Archive for the ‘Festivals’ Category

Horror-on-Sea – Awesome as Usual

Posted: January 24, 2017 in Festivals

We love Horror on Sea around these parts.

It’s a genuinely independent film festival, showcasing some really unusual movies that other fests might overlook. Of course, I’m slightly biased, seeing as H-o-S has been kind enough to host my talks on various aspects of filmmaking since the first festival five years ago.

This year’s big festival weekend was no different. We got to hang out with terrific independent filmmakers and catch awesome movies like the world premiere of MJ Dixon’s Slasher House II – a movie which represents a jaw-dropping achievement on a very, very small budget.

My talk this year was called ‘Horror Stories’ and was rather more focused on the screenwriting side of things than the talks I’ve done before. It was great fun, and I extend my heartfelt thanks to all those who came along (and especially those who contributed their own ideas to the mix!)

Next week, the festival continues with a second (slightly smaller, but no less excellent) weekend of unusual features and fascinating shorts. You can still grab tickets and we wholeheartedly recommend that you do.

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Pat’s first live show of 2017 takes place this Saturday at the amazing and brilliant Horror-on-Sea festival in Southend. This annual festival is a huge highlight of the year (every year!) for the crew at Jinx Media. There are countless premieres and special events, including the World Premiere of Slasher House II from our wonderful friends at Mycho Entertainment.

Pat’s show will feature a whole load of stuff about structuring horror movies, together with uncensored anecdotes and clips from his journey through horror cinema. Don’t miss it! Tickets are only a fiver and can be bought by clicking the logo below…

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A short interview with Pat from the 2014 Horror-on-Sea festival has found its way online this week. Check it out below!

Hi folks, Pat here.

You may have seen my entry a couple of weeks back about how the release of The Devil’s Music fell through. We’ve been doing a lot of thinking about the movie and the situation, and I want to share my plan with you.

Quick recap: The Devil’s Music is our rock and roll horror mockumentary which an awful lot of people think is very cool. It’s described as ‘magnificent’ in MJ Simpson’s Urban Terrors book, ‘swiftly paced and visually inventive’ in Stuart Willis’ The New Flesh and is even positively namechecked a couple of times in Kim Newman’s magnificent Nightmare Movies. AintItCoolNews called it ‘highly recommended’ and namechecked the director’s cut in their countdown of best horror movies of the year. It won Best Independent Feature at the Festival of Fantastic Films. And more. And more.

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We had a short UK release of the original cut when it was streamed by IndieMoviesOnline, a really ahead-of-its-time streaming site which has now unfortunately gone under. IMO treated the film really well, taking out full page ads in the press and (gasp) actually paying us some money. The US release was handled by a company called Lono, who were lovely and wonderful and ceased trading almost as soon as the film came out, effectively deleting it before it had properly hit the shops. All of this meant that by the end of 2010, our film was effectively ‘lost’, (in that, there was no legitimate way for the public to buy the movie very easily) and all the rights came back to us because both IMO and Lono were lovely, honourable companies.

We started setting up a special edition UK DVD release in 2012, working with the wonderful Cine du Monde, which ended up getting delayed for reasons outside of our control until it ran straight into the ridiculous BBFC situation in 2014 that you probably already know about. That DVD special edition, therefore, also remains in limbo. It sits as a pre-order on Amazon but is unlikely to ever materialise in that form. So if you’ve ordered it, you might as well cancel it.

Since running the last piece about this situation, people have emailed me with a lot of suggestions. We’ve looked at everything people have suggested and examined every possibility.

The following is what we’ve come up with..

We’re going to launch the movie on October 21st 2016 on as many platforms as we can afford, in as many territories as we can. And rather than doing my usual magician’s trick of keeping all this under wraps, I’m going to be honest about it as it comes together. Ask me questions on Twitter, make suggestions via the comments here or wherever. I’m been looking at the usual platforms and making the usual kinds of decisions. I’ve been eyeing up aggregators, particularly Distribber, and would love to hear from other filmmakers’ experiences with them.

We don’t have much money in the bank, but we’ve got a cool movie and a handful of people who’ve really enjoyed it.

Let’s see whether that’s enough.

