Greetings, all. Ambush Bug here with another AICN HORROR: ZOMBIES & SHARKS column. Below is an interview I did with Eduardo Sanchez who most know from his work as director of THE BLAIR WITCH PROJECT. Sanchez has a new film out called LOVELY MOLLY. Now, my review of the film will follow the interview further down the page, but first here’s what Mr. Sanchez had to say about found footage films, his upcoming found footage Bigfoot film, and LOVELY MOLLY which was released this week on DVD & BluRay. Enjoy…

EDUARDO SANCHEZ (ES): Thank you, man. I appreciate it.
BUG: So can you tell me a little bit about where the story came from and maybe fill in some of the readers as far as what the movie is about who might not know anything about the film?
ES: Yeah, the movie is basically about this woman named Molly Reynolds. She’s young, she’s beautiful, she’s very lovely, and then she moves into a vacant house and she starts being haunted by something and you don’t really figure out if it’s all in her head or her dead dad? “Is it some kind of satanic thing?” She kind of devolves and ends up doing some really bad things by the end of this film and the movie was kind of my… I’ve always wanted to make an EXORCIST movie, ever since I saw THE EXORCIST when I was little and you know, some kind of possession movie and I never thought it would end up like LOVELY MOLLY. I describe LOVELY MOLLY as “An exorcist movie without the exorcist. The exorcist doesn’t show up.” So it just kind of happened. What actually happened is my writing partner, Jamie Nash had an idea, “What if somebody video tapes themselves going through a demonic possession or some kind of possession?” And I kind of just ran with it and it ended up being LOVELY MOLLY, so sometimes you don’t… If some had asked me when I started “Hey, is this going to be the possession movie you want to make?” I would be like “No, I want to make a different type of movie,” but I’m pretty happy with what came out. Some times you don’t know where the inspiration takes you and it’s one of those fun things of being a filmmaker.

ES: Yeah, well the original idea was a total first person kind of found footage movie, but I wanted to shy away from that, not because of anything to do with THE BLAIR WITCH, I mean I actually just finished my first one since THE BLAIR WITCH a couple of months ago, but… My thing about found footage movies is there’s kind of a level of… It’s kind of a gimmick. Like BLAIR WITCH, one of the biggest things we were struggling with was “Why would they keep videotaping themselves when they are going through all of these situations themselves?” It was kind of a level of fantasy or disbelief that the audience has to kind of keep in the back of their minds when they watch a found footage movie I think a lot more than normal films, because there’s a lot of stuff where it’s like “Why wouldn’t they just stop videotaping this thing?” And I knew that I wanted this element in LOVELY MOLLY, but I also wanted to make as honest a film as I could. I didn’t want to pull any punches. I didn’t want to be coming up with excuses for the found footage kind of feel, so I decided to kind of mix the two and LOVELY MOLLY is a completely conventional movie with this kind of found footage angle to it and had it been a completely found footage thing, then it… To me it was kind of an experiment. It was something that I had been wanting to do for a long time and something that I think luckily worked in the film.
BUG: Yeah, and it does seem like you came up with a good excuse for her to keep a hold of the camera and keep running, just because she is going kind of crazy and she wants to prove that this stuff is really happening to people.

BUG: Yeah, well I think there definitely was a good mix of real filmmaking and then found footage filmmaking as well, so it seemed like a really good mix.
ES: Thanks.
BUG: The other thing I noticed was that I’m a big fan of the film THE ENTITY with Barbara Hershey and there are moments in this film that kind of reminded me of that a little bit. Have you seen the film?
ES: Yeah. Yeah, I actually saw the film… It was one of the films I saw before we started shooting. Look, I really like that film to and I don’t know if they could even make that movie now, you know? There seems to be… There are very few movies, like LOVELY MOLLY, basically horror movies that are meant for an adult audience and I think THE ENTITY is one of those films. You look at it and it’s like “Man, there’s some stuff going on there.” So I like that film and was definitely inspired by it, but one of those things that really blew me away was when like a week before I started shooting I was basically just watching as many movies that had anything to do with the subject matter as I could.

BUG: Was there pressure early on by the studios to make it more of a teenage kind of “jump every five minutes” kind of film?
ES: Yeah, there was. We ended up making the film independently, but we did go around to studios and there was a lot of interest in the script, but again it was one of these things where I think the notes that the people at the studio were giving us was just kind of like “Well that’s not really the kind of movie we want to make.” They were definitely…. I mean look, I understand their position. They want to make a good film and they want to make as much money out of these films as possible, so they were trying to soften it up and they just didn’t understand that it wouldn’t work, so yeah I think there’s constant pressure to kind of… first of all do what’s been done before and what’s been successful and then also just keep it safe. It’s probably the reason I think most good horror films come from the indie world.
BUG: I’m so glad you stuck to your guns and you did it your way, it’s such a more effective movie.
ES: Thanks, man. I think so too.
BUG: Well I wanted to also talk about Gretchen Lodge, “Molly” in the film. She did such an amazing job in this film and you really put her through the ringer. Was there any preparation that she had to do to get to that place? Was there something that you did with her to get her to those really out there places, for her to give that performance?


