Latest / Cinema Yūgen / Silver Screamers: Golden Years, Bloody Scenes, Big Screen Dreams

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Silver Screamers: Golden Years, Bloody Scenes, Big Screen Dreams · Cinema Yūgen

• 0:00
  G'day. That's right, it's that time again. Time for Cinema Yugen.
• 0:16
  Yes, welcome back Cinema Yugen. This is going to sound a little weird,
• 0:20
  but hang in there with me for a second.
• 0:22
  Sean Cisterna's Silver Screamers is like a wholesome and heartwarming blend
• 0:27
  of Cocoon and American movie.
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  Now what do i mean well there are no
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  aliens and a bunch of adults
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  going off to live the good life in another galaxy
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  but what transpires is a rejuvenation
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  of both bodies and souls for a bunch of elderly volunteers
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  who after a lifetime experience decide
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  to embark on the adventure of making
• 0:52
  a horror movie and while you're waiting for my
• 0:55
  review to appear on filmthreat.com
• 0:59
  we've got him here sean cisterna to talk all about his adventures with his silver
• 1:06
  screamers please welcome him to cinema yugen his fantastic wholesome heartwarming
• 1:13
  documentary silver screamer sean,
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  Cisterna. G'day, Sean.
• 1:18
  Kent, thank you for having me. I'm very excited to speak with you today.
• 1:22
  Mate, this is an incredible film in my review, which is coming to FilmThreat.com.
• 1:26
  I compared it to... The two films I thought of while watching this was American
• 1:30
  Movie, The Making of Coven,
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  And, and oddly enough, Cocoon.
• 1:38
  Oh. Now, as I stated in my review, that might sound weird, American movie and
• 1:43
  Cocoon, but let me explore.
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  So obviously American movie, because, you know, you have a ragtag group of people
• 1:51
  with very little money getting together to make a horror film and Cocoon minus,
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  of course, the Antarians and, you know, swimming with the aliens and all that sort of stuff.
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  But i mean cocooning the essence that you've taken
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  a bunch of people who you know
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  ostensibly by society's standards have had their run
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  these are their golden years their twilight years simply
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  to enjoy and then shuffle off their mortal core
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  but you're never too old to
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  make a movie and you're never told to make a horror movie tell
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  us or tell our audience a little bit of you talk
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  in the beginning of the film you know obviously and
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  many independent filmmakers who listen to this know
• 2:33
  the struggles of how to get a film funded or getting
• 2:36
  money to make movies because they don't get made without money uh talk a little
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  bit about you know the search for funding and how that led into uh this program
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  that you found uh working with the retirees yeah well yeah if your audience
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  is full of aspiring independent filmmakers.
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  Yes, we all know the struggles of applying for funding or reaching out to arts
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  councils to look for funding for our projects and constantly getting rejection letters.
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  I mean, it's incredibly disheartening. You know, when you live in a public system
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  where we finance our films with the help of our governments or municipalities
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  or provinces, depending on wherever you live in the world.
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  Yeah, we're at the mercy of those government decisions. And when the funds don't
• 3:25
  go in your favor, you either let the project die or find a creative way to make
• 3:30
  your project come to life.
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  And, you know, I read this short story, you know, 10 years ago called The Rug.
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  It's a short horror story by author Edo Van Belkum.
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  It's about this discarded rug found on the side of the road by Edna,
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  a 70-year-old woman who brings this rug home into her house.
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  And it ends up, you know, it has this sinister quality to it where it ends up
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  digesting anything that's left under it.
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  So I thought it does eat people.
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  So I thought, you know, if I want to make this film about a senior protagonist,
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  at some point in the trajectory of developing that, I thought,
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  oh, my God, what would it be like if the entire crew was composed of senior citizens as well?
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  So it became this bizarre sort of thought experiment. Like, could I pull something like this off?
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  And then serendipitously, this flyer in our mail came in and it was,
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  you know, one of our local members of parliament was having,
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  you know, their monthly newsletter.
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  And it said, you know, apply for the New Horizons for Seniors program.
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  So it's this program meant to get seniors off their couch and doing something active.
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  And I thought, you know, maybe I could take this concept and spin the application
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  so that it somehow works for a film.
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  You know, as a filmmaker, we're used to filling in all these applications for funding.
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  And I thought, oh my gosh, what if I, you know, it's not a film fund by any
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  means, but I fund it as an experience for seniors making a film.