If you’re interested in helping, there are a bunch of things you can do. If you’re a producer who has worked with distribution platforms anywhere in the world that you’ve had a positive experience, it’d be great to hear about it. If you run a genre-based website, magazine or blog, it’d be brilliant if we could generate as much coverage for the movie as possible for the month of October; if you’d like to review a screener, or run an interview, or feature an exclusive image or whatever we’d love to arrange it. Just contact us via Twitter either on my account or the Jinx Media one.

Anything else? Well, we’ll be firing up the long-dormant Facebook page for the movie too, so if you feel like liking and sharing that page (and the Jinx Media one while you’re at it!), that would be awesome. The more visible support the film has, the more possibilities we have in terms of sorting international platforms.

I’m really sorry you guys have waited so long. I’ll be honest about the way this shakes down, so that people can either cheer at this success story or wince at how NOT to do it in future.

We love you guys. Now let’s finally get this goddam movie out there.

 

If you’re hoping to join the one-day screenwriting workshop/masterclass on June 4th, you’d better get moving. This is a small-scale event, and tickets are limited.

So, if you want to spend a day with like-minded souls in a jam-packed one-day crash course designed to take your writing to the next level then order a ticket RIGHT NOW!

 

Screenwriting with Pat Higgins

 

 

 

Pat’s intro to the premiere of the new movie from Jinx Media, recorded live at the Horror-on-Sea festival on 23rd January 2016.

 

House on the Witchpit – Introduction from jinxmedia on Vimeo.

The Witchpit Awaits

Posted: December 4, 2015 in Festivals, Live shows, Uncategorized

The long-awaited fifth feature from Jinx Media, The House on the Witchpit, will have its world premiere at the awesome Horror-on-Sea festival in Southend, Essex on January 23rd 2016. This will be straight after the first performance of Pat Higgins’ 2016 live show/masterclass/thing “Watch Horror. Write Horror. Make Horror” – full details can be found over at the Horror-on-Sea website.

The House on the Witchpit is an unusual movie for a number of reasons, some of which are discussed in Pat’s latest article for Huffington Post – “Why You Can’t See my New Horror Movie”

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Screenwriters get introduced to the idea of the ‘elevator pitch’ with the following scenario:

Imagine that you found yourself in a lift with a Hollywood power-player, and you only had that 60 seconds or so to sell them on the idea of your movie. 60 seconds to convince them that the idea might be worth further investigation. 60 seconds to make them care.

This scenario works quite well as a means of making people think about the hook of their story. Amazingly gifted screenwriters can still be amazingly poor orators, and those words that flow so beautifully on paper can often dry up to a series of splutters and false starts when someone asks what their brilliant movie is actually about. Focusing on communicating the essence of a proposed movie in an incredibly short space of time can be a really useful exercise, but the idea of actually pitching in a lift is largely meant to be a metaphor.

Nonetheless, last year I accidentally found myself pitching in a lift to Joel Schumacher. And, hey, I was a teenager when The Lost Boys came out. It’s one of those movies that made me who I am; everything I’ve ever written has contained elements of both comedy and horror. There’s strands of Lost Boys DNA running through every screenplay to leave my office. I owe Joel Schumacher a lot, and I finally got to repay him by babbling for around a minute about a screenplay that I’m extremely proud of called Your Lying Eyes.

Let me back up a bit. First of all, I’m not one to engineer meetings with people whose work I admire. I feel much happier watching and listening to such people rather than speaking to them. There’s a speech about never meeting your heroes in my script for The Devil’s Music which sums up largely how I feel about it. There’s simply too much riding on it for it to be any fun. Look, I’m a massive Springsteen fan, but if you gave me the chance to sit and have a drink with the guy I’d probably run a mile. Not because I’d be intimidated (people are just people, after all), but what if it went badly? What if we simply didn’t get on? Would I still feel the same way about Thunder Road, or would there be a nagging ‘but…’ in the back of my head every time I listened to it?

So, in the interests of never getting a nagging ‘but…’ every time I watched Falling Down, I probably wouldn’t have engineered a situation where I got to pitch a movie to Joel Schumacher in a lift. But the London Screenwriters Festival had other plans.

If you haven’t heard of the festival, it’s now the largest screenwriting festival in the world. 800-odd screenwriters and speakers, plus a fair few producers and agents knocking about. Lots of people drinking coffee and talking about movies, lots of interesting events and cool stuff. On the Sunday of the festival, I had a meeting about Your Lying Eyes lined up which I was excited but mildly stressed about. It’s a really good script, probably the best thing I’ve ever written, and for this particular meeting I was determined to bring my A-game.

