Latest / Cinema Yūgen / "House of Abraham: Entering the Abyss of Psychological Horror"

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"House of Abraham: Entering the Abyss of Psychological Horror" · Cinema Yūgen

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G'day. That's right. It's that time again. Time for Cinema Yuga.
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Music.
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Yes, welcome back. Cinema Yuga and Yuga Dots, your host Kent Hill.
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Fantastic episode, fantastic film, House of Abraham.
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Every so often a horror film comes along that doesn't just disturb,
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it disarms, it doesn't scream in your face, it smiles, it takes you by the hand
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and walks you into the abyss.
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House of Abraham is that kind of film, it doesn't bludgeon you,
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it believes you'll volunteer, it's unnerving, cerebral,
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meticulously crafted, if you had had a spiritual
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cousin in tone and control
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this might be it directed
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with icy precision by lisa belcher and
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written by its star one of its
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stars lucas hassle the house of abraham i
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believe is a master class in atmospheric dread exploring
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grief consent and the seductive power of surrender
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also starring the fabulous natasha
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henstridge that's right of species and ghosts
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of mars natasha if you're listening to this lucas and i
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like brothers we have been mistaken for one
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in public please reach out to him and get in touch with me and let's talk about
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ghosts of mars please it's being released in 4k but to the house of abraham
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also stars natasha and the fabulous the incredible lynn shea but we are here to talk with my guest.
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Who plays the atmospheric, esoteric, often creepy, Abraham.
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He owns the film, his performance, Lucas Hassel. His performance is a revelation,
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suave, benevolent, terrifying. He speaks with the gentle cadence of a pastor,
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the certainty of a zealot, and the coiled danger of a predator.
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Please welcome to Cinema Eugen, the man behind the mind, behind the horrors
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of the House of Abraham. Please welcome Lucas, the beautiful and the talented and the powerful.
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Lucas Hassel. G'day, Lucas.
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Hey, and thank you for those kind words. I'm not sure they're entirely true,
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but listen, I'll take it.
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Mate, it's a wonderful film. It's wonderful to talk to you. Yeah,
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it feels like a lot has happened since we talked last in the world.
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That's true. I believe the last time was Art of the Dead. Art of the Dead, that's right, yeah.
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Yes, and a quick shout out to Michael Mahal, who recently passed away. way.
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So a gentleman and a real prolific filmmaker and producer. So yeah. Yes. Yes. God rest him.
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God rest him indeed. But yeah, it's, it's kind of odd that you were,
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you or your character in out of the dead sort of degenerates into a,
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a malevolent sort of character.
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But in this film, you're malevolent from the beginning.
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Yeah. I mean, I tried to, you know, house of
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Abraham is a psychological horror and it's basically about this
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guy who takes in you know six people every weekend and
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helps their suicides happen in a safe manner supposedly and so right yeah you
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know and and this particular weekend the sort of the lead female protagonist
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played by natasha henstridge has a secret agenda that sort of changes everything
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and i think you know the way i approach the character of abraham is that.
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Like with any sort of malevolent villainous
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force there has to be levels of all kinds
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of other things as well to make them to make him
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more complex right he's if if you do a terrapier film
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with art the clown it's all evil right there's very
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little layering to that and right for that genre i was trying
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to do something that was different more psychologically based
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and so you have to come up with a real a real human
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being who thinks he's doing good stuff
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and i think he can see both the good and the bad on both sides so
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hopefully i've made him a little more complex no no
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i mean he's definitely abraham isn't the way you
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play him anyway isn't isn't one note there's many layers
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he's very much an onion he's i
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mean in the beginning the welcoming host and it's not
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until i mean there are certain turning points we're not going to
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spoil anything because we want people to watch the movie but there
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are certain points in the film where he does these gentle
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shifts until it does eventually you know
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go uh yeah i think
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yeah he has some interesting observations
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about life and death you know i mean that i think
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for me the film is really about sort of manipulation and and and being careful
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you have to sort of be careful who you trust when you're at your most vulnerable
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and sometimes smarter people than you or people that are a little bit more together
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can take advantage of you and manipulate you at the wrong times of life.
