people there, so we got closer, and he told me he was a screenwriter, and I told him I was a filmmaker, so then he She sent me two scripts from that conversation and this is one of them. I really like this one because I think, as you can see, it’s very different in the way he approaches the found footage.

1428 Elm: One of the things I like about this movie is that it’s a combination of found footage and traditional filmmaking. What is it like to alternate between those different forms?

BM: It wasn’t difficult for me because my previous movie was a movie called Proof of Bang, which screenwriter Mark Brown sent me that screenplay, and it was written where all the footage was found and all the directions and all the angels were from the POV camera. At the time, I said to him, I see what you have here, but I wanted to film from the POV and then also have standard coverage where I cut it off, and he said, ” but then will not have found the footage. “It is still found footage. I’m cutting from the footage I found.

From there, I just wanted a different angle. I found that what found the footage was, it’s just a format. It’s a way of telling a story. There’s no reason why you can’t get out of it. That gives me the confidence to say, okay, you can play with this format. And that movie worked. So when Jonah wrote [the Stoker Hills script] now this is the found footage, and in the initial draft everything was found to be footage and then halfway through the footage it stopped, i told him my idea was to convert change scenes and end with a short.

Every time we go to [traditional coverage], there will be a spoiler. [Jonah] was open to that, and we developed it, and I have full confidence. If it was on the page for me, it worked. I realized that it would be more interesting and refreshing to watch something like that.

Stoker's Hill

Tony Todd in Stoker Hills – Courtesy of Screen Media

1428 Elm: What’s interesting is that the moments where we move away from the found footage, we’re drawn in like a policeman to find out what’s going to happen next.

BM: Because we basically have two parallel stories. As of today, I still haven’t seen that it’s written in such a way that you are first invested in the found footage, and then these people are solving crimes, that’s their story, but you there are still unresolved points where you need to go back to the other story, so it leads to parallel stories. It’s an approach that I hope people will enjoy.

1428 Elm: I think it’s like a natural evolution. What is your opinion about the genre of movie scenes in general? There seem to be a lot of mixed opinions.

BM: I feel it’s here to stay. You just have to make it fresh every time. At the end of the day, if you’re telling a good story, if you’re using the right format, I can’t see someone going, “this is the shot I don’t want to see.” What I think, a lot of the time, is the barrier, is the people driving the movie, the distributors and the people behind the scenes, having to understand that maybe marketing is harder for them because they can thought that since the footage was found to be so accessible, everyone wanted to do it.

For me, it went nowhere. I watched a movie on Netflix, I guess they call it found footage, it’s just a young guy looking at his computer, and it’s really well done, the way he searches the girl he used to like while he was still heading east and the girl moved to Los Angeles, and you go back and forth. I don’t care that it’s just a small camera lying there. He’s a great actor, and I want to see what happened to the girl. For me, the found footage is going nowhere and I encourage everyone to do it.

1428. It felt very natural between the two leading men.

BM: It’s mostly scripted, but I let the actors promote themselves. The two actors, Jake and Ryan, played by Vince Hill-Bedford and David Gridley, are real friends and they remain friends off-camera. So we picked them, I didn’t realize they were, and some of the promotional content felt more natural.

And I believe the hype because I think, for me, the script is the road map to say “we need to get here,” but somehow it’s more fun if you let people stop. Stop and have a coffee, stop and pet the dog — let them play while they’re gone, they’re still going where they’re going. So there’s a lot of that and some of the stuff that Vince and David are doing, you could script it, but it wouldn’t be as organic. We’re constantly filming, and they’re doing different things.

Stoker's Hill

Tony Todd in Stoker Hills – Courtesy of Screen Media

1428 Elm: You have the opportunity to work with Tony Todd In this movie. How did that happen, and what was it like to work with him?

BM: That’s excellent. He was really pleased to work with and really brought a lot to the character, and he also added some material from his own recommendations. Because we basically made a list of people we wanted to play in the movie and he was at the top of the list. So I said like, okay, let’s quickly get the “no” and move down the list. [Laughs] We sent the script to his agent and manager, and they loved it and passed it on to him, and he said yes.

We solved the problem and when he came on he was very pleasant. I went into his dressing room, and he said, “Ben let me show you some ideas I’ve got for this scene,” and oh my gosh, I got it right, I’m not kidding you. where, goosebumps. I loved everything he brought to the table, not just the performance, but he added some lines, and it was perfect. It was really an enjoyable experience working with him.

This interview has been edited for length and clarity.

Stoker’s Hill now available to rent or buy from digital retailers. Stoker Hills interview with film director Benjamin Louis

Chris Estrada

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