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  And that's how that, which I came to be.
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  And serves a story purpose too. Yeah. In some way.
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  But I enjoyed the bit at the start where you sort of had the tact like,
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  oh, come and make a horror film and, you know, experience the blood.
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  And mayhem and all that, you had to eventually change your tact.
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  Can you talk a little bit about that? Like you had to reword the messaging to
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  eventually gather the group that you eventually ended up with.
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  Yeah. I mean, that's all like trial and error, just trying to get seniors to
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  come out and participate.
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  We just wanted to be honest at front and we're doing it a bit in a cheeky sort
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  of sense by laying up the blood and the gore and all the fun stuff that they
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  would do on set and, you know,
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  playing with fake blood and smashing in skulls, that sort of thing but at some
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  point we realized we weren't getting many participants signing up for that,
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  our initiative so yeah we went to various retirement
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  centers and senior active living facilities and
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  church groups and just we we found it very difficult to to attract seniors to
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  participate in our in our film project but yeah when we soften the message a
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  little bit and said you know there's going to be free sugary snacks and charismatic
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  good-looking actors that's when they signed up. Keep them fed.
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  That's how you get them on a film set.
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  You make sure that catering's top shelf and they'll do whatever you want. But...
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  But uh i loved i loved one of the early
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  parts of the film i loved was in fact your oldest participant what
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  was she 96 i think at the time you know that's
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  i love how she was the one that put her hand up when when the spiel was all
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  about you know come and you know get into the blood and mayhem and she was like
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  whoa look all the rest of them was sitting there scratching their head and she's
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  like yeah that sounds like my cuppa earl grey as it were it's so true yeah i
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  mean uh our You know, we want to encourage,
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  you know, our whole film is about encouraging seniors to be creative.
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  And that's really the goal of this film.
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  And it, you know, just goes to show that a lot of seniors are starving for these
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  communal experiences, right?
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  They oftentimes, you know, Audrey, in her particular case, all her family had passed away of her age.
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  And so you know there's a loneliness factor for
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  there and if there's an opportunity to to come
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  together with other people her age and participate
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  in something she's gonna hop on that opportunity no matter how strange it is
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  i mean if if for nothing else but the social aspect of you know having people
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  to interact with throughout the day and stuff because it must be very lonely
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  i gather So for some of them, especially when you've outlived friends, family,
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  everybody, you know, it must be no fun.
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  But one of the beautiful things that I really loved about your film is when
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  you get down into the individual interviews, particularly when the questions
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  seem to be put to them that, you know, what influenced the movies, if any,
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  whether it be horror movies or just movies in general.
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  And you know that that made me think a lot about you know why i like movies
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  or why anyone likes movies can you talk a little bit about that like and and your point of like,
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  from from your perspective what i mean what what's the lure of films for you
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  is it is it you go looking for some emotional connection is it purely entertainment
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  you know yeah i think for For me,
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  it's like the ability to still be surprised and just experience a world that
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  I never knew I needed to experience.
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  Obviously, we're all attracted to films as youngsters because it broadens our horizons.
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  For me, that film was The Exorcist. That was the first movie I could think of
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  just like truly just blowing me away in terms of, you know, story,
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  but also the, the quality of the filmmaking.
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  It was something I paid attention to consciously, how the filmmaker created
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  the, the, the, you know, the breath on screen, like the actors would speak and
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  you could see, you know, this,
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  what's the word, you know, this fog coming out of their, out of their mouths as they spoke.
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  And then the camera work felt very documentary-like, so it felt very real.
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  The sound team was able to, that obviously did not sound like a little girl
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  in The Exorcist. How did the sound people do that?
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  And so like, just like department by department, that film like rises to the
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  top of the filmmaking sphere because everyone in that film is working at the
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  top of their level to create something uniformly impactful.
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  And so yeah when i asked the the
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  seniors like what what film they remember being frightened of
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  as kids they all had different answers and it was
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  uh unique to see how tame some
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  of those responses were like audrey said the hunchback
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  of notre dame like the 1930s version which yeah i've
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  seen clips of not in its entirety but i can't imagine it
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  would be like comparable to anything as terrifying as
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  me today but uh yeah well i remember i remember when i was younger my my mother
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  often told me stories of this rather disastrous trip to the drive-in to see
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  a clockwork orange before it was banned in in the uk and thus being part of
• 10:21
  the commonwealth here in australia as well.
