Becky Sayers (crafty scribe of The Horror Effect) and her husband Nick (fellow scribe of The Action Effect) recently sent a copy of their first indie feature Break to The Man-Cave a few weeks back. Break tells the story of a group of people whose gathering at a house in the forests of Washington turns into a nightmare getaway with the outcome affecting the world as we know it. As you might tell, this is one ambitious flick. But don't let me tell you to much about it because I have the makers of the film with me today to discuss their maiden voyage into the world of filmmaking. Ladies and Gentlemen, from the great state of Washington, please welcome Becky and Nick Sayers!!
TMC: Becky and Nick welcome to The Man-Cave. Please pay no attention to the dirty clothes on the floor in the corner. Writing has occupied my laundry duty time.
B: I don’t mind the dirty clothes, but could you please pick up that moldy burrito wedged between the couch cushions? N: Then you won’t mind if I take my pants off?
TMC: Not at all. Make yourself at home.
Break begins with a pretty standard and enjoyable format for horror films by taking place with a group of youths secluded in the woods. The end result of their time together could alter the fate of humanity either good or bad depending on the outcome. So where did the idea for this ambitious film originate?
B: We started off with a couple different concepts and then molded them into a story. The basic themes of Break evolve around human nature. What makes people evil? Is it something imbedded in them, waiting for the opportunity to burst out? Are most people inherently good? Will the good stand up when the time comes? While the overall story was derived from these themes, the specific plot details were tailored to resources we had available to us. Therein laid the challenge of taking these concepts of biblical proportions and cramming them into a no-budget script.
N: The idea originated at an amazing Mexican restaurant in the middle of Orange County named the Chili Pepper.
TMC: You previously told me that this film began principal shooting around 3 years ago. What obstacles delayed the film's release?
B: We shot the film quickly (in about two weeks) and had the first rough cut about 2 months after that. However, we hit the editorial version of the runner’s wall. The story wasn’t quite working and we were both unhappy with the film. So we let the film sit for a while, hoping that by giving it some distance, we would be able to re-cut the film with fresh eyes. Once we were happy with a cut, we began the quest to look for someone to sound design the film and for a composer to do the score. However, no one was willing to work for free believe it or not. Eventually, work, school, and other film projects blurred our vision and we didn’t touch the film for a long time. Then, after graduating, we knew we had to get the film done. We went back to the editing table again, chopped off about 30 minutes of the runtime, simplified the story, and began the long, arduous process of completing the other 50% of the movie: the sound. Because this was unfamiliar territory for us, it took a lot of trial and error to get to a place where we were happy with the marriage of the sound and picture.
N: To sum up Becky’s response, we hit it hard, then got busy and had to revisit it more infrequently than we wished. We bit off a lot and still hadn’t sprout any teeth to chew, but we ended up getting through it.
TMC: I don't want to sound like a "homer" but I have to give credit where credit is due. For being your first feature, your technical skills far exceeded my expectations for an independent feature. What camera did you use to shoot the film? Were any filters or special lighting techniques used for the interior "California" scenes? The camerawork and lighting were my favorite in that aspect.
N&B: We shot the film on an HVX-200. The HVX is kind of a cross between a pro-sumer and completely professional camera. Its compact size made it really easy for us to get lots of movement, which would have been difficult with a heavy film camera or something like the RED. We always knew we wanted to shoot digital with this project. We wanted to play around with color and shutter speeds and High-Definition is a great format for this style. With some inspiration from Suspiria, we experimented with vibrant lighting gels/filters. Typically, if you’re using these bright colors you want to have a practical source that justifies their existence. However, in the 70’s that didn’t seem to matter. We thought the bizarre, unnatural lighting would match the dark, supernatural undertones of the film.
TMC: One of the things I really enjoyed about the film was the soundtrack, which set the mood in critical scenes. Who created the score?
B: Nick created the score and I was surprised at how awesome it was. He is really into music, but he has never had any professional music experience or training. But he has a good ear and had a great understanding of the tone we were going for.
