By RICK HIPSON
The sun dipped low in the darkened sky as I arrived at the rustic cabin deep in the woods of Clarence, New York. Originally a meeting lodge for Girl Scouts, the cabin would be the scene of terror and bloodshed thanks to filmmaker Gregory Lamberson (Widow’s Point, Guns of Eden), who invited me on set for the last weekend of filming for his new practical-effects werewolf film, FRENZY MOON. A quick hello from my host and a crash-course tour later, and I was told to talk with anyone I wanted and left to my own devices.
The cabin buzzed with activity. In the back area, the effects team finished up last-minute alterations to their handywork. They were kind enough to let me touch their werewolf’s fur, which was specially ordered for the beast and hand-stitched into the suit. I also had the pleasure of sticking my fingers into the still moist wounds of two decapitated heads before introducing myself to the actors they were cast from. In the main area, crew members hustled to set up lighting and dress the set while Lamberson, his cinematographer, Chris Cosgrave, and assistant director Hope Muehlbauer quarterbacked the details. The cast talked amongst themselves with an infectious buzz as script supervisor Kim Piaza looked over the day’s scenes from a meticulously organized-and very large- binder. I chatted with Kim as she walked me through her role of notating set-ups, ensuring continuity and lending quick references to scenes during the editing process.
Two of the movie’s stars, Alyssa Grace Adams and Kayla Malika, sat across from me. Piaza graciously allowed me the first of several recorded chats I conducted over the weekend. The two ladies demonstrate an obvious chemistry formed while working together on a couple of commercials and performing on stage. All six core cast members, including Jacob Applegate, Gabrielle Nunzio, Harold Octavious and Steven Maiseke, were specifically cast because of their theatre experience.
As Lamberson explains, “Theatre actors can (handle the burden of dialogue-heavy scripts); movie actors can’t. In general, I mean, they can; It’s just out of their comfort zone. I actually believe that theatre actors are better than people who just jump into movies without having a theatre background. I honestly believe that. I think there’s more training involved.”
Not your average indie horror film, FRENZY MOON hinges on believable, dramatic performances as the backbone of its terror. Lamberson points out, “We fell behind schedule constantly because I wasn’t willing to take shortcuts on the performances.”
My first day on the set wrapped after an eighteen-hour day of filming, Lamberson’s longest single-day shoot since 1988’s Slime City. Suffice it to say, the director walks the talk. Lamberson also refuses to take shortcuts when it comes to supporting his cast and crew, whether he’s arranging a gourmet food truck to feed us all at 2 a.m., appointing a production assistant to look after an ill actor or simply having their backs both professionally and personally, no matter what. This compassion gives the actors the freedom to be fully vulnerable and supportive in front of their peers and the camera.
Of course, let’s not forget the ultimate scene partner in FRENZY MOON: a bloodthirsty werewolf with an appetite for vengeance. Rather than play it safe, albeit costly, with high-tech CGI, Lamberson gave his actors something far more realistic and terrifying to react to. The man inside the suit, Donavan Gale, might be one of the nicest guys you could meet, but in full beast mode, I became consumed by a feeling of unpredictable danger standing toe to toe with the towering beast, and I was hardly alone. Alyssa Grace explains the benefit of working with practical monsters. “It’s more authentic,” she says. “It has more substance, more life. It’s incredible what CGI can do, but it is easier to act with something in front of me.”
It turns out that when trust and autonomy are given to capable talent, it’s easier to take chances. One of the stars, Aaron Krygier, has no qualms editing himself and his castmates when tasked with the action-heavy second half of FENZY MOON. Krygier has an innate talent for recalling bits of scenes that may work better than others on set, and that was a major advantage to the production.
Another example of trust comes from veteran music producer Arman Pitri. Rather than wait for the final cut, he made the unconventional choice to be on set, laying down notes and sounds in his head while soaking up the energy from scene to scene. Pitri spent two weeks on an eight-minute, all-action sequence near the end of FRENZY MOON alone, syncing his music to one-hundredth of a frame to ensure every note was locked in perfectly.
That commitment to detail makes this film stand out. During one memorable scene, for example, all six campers are in the cabin debating what to do about the unconscious stranger lying on their couch. It was a thing of beauty to watch the cast and crew refine each take, altering subtle nuances like vocal inflections and facial expressions.
During the final scene of principal photography, I was directed outside in the woods with a frenzied pack of actors and extras for my 15 seconds of cameo fame. (Evidently, all that “Get out of my frame, Rick!” business paid off.) To top it off, an actual full moon (again, no CGI) cast an ominous glow over what is no doubt the film’s pivotal scene.
And that was a wrap. After congratulatory hugs and photo ops, everyone parted ways, too damn tired for anything else. I was driven back to the Buffalo Terminal to start my journey back home to Ontario, with a headful of monsters and memories worth howling about.
FRENZY MOON is available on VOD, Prime and is free on Uncork’d Entertainment’s YouTube channel, Flix. A physical media announcement is coming soon.