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  And i don't know it was my father's idea he certainly has never owned up to
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  it but But they went to see it and she got just past the start with the tables
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  that are all naked women and being brought up very...
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  You know prudish i suppose yeah uh she's
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  like oh we have to leave we have to go and so i always
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  had this background sort of image even though
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  i'd not seen the film because like i said it was banned in australia
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  oddly enough i was working in the video store when it returned it came with
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  the bandless and finally saw it and was actually kind of disappointed because
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  my parents had sort of painted it as this horrible you know vile experience
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  now i'm pretty sure for the period at A Clockwork Orange was deeply impactful.
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  Of course, you know, watching it after watching stuff like Robocop,
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  it's pretty tame, you know, as far as blood and foul language and,
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  you know, gratuitous violence and all that sort of thing.
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  But it's always interesting to me how films and filmmaking and just the whole kit and caboodle,
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  impacts people differently whether whether they're
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  involved directly or you know just
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  purely the viewing experience yeah
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  it's odd when i think about the clockwork orange it
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  isn't the you know the the violence that necessarily is sticks in my head as
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  a as an image it's it's the the image of alex his eyes like just right um bolted
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  open like yeah it's just being subjected to all that that imagery and as a radical form of therapy.
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  But yeah, that's an image that. I tend to remember the language.
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  I love that, that sort of slang that was, that was a juxtaposition.
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  As I slushed, I knew such lovely pictures.
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  But a character I really loved in this film was, is it, is it pronounced Lucia or Lucia? Yes.
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  Yeah. Lucia. She's a marvel, isn't she? What a wonderful lady.
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  I love her quote specifically and actually quoted
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  in my review as she said she always wanted
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  to work in movies and somehow that message got across the
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  universe and now she's making in in
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  the case at the time making a film with
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  such wonderful people and that's i think that's
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  i think that's also part of the law to get into
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  it too is you you feel sometimes i know i was probably one of the only ones
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  in my peer group growing up that was obsessed with film so there was really
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  no one to talk to because they were mostly obsessed with everything but i mean
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  they enjoyed films sure enough but they didn't uh.
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  They weren't interested in, in the deep dive as far as I was concerned.
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  So getting into the industry became something like, and I actually found a comparison
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  last night and watching a documentary about, uh, Sir Ian McKellen.
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  And he got into theater primarily because he felt that that was where his people
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  were, like the like-minded people that you can relate to because you all have
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  the same, you know, like Kermit the Frog.
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  You know i found a dog and a bear and a watch macaw it and we all had the same
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  dream you know and that's to make movies i mean how i mean how do you feel about that is that the.
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  Was was that part of the law for you like finding other people that were as
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  obsessed in intricacies yeah film surface entertainment yeah i mean that really
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  developed in in in university for sure.
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  Here I was subjected to like a group of friends and colleagues that thought the same way that I did.
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  And, you know, we all had our own viewpoints on the world, but the common interest
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  of coming together, learning the language of filmmaking and practicing and failing
• 14:23
  and learning together was pretty exciting.
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  I mean, you know, I don't necessarily think that everybody needs to go to film
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  school, but if you do want that communal experience,
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  like certainly you can learn on YouTube and there's countless,
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  you know, how to videos, but really spending, you know, four years of your life.
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  Trying and failing with your classmates, it gives you,
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  I think, a broader understanding of what it means to come together as a film
• 14:50
  crew and work on something together and share ideas and better yourself as a
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  filmmaker by bouncing your ideas off of those people.
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  That's the time I found in my life that I was allowed to fail and there was
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  no major repercussions for it.
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  It just made us better filmmakers by the time we got into the
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  world sure and what a
• 15:13
  lot of people forget when watching a documentary is it's it's
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  very much unlike making a narrative film you
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  had double duty on this because you were making a narrative film
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  at the same time yeah film within a film
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  what was that experience like juggling both
• 15:29
  like you you're making the documentary but you're also
• 15:32
  got your on on the rug as well yeah that
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  was the that was the the major challenge yeah because
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  i knew i knew uh just based on the the fund we
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  had to deliver a you know a quality short
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  and we didn't want to leave any stone kind of left unturned to be delivered
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  professionally so we we couldn't just you know set up the camera and roll and
• 15:54
  see what happened so there had to be an element of professionalism to it and
• 15:58
  that's where you know and that was partly bound by uh insurance uh mandates as well.