N: I am not musically talented at all. But I love mixing a bunch of sounds together and seeing if they make sense. That is what I did with Break. I tried to keep a cohesive sound throughout the film, which helped it sound “scored”. I hope my influences of Apocalypse Now, Nine Inch Nails, and Goblin weren’t too obvious.
TMC: One thing that bothered me was the non-inclusion of Linkin Park's song "One Step Closer" containing lyrics heavy on the word "Break". Was that because it was already used during the closing credits of Dracula 2000 (throws up in mouth a bit) or because the band refused to give you the rights, thus still thinking they are a lot cooler than they actually are? That's right Linkin' Park I said it. Sorry guys, please continue.
B: Maybe we can edit a trailer to the song and put it on You Tube, only to have it removed two months later for copyright infringement. I was a young teenager when Linkin’ Park became popular, so I’ll admit, I still like them.
N: I wanted to throw Limp Bizkit – Break Stuff in the end credits.
TMC: I know you said that the cast was completely complied of friends and family. For being on a very amateur level, and I mean no offense when I state that, I was most impressed by Danny Bauer, who played Kane. He did bring a genuinely threatening process in his scenes and was the most memorable of the cast.
Danny Bauer
B: Danny is my younger brother. He was only seventeen when we filmed Break, but you would never know by watching the movie that he is younger than everyone in the cast. The only thespian experience he has ever had is me forcing him to act in my little home movies as a kid. For some reason, I always made him play nerdy parts, wearing taped glasses and jeans that were too small. Break was the first time he played someone menacing. Right now, he is pursuing a Chemical Engineering degree at the University of Washington and participating in research for alternative energy sources. But, if the whole engineering thing doesn’t work out, maybe acting can be his back-up plan.
TMC: Quick question...do either of you, or has anyone ever told you two, that Jonathan Bruno looks like a cross between Philadelphia Phillies outfielder Jayson Werth and WWE Pro Wrestler Edge? Trust me, it's a good thing.
B: Nope.
N: Googled it and F’n aye he does.
TMC: This next question is for Becky. Nick has a cameo in the film as the disgruntled roommate. At one point he comes storming out of a house swinging a club of some sort. Being married to Nick, is he really that aggressive of a roommate in the Sayers' household and does he use foreign objects often in brawls?
B: Nick is a great roommate, until you steal something of his and then he comes at you with a baseball bat…or a machete. But I guess I like living dangerously since we’ve lived together for almost six years.
TMC: Let me flip the script for a second with a question for Nick. Becky flexes her thespian muscles in some scenes where she got in the face and screamed at a couple of fellow cast mates. Have you ever felt the force of that aggression she portrayed on film in real life?
N: Oh yeah. I have seen dishes hit floors and blood hit walls.
TMC: Ok let me get serious again. What is the status for the film's distribution? Are you two shopping it on the film festival circuit?
N&B: Right now, we’re sending it out to festivals for the 2011 circuit and hoping to get some positive energy circulating from that. In terms of distribution, we’re just playing it by ear. We won’t pursue distribution aggressively until the movie’s had a chance at some festivals.
TMC: Am I at liberty to discuss you offering screeners to fellow reviewers who might want to see Break for themselves and help spread the word?
B: We would love for other bloggers, critics, etc. to get a chance to see Break. The more feedback, the better. Each review is a chance for us to learn as filmmakers.
N: Yes, but I do enjoy negative reviews more than positive ones. I nearly died laughing when I read “it sounds more like the stoned ravings of a high school drop-out who listens to too many Black Sabbath albums.”
TMC: Looking at the credits, you two were the jack of all trades, so I am sure getting the film completed was tasking on both of you. My hats off to your dedication to see the project through the end. You actually made a film and for that I can't give you enough genuine credit.
B: We appreciate everyone being so congratulatory about our efforts. While I don’t necessarily think that the best films are made by a few people doing every job, I do believe that the best directors are those that know how to do every job. I’m not the best cinematographer in the world, but I know what is required to do that job well. Break gave us the opportunity to stretch ourselves and discover our creative limits.
