Midnight Producers Part 6: Larry Fessenden - STAKE LAND

This is the last in my series, Meet the Producers of Midnight Madness 2010



Let me introduce you to legendary N.Y. producer Larry Fessenden, producer of Stake Land







Larry Fessenden may not be a name you instantly recognize but the name is one that has probably been involved in some of your favorite films. At this year's Midnight Madness alone Mr. Fessenden's reach is felt, from Ron Perlman that has worked numerous times with Mr Fessenden, from The Last Winter which was written and directed by Larry as well as I Sell The Dead which Mr. Fessenden not only produced with his company Glass Eye Pix but also acted in. If you were looking really close during Brad Anderson's Vanishing on 7th St, there was Larry on the big screen again, which brings me to Stake Land. Stake Land was also produced by Glass Eye Pix. He has over forty acting credits, has produced 35 films and has numerous directing credits for feature films, shorts and documentaries. In short. Mr. Fessenden is not only a remarkable talent but is truly a tireless advocate for independent cinema.













1) As others are talking about recession and economic downturns you and Glass Eye Pix seems to be thriving in the film world, how do you equate your success in remaining in business and producing quality work?

We were very fortunate to have had financial support throughout the recession of Dark Sky Films. The association began with Ti West’s THE HOUSE OF THE DEVIL and that lead us to strike a deal to produce three more movies over the course of 18 months: BITTER FEAST, STAKE LAND and HYPOTHERMIA. And that was followed by another Ti West film, THE INNKEEPERS. So we’ve had a very good run of it with Dark Sky. In the 2000’s Glass Eye Pix invested in the careers of several filmmakers including Ti West, Graham Reznick, James McKenney, and Glenn McQuaid, as well as Kelly Reichardt and Ilya Chaiken, and the consistent model was to make films of artistic integrity at a very low budget. During more lucrative times we could get reimbursed for our efforts. It is our hope that in these lean years our model of frugality and originality will be attractive to new investors. It is important not to discount the sheer talent we have tapped in to. And I believe there is a tone throughout all the films from Glass Eye Pix that stands in marked contrast to the mainstream or even “indie” output and that is our brand.

2) How difficult was it to find the money to produce Stake Land? What challenges did you face that were unique to this film?

Stake Land was the most solid pitch we had for our slate of three movies with Dark Sky Films; it had the elements that looked good on paper: vampires, the post apocalyptic setting, and the director Jim Mickle had made a successful first film but still was hungry enough to go from no budget to low budget with gusto and conviction. So the film was financed easily, as part of an overall slate. The challenges were many from there. First, the script had to be reworked over several months to shape it into the feature it’s become, and then the epic scope of the story had to be fit into the budget. We determined to split the shoot into two parts, so we could experience on film the change in seasons. This was a gamble that paid off, but one that can stress a budget and crew and spook most financiers. As with all our films, we choose to emphasize post production: sound design, music, graphics, visual effects, the color correct and mix, all are an essential part of the experience we want to deliver, and again, the challenge is to strategize to get the most out of what is left of the budget after a grueling shoot. By using the same team of people in post-production on several films, we have been able to get a lot of bang for the buck.

3) What is something that you have learned as a producer that you wish you knew when you started out with your first feature Habit?

There is no one thing that has changed since I made HABIT in 1994. With HABIT, I established many of the principals that I still employ: A small crew (there were seven of us on HABIT), an open schedule (we shot over 45 days), and a long post-production emphasizing sound design and a rich, live score, all driven by a resourceful, single-minded auteur (which was me at the time). With HABIT, I endured a tsunami of festival and distribution rejections and so I released the film myself, compelling me to learn about marketing and exhibition. That experience taught me that there are no answers in show biz, there is only conviction. I have applied that to film after film with various degrees of success since, and it has helped several careers get started through Glass Eye Pix. Another thing I have learned since HABIT is I need my own producer to take care of the nuts and bolts of production. I may have a philosophical overview that drives the ship, but it was HABIT’s producer Dayton Taylor that got the film made, Jeff Levy-Hinte who got my subsequent films made, and now Peter Phok and Brent Kunkle have been instrumental in getting a slew of new pictures made. Collaboration in film at every level is essential.

Stake Land screens:

Friday, Sept 17 11:59PM RYERSON

Saturday, Sept 18 12:15PM SCOTIABANK THEATRE 4

Sunday Sept, 19 9:00PM AMC2



You can purchase tickets from the official TIFF website.

