Engaging in unfamiliar territory you’re not entirely familiar and comfortable in can be an emotionally and physically daunting experience for many people to take on. Facing and overcoming your fears of the unknown in order to garner the results you desire is one of the major captivating elements for both the characters and filmmakers of the upcoming horror film, ‘Encounter.’ The movie’s main characters, Ted and Lauren McBride, are a newlywed couple trying to confront their dread of the supernatural by discrediting the belief in orbs for his thesis film. First-time feature film directors James Bowling and Susannah O’Brien, who also wrote the script for the movie, also bravely reached outside of their comfort zones by helming the stunt-driven film independently on a short shooting schedule.
‘Encounter’ follows Ted and Lauren (Justin Arnold and Andrea Nelson), who move into a room in an old farmhouse in February 2013, so that he can set up cameras to film his grad school film thesis on atmospheric phenomena commonly known as orbs. While Lauren initially admits she thinks the house is a little creepy, she agrees with her enthusiastic husband’s initial response that it’s a great location. The couple set up Ted’s motion activated video cameras around the house and surrounding property. But after the two quickly discover that the house isn’t all it’s cracked up to be, they start to become tormented by the forces that no longer lie dormant.
Suffering from sleepless nights, Ted confronts the man who owns the house, Jim Reeves (Don Scribner), in a rage, searching for the truth. Ted soon realizes that he and his wife are being stalked and affected in strange and frightening ways by the same force that drove Jim out of his mind. The couple begins to question what’s truly happening in the house when they discover marks on their bodies, and objects moving on their own. A weary Lauren tries to convince her husband they should leave, but he insists they stay, as they said they would complete the film on their own.
Bowling generously took the time recently to talk about co-directing ‘Encounter’ over the phone. Among other things, the helmer discussed how O’Brien approached him to co-direct the horror film with her during the project’s pre-production, partially in an effort to bring a fresh perspective to the story; how shooting the movie independently on a 10-day shoot pushed them to creatively approach getting every shot they needed on the first or second take; and how the house they filmed in is part of an isolated vacation spot that had an antique look to it, but also had elements that helped make it appear taunting, including creepy paintings and creaky floors.
ShockYa (SY): Are there any filmmakers or movies in the horror genre that encouraged you to become a helmer, or influenced your directorial style on the upcoming horror film, ‘Encounter?’
James Bowling (JB): I wouldn’t say I’m a hard-core fan of the genre, but I’ve always enjoyed horror films. I think this movie presented some pretty cool opportunities from a story-telling standpoint. I think the horror genre has changed significantly since I was a kid, when I watched such films as ‘A Nightmare on Elm Street.’ The ideas and methods now are a lot different, and I think they’re still evolving.
So I thought there was a unique opportunity with this movie to do something interesting. We could use these new elements of horror, like the first-person point-of-view, combined with some more traditional methods.
The other thing I was interested in was the story itself. The things going on with the characters seemed to be a little bit different than what I’m used to seeing, especially with recent horror films.
SY: You co-directed ‘Encounter’ with Susannah O’Brien, who wrote the movie’s script. What was it about her screenplay that convinced you to co-helm the film with her? How did you become involved in the project?
JB: It was an unexpected process with Susannah. She originally started out as a screenwriter. She had an idea that she eventually wanted to produce and direct, or at least stay somewhat involved in the process, after she was done writing.
With the writing, she had a huge creative urge. She worked on a large number of screenplays, probably around 25, until she got through to making this one. ‘Encounter’ was one of the earlier ones she wrote. She was contacted and received a tentative offer to buy the screenplay from her. In the discussions with this potential buyer, she came to the realization that the movie can be made on her own. She recognized that she could move into the directing and producing sides.
From there, she contacted me about co-directing the film. By the time I got involved, she had already moved forward a bit with some of the pre-prodcution. She secured some people for the crew who were veterans and had won some awards.
She also thought it would be valuable to bring someone in with a fresh perspective, and who could look at the project through the perspective of an audience member. I think that’s partially why she approached me. Of course I accepted, and was really excited to be a part of the project. It was obviously a huge learning experience for both of us, myself in particular. It was great to have the perspective of co-directing, and we had a unique vibe that we got into by the time we were done.
We set up a method where we would have a remote video line come from the cinematographer’s (Curt Apduhan) camera to usually the next room over, or even further away. So we’d be able to watch what was going on. We would be able to see the scene exactly as it would appear on screen. They would do a take and then come back and talk to us. We would give some feedback if there was something that needed to be changed, or if there was something we thought was working particularly well. I think that really worked, in the standpoint of being effective.
Since this is an independent film, time was an issue. Time is an issue on any film, no matter what, but it was definitely the case with this movie. We had 10 days to shoot the film, so it was absolutely imperative that we get as much quality as we good with the time that we had. I think our method of directing was one of the reasons why we were able to complete the film on time, and end up with something great.
SY: Speaking of shooting the film independently on a 10-day shoot, did that add limited scheduled add to the film’s creativity?