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  We got the note early on that our insurance provider wouldn't allow us to rent
• 16:09
  the gear if it was a crew of senior citizens who.
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  Could not physically carry heavy family here upstairs and things like that.
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  So they sort of mandated our senior crew to be paired with a younger,
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  more experienced mentor.
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  But for as much as possible, we tried to give the seniors as much of creative
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  freedom as possible to help the film come to life.
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  So yeah, just by pulling double duty and we had shot a lot of the prep scenes
• 16:39
  with the seniors reading the script around the table.
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  We, of course, learned all their backstories before we went into production.
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  I taught them all about prep as well, the importance of doing your homework
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  before day one of filming.
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  So, you know, I'm thinking Barry Lynn, our first assistant director,
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  she's 78, and she learned how to cut up the script and then paste it all over
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  her wall and see what order would be best, most efficient to shoot the film in.
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  Lucia was our art director so she went to visit an
• 17:10
  art gallery and got inspiration for sets and
• 17:13
  framing that sort of thing sonny was our camera operator
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  he went to a keslow camera a popular camera
• 17:21
  rental place and got and turned out to have quite a bit
• 17:23
  of a videographer as well yeah yeah so
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  it was uh it was remarkable that each of their prep periods
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  uh just really helped uh them when
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  they when they landed on set they were able to jump right into
• 17:37
  their roles and you know just be as professional as
• 17:40
  possible when the when the day came right so really
• 17:43
  it comes down to like well how do we how do
• 17:46
  you it comes down to just really smart planning like if we film a lot of you
• 17:52
  know certain parts like documentary parts and then we've got the actual production
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  so but i mean what was it like you know you're you're you're mentoring there you you're helping them.
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  While making the film did you
• 18:09
  have oh you know obviously like for the
• 18:12
  documentary side which is filming you while you're filming
• 18:15
  did you have like was that at like predetermined or was it okay today we're
• 18:22
  going to be doing this i need you to cover me from you know this side or that
• 18:26
  side or whatever side yeah no i'm that was the one part that was that felt very
• 18:30
  wild westish because we didn't know what was going to happen.
• 18:33
  So we had two documentary cameras kind of running simultaneously.
• 18:39
  One covering four of the seniors, the other covering the other four because
• 18:42
  there were eight in total.
• 18:44
  And the camera operators who had been with us throughout the entire process
• 18:49
  of the filmmaking up until that point, the documentary up until that point,
• 18:52
  they had formed a relationship with each of the seniors.
• 18:55
  And so the seniors felt comfortable having them around and in their faces.
• 18:59
  And we just documented whatever happened during those, those days on set filming
• 19:04
  the, uh, the short horror film.
• 19:06
  And so I give credit to, uh, Lee Walker,
• 19:09
  our editor who, uh, had to sift through all that footage and,
• 19:13
  and, and cut together the most compelling pieces to, to give us,
• 19:16
  give the audience a taste as to what happened on those, uh, on those days of production.
• 19:21
  So, yeah, I mean, it's from the exciting parts, you know, of, you know, the seniors,
• 19:29
  you know, even providing sound effects on set to allow the actor to respond
• 19:35
  to, to the most mundane part, just having lunch, just hearing some of their
• 19:39
  theories on over the lunchtime breaks.
• 19:41
  Everything was kind of, everything turned out to be its own unique little scene
• 19:45
  that kind of made it into the film.
• 19:46
  So yeah, it's, uh, and it didn't, didn't hurt that you had such an eclectic
• 19:51
  group of characters too with, with the Sonians, like you didn't end up with
• 19:55
  just a bunch of, you know,
• 19:58
  you know, regular, I mean, I hate to say word regular, no one's regular,
• 20:02
  but you know, you, you, you, you sort of stumbled across this,
• 20:07
  this great sort of elderly wild bunch of, you know.
• 20:12
  Is it Sonny? I forget the chap's name.
• 20:15
  Does he have a dispensary or whatever it is?
• 20:17
  Oh, Anthony. Yes. Anthony. Yeah. Yeah.
• 20:20
  What a guy. Another great. Another great. He's a, he's a wonderful guy.
• 20:24
  Yeah. He's got a, a, a, a laugh that is very enthusiastic and,
• 20:29
  and he loves his music, his rock music. He wears these eclectic shirts and he's Mr.