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And I think, you know, Abraham is a master manipulator. And so I think he is...
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He's he's someone who understands life and
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death very well and nothing is off
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the table for him nothing really scares him so i think some of the things he
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says think about life and death some of it makes a lot of sense but it's also
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controversial because it's very harsh it's a very harsh view on on life and
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death you know like yeah it's very black and white outside here in new york,
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but like the tagline is you know life is not for everyone and that's that's
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really harsh way of looking at it but for some people they they feel that way
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yeah it's um it's it's an it was,
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it was really it really it really shook me like i didn't see like there's part
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of the way you go through and you think you know where it's going and then it
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then it changes and i'm not gonna The ending is sublime.
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I didn't see that coming at all. But what I've been curious about is where did
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the seed of the idea come for the script, I should say?
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So I would say there are two aspects to that, right? There's the heady part,
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and then there's the hearty part.
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And the heart part is where I start writing from in my other screenplays.
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And the heart in this way was, you know,
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seeing what's happening around me in my own country or the U.S.,
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where I feel a lot of people are being manipulated and are being used by people
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who are slightly smarter than them or slightly more educated or slightly more powerful than them.
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They'd be into directions where they really have nowhere to go and they sort
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of almost act against their own self-interest.
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And that was, like, nobody's going to see that in the film, but that was the
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core of how I got this idea about, be careful, as I said before, about who you trust.
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If they're more powerful than you or whatever, they can manipulate you,
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right? So that's at the heart of it.
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The story but technically my collaborator lisa belcher who ended up directing the movie we.
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Agreed that we wanted to do a feature project together and she called
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me up and she said i have a little bit of money why don't we
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do something together we had made a short film before called guest
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of honor and uh and i
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said well let's co-direct you can play the female lead i'll play the
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male lead and we'll just for the nonsense of it film in
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your house and spend like nothing on it and that reason i wasn't going to spend
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a lot of time on the script because it was just going to be this nonsense piece
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but i also didn't want to waste anybody's time so i thought okay so it has to
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be one location it has to be relatively few actors we want to keep it in the horror world.
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Any chance of getting viewed anywhere and and i don't want to make something
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that i've seen a million times before about people arriving at a house and being
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killed one by one right right right
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yeah and so i and i've
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always believed that as an indie filmmaker your best shot
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at getting any kind of recognition is to
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not compete with hollywood right so i wanted to make something that
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hollywood would never touch they would never make this film because
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of the subject matter and because of what goes on in it so exactly yes
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when i came on this idea i'm like okay i haven't seen
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this before so i can write i can write
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a character driven psychological drama that i haven't quite
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had seen before and still could work for less
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money and then as the script actually
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turned out really well i was really happy with it we started with real money
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and it became a whole different project all of a sudden and it no longer made
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sense maybe for like we wanted a real name for the lead of natasha of the e
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and natasha henstreich i'd worked with before she's a fantastic actress.
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And so pretty like close to
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shooting date we had been prepping and we were set to go we both thought let
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me let me see i knew natasha was around because i just spoken to her and i said
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would you read the script natasha is no nonsense person she's sweet and fabulous
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and all that stuff but she's also she's no nonsense she's no pushover so i knew
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that she was going to be honest,
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uh and she read the script and loved it and so a week before
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she came on as d and lisa
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then jumped out of that role and then became the
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solo director because now she wasn't going to act so it made sense for
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her to then do that and i went off as co-director and we just sort of created
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this together and so yeah so that's sort of how all that came about really yeah
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now it's great i love the the sort of the three pillars of this film is natasha
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yourself and uh and lynn shay who oh Oh, and Lin Shay, let me tell you.