JB: Absolutely, and I think it’s not just true for movie making, but almost anything in general. Having a deadline can be the mother of all kinds of invention. (laughs) So we had to change things significantly, since we only had the 10 days for the bulk of the shooting.
One of the first things we realized was that we probably wouldn’t be able to shoot the film sequentially, in chronological order. So we broke down each scene by location. So for example, we took all the scenes that were in the bedroom at night, and try to shoot as many of those all together. That way we could save time with the crew members readjusting lighting and setting up things for that part of the film. That saved a huge amount of time.
But that was also a challenge for everyone. The cast had to remember what the characters knew at each period, and what everyone was wearing in each scene. We were a fairly small production, so we didn’t have one guy whose only job was to make sure continuity wasn’t broken. So everyone had to pitch in with that. We even had the sound recordist jumping in to give us reminders, like “These particular candles weren’t here in the previous scene we just shot.” So everyone had to help out with that, and it worked out really nicely.
I think being able to get through something really gave us all a real sense of accomplishment when it was over. I feel like by the time it was done, we never really had a moment where we had to worry about whether or not we were going to make it. As the shooting progressed, it was a team effort with not just the cast, but also the crew. So by the time we were done, we were a well-oiled machine, and I was said to see it end, to be honest. (laughs)
We became so good at it, the chemistry between the cast matured to really unexpected levels. We were all doing so great, but all good things must come to an end.
SY: What was the production design process like on the film, which you mentioned earlier? Since the main characters, Ted and Lauren, move into an old farmhouse so that he could work on his thesis movie, did you actually shoot in a farm house?
JB: That was actually a huge decision in the scheduling, and even the decision to film at that time of year. But the actual primary filming location is a vacation property.
So during pre-production, Susannah scouted it, but wasn’t sure if we were going to be able to secure it in time. But it did come through, and the day after she secured the location, she left for California. (laughs)
She was actually in North Carolina at the time, where she has written most of her screenplays. So she was in the process of putting the whole project together. You can’t really do anything without a filming location. But she secured it the day before she left, so that was a sign.
The property itself is really interesting. They have a guest book there, where everyone writes notes, saying how quaint and cute everything is. But it’s all about a matter of perspective, because it’s out in the middle of nowhere. If you put it in the context of a honeymoon getaway, it is very cute.
In fact, you would never know, but there is a hidden hot tub in the backyard of one of the buildings. (laughs) There are a lot of little amenities like that, but they hide them so well. So it looks like this old, antique-style house.
If you put it in the perspective of how we wanted it to be portrayed, which is a spooky and creepy way, it definitely has those elements. It was odd that they had these paintings throughout the house, which showed the house and the mountains in the background. They look pretty old, and the floors are creaky. The house would get temperamental, because the air conditioner would go on the fritz. It was also dark and rainy the first few days of shooting. After having filmed there, I can’t imagine shooting the movie anywhere else.
SY: ‘Encounter’ was shot in the found footage documentary style, like you mentioned. What was the process of working with the film’s cinematographer, Curt Apduhan, to create the found footage element of the story?
JB: Well, there was a definite evolution, in terms of the decision making process, and how to present the film. The original thought Susannah had while writing it was that the whole thing would be shot in point-of-view, found footage style.
But as she progressed with pre-production, she felt like there were some elements in the story that wouldn’t be done enough justice with that particular style of shooting. So she worked with the Director of Photography, Curt, and planned out which scenes would be shot in the point-of-view and found footage style, and which scenes would be shot in the more traditional cinematic style.
I think that was one of the big opportunities for this film, because a lot of movies would choose one style or the other. I think having the blend really adds energy to the film. During the point-of-view shots, really grounds the story, and makes it believable and real. The cinematic portions of the movie, where there are more stylized set ups, really accentuate and pull the emotions to the forefront. They added drama and excitement to the story.
Having both styles wasn’t something that was originally planned from the beginning. But I think it became a real important part of the movie.
SY: Justin Arnold and Andrea Nelson play Ted and Lauren in ‘Encounter.’ What was the casting process for the roles-how did you decide to hire Justin and Andrea?
JB: The casting was primarily handled by Susannah. She had a picture in her mind of the kind of people Ted and Lauren were, so she went shopping for actors. (laughs)
I think it’s a lot different now than it used to be. Traditionally, you would have a casting call, and you would have actors come and audition. But she found Justin and Andrea before they even knew about the project. She actually approached them. She was able to watch their demo reels, and get a sense of what their range was, and what they were capable of.
Susannah actually approached everyone on the cast to audition. She got them all together, and they read their parts together several times. It was a very short process to be made that these would be the cast members for the film. They went right on from a group reading style of audition to rehearsals, almost right away. Everyone read through some of the key scenes, and looked for opportunities for improvement and moments of good chemistry.
