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An Interview with Tyler King, Cinematographer and Editor of Blood Soaked

by Mike Haberfelner

June 2014

Tyler King on (re)Search my Trash

 

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You have recently shot and edited the movie Blood Soaked - first of all, what is it about?

 

The only way I can describe it is with three words: Nazis. Zombies. Lesbians. Alternatively, I believe it is secretly about the mistreatment of zombies and their lack of basic rights. They are chained up, fed poorly, and have you seen their living conditions?! In all seriousness, both director Peter Grendle [Peter Grendle interview - click here] and I really like psychological horror so we took a fairly commonplace topic like zombies and made it something more.

 

How did you get involved with the project - and seriously, what were your first thoughts when you learned what it's about?

 

The short answer is Peter asked me what I thought about doing a feature length version of This Side of Nightmare (included on the dvd as a bonus feature) but with Nazis, more hate, blood, nudity and zombies. I couldn't say no!

 

Do talk about your director Peter Grendle [Peter Grendle interview - click here] for a bit, and what was your collaboration like? And how did you two first meet to begin with?

 

Peter and I met in college. We both had the mentality to take advantage of the huge supply of free film gear and made several short movies for the fun of it. I think because of that we collaborate very well. We are able to discuss thoughts on story, mood, style, look and feel, etc. with each other and know that we can ultimately produce what is decided.

 

How would you describe Blood Soaked's specific look, and how much artistic freedom were you given as a cinematographer on the film?

 

Blood Soaked is 80's super color then turns to hell. The film has several different looks from super saturated bright colors when Piper's worst problem is her mother, to "we found some old 16mm film buried out the desert" gritty and dark when she is a bit more preoccupied with zombies.

 

As far as artistic freedom I have to go back to the last question with collaboration. Peter and I discussed all of the looks in the film and how we wanted to do them in production. Then I was given the creative license to come up with the specific looks. We sat down before each shoot day and came up with a shot list and specific details (like shots that pay homage to other films) needed for the pages we were shooting that day. That is all we ever discussed on where the camera went and how it would be moving. The rest was up to me.

 

What can you tell us about the shoot as such, and the on-set atmosphere?

 

Every day started with copious amounts of sunscreen and downing a bunch of coffee. The upside to having a small crew is we were able to get people that we worked well with and had the foresight to just get stuff done. The days started quiet. I'd get the camera built and lights or rigging was setup while makeup was being applied and lines run. The downside to having a small crew is after that brief calm moment, all hell would break loose. We were shooting at least 10+ pages a day, sometimes in multiple locations and once with a complete actors break, run home, shower, change, get rushed back to set. Intense would sum it up well. I had two things that kept me sane. Enough cards to never have to dump footage to a computer mid-day... and the luxury of a portable director's monitor. After 12 hours of carrying a 20lb camera rig in the desert sun covered in sweat and sand you start to miss small details! Ultimately I think the on-set atmosphere was what one would expect with a small crew and small budget. Sometimes tensions got high, sometimes we were all too tired to talk to each other, others couldn't talk after screaming for hours, but at the end of the day everyone on set wanted to and loved being there.

 

What can you tell us about Blood Soaked's editing process as such, and the film's editing style?

 

Blood Soaked's timeline in Avid

I was given one major direction in the editing of the film. "Watch Wolf Creek over and over. Do [at least] that." Then Peter and I would get together every two weeks or so and go over what I had gotten done. After the story was down I got to put in the creative aspects of the editing style. The freeze frames, scene intro flash frames/montages, rhythmic cuts, etc.  Once picture was locked down Peter would send me music and effect shots while I did color correction and sound work.

 

Any future projects you'd like to share?

 

I'm sound editing and mixing a feature postmodern romantic comedy right now titled Harry and Avis. It should start its festival run soon. Other than that, I hear Peter's new script is underway!

 

What got you into the filmworld in the first place, and did you receive any formal education on the subject?

 

I always had fun making silly movies with my friends, but a photography instructor challenged me to get into cinematography. For me taking photos is much more fun at 24 fps. I was lucky enough to learn from and with some awesome people in film school.

 

What can you tell us about your filmwork prior to Blood Soaked?

 

I had a hard time finding a creative outlet getting coffee on "to remain unnamed" big budget films (that never even gave me credit) so I decided to do the indie route. Peter came to the same conclusion around the same time so we formed Red Letter Cinema.

 

How would you describe yourself as a cinematographer and as an editor?

 

As a cinematographer I've been told I have a very specific style... but these people won't explain it to me. What I can say is I shoot all of our rehearsals. It gives me a chance to rehearse camera movement and it costs almost nothing in hard drive space. Rarely we'd get lucky and just move on without a "1st take".

As an editor, a lot of the fun for me is solving a giant puzzle of story and pacing while covering up continuity issues and other production mistakes. Since my editing process included sound I can say recording and mixing the stabbing/punching of cabbage, stirring a big bowl of mac and cheese and spraying water to make the sound of stabbing a knife into flesh is incredibly morbid... and fulfilling when it all works.

 

Cinematographers, editors, filmmakers, whoever else who inspire you?

 

I would say I'm inspired by filmmakers that are not afraid to use camera movement to tell a story but can keep it unannounced to the viewer. A short list would look like a very random list of names.

 

Your favourite movies?

 

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Find Tyler King
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USA  amazon.com

Great Britain (a.k.a. the United Kingdom)  amazon.co.uk

Germany (East AND West)  amazon.de

Looking for imports ?
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Something naughty ?
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x-rated  find Tyler King at adultvideouniverse.com

I'm a big fan of Russian war films and American dark comedies.

 

... and of course, films you really deplore?

 

Sequels that should have never been.

 

Your website, Facebook, whatever else?

 

Our Blood Soaked Facebook is the best place for up to date news: https://www.facebook.com/BloodSoakedFilm?fref=ts 

 

Anything else you are dying to mention and I have merely forgotten to ask?

 

I tore some cartilage in my shoulder during production after holding a 20lb camera on a shoulder mount for 12 hours day. Editing was delayed for 4 months while recovering from surgery!

 

Thanks for the interview!

 

Thank you for the coverage! Indie film thrives from sites like yours helping get the word out!

 

© by Mike Haberfelner


Legal note: (re)Search my Trash cannot
and shall not be held responsible for
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Thanks for watching !!!



 

 

On the same day
a Burglar wants to kill you
and your Ex wants
to make up ...
... and for the life of it,
you can't decide
WHICH IS WORSE!!!

 

A Killer Conversation

produced by and starring
Melanie Denholme
directed by
David V.G. Davies
written by
Michael Haberfelner
starring
Ryan Hunter and
Rudy Barrow

out now on DVD

 

 

Stell Dir vor, Deine Lieblingsseifenoper birgt eine tiefere Wahrheit ...
... und stell Dir vor, der Penner von der U-Bahnstation hat doch recht ...
... und dann triffst Du auch noch die Frau Deiner (feuchten) Träume ...

 

Und an diesem Tag geht natürlich wieder einmal die Welt unter!!!

 

Bauliche Angelegenheiten
ein Roman von
Michael Haberfelner

 

Jetzt kaufen bei
Lulu.com