Paging Dr. Bekah: An Exclusive Interview With Rebekah McKendry
To wrap up Women in Horror Month, our own Megan Casady spoke with Dr. Rebekah McKendry of Shock Waves podcast and Blumhouse.com. They talked about everything from fierce females kicking ass in the industry to Bekah’s upcoming feature, and everything in between - including what it’s like to be bitten by a leech and the magic of Christmas.
Ghastly Grinning (GG): Hi Bekah! Thanks so much for taking the time to talk with Ghastly Grinning today! You are a huge inspiration to the site, so we were really hoping to spotlight you for Women in Horror Month, so thank you!
Rebekah McKendry (RM): Oh my gosh, thank you for thinking of me, that’s amazing!
GG: As we are nearing the end of Women in Horror Month, I’ve been reflecting quite a bit on the incredible women in this industry who have and continue to inspire me. Who inspired you growing up and who inspires you now?
RM: Well, one of the biggest ones I found when I was in college and that was Maya Deren, a female experimental filmmaker from the forties and she was completely independent. She made all of her films completely outside of studios and they’re all really experimental shorts, but they all have these really, really strong horror roots. They are actually far more terrifying than any horror films from the time period. She was really the only female filmmaker I encountered during my entire film undergraduate degree - she was the only one that I was ever shown in a class, and I remember her standing out. In film history in my freshman year of college, when the professor showed her, I was struck by the film first and foremost - how effective it was and how haunting it was. I was a huge horror fan at the time so seeing something like this that wasn’t even labeled horror, that was just called experimental but that had such a haunting impact on me, and then finding out that it was made by a woman - I mean, this was the late nineties so you just did not see female filmmakers like that. Right around the same time (1999), I happened upon the movie Ravenous and found out that that was made by a woman, Antonia Bird, and that was definitely a game changer for me. I remember my husband and I stumbling on it one day and we watched the whole thing and were just completely blown away by it and then finding out that it was directed by a female just really changed a lot for me. When I was in high school, I was definitely really fascinated by weird movies, horror, exploitation, anything I could get my hands on that was just sort of off-beat. My mom had picked me up this book called Incredibly Strange Films and I still have it. It’s interviews with kind of off-beat filmmakers, so it’s got some interviews with some horror directors and with some exploitation directors. There’s a really great interview with Frank Henenlotter that I’ve read a bunch, but there’s also an interview with Doris Wishman, who, at the time, I knew nothing about. After reading the interview, I was so mesmerized by her because her interview was just this plucky, brash old lady who spent her entire career making independent sexploitation, but I loved her attitude. I loved her “fuck this, I’m gonna do it my own way” approach to everything, so I hunted her movies down, which at the time was no small feat! It was the late nineties and we had video stores, but the majority of them were Blockbusters and you couldn’t just walk into a Blockbuster and pick up a copy of Another Day, Another Man so I ended up having to really hunt for these. At the time, I was living in this tiny town in Virginia where my parents still live, so I drove into Washington D.C. to rent them from this place called Video Vault, which had more eclectic titles, but it was like an hour and a half drive I did to get there. It was a quest, but it was well worth it.
GG: You mentioned being into horror in your younger years, what was your gateway into horror and when did that happen?
RM: Pumpkinhead and I was probably in fourth grade, I was young. My parents never restricted what I watched. Of course, they wouldn’t let me watch porn or anything like that, and they wouldn’t let me watch nuclear holocaust movies for some reason, I guess they decided those were too bleak, but if it was just a straight up slasher or zombies or anything like that, they just really didn’t restrict it. They would sit me down and explain that it was fake and that monsters don’t exist in real life, but they never really did much past that, so at a really young age I was watching a lot of spooky media. I really loved Something Wicked This Way Comes and Watcher in the Woods, and as I got a little bit older it shifted into things like Are You Afraid of the Dark? and I loved The Addams Family. But my first true horror movie experience was Pumpkinhead when I was in elementary school. I watched it with some of the boys in my neighborhood who were a little bit older than I was, but we used to play together all the time. It was both terrifying and mesmerizing and I loved the monster so much, but I was scared senseless. Then I think my second was, which I remember more because I watched it by myself, Return of the Living Dead. After Pumpkinhead, I begged my parents to rent Return of the Living Dead for me. They did and I watched it by myself in the living room. I have specific memories of sitting on the living room floor, watching Return of the Living Dead and playing Barbies at the same time. It was horrifying and I loved it, but that’s what I would do! I would sit in the middle of the living room and I would dress Barbies and watch horror movies - mom has pictures!