• 20:34
  Community. So he'll volunteer for everything in this town where he's, he's from.
• 20:38
  And he's definitely the community ambassador. So he was in charge of the props
• 20:43
  and he'd have to go around to different community members and beg,
• 20:47
  borrow and steal to keep our budget down. So that was his, his role on set.
• 20:51
  I like the bit how you had very strict instructions not to touch stuff in the,
• 20:56
  the place you were filming.
• 20:58
  Yeah, there were a couple of them just, you know, I think it was Lucia,
• 21:04
  there's a scene where she just takes the do not touch and throws it out of the
• 21:09
  way because it's interfering with the composition of the scene.
• 21:12
  It was, yeah, she had her vision.
• 21:15
  And if the, uh, little placeholder that said, do not touch was in,
• 21:18
  in the way she would remove that and just to make her vision come to life.
• 21:22
  Yeah. That's, I mean, you know, uh, at, at some point in your,
• 21:26
  uh, late seventies and eighties, uh, you just don't give a shit anymore and
• 21:29
  please don't play by the way. Yeah.
• 21:31
  You get out of 70, you're doing well, you get out of your head,
• 21:34
  you're doing really well, you get out of your head, you're Yeah.
• 21:37
  Well, that was the, uh, and the one problem about shooting in a,
• 21:39
  in a museum, Even though the home itself that we were filming in is a historic
• 21:44
  property, it is a museum and we weren't really allowed to touch anything.
• 21:48
  But the texture of the location was well worth it, I think.
• 21:54
  So we had to play within their rules at the same time. So we tried to not get
• 21:58
  in each other's way and be respectful of each other.
• 22:01
  And of course, at the end, what is great, but not completely.
• 22:06
  I mean, I expected a little bit, but it was great.
• 22:10
  That it capped off that way is, uh, when you finally, when they posed the question
• 22:14
  after the screening, you know, you're ready for the next movie.
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  And everyone's like, yep.
• 22:20
  Tomorrow, when, when are we going, when are we doing?
• 22:23
  And who knew, I thought it was just the most like,
• 22:27
  boring experience for them. I just, they all commented on how,
• 22:30
  you know, just like on any film set, there's a lot of waiting around and until
• 22:34
  the camera's kind of set up and, and it is overwhelming and there's a lot of
• 22:39
  people moving around and equipment to learn.
• 22:42
  But I guess it's, it's, it's like a bit of a drug. It's addictive.
• 22:46
  Once you start making films, it's you want to make the next one.
• 22:49
  And so I was very shocked to know that they all wanted to participate in another film thereafter.
• 22:55
  So I hope they get the opportunity with Silver Screamers when the movie is ready
• 22:59
  for public consumption and they can come out to some screenings locally or I'm
• 23:05
  excited to watch them watch it with an audience, you know what I mean?
• 23:09
  They get to relive their experience and see themselves on big screen this time.
• 23:13
  And is the complete, the rug, is that part of the screenings that you're doing?
• 23:19
  You know what, a lot of the... You see the parts of the rug in the documentary,
• 23:22
  but is the completed the rug part of the,
• 23:27
  It was never intended to be a part of the screening tour, I suppose,
• 23:34
  but all the festivals are asking for it. It's pretty remarkable.
• 23:38
  So yeah, we're screening at Fantastic Fest for our first world premiere.
• 23:42
  And the programmers asked, hey, while we have the captive audience,
• 23:46
  do you mind if we screen the rug afterwards? I think our audience will love
• 23:49
  it. And then seeing every other festival that we've been invited to is asking the same thing.
• 23:54
  So it's really, I don't know, heartwarming to, to know that they,
• 23:57
  the, even the programmers are wanting to, to kind of honor their work as well.
• 24:02
  So it might be a curiosity factor or whatnot, but it's, uh, it's pretty heartwarming
• 24:07
  to know that they're doing that for our seniors.
• 24:09
  Yeah. Well, I mean, that, that's where the American movie sort of thing popped
• 24:12
  into my head because the doc, I mean, you see parts of the film that he's making
• 24:17
  in American movie, but you never see the completed.
• 24:19
  You see scenes but you don't see the completed film and of course that.