ES: Well the original draft was her walking into the woods, into the darkness and disappearing. That was the way I had it written and that was the way we had planned to do it, but there was also a scene in the early draft of the movie where this demon came to her and you saw the demon for a split second actually in the room that she is in right before one of the scenes with Pastor Bobby and so there was always this plan of showing this demon, showing what she was watching, but once we got into production and once we realized… We were with a fairly limited budget we were working with, we were like “How are we going to do that? How are we going to pull that off with no money?” So we were like “We will just add that in later, maybe digitally…” So we had a test screening and it wasn’t a public test screening, but we did invite some people that nothing to do with the film, but it was mostly friends of ours and filmmakers and writers and people that we admired and we treasure their opinions and the consensus was “You kind of owe it to the audience to show something at the end.” I came across that shot as I was editing and was like “You know, it’d be really cool if this thing comes out and she seems something in these final seconds, to let the audience see something” and it’s still not proof of what was happening, but it was a way of showing what she had been seeing, you know? So we digitally added that thing and it’s just on the edge of darkness and I’m really happy with it. Usually changes you have to make at that point in editing lead to trouble, but with LOVELY MOLLY it was kind of an organic process and we added a lot of things into the film during post that weren’t in the script and it was pretty exciting for me. We were pushing the boundaries and pushing the sound mix. We kind of added a whole new story with the sound mix and I’m pretty happy with it. I think it’s the best sound mix of any of the films I’ve done.

ES: Yeah, we are editing it now man. We wrapped about three months ago. It’s called EXISTS. It’s a found footage bigfoot movie.
BUG: Oh cool! I have an unnatural love for even the worst Bigfoot films and there’s a lot of them.
ES: It’s crazy man. Look, I love bigfoot movies too, but there hasn’t really been a lot of great bigfoot movies. He’s kind of become a joke lately and even my film is a bigfoot movie, so it’s not as serious as LOVELY MOLLY obviously, but I think we pulled off something cool. I think we pulled off something that hasn’t been seen. I mean I haven’t seen a bigfoot movie like this I think ever. So we will see what happens. I mean we are still editing it. I’m just very happy with it and you know how it is man, when you are editing you have highs and lows and you kind of feel like “Oh my god, this is an amazing film” and then you’re like “oh my god, how in the hell are we going to sell this movie?” But we are pretty happy with it, so we will see what happens.
BUG: Great, well I can’t wait to see that and congratulations on LOVELY MOLLY. It was a fantastic film and thanks for your time, I really appreciate it.
ES: Thank you, man. I appreciate the interest.
BUG: LOVELY MOLLY is available now on DVD and BluRay! Scroll down for my review of the film.

LOVELY MOLLY (2011)
Directed by Eduardo SanchezWritten by Eduardo Sanchez, Jamie Nash
Starring Gretchen Lodge, Johnny Lewis, Alexandra Holden, Field Blauvelt
Find out more about this film here!
Reviewed by Ambush Bug
LOVELY MOLLY is not a pretty film. It’s not one of those films with a jump scare and then it gives you time to laugh and let out a sigh of relief. It’s a film that burrows deep and festers under your skin both due to director Eduardo Sanchez’s skill at patiently letting the story unfold and a bold performance by its lead actress Gretchen Lodge who plays Molly, a perfectly normal girl you can’t help but become enamored with as the opening credits display her wedding videos and all of the chaos which leads to making a woman’s special day happen. The horror unleashed upon this person you can help but feel for is set up from frame one and as Molly is put through the physical and emotional wringer, I guarantee some of the more easily offended will not be able to take it.

The most effective of which is the well tread motif of the hand held, first person POV can seen in most found footage films. Instead of sticking to that motif though, Sanchez has the sophistication to pull off the shift from cinematic filming we are all used to first person POV slickly; only using it when the story needs it. Some other shot on camera uses, such as the assault in the back room of the mall shop caught on a security cam is equally disturbing. This scene in particular could be laughably over the top, but Sanchez subtly uses only snippets of this video intermixed with reaction shots of those watching it, which amps up the effectiveness of the scene to a haunting degree.

Though the effects are at a minimum, there are some scenes that will make your stomach churn. But for the most part, the terror is all conveyed in the performances by the three lead actors. Johnny Lewis plays the most patient husband ever/Molly’s doting husband, who despite her horrible acts, still loves and wants to help her. Her sister, played by Alexandra Holden, is equally good as someone conflicted with the knowledge of seeing her sister devolve, but knowing that treatment will most likely cause her to fall even more. The conflict between these two people in Molly’s life is a well realized one and despite the craziness that we as the audience witness in Molly’s downward psychological metamorphosis, we can see the point of where they are coming from.

I can’t say enough good things about this film. For its overall sense of dread and creep. For its stellar performances. For its use of sound and inventive use of a much used motif of hand held camera. LOVELY MOLLY is one of those films that does not shy away at boring deep within the viewer and taking them to places that are more horrific than most horror films released by the studios today.
See ya this Friday for our regular AICN HORROR column, folks!




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