GG: Were you ever scared as a child or have you always just embraced horror?
RM: I’ve always embraced it, but it’s always scared me as well and I think it’s the scare that I do embrace. I always say that when it stops scaring me, I probably need to find a new line of work, but I still get scared, I still have to hide my eyes occasionally. Even looking back at some of the movies I love the most, I love them because they gave me that rush of adrenaline and they gave me that scare for a second. We’ve been watching the new Channel Zero: Butcher’s Block and even that has moments where I’m covering my eyes. We watched The Ritual a couple nights ago and there were some scenes where I was shielding my eyes and cringing. I love the rush from it and the test and the feat of watching something that you want to see but you also don’t want to see, I love it, and I see my daughter doing it now. She loves the Harry Potter movies, but anytime the dementors come on screen, she goes behind the couch and watches it from back there. I’ll walk in the room and ask, “Sweetheart, do you want me to turn it off?” and she says, “No, no. I’m just gonna watch from back here.” So, she’s doing the same thing!
GG: What does Women in Horror Month mean to you? Do you pay any special homage to women in the industry this month or do anything special to celebrate?
RM: Sadly, because of work and having to watch everything that’s coming out for Shock Waves and all the other projects I do, I don’t get to control my viewing quite that much, but what Women in Horror Month means to me is that grass roots movements are possible and can change a lot. I remember I was working at Fangoria and it was maybe my second or third year there, when this girl - her name was Hannah Neurotica - emailed me and said, “Hey, I have a zine called ‘The Ax Wound’ and I want to send it to you. Can I send it to you?” So I said, “Yeah, sure! I’d love to read it!” I love zines in general, so I was like, “Hell yeah, send it over!” and at the time, I was the only full time female employee at Fangoria besides the secretary and she had found me online and told me she wanted to send it to me. I got it and it was incredible. It was totally just a xeroxed zine, but it was the first one I’d seen that kind of linked women and horror together. I had read of academic books doing that, but this was totally fan based. Hannah and I started corresponding a lot over email and then out of the blue one day she emailed me and said, “I’m going to start a Women in Horror month, it’s going to be February.” I was like, “Okay! That’s awesome! Let me know what I can do to help!” Over the course of just the past decade and a half now, watching it go from just something that Hannah emailed me about to this massive movement that everyone in the genre is now well aware of and celebrates in some capacity - that is amazing to me. It’s got a phenomenal message, obviously, and it’s really pushing the gender further, but I look back at it and it’s just such a powerful movement and month. The amount of people who celebrate it now, and how much voice it has given and how much claim it has given to females in horror, how much history it has teased out that most people weren’t aware of before - it’s been amazing.
GG: Do you feel that you’ve had any significant hurdles to jump over being a woman working in this industry?
RM: Oh, yeah. The old Hollywood “boys’ club” still exists. Even though now it might happen more behind closed doors or in whispers, like no one is going to come out and say “I don’t trust women,” but you still run into it a lot. I’ve definitely had two hurdles and I experienced them in both the executive-studio side and I’ve also had it on the fan-side. When I first started at Fangoria, and even now, if people hear that females are horror fans, a lot of guys will immediately assume that they don’t know much about the genre or that they’re just very precursory fans and it’s insulting. I ran into that a lot. I don’t see it as much now, so I think we’re actually staking claim and getting some authority in horror and getting some respect as fans more, but when I was first starting out in this genre fifteen years ago, there was not a single convention I was at when I would work Fangoria booth that I wouldn’t have guys walk up to me and ask, “Are you really a horror fan?” and I’d say, “yes,” and they’d literally start quizzing me! I always wondered if I was just a dude standing there, would they even think to do that? It was always kind of a weird situation to be put in where I was always having to prove myself as a horror fan just because I’m a female - like the breasts somehow decrease the amount of films that I’ve seen. Then on the industry side, again a lot of it is behind closed doors now and things have changed drastically in the past couple of years, where people are now seeking out female filmmakers - some of them, some are not - but some companies are now looking to for female filmmakers because they’re looking to diversify their slate and their voice. When I started in this industry, I could count the actual amount of female directors working in the genre on one hand, so it’s nice to be able to say now that we have a ton and there are many more coming. Where I’m still seeing a little bit of kickback is in marketing. I have heard - and this isn’t coming from people who specifically work in the genre, but larger film companies - I have heard several times, “We just don’t know how to sell female filmmakers,” or “Female horror filmmakers are a tough sell”. That pains me, but I think we’re slowly overcoming that and again, that’s not from genre people, that’s not from people who are in horror and know horror. If I go to a large market, like American Film Festival or some seller markets, you’ll hear that occasionally, and that’s specifically in horror, not all female filmmakers, but I have heard that a couple of times.
