Fright Night Horror

Ahead of Horror Channel’s UK TV Premiere of PERIPHERAL, director Paul Hyett talks about directorial ambitions, twisted technology, and why aliens aren’t interested in us. How did you become attached to Peripheral? The producer Craig Touhy and I had been friends for a while and we’d nearly done another movie together. He’d liked the claustrophobia and tension of The Seasoning House so we met up to discuss Peripheral. When he pitched it to me, very much a low budget, contained movie, in one apartment. I must say I was a little hesitant. I wanted to broaden my directing and do bigger scope. Craig persuaded me to at least read it. I did and loved the script. The story, the character of Bobbi, of this writer blocked, being forced to adjust to what is wanted of her, and having to succumb to a technology that ultimately fucks her in so many ways and being forced to write for a corporation that she hates. It all felt so very relevant. Was the cast already in place and what’s it ...

Ahead of Horror Channel’s UK TV Premiere of PERIPHERAL, director Paul Hyett talks about directorial ambitions, twisted technology, and why aliens aren’t interested in us. How did you become attached to Peripheral? The producer Craig Touhy and I had been friends for a while and we’d nearly done another movie together. He’d liked the claustrophobia and tension of The Seasoning House so we met up to discuss Peripheral. When he pitched it to me, very much a low budget, contained movie, in one apartment. I must say I was a little hesitant. I wanted to broaden my directing and do bigger scope. Craig persuaded me to at least read it. I did and loved the script. The story, the character of Bobbi, of this writer blocked, being forced to adjust to what is wanted of her, and having to succumb to a technology that ultimately fucks her in so many ways and being forced to write for a corporation that she hates. It all felt so very relevant. Was the cast already in place and what’s it like direct...

Ahead of Horror Channel’s UK TV Premiere of PERIPHERAL, director Paul Hyett talks about directorial ambitions, twisted technology, and why aliens aren’t interested in us. How did you become attached to Peripheral? The producer Craig Touhy and I had been friends for a while and we’d nearly done another movie together. He’d liked the claustrophobia and tension of The Seasoning House so we met up to discuss Peripheral. When he pitched it to me, very much a low budget, contained movie, in one apartment. I must say I was a little hesitant. I wanted to broaden my directing and do bigger scope. Craig persuaded me to at least read it. I did and loved the script. The story, the character of Bobbi, of this writer blocked, being forced to adjust to what is wanted of her, and having to succumb to a technology that ultimately fucks her in so many ways and being forced to write for a corporation that she hates. It all felt so very relevant. Was the cast already in place and what’s it like di...

As AVOD film site W4Free unleashes bloodthirsty Werewolf movie HOWL, director Paul Hyett reflects on the importance of story-telling, the career effects of the pandemic and what horror films have caught his eye lately. Q: Looking back on the production of HOWL, what stands out for you in terms of the directorial experience? It was a real learning experience with the sheer number of VFX shots. And what I can do on set to make the VFX guys workload easier, for example, getting practical plate shots. Also, working on a green screen set. I think that’s what made it stand out to me, the pure logistical way of filming on a train set build, on a green screen set with hundreds of visual effects and tying everything together so it works. Q: HOWL was your second feature as director, following the dark and controversial THE SEASONING HOUSE. What was behind the decision to make such a distinct genre shift? I already knew the producers Ed King and Martin Gentles from actually being up for the job o...

As AVOD film site W4Free unleashes bloodthirsty Werewolf movie HOWL, director Paul Hyett reflects on the importance of story-telling, the career effects of the pandemic and what horror films have caught his eye lately. Q: Looking back on the production of HOWL, what stands out for you in terms of the directorial experience? It was a real learning experience with the sheer number of VFX shots. And what I can do on set to make the VFX guys workload easier, for example, getting practical plate shots. Also, working on a green screen set. I think that’s what made it stand out to me, the pure logistical way of filming on a train set build, on a green screen set with hundreds of visual effects and tying everything together so it works. Q: HOWL was your second feature as director, following the dark and controversial THE SEASONING HOUSE. What was behind the decision to make such a distinct genre shift? I already knew the producers Ed King and Martin Gentles from actually being up for the job o...

As AVOD film site W4Free unleashes bloodthirsty Werewolf movie HOWL, director Paul Hyett reflects on the importance of story-telling, the career effects of the pandemic and what horror films have caught his eye lately. Q: Looking back on the production of HOWL, what stands out for you in terms of the directorial experience? It was a real learning experience with the sheer number of VFX shots. And what I can do on set to make the VFX guys workload easier, for example, getting practical plate shots. Also, working on a green screen set. I think that’s what made it stand out to me, the pure logistical way of filming on a train set build, on a green screen set with hundreds of visual effects and tying everything together so it works. Q: HOWL was your second feature as director, following the dark and controversial THE SEASONING HOUSE. What was behind the decision to make such a distinct genre shift? I already knew the producers Ed King and Martin Gentles from actually being up for the job o...

What first attracted you to actor Gregory Blair’s script? When Templeheart gave me the script of HERETIKS (although it was a different title at the time), the one thing that really grabbed my interest was the opportunity to do a creepy period horror, set in 17th Century England. I’d already shot a war-set film, a contemporary werewolf film and here was an opportunity to do a film set in the 17th century where young girls were put on trial for witchcraft, of which some were drowned, hanged and so much worse. It was a truly dark and fearful time in the history of England, one that I was keen to portray on screen, and adding to that a supernatural element, was hard to resist. What did you and your SEASONING HOUSE co-writer Conal Palmer bring to the final screenplay? Conal and I did an extensive rewrite, as I remember, at the time it had vampiric nuns. I was keen to ground it and get rid of that story element but I loved this tale of these younger girls brought to this priory, so...

