One of the cooler aspects to my job is actually being able to talk with some of the creative types I’m usually writing about – especially when it’s done not through a publicist but by simply reaching out and receiving an enthusiastic reply. Such is the case with MORGAN PEHME and DYLAN BANK, the two minds behind the upcoming horror/adventure movie NOTHING SACRED. I always feel fortunate to interview cool fellows like these, and it’s always encouraging to find out how much they’re willing to share with a site like our beloved ARROW IN THE HEAD. So let’s jump right in!
DYLAN BANK and MORGAN PEHME
For starters, the plot, which is best described by co writer/director Morgan Pehme himself:
In NOTHING SACRED, a pair of twins named Blue and Delilah, played by Alan Barnes Netherton and Naama Kates, chase their father, the dark sorcerer Chambers (William Sadler), as he scours the earth collecting ingredients for a ritual that will allow him to live forever. To hunt down their father, Blue and Delilah have to find, coerce, and kill Chambers’ minions, all of whom are also their brothers and sisters.
Looking at NOTHING SACRED on the imdb, it lists no fewer than TEN (!) different filming locations. Is this accurate? Did you really shoot in places as diverse as Arkansas, Belgium, New York City, Paris, New Jersey, Long Island etc? Was this necessary because of scheduling conflicts, or is it pertinent to the screenplay that we visit all these disparate places?
DYLAN BANK: All of the locations came organically out of the way this movie was born. I met our co-producer Katia Olivier in Belgium last year when our last film, “Nightmare”, was playing at BIFFF [the Brussels International Festival of Fantastic Film]. As luck would have it, Katia was just about to move to New York, and a short time later we met up in the City and decided to make a movie that our company and hers could collaborate on.
Even before we had our premise, we had our stars. Morgan and I had discovered two actors in Alan and Naama that we felt were so good we wanted to build the plot around them as protagonists. As we wrote, we crafted the film to our actors’ strengths, creating scenarios for them to show off their unique abilities, and that ended up taking us all around the world. For instance, we knew that Alan, who is originally from Oklahoma, spoke some Mvskoke, a Native American language which only a few thousand people still speak in the world. So, that’s why his character Blue speaks Mvskoke. Of course, it’s one thing to just write that in a script… Actually going down and filming with the Creek Indians, participating in their ancient rites, that was an once-in-a-lifetime experience.
What movie, more than any other, has been the major influence on NOTHING SACRED?
MORGAN PEHME: From the beginning, our goal was to make a small movie on a grand scale. We were inspired by Greek tragedy and the enormously high stakes that charge plays like Oedipus and The Oresteia. You know. Patricide, immortality, hubris, the fall of kingdoms… We wanted to combine that ancient sensibility with a gritty Texas Chainsaw Massacre style of filmmaking. In many ways, it’s kind of like an indie Clash of the Titans – just with more realistic violence.
Can you describe some of the monsters/creatures, and where they were created? Was this one of the most difficult aspects of making the film – creating these things and making them believable?
DYLAN BANK: Well, let’s see. There’s the Minotaur, the serpent goddess Damballa… Oh, and, of course, there’s Cinder. The Minotaur actually was custom built by none other than our lead actor Alan Barnes Netherton, who, in addition to being a very fine leading man, is also a talented puppeteer. We hadn’t planned on him doing the job, but he spoke up at an early production meeting and said “Let me show you what I can do.” He ended up working for weeks with Airon Armstrong, the actor who plays the Minotaur, making sure that the apparatus he designed could survive the intense movements Armstrong improvises. It was sweaty as hell for Airon, but it turned out awesome for us!
MORGAN PEHME: Cinder is really mostly the creation of Michael Miller, the actor who brought him to life, with some enhancements from our special effects guru Anthony Pepe. I don’t want to reveal too much about Cinder, except to recognize Michael’s standout performance portraying him. I think that Cinder is one of those villains the audience goes home still worrying about. He’s one of a kind.
William Sadler, who plays the film’s villain, was cast well after most of the principle photography had finished. Why was this? Were you unable to find the right actor until late in the game, or were you waiting for this specific actor all along?
MORGAN PEHME: Lina [casting director Lina Todd] had a tremendous feel for our script – she suggested Bill Sadler for the role before we even mentioned that he was our first choice. That just affirmed in our mind that Bill was the only actor for the part. But, of course, Bill’s a busy man. After months of scheduling conflicts, though, we finally got him. It was worth it. I can’t imagine anyone else in the role.
How long was the NOTHING SACRED production, all told? And how long do you envision post-production being? Do you have any idea what
festivals you might take it to?
MORGAN PEHME: I imagine that we have somewhere between six and eight weeks left in post-production, depending upon various intangibles. Mostly, just correct correction, some sound work and the orchestral recordings of the score remain. We’re still deciding what to do with the movie when it’s done. As far as our production schedule, we shot NOTHING SACRED predominantly from last fall into the winter, picking up select parts of the movie early in the spring. All in all, it was about 30 days on set.
(To Morgan) This is your feature film debut (although you seem to have worked very closely with your partner Dylan on NIGHTMARE). What have been the challenges accomplishing your first film, especially one that has moved around so much?
MORGAN PEHME: No one can accuse us of being short on ambition. Dylan and I took on the challenge of keeping a film consistent and dramatic, which spans many countries and languages, and unites an international cast. To top it off, we threw in mythological monsters, magic tricks, and scenes with Hong Kong-style kung fu wire stunts. Really, there was no part of this movie that wasn’t a challenge. But what doesn’t kill us makes us stronger, right?
Finally, what’s next for you and Merlion Films? Are you planning your next movie yet?
DYLAN BANK: Morgan and I are set to co-direct Saving Soul, our first feature-length documentary. It’s the story of 1970s soul and R&B music told by the artists and producers who created it. It kind of plays to a different crowd…
MORGAN PEHME: As far as narrative goes, we’d like to make Genesis next. It’s a sci-fi action movie about prisoners on the run in the woods on the last days before the end of the earth. I think it’s a very important movie for our times.
Sounds like a project that might have a big budget…
DYLAN BANK: We’ve scouted some insane locations for “Genesis”, but nothing is set yet. “Genesis” is certainly a larger film than “Nothing Sacred” in many regards, but its budget won’t be nearly as robust as its vision. One of the driving ideas behind “Genesis” was to make an epic film on an indie budget. That’s the idea at least… We’re still talking a couple mil.
A very Special Thanks to Morgan and Dylan for their time… Now check out the the film’s MYSPACE page for more info!
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