GG: I think it’s so great what you’re doing in partnership with Etheria Film Nights, creating a scholarship for women in film. Can you elaborate a little on that? How did that come to fruition?
RM: That literally came out of me getting so pissed off. This was when the #metoo movement wasn’t even really a movement yet, it was just a bunch of women in the industry online talking about all of the stupid shit we’ve had to put up with. I mean, completely apart from being pushed aside for decades from the film industry because we were women, them not letting female directors in and there being a frighteningly small number of females working in Hollywood. There was also this God-awful sexual exploitation that was happening with the gender across the board and that’s something that I think most of the women in the industry have experienced, even if it’s just in the form of comments; people calling you ‘sweetheart’, ‘darling’, or expecting you to perform this kind of cutesy, flirty role. You see it everywhere. So when these and far more extreme cases than the flirting came to light, all I could think is as much as we are fighting to get more females in the industry, when news like this comes out, it’s important, but it also brings to light a very systemic problem that is ultimately going to scare people away and we need to fix the problem. We need to continue to tell people that this is a safe place, that we want more women in here, and the only way that we are going to get rid of this problem is to get more females in the industry. We need to have equal genders represented here. We need to get females out here creating to encourage the creativity, so I literally said one day, “I want to create a scholarship,” and my husband was like, “we can’t afford a scholarship!”, but I knew I wanted to come up with something. So that night I went in and I told the Shock Waves guys about it and they were like, “Yeah, sure! Whatever you need, let’s do it!” I have worked with Etheria for years and I know Heidi and Stacy over there, so I emailed them and was like, “Hey, I want to do a scholarship, do you think we can make it work?” and they were on board and suggested we attach Stephanie Rothman, because I teach at USC and Stephanie was a film student at USC so she was the perfect namesake for this and she has such a phenomenal legacy in film. From there, a lot of it has been small stuff so far. I’ll host small events around LA to raise money. This wonderful group out of Phoenix did a screening of Pet Semetary and donated all their ticket sales to us a few nights ago and it’s been a lot of online donations too, but we’re trying to get to five thousand dollars and the scholarship will go to a female film student who is interested in doing genre film. It does not have to be horror, we’re very flexible on the idea of genre, it can be fantasy, science-fiction, comedy, action, musical, just anyone who is very interested in pursuing a particular genre. They can use the money for tuition, they can use it for books, the can use it to make a film, if they want. They just have to be enrolled in some type of a university program. I teach at USC, so I work with students like this everyday and though they may sit in film classes, the actual opportunity to make a film is expensive! If you’re looking at a short film, there is no return on short films. The idea of actually making your money back on a short film is incredibly difficult and I know very few people who have been able to do it. When most people say, “I need to make a film” or “I need to make a business card, a way to get attention,” that’s a five thousand dollar business card in most regards and even that is a very low budget, so most people can’t. Dave and I, to make our first short film, we had yard sales, we literally went through the house twice and sold stuff to try and make our first film. We sold things on eBay, we did everything, and for college students, it’s so difficult, but it’s so crucial to be able to get yourself into the industry and get your name out there, so I just want to encourage a female film student to make something that she otherwise would not have been able to make.
GG: In addition to working in film and the horror industry, I know you also have a background in musical theatre and dance and it’s so great to know a fellow theatre nerd like myself with a love for horror. Have you gotten to work on many theatrical productions in the genre or shows that may be horror adjacent?
RM: Yeah! I love musical theatre and it’s something that I wish I would have pursued a career in it. I was never an actress, but I was a choreographer. My husband and I actually met while he was directing a musical theatre production in college and I was doing the choreography for it. I injured my leg a while ago and it kind of hampered my dance career and I discovered that I love the film industry just as much, so I kind of let musical theatre fall to the wayside. I still get to do it regularly, though. Some of the creepier shows I’ve done are Bat Boy, which definitely has a lot of horror tones to it, and this past summer, Chelsea Stardust, who is another kick-ass female director, decided she was going to do a musical for the Fringe Festival here in Los Angeles. It was a musical slasher called Slashed! and I got to do all the choreography for that and it was such a trip and I had the best time doing it. It was a blast to work on. We did all of the choreography in my backyard and it was just so much fun because it was just a group of us playing around in the yard, dancing. It was just so fun. Someday I will make a musical film, it’s just going to happen, I’m going to make a musical horror film. My dance teacher, who was my dance teacher for close to 20 years, always told me that I was not doing my upbringing right until I made a dance movie, so I gotta do it at some point! I’ve also always wanted to do a production of Reefer Madness because it’s such a smart mix of politics and music and dancing, I love the theatricality of it, and how subverted, yet pointed it is - I just love that musical so much.