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It's such a great presence, even when she's not really saying anything on screen,
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because she's one of those characters that's interesting to watch.
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She is incredible. Actually, I wrote that character. She's the only character
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in the script that I wrote with somebody in mind.
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I wrote it for Lin, because I'd worked with Lin before, and so I knew that at
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least I could get it to her, but I had no idea if she was going to be busy or
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if she was even interested.
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But she is she is a rock star
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i can't i can't say this enough
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about lynn like she is sweet and smart and
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a tough cookie and yeah so like just tough as nails right and she also loved
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the script and she came on as the first one and that helped us you know raise
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finances for everything else and she was such a trooper from the beginning yeah
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and that just working with her on set is like is such gift. It's hilarious.
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She comes in with a party bag of ideas and then it's like holding a racehorse
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back because she just wants to go.
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And it's a matter of trying to figure out what goes with the tone of the movie
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and, you know, and because of the.
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The subject matter and then the genre it's it's a
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tricky balance to not go over the top and make it
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campy can very easily veer into camp yes yeah
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like the menu was a little too camp for my taste
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for instance and it's sort of in that vein so i wanted to make
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it as grounded as possible so it's just a map holding
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her back and then every now and then letting her let her
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freak flag fly so to speak yeah no
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it's great i like the i like the build up it's
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it's it's very similar to a film i very much enjoyed called the invitation did
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you see that yes yes absolutely and that there are definitely homages to the
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invitation in there it's it's the biggest comp in terms of like comfortable
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to my film is the invitation because i really enjoyed that film i love what they did with,
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one location character driven twists here and there but also i didn't i didn't
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want to make that what they had made already so right no no no but it is in
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that world absolutely exactly what's What's good about the House of Abraham,
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though, is the fact that with the setup,
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you kind of lead the audience down that path like, oh, it's one of those films
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where people are going to be murdered in the night and then they're going to
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be picked off one at a time.
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But then quickly after the first act dissolved, it dispels that right away.
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So automatically you're in this space like anything can happen now.
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And once you're in that space, it's... It's fantastic.
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It becomes this great sort of three-pronged performance with yourself and Natasha
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and Lynn sort of lurking in the shadows.
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It's just... I really appreciate it. I mean, it's like I think any good writing,
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you have to sort of figure out how to keep people leaning forward.
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That's almost my thing. Like I do a lot of script doctoring for other people
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and the scripts I often get.
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They're sort of they're a little too plot driven sometimes so
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that makes me just lean back and go well this is it's good to
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look at and as i can see it's all working but i'm i'm not
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leaning forward right so it's all about trying to keep
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the audience guessing a little bit figuring out
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well what is the path and trying to just take
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some turns and twists that people may not have sort of
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guessed right and so that's always
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the hope and then of course act three with any horror i think.
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By far as the hardest and that's i think
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so few horror films are truly successful because
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i think it's relatively easy to set up suspense
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and tone and i'm right yeah it's easy to
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set up a jump scare or yeah it's all and
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all that but if you don't resolve it if you don't manage to tie
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it all together and then still surprise the
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audience yeah it's hard to have a successful film and
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i think that's why act three in horror is so difficult because
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most people see everything coming and whatever and it's just up in
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the end so whether or not i was successful in that form
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that was definitely something i was trying to be aware of yeah no
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it's um it look it it sticks the landing
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brilliantly there's a scene near the
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end there's a look at there's a realization
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that your character has near the end yes again not
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giving you anything away but it's it's so
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great because your character changes like that on a
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dime like he goes from he goes from
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like uh you know the way we've always known him
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to this complete like yeah and it
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was weird at the same time i was like you know the same thing once the the big
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yeah end of happens but it's just just just just just sublime i really really
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enjoyed that the way it all that's awesome to hear and that's because it just.