• 24:25
  Obviously the documentary helps spur interest in you
• 24:28
  know let's see the completed film you know
• 24:31
  we've seen parts of what he's doing on the whole thing
• 24:34
  so i i just i i just imagined that
• 24:37
  that would probably be uh something that would
• 24:40
  come likewise out of this because you get
• 24:43
  to see part you i mean obviously you get to see the making the
• 24:45
  film you get to see a few of the finished scenes so
• 24:49
  i figured well that would that would certainly be yeah
• 24:52
  of interest because i mean the documentary is
• 24:55
  so good you know yeah and it's uh and the
• 24:57
  rug is a quick uh 10 minute watch afterwards so it's
• 25:00
  a bonus b-side for those
• 25:03
  who stick around afterwards yeah so you're still traveling
• 25:06
  the you're still doing the the festival circuit obviously
• 25:09
  at the moment uh yeah we'll we'll start in mid-september so
• 25:12
  we haven't screened it yet so i'm excited to
• 25:15
  know what people uh you know will
• 25:18
  will come to feel like when they they leave
• 25:21
  silver streamers i mean you know the whole goal of our film was
• 25:24
  to encourage seniors to be creative and that was really the goal
• 25:27
  of the film and i think the project aims to
• 25:30
  like challenge these ages stereotypes showcasing older adults as vibrant and
• 25:36
  imaginative and creative souls producing meaningful artistic work so that's
• 25:41
  all we wanted to set out to do and it just further investigates how this creative
• 25:47
  engagement that these seniors.
• 25:49
  You know, have can foster community and purpose and spark this intergenerational dialogue almost.
• 25:56
  Well, on behalf of the reviewer side, on behalf of Film Threat,
• 26:00
  thank you for giving us first chomp of a cherry and having a look at Silver Screeners.
• 26:04
  And for Cinema Yugen, I'd like to thank you for giving me your time this evening
• 26:10
  where you are, this morning where I am, to talk about this wonderful film.
• 26:15
  I hope once it's done with its festival circuit, it finds distribution so it
• 26:21
  can be seen by as many people as possible because it is truly heartwarming.
• 26:28
  And for what I get out of it is you're never too old to make a movie.
• 26:32
  In this case, you're never too old to make a horror movie. So Silver Scream is a proper treat.
• 26:38
  I can't wait to see what you do next.
• 26:42
  Thank you for being my guest. thank you
• 26:44
  very much kent you're awesome very thoughtful questions as well
• 26:47
  thank you thank you very much mate get down
• 26:50
  and check the links in the description and uh we wish silver screamers and my
• 26:56
  guest sean sterner all the best with his film if and where you can uh check
• 27:03
  it out sean is there somewhere specifically a website where people can check
• 27:06
  dates for where silver screeners may be.
• 27:09
  Showing? Yeah. You can follow us on social media for now.
• 27:12
  We're at Silver Screamers Doc on Instagram and Facebook, and we'll post all
• 27:17
  our festival dates on those two social sites.
• 27:20
  So, yeah, after Fantastic Fest, we moved to Halifax, the Lunenberg Documentary
• 27:25
  Festival. Then we're headed to Calgary.
• 27:27
  Then we're headed to Strasbourg, the Fantastic Fest in Strasbourg.
• 27:32
  Then we're headed to New York City at Gotham Film Week.
• 27:35
  And then I'll have to check the schedule thereafter. but
• 27:38
  my my next few weeks are just plane hopping back and
• 27:41
  forth between europe and north america it should be a
• 27:44
  fun and exciting time to showcase our film
• 27:47
  totally mate and we at cinema you can wish you all the best check those links
• 27:52
  in the description to follow silver screeners screamers and check it out where
• 27:59
  and when you can sean we look forward to it mate and yeah please when you have your next film,
• 28:04
  please come back and let us know because we eagerly anticipate it.
• 28:09
  And we'll have a drink together. Thank you. Yes. Sean Cisterna,
• 28:12
  great bloke, great film, Silver Screamers.
• 28:15
  Check the links in the description. Look for my review coming to filmthreat.com,
• 28:21
  but follow the links and stay tuned.
• 28:25
  Silver Screamers is a great documentary that I
• 28:28
  hope you will get to see in the
• 28:31
  not so distant future people in the
• 28:34
  states check the social media links for
• 28:38
  screenings check the links that's right in the description and as always my
• 28:44
  little yugenites thank you for listening to us on spotify or wherever you choose
• 28:50
  to listen to your favorite podcasts i'm ket hill and until next time you've
• 28:54
  been listening to cinema,
• 29:05
  We'll see you next time.