Several years ago, Texan filmmaker Chad Feehan produced a low budget thriller called All the Boys Love Mandy Lane. A throwback of sorts to the days of the slasher film, the movie was critically acclaimed but, due to distribution isues, remained unreleased in the United States for some time (a similar fate that George A. Romero’s Diary of the Dead and Dario Argento’s Mother of Tears would also suffer at that time). Feehan has returned with Beneath the Dark, a stylish thriller set in an out-of-the-way motel that marks his directorial debut.
Chad Feehan talks about stepping into the director’s chair for the first time…
Your first feature as producer, All the Boys Love Mandy Lane, suffered distribution problems in the United States, which caused its DVD release to be delayed. Following this disappointing experience, were you nervous about stepping into the director’s chair for your next project?
“Any nerves I had associated with directing had little to do with the distribution fate of Mandy Lane. In fact, the frustration I felt with the film’s lack of distribution inspired me to write, produce and direct another wholly independent film. I was determined to learn from the challenges we encountered on Mandy Lane, and then make better choices on Beneath the Dark.”
The movie has been known as both Wake and Beneath the Dark; what prompted the title change and has this had any affect on the marketing?
“IFC asked me to change the title for one reason – films beginning with an A, B, C or D perform significantly better on VOD; the majority of platforms list titles alphabetically and audiences generally select something to watch quickly. Thus, Beneath the Dark was good and Wake was not; it was an easy decision.
As far as an affect on marketing, I believe the answer is no. We planned to create a new poster and trailer before the title change occurred.”
What do you think was the single most important lesson you learnt from your last movie and how did it prepare you for this production?
“You’re only as good as your collaborators; a film’s success is inextricably intertwined with the talent, ability and work ethic of every cast and crewmember. For me, this is the director’s most important task, surrounding him or herself with the absolute best, of creative mind and ethic. Without it, you will always flounder. With it, you might create something special.”
Was this your first full-length screenplay and how daunting did you find the experience?
“This was my second full-length screenplay, but the first I wrote solo. As far as daunting, I love the processes associated with filmmaking. I love taking a stab and consider myself fortunate to be able to pursue my passion.”
What were your primarily influences when making the film and did you seek advice from Mandy Lane’s Jonathan Levine?
“I was primarily influenced by my love for certain staples within two, albeit different, genres; namely hotel or motel horror and the traditional independent fare of my generation. Revisiting films like The Shining or Psycho against In the Bedroom, I became increasingly curious about an amalgamation of these seemingly contradictory forces, how are they similar and dissimilar and where do the lines blur?
As far as Jon, I did seek advice; he’s an enormously talented individual and we have a long history. In pre-production, he told me to trust my instincts. In post, he was both gracious and wise with his suggestions on an early cut. Both proved to be incredibly valuable.”
There have been several thrillers over recent years set at an out-of-the-way motel, such as Vacancy and Identity. How does your picture differ to these and how would you describe the movie?
“Vacancy and Identity are horror films, Beneath the Dark is not; I consider it an amalgamation. The film examines the experience of losing love, of love that is lost and the ripple effect of sin within the confines of an out-of-the-way motel. Two couples sit within the crux of the film and their dynamics evolve. Paul and Adrienne are introduced as the ideal couple, full of love and promise. Then, as the mystery unfolds, their bond is pulled apart and teeters on the precipice of collapse. At the same time, the other couple, Frank and Sandy, are already in the midst of collapse. Their relationship disintegrated long ago and the story leads us to the final blow that forever ends their marriage. The principal theme that ties all four together is embedded in an idea I’ve carried around for a while; If you hurt or sin against someone, then that person carries the experience throughout his or her life – it affects the choices that person makes and the method in which he or she operates. Therefore, if that pain causes a person to hurt someone else, then you, as the originator, bear responsibility for the aftermath. Your transgression against someone else doesn’t end with that one act; it carries on with the process of life. Sins beget sins.”
Did you enjoy filming around Route 66 and what challenges did this location cause?
“I enjoyed the isolation. More so, I enjoyed the blank slate. Roy’s was completely deserted when we arrived – concrete walls and floors. Thus, the design of the movie is wholly original as I envisioned it. That said, we were forty miles from civilisation with no potable water or electricity, which provided production with numerous challenges.”
With filming having taken place in the spring 2009, how come the movie took so long to be released and what kind of reception has it received?
“For independent films, our turnaround time was better than most. We premiered eleven months after completing principal photography, sold immediately and were released within eight months. Often times, you finish post-production, and then have to wait months for the appropriate festival. Then, have to wait longer to sell (if it happens) and then longer to be released. For a filmmaker, these are some of the most trying periods. I consider myself lucky with our timing, especially in light of my experience on Mandy Lane.
As far as reception, it has been polarised; audiences and critics either respect the film tremendously or dismiss it as a failed attempt at ‘motel horror.’ That said, I try to avoid BIG praise and BIG criticism. Am I proud of the film? Yes. Do I wish I had the ability to change certain elements? Yes. But, ultimately, I accomplished my goal; I made a movie on a miniscule budget, felt satisfied creatively, sold it to an amazing distributor and saw it released in theatres, on VOD and DVD… in my opinion, not bad for a first-time director.”
