Read our exclusive interview director Partrik Syversen, who helmed the upcoming horror movie ‘Prowl.’ The film is being released theatrically as part of this year’s After Dark Films’ Horrorfest, more commonly known as the 8 Films to Die For film festival, on January 28, 2011. The movie will then premiere on DVD, On Demand and Digital Download on March 29. The director, who has made a name for himself helming, writing and editing such horror movies as ‘Manhunt,’ discusses with us, among other things, why he was attracted to ‘Prowl’ and what differentiates the film from other horror movies.

Shockya (SY): Your upcoming horror movie, ‘Prowl,’ follows a small-town girl, Amber, as she moves to the big city with friends.  After accepting a ride from a trucker, the friends discover he has brought them to a warehouse where humans are the prey for blood-thirsty creatures.  What was it about the script that convinced you to direct the movie?

Patrik Syversen (PS): I was attracted to the themes, and the fact that the film is a sort of coming of age survival horror. For me to do a film, it has to speak to me on a personal level. Making a film is a lot of work and effort, so the more personal, the better the film will turn out. The script was well written, had a clear central character with an interesting arc, and that really appealed to me. It was also one of those things, the main character is always running away, but in the process of running away from things in her life, she realizes who she is as a person.  I like working with specific themes, and using genres to explore them. In this case, a survival horror works really well. It’s in your face, intense, and violent, yet it’s all grounded in a central story. Being a fan of both character driven films and horror, choosing this project was a no brainer, even though it’s the first film I’ve done that I haven’t written myself.

SY: How did you decide what the creatures would look like?  Did you work with a particular visual effects supervisor/make-up artist to create the creatures?

PS: The creatures were initially written as birdlike, but time and budget gave us lot of restraints. In the end, this really helped in the decision of what the creatures should be. I wanted the film to have a realistic feel, so we sort of stripped it down to the bare essentials; sharp fangs, black eyes, and then focused on the performances to make it creepy. And sometimes less is definitely more. We did a lot of work on different designs, and some of them were really cool, but in the end, the more direct and simple, the more relatable. So, I’m really happy that it turned out the way it did.

SY: The horror genre has received criticism over the past few years, as critics and fans have condemned studios for mainly releasing remakes.  What differentiates ‘Prowl’ among the recent influx of remakes?

PS: Prowl is in many ways an original project. I mean, it’s a full on horror film, but I feel that we’ve taken a bit different direction in the way that it explores a character and her journey by way of classic horror tools. I really wanted the film to have a raw and unfiltered look, not glitzy, not over the top, but grounded and in your face. I’ve tried to follow this through on every level. The music is very understated and avant garde, and the film is sort of stripped down, which I really like. In the end, I hope it works as a horror film that grabs you, yet keeps you interested in the characters.

SY: ‘Prowl’ is being distributed by After Dark Films as part of its “8 Movies to Die For” campaign.  What is the benefit of having your movie being distributed by an independent horror film production company?

PS: Working with ADF has been great. They’ve been really supportive of my vision, and I commend them for that. The eight films this year are really different, and that is a great strength. All the directors have brought their own voice to the projects, and in Prowl’s case, I hope and think that strengthens the film. I was really upfront on what I wanted the film to look and feel like, and they backed me on that. It’s been said that it has a European feel to it, and I guess that’s true. I wanted to take the film seriously, yet make sure that it was a thrilling ride that met all the wants and wishes from the producers. And that combination of trust and creative freedom within certain guidelines was really fun. Being independent, I think ADF have the freedom to experiment a bit more, and make several films on lower budgets. This lends itself to the creativity in the projects.

SY: There are reports that after ‘Prowl’ opens in a limited theatrical release on January 28, it will receive a quick DVD, On Demand and digital download release on March 29.  Is there any truth to these reports, and if so, why is it receiving such a quick home release?

PS: It’s true. The film will be released theatrically on Jan 28 th and then on DVD in March. I really like this approach. The gaps between theatrical release and DVD’s are slowly getting shorter, and I think it’s a good idea to keep the movie fresh. Releasing it on DVD right after the theatrical probably keeps the film fresh in mind. It’s all one continues release. As opposed to previous years, were all 8 ADF films were released on DVD at once, I think Prowl and Husk are the first ones to be released from this line-up, and then two more a couple of months later. This gives the distributor more time to focus on the individual films, which I think is great.

SY: You have also written and edited several movies, including the upcoming drama movie ‘Exteriors.’  Does also being a screenwriter and editor help guide you as you direct movies?

PS: It’s all about telling a story, whether you write, direct or edit. I’ve directed four features now, three of which I’ve written, two of which I’ve edited. In many ways I think all the tasks go hand in hand. You conceive the project and work it through while writing, but then you start rehearsing with actors and the project takes a different shape. Having hands on knowledge on writing and editing definitely puts things in perspective while shooting. You know what you need, where you have room to play around, and how it all comes together. In the end you really have to know what you are doing, and be focused on the story you’re telling, but you have to be aware that changes will be made, and that the things you thought were the best solution turn out not to be. You basically write a film three times; while writing the screenplay, when you’re on set, and when you’re in the editing bay. And the last draft isn’t handed in till the edit is locked.

SY: Are there any horror directors who have influenced your work?

PS: I’m a big fan of Tobe Hooper (for TCM) and Bob Clark (for Black Christmas). John Carpenter of course for his early films. Plus, I love a lot of the new French horror films, like Inside and Ils. Every good horror film I see is an inspiration as they tap into very primal emotions.

SY: You have directed horror movies before, including 2008’s ‘Manhunt.’  What do you find most appealing about the horror genre?

PS: I love movies in general, but horror films appealed to me at a very early age. As I mentioned, I like the way a horror film speaks to very primal feelings. A good horror film can tap into certain emotions and that can be very cathartic in a way. I find the best films, horror and other genres, are the ones that are raw and pure. The ones with an unfiltered quality, driven by a renegade attitude and aggressive energy. I love that approach to telling a story and horror is a genre where you can open those doors and actually go to extreme lengths.

Written by: Karen Benardello