GG: Most people who know you know you have a deep love of aquatic horror and nunsploitation films, what is it specifically about these types of films that draws you to them?
RM: I don’t know, I’ve always kind of been into the weird subgenres of horror. No one even really looks at aquatic horror as its own subgenre, it’s not exactly like a slasher or a monster movie or something like that, it’s such a small little sub-brand, but I have to say it goes back to my childhood. I grew up on the Shenandoah River, my parents have this cabin house where we would spend entire summers and it is just a beat from the Shenandoah River and so it was literally like the front yard is a body of water. The Shenandoah River is filled with silt, so even if it’s only like a foot deep, you can’t see the bottom. So straight off of our dock, it was about eight feet deep, so it was always over my head, still is now, and if you touch the ground, it’s just silt so it just powders up and never feels like you’re actually standing on anything. I grew up just staring into this murky water that I knew was over my head and also we have a lot of large fish that live in the Shenandoah River. We have mudcats that get up around the four to five foot range, we have these things called alligator gar, they’re huge and ferocious looking, but they don’t get near you. You’ll see them in their massive sizes and they don’t bother you or anything, but just seeing these ginormous fish in there, swimming past and then having my dad be like, “jump in!” I was terrified! So, I’ve always been really fascinated with water; creatures that live in the water, anything like that. I remember the first day I got a leech on me, because we had leeches in the river too. I was both horrified and fascinated by it to where I didn’t tell my dad at first because I wanted to watch it! I remember just staring at it on my arm and thinking it was the most horrible thing I had ever seen at that time, but I was just so fascinated by it - and they don’t hurt! They kind of inject this numbing solution into you, so you don’t really feel it. It was just this foreign creature that was attached to my body. So, that’s my love of aquatic horror. I’ve just always been so fascinated with sea life in general. Even now, one of my favorite things to do is to just stare at the ocean. For me, the possibilities of what’s lurking in there - it’s just amazing. Someday, I hope to do an aquatic horror film. I keep saying I’m going to reboot Deep Rising at some point because I love that movie to death. So, that’s my aquatic horror love. Around the same time that I was growing up with this and seeing these giant creatures right off the dock and experiencing this, was the same time around 1989 that we had like four aquatic horror films come out back to back; like The Abyss, DeepStar Six, Leviathan, there was just a whole bunch of them and they just hit me at this sweet spot in my mental growth and understanding that there are these creatures lurking just out of my vision. So those movies hit me right at the time that I was combatting this fear and it just stuck and to this day, no matter how crappy it is, no matter what type of cheeseball sci-fi movie it is, if it has a shark or an octopus or some type of creature from the deep in it, I will watch it and I will probably enjoy it. So, that’s my aquatic horror love.
The nun one, I don’t even know! I’ve got theories on it. I know when I was a kid, we didn’t go to church. We went I guess on Christmas maybe, we would go with family members, but I knew nothing about religion across the board, but because I was into musicals, I loved The Sound of Music and I also really liked The Flying Nun, which I watched on television occasionally. Once I started getting really into horror films, I was watching films like The Exorcist, The First Power, there was this whole wave of kind of exorcist type religious horrors that came out in the 1980s where it was priests fighting demons and things like that. So what I kind of ascertained about nuns, knowing nothing about them directly, was that they were magical beings that could sing and fly and also fight the devil so I became fascinated with them at a young age because it seemed like a very viable career choice! You get to hang out and sing and then there’s the whole demon battling stuff, but I literally knew nothing about them except what I had seen in the movies. So I kind of became fascinated with them at this young age and then I started watching some of the nunsploitation movies. The first one I saw was in college and it was Satanico Pandemonium, which is a very kind of standard nun movie where there’s a nun who’s not comfortable at the convent, she feels like they’re kind of being dicks, so she starts rebelling against everything and then somehow devils come into play. That one I found to be really powerful because it’s got this weird undercurrent of racism going on, and it’s not drawing attention to it or anything, but there’s this social injustice and I wasn’t seeing a lot of movies like that at the time, so it felt very kind of Night of the Living Dead where it was trying to make a statement about racism without coming out and being like, “hey this movie’s talking about racism!” So I was always really fascinated by that one and from there it just kind of grew. Most of the nun movies have a feminist kind of slant to them. More than one makes a comment about how the Father, the Son and the Holy Ghost are all dudes. There’s another one that I like called Flavia where she gets so pissed off at Christian religion that she decides to become Muslim midway through the movie and then realizes that their religion is sort of a patriarchy as well. So it was that most of them had this feminine slant to them that I always found fascinating.
