Spider One Discusses Directing Allegoria and His Love of Horror

Cummingsoon talks with Powerman 5000 founder and singer Spider One about his upcoming horror film alegoria, Spider discusses the fantasy that comes with horror and science-fiction, and what it’s like to direct a feature film. The film, directed by Spider One, will be available via video-on-demand services and streaming on Shudder on August 2.

“A sneaky actress, a tortured painter, a pretentious writer, a psychic sculptor, and a rock band all become embroiled when their insecurities reveal themselves to demons and ghosts,” the film’s official synopsis reads.

Tyler Trees: You’ve had such a varied career, obviously so much success in music, but you’re not afraid to try different things. So how long have you been thinking, “I want to give a try to directing?”

Spider One: I mean, maybe unintentionally when I was 10 years old. You know, it’s funny. I think I’ve directed music videos in different ways over the years. I was involved [in] Been producing a TV show for a while now, but I just… I don’t know, I guess sometimes you just need to give yourself permission, you know? Growing up in a small town in Massachusetts, I guess I was always taught that success and doing things like this belong to other people—these special, magical people who were from Hollywood or something. So it took me years to really go, “You know what? I think I could do that too.” My experience in the band over the years and everything else has been invaluable. In the end, we decided to just pull the trigger and make a movie.

I like the intertwining anthology structure of the film here. What did you do with that approach to a long continuous feature?

It kind of found its way, you know? The first thing I shot was the first story of the film, which is the acting story, and quite honestly there are no real plans after that. So I shot it and I was very happy with it. I couldn’t shake the idea, the art and the concept of horror. And so I started to realize, well, there’s more to it and there are other forms of art that we can explore. There are other ways in which we can deal with this concept. That’s when the idea of ​​turning it into a feature started. Then I started putting the pieces of the puzzle together, like, “Well, if we had a painter, what would the painter’s relationship be to the actress? Well, if we had a writer, what would that relationship be? ” And it was a really fun challenge to produce not only an anthology, but a nontraditional anthology where the characters and the scenario really connect, and as a viewer of the film, that’s great. I have seen the film twice now with the audience. And it’s great to hear those “a-ha” moments from the crowd when they’re like, “Oh, I get it now.” So yeah, it was a really fun process to put together.

You talk to some artists and you can see that the way they focus on art can be omnipresent at times and people certainly sacrifice so much for their art. So do you feel like the horror kind of naturally just fits in there?

I’m surprised it hasn’t been explored more, because I’ve mentioned it many times, the descriptive words we use for actors are horror words. We describe artists as tortured, as suffering for their art, as selling their souls. These are scary concepts. It makes sense, [as] They go hand in hand. I always say that the creative person in your art…he really controls you, you don’t control it. You can wake up at two in the morning with the idea of ​​a song and get up and write it, and if that’s not a level of possession, I don’t know what is. So for me, the natural connection of terror and terror was in front of me the whole time.

I love the pacing of the film. There is no fluff, it is not excessively stretched. It’s a quick 70-minute solid scene, and you build to be intimidating. Talk to me about your approach to moving away from unnecessary padding and straying. It seems to me that some directors feel like they have to reach 90 minutes, for example.

We let the film be what it was. yes you are fine I think it broadcasts on the short end of the spectrum. I think so when I look at it I feel right. My style of directing is… because my beauty comes from the movies of the 70s, where there was no ability to imagine the horror with anything. There weren’t drones and all that stuff, so things were kept relatively simple. My favorite directors are directors who stick to one shot for a long time and don’t do unnecessary cutting. it’s just made in me [a] Whole life watching movies like this. So I tried to take it and be very aware of it in making the Allegoria, and it’s almost an ingenuity in a lot of framing… lots of center framing. A non-distracting approach to dictating shot selection is something I tried to be aware of. I appreciate that it came to you.

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You have some of the best shots of John Ennis in the first half of the movie. He is such a great talent and I have always thought he was a really great actor who has so much range. He is capable of doing comedy and very serious roles. How was it working with him? He really sets the tone of the film so well right off the bat.

John is awesome, and such a nice person, and John is known for comedy. So I think it was exciting for me and for him to play such abrasive [and] Definitely a terrible person. The film began, he is such a force of nature when he opens his mouth in that first scene, to me, I think you are hooked. I can’t wait to work with him again and cast him in another role which is completely opposite to this one. John and everyone in the cast… I am very lucky to have worked with this acting ability for my first film. I feel really lucky that I was able to convince these people to give me a shot for my first film… to come on board and lend my talent to this thing.

One thing I really like about your music is that you are not afraid to experiment. You don’t stick to just one sound, you can try punk rock, industrial, electronic. You are free to experiment, but it still always seems to be of course to you. When it comes to movies, are you going to focus on horror, or can we watch other types of movies like yours?

I don’t think there is any rule. At heart, I am an idiot from day one. I grew up loving horror, science-fiction and comic books. This is my wheelhouse. That’s why I think in everything I do, [I’ll] Maybe at least those worlds have some sensitivity. And I enjoy it too… Like, when I formed a band, I just didn’t want to have a band. I wanted a band that felt like a community if you were a fan of the band, like “Oh yeah, I love that stuff too,” and reference that movie in that song. . That’s why I enjoy the community that is surrounded by horror and sci-fi. I think there is something really exciting in making films for people who are very passionate about them. They stay in those people’s consciousness forever, as opposed to making a detective drama or something that one might enjoy, but then they move on, you know? I don’t know where things will take me, but for now, I like to play in this style.

Your older brother, Rob Zombie, has had a lot of success in filmmaking as well. Did he give you any advice when it comes to directing or was it best that you set your own footing?

We talk a lot about what we’re doing, but I think there’s a certain… “Stay in our street” kind of mentality too, which I think is great because although we’re very, There are very similar people, creatively… you can see that there is a different ending aesthetic that comes out, right? Obviously people are going to make that comparison and I think it will be exciting for them to see that I made a very different kind of film than Rob, although Rob has made a lot of different kinds of movies.

I think it comes down to the area where that comparison is going to happen. His advice to me is just looking at how he has gone about his career and how firm he is and what he does. I think there are very few such people. I think a lot of people will just bow down to what they get to do the gig. Rob has always been the kind of guy who says, “I’m going to do what I want to do. I’m going to do it how I want to do it. The consequences be damned.” I can set a better example than this. I could not think.

Your song “Bombshell” was famous in WWE as the theme for the Dudley Boyz. Pro-wrestling has used many of your songs over the years. Are you a fan of wrestling? Have you ever met Dudley?

No, I mean, it’s funny how we got so deeply into that world for so many of our songs. We’ve done songs for wrestling video games, and it’s just hilarious. I was a fan of wrestling as a child. To be honest, I’d watch it, but as an adult, I’ve fallen for it. But I used to watch all that stuff when I was a kid.

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