Many will know the name of screenwriter Robert Zappia, from his exploits with Halloween H20, but now he has returned to the genre for the upcoming feature Prey for the Devil.
We caught up with Robert to talk all about the project –
How did you get involved in Prey for the Devil?
I had read several articles about the exponential rise in possessions around the world and the church’s concern they didn’t have enough priests trained in the Rite of Exorcism to handle it. I thought to myself, “There’s a movie in there…somewhere.”
The story came in stages – first with the idea that the church decided to open schools around the world to train priests in the rite. Then I began to think about who the protagonist might be – was it one priest? A group of priests? Finally, the idea of the protagonist being a nun was born. The thought of this nun having to battle both the demon(s) and the patriarchy of the church to fulfill her destiny felt like the fresh ingredient we needed in a well-worn genre. That’s when I knew we had something truly unique.
Why do you think exorcism stories have endured so long within the genre?
I think exorcism stories have endured for a number of reasons. Probably the most obvious is that they address fundamental questions of good versus evil, while addressing it in a way that’s entertaining and scary. But unlike most horror movies, exorcist films are based in reality—in the sense that the Roman Catholic Church still performs exorcisms. The church’s theological foundation gives exorcism films a sense of legitimacy. Afterall, exorcisms were one of Jesus’ most common miracles.
How is Prey for the Devil different from many of the exorcism films that are churned out regularly?
I believe our film stands out from the slew of exorcism films released in recent years in a number of exciting ways. The most obvious being that our protagonist is a nun fighting for her spot on the spiritual battlefield. Another is the setting – St. Michael’s School of Exorcism. A sort of med-school equivalent for training in the rite. And lastly, what I think people will be most surprised about, is the depth of character and story as performed by a cast of exceptional talent.
Did you work closely with director Daniel Stamm or was it a case of handing the script over and leaving him to it?
Daniel was the second director on the project (and if I’m being candid, my first choice). Having studied the genre, I was a big fan of The Last Exorcist. As you mentioned previously, there are SO MANY exorcism films churned out and it was important to have someone at the helm who understood all the ingredients that make for an effective exorcism film. Undoubtedly, Daniel was just that person.
Since Daniel came aboard relatively late in the preproduction process, his schedule was truncated. But you would NEVER know it by watching the film. I can’t imagine it having turned out any better. Daniel has a great sense of character and story that I think is reflected in the final film. In my fantasy world, the movie will resonate enough with audiences that it merits a sequel. It would be great fun to collaborate with Daniel from the beginning stages of crafting the story to the final draft!
You’ve worked in television and Tom and Jerry recently, did it feel good to dip back into the horror genre?
Haha. It’s quite an eclectic resume, isn’t it? I’ve written for sitcoms (Home Improvement), animation (Tom & Jerry), and horror (Halloween: H20). As strange as it might sound, I feel like they all deal with the same theme; good vs. evil. Whether it’s a cat chasing a mouse or a homicidal brother chasing his sister, it’s all about exploring the timeless battle between light and the darkness. With some of the work literally being “lighter” fare and some being “darker.”
The film has flown a little under the radar, do you think this could be a sleeper hit of the Halloween season?
You’re right, it has flown under the radar – I think between the COVID release delays and the fact it’s an original story vs. a sequel has had some hand in that. It also has undergone a title change in here in the States (Prey for the Devil).
Will it be a sleeper hit? That’s anyone’s guess. But having seen the finished film, I can honestly say I believe it’s one of the best exorcism films to come out in decades. And that’s an extremely satisfying feeling.
I would be remiss not to mention Halloween given your work on H20; will you be tuning in to Halloween Ends this October?
Absolutely! The Halloween franchise is legendary. It was one of the first horror films I ever saw, and its iconic theme was the first piece I learned to play on the piano. Being a part of the Halloween legacy continues to be career highlight for me.
Your next writing project is Over The Border, what can you tell us about the project?
What’s interesting is I wrote Over the Border shortly before The Devil’s Light. It’s an independent film project that I was approached to rewrite. I thought the concept was a fun one to explore – after building the impenetrable “wall” on the border between Mexico and America, the economies each nation flip and our protagonist, Kurt Wrangler, illegally immigrates “over the border” to live out the Mexican dream. As with studios big and small, the pandemic has caused delays in production. I’m hoping it ramps back up soon!
As far as future projects are concerned, I recently wrote a sci-fi/horror script called Mercy Down that (fingers crossed) I can come back and talk to you about soon!
Prey for the Devil is in cinemas nationwide now
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