GG: I don’t know that I’ve ever even seen a nunsploitation film, now that I’m thinking about it!
RM: I recommend starting with Satanico Pandemonium or I also really like Alucarda, which is more kind of a twisted kid film, but the nuns come in and out of it. The Devils is also a really good starting point. Japan also had a whole bunch of nun films, the best one being School of the Holy Beast, but most of the nun films came out of the countries where Catholicism was most prevalent, like Italy, because the Vatican is literally right next door so they have a lot to say about it, and Mexico, those are kind of the two places where you see most of the nun films coming out of. Then you see some come out of Japan and a couple out of other countries and you feel like they’re a little out of left field but they still have a lot to say about it.
GG: What’s the one film you feel every horror fan should see?
RM: My go to is Suspiria because that was the one that changed my perspective. My viewing of Suspiria, I was maybe like sixteen or seventeen, and I was watching it with one of my good friends at the time, who I always watched horror films with because there weren’t a lot of horror fans in my school, but there was this one friend I always watched them with. We were watching it after school one day and it was the first moment that I can remember wanting to know how they did it. It was the first time I was looking at something where I was suddenly like, “I want to be on the other side of the camera!” I didn’t want to be in the audience anymore, I wanted to be behind the scenes, I wanted to see how they had made it. So I think Suspiria, because although the plot is kind of wacky and dreamlike, the way that they construct the scenes and the production design and everything, there’s just not another film like it, it’s game changing. So that’s one that I will definitely say horror fans need to see. Then I have a whole grouping of my kind of weird, esoteric movies that are damn good that I recommend people check out, Messiah of Evil is one that I love that I always recommend to people, Stage Fright is - I’ll call it a neo-giallo - it’s an Italian slasher that came out in the eighties that I always point people to that I think is just a really damn good film with amazing visuals along with it. One of the contemporary films I recommend to people is The Autopsy of Jane Doe. That film came out two years ago and it kind of snuck out. I don’t think a lot of people knew about it and in LA we had it screen at Beyond Fest, but a lot of people didn’t know about it until it was sitting in their VOD. That was one that I was just shocked by how clever it was, how scary it was, how well they calculate the tension, and how the build works within it - it’s just a really well done movie.
GG: We’re all very excited about your upcoming feature, All the Creatures Were Stirring can you talk to us a little bit about what that creative process has been like getting a film out into the world? Your husband, David Ian McKendry, co-created this film with you, how is it working so closely with your husband on a film?
