“Up until about two years ago, I hated horror,” says indie horror producer Kate Separovich.<\/p>\n
“Now, I’m a huge, huge fan.”<\/p>\n
Separovich is the producer of the feature film Proclivitas, which opens at South by Southwest Sydney (SXSW Sydney) with its world premiere on Wednesday.<\/p>\n
The film follows Clare, who returns to her childhood home after the sudden death of her mother. She reconnects with her teenage sweetheart, triggering a powerfully demonic presence determined to take possession of her.<\/p>\n
Proclivitas is one of more than 100 films screening at SXSW Sydney, which runs until Sunday, and also features a conference schedule covering music, technology, and culture.<\/p>\n
Separovich was speaking at Blood, Sweat & Tears: The Indie Horror Producer’s Survival Guide, a panel discussion facilitated by Andy Barclay about how horror movies have long been a proving ground for emerging filmmakers \u2014 with accessible budgets, loyal audiences, and an appetite for bold creative risks.<\/p>\n
But there is also a gritty reality when it comes to financing and distribution.<\/p>\n
Separovich stumbled into producing horror flicks when the writer and director of Proclivitas, Miley Tunnecliffe, pitched three projects to her \u2014 a romantic comedy, an indie drama, and a horror movie.<\/p>\n
“She fully expected me to go ‘let’s make the rom-com,’ and I went ‘oh, I actually really connect with the story of the horror one,’ which is what became Proclivitas.<\/p>\n
“So, the past three years have just been this phenomenal, joyful journey into understanding what horror is, the sub-genres, learning my tastes and what I like and don’t like in horror.”<\/p>\n
Influencers take on cannibals in Welcome Back to My Channel. (Supplied: SXSW Sydney)<\/p>\n
Jill Kingston, the producer of Welcome Back to My Channel, which is screening on Thursday and Saturday and is about an influencer couple running afoul of a terrifying threat while camping in the Australian wilderness, told the audience that horror movies tend to appeal predominantly to 15- to 20-year-olds.<\/p>\n
“[I was] that kid watching the movies that you shouldn’t watch when you’re too young,” Kingston said.<\/p>\n
Welcome Back to My Channel was made over 13 days on a minuscule budget of $70,000, with a large portion going towards the actors.<\/p>\n
“We thought the acting was what would carry our film,” Kingston said.<\/p>\n
“So, we made sure that we had enough money to pay a casting director and that, for at least our leads, we were paying MEAA [Media, Entertainment & Arts Alliance] minimums so that we could \u2026 get good actors submitting, and we did.<\/p>\n
“I think the acting in our film is fantastic.”<\/p>\n
Award-winning Australian filmmaker Enzo Tedeschi (The Tunnel, Deadhouse Dark, The Crossing) said most feature-length films required a bare minimum of 20 days of shooting.<\/p>\n
The producers spoke about how there was a level of risk the producer takes on, from loans and budgets to safety and insurance, and many things could go wrong.<\/p>\n
“That’s the real horror story,” Tedeschi said.Great opportunities in horror<\/p>\n
Helen Tuck, who has made the transition to producing from being a hair and make-up artist, and was on the prosthetics team for the hit horror flick Talk to Me, has found a lot of opportunity in horror.<\/p>\n