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Builds and builds and builds and then all of a sudden bang and
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i was completely like i was
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waiting for natasha's character to be unearthed as something other than she
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was and but not not what she's not what she is unearthed to be in in the film
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but i totally totally i mean yeah and there's a lot of credit for a journalist
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or something like that yeah yeah yeah you know I know that's cliche,
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but that's where I was. No, no, no, but that's fair.
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Yeah. She's just, she's so, she's so grounded as an actor and she can make.
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Like she can make anything work in fairness right so regardless
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of my writing ability she can make everything work because she
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is so grounded and she understands she understands
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story she understands characters she understands drama and so
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of all the characters in the script i
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think she had the toughest role because of what
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we find out about her and what she had to
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play what we know what the audience knows and what she knows
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and we can't know what the audience so she had
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a very tricky path to sort of
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tread upon and uh i think uh you
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know so in hindsight i i you know i saw
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her do it on set i saw her find those
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nuances and those colors because she's such a good actor but but it was fun
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to see in in post like those little moments that i hadn't seen where i wasn't
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in the scene or i hadn't been around to see her shoot and i was like oh that's
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awesome there's quite a lot of scenes uh as i've always thought that the some
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of the best acting that actors do is silence,
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and your character does quite a lot of it there's a lot
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of scenes where your character is is very fixated on things that he sees in
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particularly one scene in a pool ah yes and i just i just wondered like what
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what goes through your mind when you're like i know that you're probably staring
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into camera for some of those shots you're not actually looking at the person like.
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Where do you go for stuff like that you know well so it is an incredible luxury to,
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have written what i act right because sometimes i act in other people's works
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that i didn't write and it's a challenge to find the humanity in some of these
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characters and some of the writing is not exactly how i would have done it so
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you have to sort of find your way into it because i was Because personally,
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you're so unlike the character.
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Yeah, no, exactly. My husband sometimes reads my script and is like,
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who am I going to bed with every night?
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It freaks him out. You're going to wake up in the night and standing in bed
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with a fork or something. Exactly.
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But, you know, it's kind of –,
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when when you do those when you do those scenes like the scene underwater and
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so forth it's basically a matter of keeping in mind what your character is after
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so you sort of lose yourself at that like you sort of right i'm no longer lucas
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underwater shooting this funky scene and.
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As an actor you are as a movie actor you are sort
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of you are a little schizophrenic because you have
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to know exactly where the camera is but you also have to forget it's
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there yeah it's a very odd balance of
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like trying to be in the moment of what your character
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is after and the goals and what the focus is but also know
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exactly where the camera moves when it moves in on you
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how tight is it and so forth so that you
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thought of and that's just experience that's just from having having done
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it so long right but then shooting underwater is
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a whole different challenge because it was that particular
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scene was probably one of the harder ones
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in the films to shoot just because of safety yeah we
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had we had divers underwater we had all this
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and because it's a it's a metal cage and somebody's
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in that cage you know so there's a lot
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of we had to finagle that particular cage it
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was designed particularly for the film and and you
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know and as also producer of the film i
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was also worried for the actor inside the cage and yeah and
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because we couldn't have other people around us some of the times because it's
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a wider shot i was the one who would have to sort of lift the cage
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right when it's running out of air or whatever so
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it was like it was you know so we nothing happened and everything worked out
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beautifully but it was it was definitely a difficult day and it was also a matter
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of you know expense we had to heat the pool for us in order to be in it all
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day and that's right yeah and on a limited budget film everything matters right so.