Midnight Producers Part 4: Jason Blum and Steven Schneider - INSIDIOUS

This the forth in the ongoing series, Meeting the Producers of Midnight Madness 2010.

When the news broke that the producing team behind the hugely successful Paranormal Activity and the writing and directing team of hugely influential genre film Saw were teaming up to work on Insidious there was obvious excitement from the horror community. These heavyweights of genre cinema decided their partnership together would be best suited outside of the studio system in order to best help James Wan bring his vision to the big screen.

Let me introduce you to Jason Blum and Steven Schneider, part of the producing team behind Insidious.

Jason Blum opened Blumhouse Productions in the fall of 2000. Throughout his career, he has cultivated a reputation as a tireless advocate of independent film, and as a skilled producer adept at securing compelling new material and cutting-edge talent and forging deep relationships with studio executives, agents, writers, directors and actors. Since opening his own company, Blum has produced six feature films that demonstrate his unique taste and creative sensibilities. With keen business savvy, and a sharp eye for art house fare, he is constantly striving to expand the Blumhouse Productions slate of films.

Could you talk about how and why you formed your production company Blumhouse Productions?

Jason Blum WHY -I loved making movies and one of my dreams in life was always to have a single purpose company that does just that. HOW- I spent the first ten years of my career working for people who were very successful and I used that time to learn as much as I could always keeping in mind that eventually I wanted to work for myself.

Looking at your filmography you have recently become a producer in the past couple of years, how did you become a producer? What attracted you to the job?

Steven Schneider I grew up in New York City reading comic books and watching horror movies. After ten years (!) of grad school working on various degrees in philosophy and film theory, I found myself missing pop culture more and more. So I started writing and editing books on genre cinema - in particular horror movies from around the world. But to that point I'd still never thought about transitioning into film production once. Then, in 2002, Roy Lee (producer of The Ring, The Grudge, The Departed, etc.) reached out to me because he'd seen some of my books and wanted to know if I had any ideas for horror remakes. After this initial phone call, things immediately started clicking into place. My long-term girlfriend had already begun a successful acting career, and I just wasn't feeling excited about my dissertation work anymore. So later that year, Katheryn and I made the move to Hollywood, and I've been producing full-time ever since.

I've read that you are a strong advocate for independent film. What draws you to producing projects outside of the studio system?

Jason Blum I like making movies for studios and independently equally as much but the two jobs are entirely different. Making studio movies the Producer for the most part answers to the studio first and goes from there. Independent movies allow the producer only to help the director realize his vision without any other factors. Both are fun complicated jobs.

What attracted you to producing Insidious? How difficult was the financing of the project?

Steven Schneider On the heels of Paranormal Activity's success last year, my partners on that movie (Jason Blum and Oren Peli) and I entered into a slate deal with Alliance Films. (The head of Alliance, Charles Layton, had previously worked with Jason at Miramax for years, so they already had a good relationship.) The basic idea of the Alliance "Haunted Movies" slate is to make a number of very scary horror movies on very low budgets; and to work with amazing filmmakers who are excited to trade bells & whistles for creative freedom. As for Insidious, James Wan and I sat down after Paranormal came out, and as soon as he pitched me the idea, I was in. Loved the concept, loved James' vision for it, and couldn't wait to get started. Fortunately Jason and Oren agreed, and Alliance was totally supportive. Insidious is the first Haunted Movies production, and the Paranormal Activity-Saw combination is lethal!

What for you are some of the keys to making a package to present to investors and/studio executives?

Jason Blum There are only 4: Script Director Cast Budget If your budget is low enough and you script, cast, actors are compelling even now there is money out there to make your movies.

What unique challenges did you face in bringing Insidious to the screen?

Steven Schneider I think everyone involved would agree that the biggest challenge with Insidious was just making sure we could help enable James and Leigh (Whannell) achieve their amazing, ambitious vision for the movie given the relatively miniscule (by Hollywood standards) budget. But with the help of an incredible, passionate crew of true professionals - including Albert Cho, Aaron Sims, John Leonetti, Jeanette Brill, Rick Osako, Annie McCarthy, Jennifer and Tom Spence, Kristin Burke, and all of our wonderful actors (Patrick Wilson, Rose Byrne Barbara Hershey, Lin Shaye and many others) - we were fortunately able to achieve it. At least we think we have - you tell us after the premiere!

Insidious screens:

Tuesday September 14th. 11:59 PM RYERSON

Thursday September 16th 3:00 PM AMC 9

You can buy tickets from the official TIFF website