My mate Jim Eaves and I grabbed coffee, and we ended up in a queue for The Elevator Pitch. This was a thing set up by the festival where screenwriters could do the elevator pitch thing for real, usually to somebody connected with the UK industry. I figured it might be a nice little dry-run prior to my meeting. I figured it might be with someone I’d spoken to previously (either at the festival or in the world at large).

It wasn’t, of course. It was Joel Schumacher.

Joel Schumacher in a lift getting babbled at

I think it’s safe to say that my tight-as-a-drum pitch got punctured somewhere on its way out of my mouth and emerged as a bundle of jumbled character motivation and messy beats. Seriously, though, what do you want from me? Dude directed The Lost Boys, for chrissakes.

So elevator pitches are sometimes very real. And not just at orchestrated events at screenwriting festivals. My mate Jim I mentioned? On another occasion, he ended up randomly in a lift with a certain notorious Hollywood mega producer. But that’s his story to tell, not mine.

What floor do you want?

Getting all set for the first live date of 2015; my new show ‘How Not To Make a Horror Movie’.

This takes place on Saturday 24th February at the Horror-on-Sea festival in Southend – my favourite film festival of the year. This year’s line-up has got some amazing movies, including the latest from my old mate MJ Dixon “The Legacy of Thorn”, which is playing on Sunday 25th at 8pm. Click through below to check out the Mycho site.

Legacy of Thorn

The online ticket sales for Horror-on-Sea have now closed, but all remaining tickets and Festival passes will now be on sale from the Festival desk at the Horror-on-Sea Film Festival from 10am on Friday Morning and throughout the Festival. Please call this number if you require any further information – 07981 824283.

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‘How Not To Make as Horror Movie’ contains video contributions from several UK filmmakers, along with the usual hour or so of me rambling on about everything from cables getting broken through to using sausages and offal instead of plastic guts (tip: it’s not a good idea). I’m really looking forward to it.

My Horror-on-Sea show from a couple of years ago, “Werewolves, Cheerleaders & Chainsaws” is still available in full below, which probably means I should find some new anecdotes. Look forward to seeing a bunch of you there.

Pat at Werewolves, Cheerleaders & Chainsaws

Well, that was damn cool.

The Horror-on-Sea festival dominated my weekend. As the first year of the only horror festival to run in my home town, I’ve been rooting for this weekend to be a huge success ever since I was told about it around last June. I was delighted that the organisers selected Nazi Zombie Death Tales
 to play in one of the high-profile evening slots and then even happier when we agreed that my new lecture/talk/live show thing Werewolves, Cheerleaders & Chainsaws: Filming Horror for No Bloody Money (as pictured above) would launch at the festival.

The arrival of the long-threatened snow occurred, with depressing inevitability, at exactly the worst time possible as far as the festival was concerned. Adverse travel conditions are always going to put people off venturing outside their front doors, and as I saw the snow start falling and just not stop as the weekend kicked off I began to worry that sub-zero temperatures might cause the fledgling festival some serious problems.

Luckily, I was underestimating the enthusiasm and determination of the wonderful crowd of filmmakers, film fans and cinema enthusiasts that this festival was destined to attract. It may have been bloody freezing outside, but in terms of atmosphere and mood I think this was the warmest festival I’ve ever attended in my life. There were brilliant filmmakers like Alex Chandon and MJ Dixon around for pretty much the whole festival. There were attendees throwing themselves into the spirit dressed as everything from Resident Evil zombies to Juliet from Lollipop Chainsaw

Then, there was the line-up itself. Brilliantly put together by Paul Cotgrove from The White Bus, it featured loads of brand new indie horrors from all over the world and some smart nods to the pioneers (such as Darren Buxton’s excellent event about Michael J Murphy‘s career; don’t let that sparse IMDB resume fool you… The gent has shot countless movies, and this talk featured hard-to-find clips from loads of them).

I had a fantastic time and really hope that the festival returns next year.

As for Werewolves, Chainsaws & Cheerleaders itself, the event was great fun. We filmed it, and it’s currently being edited. Hopefully we’ll have it up online before too long, so those of you who either got foiled by the snow or just weren’t able to make it to Southend this time around will have the chance to check it out.

Here’s to Horror-on-Sea, my new favourite festival.