I think it was pretty unexpected for the actors to be approached like that for the Ted and Lauren characters. But Susannah had a very clear vision, in terms of what she wanted for the cast. When she found Justin and Andrea, and even Don, who plays Jim, I think she immediately knew these were the actors who were going to work. She couldn’t have been more right. (laughs)
It may sound a little weird, but it was really amazing to see how things worked out between the cast. I think the project really benefited from the casting. For such a small and intimate story, the casting really gave the actors ample opportunities to really develop their interactions and the little things you almost don’t notice, but really makes the scenes between them believable.
They spent a lot of time together during the shooting. Since the filming location was also a vacation property (laughs), the cast, for the most part, stayed right there on the property for the entire 10 days. So not only were they castmates, they were also housemates. I think that really worked out in our favor.
SY: were you able to speak with Justin, Andrea and the rest of the cast before you began filming, to help build their characters’ relationships?
JB: Oh, absolutely, and that was important. Since we had a limited window for shooting, we weren’t going to have a lot of time for discussion about the characters and their motivations and interactions during filming. So we needed to go through all of those questions the cast might have had, or we may have had, for them, beforehand. So that was absolutely important.
So we spent some time discussing the progression of the story, and how it affected each character. That allowed the cast members the chance to give feedback about something they felt was relevant, or discuss if there was something that concerned them about something that was written about their character. We gave them the opportunity to give their feelings and opinions, if they felt something would be done better in a different way, or needed improvement in another.
There was quite a bit of that beforehand, and was wrapped within the rehearsal time that we had. So things were open creatively between Susannah, myself and the cast. Everyone had some kind of input, in terms of contributing creatively. I think that was a great way to go, and on future projects, I’ll continue to use that method.
SY: ‘Encounter’ is the first film you directed. Are there any filmmaking lessons, like you mentioned earlier, that you learned while making ‘Encounter’ that you would bring with you to your future projects?
JB: Oh, absolutely-for me, the experience was invaluable. There was so much I picked up, and not just from directing, but also from being around all the professionals doing their craft. I learned things from the actors as they were rehearsing privately in another room while we were getting ready for the next shot. I also learned from being open to accepting things that were unexpected, but could be great.
There were several scenes that were written that weren’t meant to have a lot of impact. But when the actors were given the opportunity, they really blew us away. We weren’t expecting almost anything out of those particular scenes. But there were several takes that when we were done, Susannah and I looked at each other, and we were like, “Wow, that was amazing!” So being open to those opportunities, and putting ourselves in a situation where that kind of magic could happen, was the biggest thing I walked away from this experience with.
Another big thing I learned was to take pictures of everything, including before, during and after the shot. (laughs) Having a guy there with a nice still camera, even though we were shooting a movie, was really invaluable. Little details like that were also very important. The biggest thing was being flexible enough to allow for really amazing things to happen, which I may not have necessarily planned for.
SY: ‘Encounter’ will premiere at in November at the American Film Market (AFM) in Santa Monica. What encouraged you to premiere the movie at AFM?
JB: Well, the American Film Market organization likes to say that they’ve launched 10,000 films since they’ve started. I think it’s a really big opportunity for filmmakers to network with each other and the people on the business side of filmmaking, like distributors and buyers.
We’ve secured an office for the entire event, so we’re going to be marketing the film to perspective buyers, and talking about distribution. We’ve had contact with buyers already, so it’s possible we may secure distribution prior to the American Film Market event. But I think it’s still going to be a valuable experience, even if the movie’s sold before then. There’s so much to learn, and so many contacts to be made, at an event like that.
SY: What kind of distribution deal are you hoping to secure for ‘Encounter?’ Do you feel releasing the movie on VOD will be beneficial for the film?
JB: The goal right now is for a theatrical release, and that’s what we’re striving towards. But we’re also pursuing all avenues. VOD and those types of releases can be really powerful and effective, in terms of generating interest and buzz around a film. But I think we’re going to go through the American Film Market event, and decisions will be made shortly after that about which distribution avenue to pursue.
SY: Besides ‘Encounter,’ do you have any upcoming projects lined up that you can discuss? Would you also be interested in trying writing in the future?
JB: I would absolutely be interested in pursuing writing. Sahara Vision Productions, which is Susannah’s production company, has about 28 or 29 screenplays in various development stages right now. One of them is the next film in the ‘Encounter’ series. I think it will be a story about events that happen prior to the story of ‘Encounter.’
There are also a few other projects in the horror genre that are also possibilities, There are also a few other projects that aren’t necessarily about ghosts, demons or the supernatural, as well, that I think will be a lot of fun to work on.
Even before my time making movies, I’ve always been considered amongst my friends to be an expert storyteller. I’ve had some really weird things happen in my life. The stories I tell can be a little hard to believe. (laughs) But they’re always entertaining. I haven’t spent a lot of time pursuing that, in terms of a formal writing career. But having gone through this experience with ‘Encounter,’ I feel like that opportunity exists for me, and I think it would be a lot of fund for me to do that, as well.
Watch the trailer for ‘Encounter’ below.
Written by: Karen Benardello