By JOSHUA “PROMETHEUS” SCAFIDI
HI-FEAR is the third and final installment in a trilogy of anthologies that started back in 2013 with Hi-8. Following 2018’s Hi-Death, HI-FEAR from filmmakers Brad and Josephina Sykes (Plaguers) features four unique short stories (each written and directed by a different talented artist) to get your blood pumping.
RUE MORGUE recently had the opportunity to chat with Brad and Josephina about their latest film, the influences behind it, and the history of the Hi- series.
So it’s the third film of the series. What can you tell us?
Brad Sykes: Well, in 2013 we did the film Hi-8. The title was a reference to the video format, but it’s also “Horror Independent 8.” We had eight segments in that one, with eight directors. It was very well received. It won a few awards, and people really liked it. We figured, let’s make a sequel, which was Hi-Death in 2018.
Josephina Sykes: That was a bit harder to make. It took us a bit longer. It was in high definition, all that. Then we started HI-FEAR, which was going well until the pandemic.
BS: Yeah, it probably would have been done a year earlier if it wasn’t for that. We finally finished the movie more than a year ago.
JS: We just started the festivals last year and did the distribution deal.
The film centers on a comic book. As a fan of all the classic ’80s anthologies, I have to ask, how much influence did Creepshow, Tales From the Darkside, and Tales From the Crypt have on the project?
BS: Well, the stuff you just mentioned all were some of my favorites growing up. George Romero is the common factor there. All those other shows after [Creepshow], as well. Ray Bradbury Theater and Freddy’s Nightmares. There were a lot of them back then. The two I usually mention are Tales From the Crypt – the ’70s movie – and Creepshow. Those two made a big impression on me as a kid. Actually, in the previous two films, we purposely stayed away from mentioning any of those old anthologies. We wanted it to be something new and fresh.
In the new film, we wanted to have some callbacks to the anthologies we grew up with. I thought about Creepshow, not so much in the stories themselves, but when it came to the wrap-around. We that out sort of later on in the process.
JS: Yeah, we usually do that later on, after we get the segments from the directors, and then we try to see how we can piece it together in an interesting way that connects all the segments. So we kind of have to get them and watch them to get ideas on how to do the transitions. This case was a little different because one segment wasn’t shot yet due to the pandemic. Initially, we wanted to do it bigger with extras in downtown L.A. and special and practical effects. But then, we had to kind of rewrite the story to locations around where we live in North Hollywood and with visual effects, not practical. We love practical effects but didn’t want to have any issues.
BS: Once we started rethinking it, I had the comic book idea. I had a friend named Scott Fry, and he’s done some illustration work. I started thinking about it and thought a comic would be the perfect transition to connect all the stories. Simple and effective. He drew the actual comic book at the end, too.
JS: And of course, this is not a copy, it’s an homage.
BS: I’m really happy with how it came out. It was more of a challenge than just slapping these stories together. We really want each film to be unique and offer the audience something. It’s fun to watch.
JS: We want to be as edgy as possible, and we work with many directors and tell them to do what they think is interesting, something you haven’t done before. We don’t tell them what to do, we just give them a theme and a few small rules.
Every story was written and directed by a different person. Tell us a bit about that process.
BS: Yeah, each individual skit was written by the director or co-written by the director with a writer. Generally, they come up with their own concept and storylines. They send us the script when they’re done, and we approve it.
JS: We really just want to make sure we don’t have similar stories. We don’t want everyone turning in a zombie one or whatever. Surprisingly, that hasn’t happened yet.
BS: To me, one of the big things that makes these films special is everybody’s making something that they want to make. It’s something the filmmaker was interested in doing that they might not have been able to do otherwise. It might have been too out there or didn’t work for a feature but worked well for a short.
So, this is it, the final film in the Hi- series?”
BS: Yeah, that’s the plan. I mean, I’ve said that before but… [Laughs]
JS: It was nice that we got convinced to get to this point. I don’t think there’s going to be another one.
BS: These types of movies are a little bit different for me as a filmmaker because I’m used to directing features. Making an anthology, you’re sort of forced to be a producer/manager sometimes. It’s much more of a managerial kind of role you play in terms of corralling all the short films and babysitting things to see it to the finish line. It’s a bit different.
JS: Usually, only I do that stuff, but this time around, Brad had to do it too … And I think he’s getting tired of it. [Laughs]
BS: I don’t like it!
Understandable. I’m sure there is a ton that goes into the process of making an anthology. We really appreciate your time and the excellent insight into the film! Thanks so much!
BS: Thanks s lot!
JS: It was nice talking to you!
HI-FEAR is available now on VOD from Wild Eye Releasing! Be sure to check it out!