What first attracted you to actor Gregory Blair’s script? When Templeheart gave me the script of HERETIKS (although it was a different title at the time), the one thing that really grabbed my interest was the opportunity to do a creepy period horror, set in 17th Century England. I’d already shot a war-set film, a contemporary werewolf film and here was an opportunity to do a film set in the 17th century where young girls were put on trial for witchcraft, of which some were drowned, hanged and so much worse. It was a truly dark and fearful time in the history of England, one that I was keen to portray on screen, and adding to that a supernatural element, was hard to resist. What did you and your SEASONING HOUSE co-writer Conal Palmer bring to the final screenplay? Conal and I did an extensive rewrite, as I remember, at the time it had vampiric nuns. I was keen to ground it and get rid of that story element but I loved this tale of these younger girls brought to this priory, so...

What first attracted you to actor Gregory Blair’s script? When Templeheart gave me the script of HERETIKS (although it was a different title at the time), the one thing that really grabbed my interest was the opportunity to do a creepy period horror, set in 17th Century England. I’d already shot a war-set film, a contemporary werewolf film and here was an opportunity to do a film set in the 17th century where young girls were put on trial for witchcraft, of which some were drowned, hanged and so much worse. It was a truly dark and fearful time in the history of England, one that I was keen to portray on screen, and adding to that a supernatural element, was hard to resist. What did you and your SEASONING HOUSE co-writer Conal Palmer bring to the final screenplay? Conal and I did an extensive rewrite, as I remember, at the time it had vampiric nuns. I was keen to ground it and get rid of that story element but I loved this tale of these younger girls brought to this priory, so worked mo...

What first attracted you to actor Gregory Blair’s script? When Templeheart gave me the script of HERETIKS (although it was a different title at the time), the one thing that really grabbed my interest was the opportunity to do a creepy period horror, set in 17th Century England. I’d already shot a war-set film, a contemporary werewolf film and here was an opportunity to do a film set in the 17th century where young girls were put on trial for witchcraft, of which some were drowned, hanged and so much worse. It was a truly dark and fearful time in the history of England, one that I was keen to portray on screen, and adding to that a supernatural element, was hard to resist. What did you and your SEASONING HOUSE co-writer Conal Palmer bring to the final screenplay? Conal and I did an extensive rewrite, as I remember, at the time it had vampiric nuns. I was keen to ground it and get rid of that story element but I loved this tale of these younger girls brought to this priory, so worked mo...

On the eve of Horror Channel’s UK TV premiere of HOWL, director Paul Hyett talks about taking werewolves seriously and what the future holds. Horror Channel will be broadcasting the UK TV premiere of HOWL. Are you a fan of the channel? I’m so thrilled that Horror Channel are showing HOWL. I’m a big fan of the channel, and avidly watch it, some fantastic gems are shown. They’re a great supporter of horror and you can tell it’s a channel made for horror fans by horror fans. The film is based on an event that happened in co-writer Mark Huckerby's life. Can you explain? Yes, Mark was on a late night train, full of the usual stereotypes,. It was hellish, noisy, smelly, a pure journey from hell. And then the train stopped, no reason, no explanation. Everyone was just sat there, in the dark, in the countryside. And then Mark thought, what else could go wrong, ‘ping’ an idea was born. What if, on top of everything else, imagine if werewolves attacked. A fitting end to an awful journey. Jon...

On the eve of Horror Channel’s UK TV premiere of HOWL, director Paul Hyett talks about taking werewolves seriously and what the future holds. Horror Channel will be broadcasting the UK TV premiere of HOWL. Are you a fan of the channel? I’m so thrilled that Horror Channel are showing HOWL. I’m a big fan of the channel, and avidly watch it, some fantastic gems are shown. They’re a great supporter of horror and you can tell it’s a channel made for horror fans by horror fans. The film is based on an event that happened in co-writer Mark Huckerby's life. Can you explain? Yes, Mark was on a late night train, full of the usual stereotypes,. It was hellish, noisy, smelly, a pure journey from hell. And then the train stopped, no reason, no explanation. Everyone was just sat there, in the dark, in the countryside. And then Mark thought, what else could go wrong, ‘ping’ an idea was born. What if, on top of everything else, imagine if werewolves attacked. A fitting end to an awful journey. Jon...

On the eve of Horror Channel’s UK TV premiere of HOWL, director Paul Hyett talks about taking werewolves seriously and what the future holds. Horror Channel will be broadcasting the UK TV premiere of HOWL. Are you a fan of the channel? I’m so thrilled that Horror Channel are showing HOWL. I’m a big fan of the channel, and avidly watch it, some fantastic gems are shown. They’re a great supporter of horror and you can tell it’s a channel made for horror fans by horror fans. The film is based on an event that happened in co-writer Mark Huckerby's life. Can you explain? Yes, Mark was on a late night train, full of the usual stereotypes,. It was hellish, noisy, smelly, a pure journey from hell. And then the train stopped, no reason, no explanation. Everyone was just sat there, in the dark, in the countryside. And then Mark thought, what else could go wrong, ‘ping’ an idea was born. What if, on top of everything else, imagine if werewolves attacked. A fitting end to an awful journey. Jon...