N: Thanks. Being a jackass of all trades on set was not wise, but at the same time taught me a lot. Not only technically, but also taught me where I need to improve and where I can excel. You learn a lot about yourself when you have to lead a small group of people towards one common goal, while teaching yourself how to use 30 types of equipment.
TMC: Besides The Horror Effect, what's currently in the pipeline for you? Any other film projects currently in development?
B: We just completed the first draft of a new script, a horror comedy, heavy on the comedy. It’s 100% different than Break. We have no idea when we’re going to shoot it and we’re not even sure if it will be our next project, but we’re really excited about the story.
N: Think Deliverance mixed with Severance, with a hint of Predator… Other than that I am putting together a Vietnam script (for the future, *crosses fingers*).
TMC: Any chance of a sequel to Break? There's a lot of story that seems the need to be told here.
N&B: We’ve joked about a sequel to Break many times. We did a faux trailer a few years ago for a movie called HellL.A. (pronounced as one word) and it would pretty much be the sequel to Break. Demons take over Los Angeles; a group of people fight back. Only, we’d need a decent budget if we were to do that story right.
TMC: Well just remember that getting a SAG card is in my bucket list, so if you need an actor to play a part in your next film, I will be more than willing. Sure I am not photogenic but boy can I work the camera. Have you seen my recent VLOG work? Actually that's a terrible example. I look about as comfortable on camera as a contestant on The Biggest Loser when they first take their shirt off. But please keep me in mind.
B: Obviously, we have no problem with putting people in front of the camera who have no acting experience. We can’t guarantee that your scenes will not be cut from the movie though.
TMC: On a scale of 1-10, with 1 being the worst, how do you rank The Man-Cave? Please be honest, but remember that flattery gets you EVERYWHERE with me.
N&B: If brutal honesty is the game, then we’d have to say a 13 ½.
TMC: I am flatter-cated. Well I did forewarn you that I would be asking some light and silly questions, so thanks for being good sports.
N&B: It’s okay, we know you don’t take us seriously. :P
TMC: I take you seriously as a heart attack. Are there any other topics you would like to talk about that I did not cover? I want to ask a lot more, but they are way too SPOILER-laced inquiries.
N&B: We just want to thank everyone who was involved in Break from the beginning and everyone who is just now getting involved in the press aspects of the film. The cast and crew went through a lot, having to learn new things at the spur of the moment and donating a great deal of time to a tiny project. There was no reward in it for them other than the experience itself. Now, many bloggers and reviewers have stepped forward to help generate publicity for Break. We sincerely appreciate everyone’s time and energy!
TMC: Thanks for taking time to visit The Man-Cave. Sorry it was so dark in here, but I forgot to pay the electric bill...again.
N&B: Thank you for inviting us to your dark and dingy abode you call a Man-Cave.
TMC: Dark and dingy are what I call "character". Yes this place has a lot of it.
If you have not visited The Horror Effect or The Action Effect, please do so as soon as possible. Nick and Becky are high level writers who I also can call cool friends outside the blogosphere. And make sure to contact them at their sites of you wish to get a copy of Break.
The Darkness Within
Best Live Performances:
Red Dead Redemption - the zombie expansion did it for me
Katie Cassidy - I'd watch her if she were merely drying paint
At Monster-Mania in March and August 
While nursing an eye injury over the summer, Nigel Maskell reached out to me and asked me to join the IFR and his top flight staff. Teaming with such a group of great writers and the freedom to write on all films of an unfamiliar genre to me at the time, how could I say no? One of the most rewarding things I did this year and something I vow to contribute to more in 2011.
Another rewarding effort for The Man-Cave was my screener reviews of some independent features that made their way to me via both fellow bloggers and my direct communication with some distribution companies. Some were good, some were bad, but overall they were a lot of fun to watch by boldly venturing into the unknown with them. A bonus to watching these hard to find flicks was conducting interviews with the indie filmmakers about their projects, and in some cases indirectly made friends along the way. This is DEFINITELY something I look to continue in the new year.
