We shot in November and therefore were able to shoot in proper night light, without having to create it artificially. Then the conditions on set, with quarantine, testing, masks, couldn't do live casting, etc. We started preparing the film during the third lockdown in Ireland and had to stop for a while. What were the biggest challenges for the production?
And as for the camera work, I wanted a more classic approach like the one of Hitchcock, where the moving camera creates the tension. But still I am not too much into colour in general, which also determined the look of the house. The audience expects to see something, not complete darkness. This time, we didn't want to go that way. We shot that on 16 mm, using a double wig candle in complete darkness. He also did the cinematography for the original short. I work with the same director of photography for most of my films. Lovecraft.Ĭould you say what were the most important aspects for the aesthetics of the film? I guess the closest thing to what we created is the world of H.P. I wanted to try something new and turned to Irish mythology, and finally ended up with the concept of Hokum, which means nonsense. I had to invent a mythology and first started with Judaism and Christianity, where you actually don't have much more than heaven and hell. What would you say is your own fascination with past cultures? You decide to tell a story set in the present, but to link it to ancient artefacts and beliefs. We did auditioning and rehearsals for some scenes online before deciding. I made short lists out of them and had a zoom meeting with the candidates. Our casting director asked for self tapes. Was it difficult to find the right actors?įor the two leads, it was easy, since I knew them.
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The house is beautiful, with a spectacular entrance and with a lot of symbolic elements and full of antiques in it. We didn't find the cellar, but the corridor, and built the former. I wanted a house with a corridor, that lead to a cellar door and a cellar. This is why we tried to scout a house first in Sligo and then found it in Roscommon. Was it difficult to find the house in which you shot the film?Ī part of the financing structure relied on a fund that encourages incentive shooting in other parts of Ireland, outside Dublin and in counties that are less attractive. Yes, it's the core motif of the short film. I always wanted to get back to it.ĭoes the idea with the counting come from the short as well? I thought of some alternative endings and tried to write versions of it. The film is available on YouTube and has a lot of comments in which people wonder how the story might continue. It did well at festivals and it apparently has something special, some kind of a transgressive darkness, that worked for the audience. But the idea for the film is related to my short film Ten Steps from 2004.
My brother and I took turns to go fetch them. We talked to the director about how he developed the story of his short film into a feature-length version.Ĭineuropa: Where does the idea of The Cellar come from? Are you afraid to go to the cellar?īrendan Muldowney: When I was younger I grew up in a house, we had a cellar where the coals were stored. The film is now being released on Shudder for streaming. Irish director Brendan Muldowney presented his horror-thriller The Cellar at this year's edition of SXSW and at the Fantasy Filmfest touring through several German cities.
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