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So it was all it was all a careful uh you know calculation
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of how to make how to make all that work but at the
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end of the day you know for me it was a luxury that i had written the
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character because whenever i could
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always tap into exactly where my character was
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emotionally and what was going on through his head with all
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the nonsense going around you on a film set i could very easily
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find it because i found it i find it because i knew i knew
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the character inside out yeah it's an interesting
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tale too of obsession is that part of
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it with abraham you know obsession obsession
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yeah i think control control maybe
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control is goes hand in hand with obsession you know
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well like finding something it's like finding something you love and then trying
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to make it yours sort of yes yes exactly exactly and i think you know that's
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where that's where i do have a similarity with with abraham because i am very
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not controlling but i enjoy control which is also why i've,
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transition gradually from only acting only acting into also writing and directing right because it,
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because it is a matter of as an actor you you're you give your
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power away to everybody else all the time yeah and you're a vessel in many ways
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yeah you're a vessel in many ways right unless you're a stage actor where you
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can sort of control your performance in in the movie world you're basically
20:06
doing what you do and then they edit it and then they can edit stuff in and
20:09
out whatever or whatever and it's out of your hands where writing.
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Is taking some of that control back and then if you can direct what you write,
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with the people that you know that's real power, right? So that's a whole different set of control.
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So I enjoy that and that's why I'm moving into writing as well and then also directing my own stuff.
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I like the sort of, I love the fact that the characters in this film have to
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record a like a final last testament.
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And I know I know this is a very, this is, this is a very, it's a touchy subject,
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but I have to say when you play your demo version, like the demo video,
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this is what, this is a version, this is what you might say.
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I have to say it was, I know you're probably not supposed to laugh out loud
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in this movie, but I have to say I loved your, your demo video for,
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for, for the guests, you know, like, hi, my name's Abraham and I'm going to show myself by hanging.
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Disgusting. Exactly. And it was just, there was a tone to it that was just not,
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I mean, it seemed irreverent, I mean, you know, it seemed different to me,
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but it was, I realized that that was like, you know, one of the,
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it's like a twisted educational video.
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Like, this is the way you might do it.
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Exactly. I think with, with. And also the genius is how that video ties into the end.
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Right. Right. Exactly. exactly i mean so it definitely served
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a purpose that we don't think about at the time yeah
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and then hopefully people remember and then it totally ties it
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all together right that was the intention of that but it was but i think with
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any with any good horror there has to be an element of humor at times like i'm
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not a really i'm not a spoofy horror fan but i i think it's important for people
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every now and then to just laugh at the outrageous stuff that comes out of abraham's
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mouth sometimes So some of the things he does, whatever,
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that's appropriate because it is, it's, it's so harsh that it's like,
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it's hard not to laugh at some of the stuff because he's just,
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well, as you were saying, as we were just talking about the pool scene,
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there's another sort of great moment of levity after the pool scene's over when
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you turn to Lynn and say, you know, bring her down and prepare the cupcakes.
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Exactly. It's such a weird turn. And, but again, it was like,
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it was trying also to be, you know, like throughout the film, I just wanted to be,
22:31
loose about what might happen and and at the end of the day you know abraham
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wants to have a good a good time he wants people to have a good time and the
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weekend they're there yeah yeah i mean,
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it's the strangest b&b you'll ever visit but yeah
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that's what i thought about where i was
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waiting for the point in the film i said where did you find this place you know
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it's like that those things where they ask you when
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you book in somewhere oh who told you about this place oh yeah i got it off
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the dark web where i got it off exactly this you know whatever exactly and there
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is a there is a scene in there where they talk about how they found the place
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and yeah but you know none of this would have happened without lisa belcher
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who ended up directing the film and.
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I co-produced it with because she's she's
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she's such a powerhouse and she gets she's somebody who
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get stuff done right and that's and she's
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a film festival connection so to any of you out there who are
23:27
you know debating whether to submit your short films
23:30
to film festivals whatever we met at film festivals we
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kept bumping into both our films were playing in different
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places and so that's how we forced this connection and
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cut to you know house of abraham coming out theatrically across the
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u.s for now we open on the 13th here
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in new york and it's you know she she made it happen i don't think i could have
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made it happen myself and she is a great collaborator so a big shout out to
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to lisa look fantastic direction she she handles this one like a surgeon it's
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fantastic i want to know who went out and bought all those usbs.
