Following its successful crowdfunding campaign, we caught up with Director and Co-Writer Josie Eli Herman of new supernatural horror House of Ka, to spill the beans about the indie horror project.
Tell us how you became involved in House of Ka?
I was hired by The Pennyseats Theatre Company to direct a fall production of The Mummy Queen, a play adapted by my husband, Michael Alan Herman, from a lesser known Bram Stoker book called The Jewel of Seven Stars. As Michael was working on the script for The Mummy Queen, and as I began preparing to direct the production, Michael and I began to see the potential the story had for film as well as for theatre. This new idea for a film adaptation of the story became House of Ka. While the screenplay we created has some significant differences from both the original book and the adapted stage play version of the story, House of Ka will employ many of the same fantastic actors and artists involved with the stage play.
The film is set in the late 1800s, was this appealing to you?
Michael and I are huge fans of the aesthetic of Victorian times, and many of our previous productions together have influences from the late 19th century. Over the years we’ve gotten our hands dirty in many aspects from the time period, from costume and set design to accent work and studies on Victorian mannerisms, so doing a full scale feature film set in this time period is an exciting undertaking and definitely a bucket list item for us.
How difficult is it to put together period piece horror?
There are definitely some challenges when making period piece horror, particularly on our ultra low-budget indie scale. You have to get creative with the resources you have available and spend a little extra time and planning with set design and costumes. While a low budget film set in the present day can often take advantage of actors’ own costumes and film at a location which requires minimal design, a period piece has the added step of having to make sure everything seen on camera is historically accurate. Having people on your team who are equally excited about a film like this really helps get us where we need to be.
Tell us about the collaborative process with writer Michael Alan Herman?
I am incredibly lucky to work artistically with the person I get along with most. Michael and I met in college and have worked together countless times even before we became a couple. One of the first things Michael and I do before diving into a production is to sit down and figure out the heart of the story. What’s the message that we’re saying, who is this story for, and why are we making it now. We’ll discuss each of the main character’s arcs and talk about the things that are most important to convey. We’ve found that it is so essential to be calibrated in this way, so that when we run into creative disagreements throughout the process, we’re both fighting for the story and the characters, and not against each other.
When will the casting process begin?
Many of the actors in the film have actually already been cast from the theatrical show and from auditions. We’re passionate about working with these incredibly talented people who deserve to get the parts based on their skill level.
What sort of films or series are you using as inspiration for the aesthetic for House of Ka?
Some of the aesthetic influences for the film are Penny Dreadful, Crimson Peak, Woman in Black, and The Others. We’re also inspired by creators such as Greta Gerwig and Taika Waititi who have developed beautiful, relatable, and moving films on various scales. It’s inspiring to see the kinds of jaw-dropping visuals that can be created on even a small budget when you have a team of dedicated and innovative creatives.
Can we expect something outside the box from the film?
House of Ka will feature some stunning visual metaphors which ride the line between terrifying and beautiful. It’s cerebral and twisty, but the entire film is deeply rooted in a powerful message we’re passionate about telling. We’ve interwoven real historical atrocities like Victorian “mummy unwrapping parties” and the horrors of injustice, abuse, and objectification of women…a theme which is unfortunately no less relevant today than it was 200 years ago.
Find out more about House of Ka on Seed and Spark.
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