RM: Dave and I started on this about three or four years ago. We had done five or six shorts and we had directed a bunch of heavy metal music videos. We’re friends with this production team out of Los Angeles, Fallback Plan Productions, who made Absentia and were the associate producers on Oculus and they came to us and asked what we could make together. So we went through a couple of different scripts before we were finally decided on all the creatures. We shot on weekends for part of it because we were working with actors and actresses who worked on sitcoms; Constance Wu, who is on Fresh of the Boat, Jonathan Kite was on Two Broke Girls, and Amanda Fuller was on a sitcom as well, so we kind of had to shoot around their schedule a lot of it. So we shot on weekends and holidays to make sure they could still be a part of it. Dave and I have always worked together. We met working together in theatre, he was directing a production and I was choreographing for it and from there we’ve always worked together. Since then we’ve done projects by ourselves, but when it comes to writing, we just work as a team really well. We wrote the Hellraiser comics together. So that’s just our lives, we tend to create things together. It’s not weird for us to be cooking breakfast for the kids and pitching scripts to each other at the same time. We’re both just very passionate about the same things, we kind of like the same style of horror, we both find ourselves interested in the same projects. We have similar working patterns for the most part, but not to say that we still don’t argue a point. We actually say that if we don’t argue points of the script, then they mean nothing and they’re probably not good. If somebody pitches something and you’re not willing to argue for that, then it’s a bad idea anyway. So we still end up arguing over minutia of it, but usually if one of us pitches an idea then we can riff of each other enough to get a general concept going and then it goes from there; and we pass drafts back and forth. He’ll write a draft and he’ll pass it to me and I’ll make changes and pass it back and we’ll go back and forth a bunch before we ever even show it to anybody. But there are definitely times where we’ll have to turn it off, like we’ll decide that when the kids are home from school we can’t talk about the script anymore. But then it will infuse its way into our lives, like we’ll be brushing our teeth and Dave will turn to me and say something like, for example, “oh my god, he needs to be in a car - that’ll fix the whole thing if we put him in a car!” and then we drop everything that we’re doing and go write that. So we kind of have to pick and choose our moments, but I love being married to my creative partner. It’s a blast because I love creating stories and everything so much that it’s great to be able to do it anytime the idea comes. On set, we kind of share the load. Dave is far more focused on the composition of the screen, so he likes to hang out in the video village and look at the screens and how everything’s coming together, and I am much more focused on being on set, working with the actors, making sure we’re getting the nuances and how they’re moving and things like that. Sometimes we’ll switch it up, depending on the scene, like if there’s a scene that he’s particularly passionate about, about this particular performance or how this person delivers, then he’ll take the set for that and I’ll go in video village. So we bounce back in forth and usually share the load on that.
GG: What drew you to tell a holiday horror story?
RM: Dave and I both love Christmas! Halloween is cool and we’re always there for Halloween, but we love Christmas and neither of us are incredibly religious people, I didn’t even really understand the religious connotations of Christmas until I was much older. I just knew it as this absolutely magical time of the year. When we were looking at what we wanted to do, we knew we had to do an anthology film because it had to be kind of segmented in how we were shooting it. We figured that an anthology film would be the best way to go with it, so we were trying to find a conjoining theme for all of the stories and we were immediately like, “Christmas!” because we’d always wanted to make a Christmas horror film, we always wanted to play around with the holiday. At the time, Dave and I had been in LA for about two years and we had just given birth to our daughter Marnie, and so at the time when we were really trying to start creating this project, we were struggling with the idea of what I’ll call the “Los Angeles Christmas” which is that a lot of businesses are still open, a lot of people are still working, it’s ninety degrees outside, everyone’s jogging, half of them are going to go to Runyon Canyon because they have the day off. You can sit outside and barbecue and it’s just a completely different vibe. Also the idea of sharing the holiday with friends, because you may not have your family incredibly close or may not be able to get home. We were dealing with this the first year we had Marnie, we couldn’t get back to our families on the east coast so we were here and it was ninety degrees outside, but it still felt like Christmas because we had decorations up and everyone in LA was in a phenomenal mood. You would just walk down the street and people would say, “Merry Christmas!” and you still have the warm tidings and everything. We live in Burbank which definitely has kind of a small town vibe, even though it’s in the middle of LA, so it felt just like Christmas, but ninety degrees and just not the Christmas we had grown up with. So that was kind of the first thing we wanted to explore in the script.
GG: Well, we are all really looking forward to it. Before we finish up, I have to say from all of us at Ghastly Grinning - you are a huge inspiration and to be quite honest, you’re part of the reason our site even exists, so thank you! We’re so excited about your new movie and we have to ask, what’s next for Dr. Rebekah McKendry?
RM: That is amazing! The site is fantastic and I absolutely love what you guys have done with it. I love the passion and dedication that you guys bring to the genre, it’s refreshing to see. All the Creatures Were Stirring, will be playing the Chattanooga Film Festival, April 5th-8th, so we’ll be there with our whole team; myself, my husband, our two producers Morgan and Joe are going, so we’re really excited and I’ve already heard from a couple of Shock Waves fans that they’re going to be there also. The whole Shock Waves team is going to be there as well, we’re doing a live show and we’re all really excited, it’s going to be a hell of a weekend. All the Creatures will have other screenings, but the festivals haven’t announced it yet, so I can’t announce it either, but we’re on Facebook and Instagram so you can follow our updates there! Dave and I have more films at play, but we can’t say anything yet, but I will say that the response to this one has been phenomenal and we’re very grateful and excited for a lot of the opportunities that we’ve had come up from it. Otherwise, I’ll be teaching at USC and continuing my work with Shock Waves and Blumhouse.
GG: Well, thank you again for everything you do in the industry, and thanks so much for taking the time to chat!