V/H/S/85 directors Gigi Saul Guerrero, Mike P. Nelson & Natasha Kermani reveal the gory details behind "God of Death," "TKNOGD" & "No Wake/Ambrosia."
The Big Picture Looking for a place to watch films where directors get punk rock with found footage, drench sets in buckets of blood, and swing for the fences in every respect? Look no further than the V/H/S films. It began as a low-budget found footage horror anthology film featuring some of the most exciting voices on the rise in the genre back in 2012, and that’s exactly what it still is today.
PERRI NEMIROFF: I have a question for all three of you to start because one of my favorite things about the V/H/S movies is it feels like the producers get a bunch of filmmakers with unique voices together and then support them to the max. Can you tell me something about the producing team behind this movie that helped you deliver your best work?
KERMANI: Real humans! But also, I think it coming together in that really beautiful, organic way as a group was really fun. So that was really special.
GUERRERO: Man, that's a question we can talk about for hours, for hours, hours, because there's tons of techniques that we will find ourselves that are so different from each other. But I can tell you that in mine specifically, was completely feeling organically the emotions of the cast and feeling adrenaline rush to survive because mine was very inspired by REC. It's real-time. There's no moment in time. There's no space later. It's just the one time only.
I think that was really fun for me to see Chivonne. She's very classical. She likes Shakespeare, she's very polished and wants to know her lines before, and she wants everything to be perfect. I'm like, “No, no, no. It's a performance. We wrote a performance. See this part where it says she performs the incantation? That's a three-minute sequence, and that's all you, baby girl!” We set up mics for her.
KERMANI: Well, I always knew she was female. I always knew that she was gonna be a lady god, and fierce and humanoid, but not entirely humanoid. So we did a lot of early concept art. I kind of wanted to also give Chivonne a mental image of what she was seeing because she was acting against a blank screen, so that was all created after the fact.
When you have a group of friends who essentially get picked off one by one, what is it like figuring out the perfect camera person, the perfect storyteller for that story?NELSON: Yeah, that's really good. So our segment sort of has this very kind of light love story in it. Like new love, like meeting somebody or maybe somebody that you've known briefly, but kind of smitten by, and I wanted to be on the side of the camera.
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