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Yeah exactly well we haven't we had an incredible set designer ashley who just
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like nothing was an issue she built the sound booth right right she built it
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she had a an assistant with her as well and and she was just excited from the
24:21
beginning to to to see the script because she saw so many,
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possibilities of making things exciting and right and
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the like the usb scene so
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to speak was something i was very adamant about
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keeping so that when we were talking budget wise and stuff
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at some point we were talking about cutting the metal cage in the pool and
24:39
i was like there's no way we that cannot be cut and the usb thing the different
24:44
scenes that just have to be the way i imagined it and i wrote it with budget
24:48
in mind so there was nothing really outrageous other than those things so i
24:53
was adamant that we kept those and i'm super happy we did because It's just so, it's just so creepy.
24:58
And it's like, it's a great, I think visuals are important.
25:02
Surprise also a little bit. And I think Abraham's lodge, you know,
25:06
has to be a little special when we finally get into it, you know,
25:10
we have to sort of see, I have to say, we see quite a lot of you in this movie.
25:18
Yeah. Yeah. You're not tanned from head to toe.
25:23
Yeah. there is a gratuitous butt shot in there but again i
25:25
thought it fit the character because she's so he waxes
25:29
it's so rude to walk up to somebody nude
25:32
right and just have a conversation so crazy but it's also it's a power play
25:37
it's all about power and control like if you're gonna if you're gonna react
25:41
to that well then it's not you because i'll be like what's the big deal like
25:44
i'm gonna call you out on it so yeah in this case natasha doesn't respond so
25:49
she kind of handled it as well I think,
25:51
but it's like a total power play by Abraham and I have to say,
25:55
right before we shot that scene, I pulled Lisa aside and I said, Lisa.
26:00
You and I are not, you know, we're not in bed together. We're not dating.
26:04
We're both married, all that stuff. But you have to tell me right now if it's ridiculous.
26:09
If my, if my butt looks ridiculous, I don't want to do it on camera.
26:13
If it's like this saggy ass thing, whatever, you just tell me now and we'll
26:17
figure something else out. I'll keep my pants or whatever. She's like, no, your butt is fine.
26:20
So I was like, okay, I'll take your work for it. And then we shot it.
26:25
Who knows what people will think. But I was like, I had a moment of panic for
26:28
a second. I was like, maybe I have a tool.
26:30
Because when he came out, I thought, oh, he's just going to tell off. No, no, no, he's not.
26:36
He's going to air dry mostly.
26:39
Exactly. I just thought it was, again, one of those moments,
26:42
like, it's so odd, but, like, it's indie film.
26:45
Again, they probably wouldn't have done that in a Hollywood production, but it's indie.
26:49
How long did you have to stand there in the full multi? Like, how many takes? Yeah.
26:54
Well, we did it. I'd say we did it a good four or five times,
26:58
whatever, because it was all a matter of like getting out of those palazzo that
27:04
i'm wearing right yeah yeah it's not it's not sexy to get out of those because
27:09
they're hard to get out of like you're bent oh like it's like it's like opening
27:13
a mayonnaise jar naked like that's not pretty,
27:16
so it's kind of like you know naked can be pretty in other ways but not when
27:19
you're doing you know changing a bicycle tire so so it was like getting those
27:23
pants off was a hot mess so we had to figure about like, let me just get them
27:27
off so that we don't, when we don't show that.
27:30
So I'm not going to try to do that sexy or do that smoothly or elegantly.
27:34
I'm just going to whip them off and pick it up from there.
27:37
So when we agreed on that, it worked a lot better. I was about to say you're
27:40
a naked man in the closet.
27:42
Makes oh yeah it's in the film that's right
27:45
exactly i thought i thought oh he's pulling out the naked man in the closet
27:49
last uh one last yeah that was a that was a fun covet event to do the naked
27:54
man in the closet with some questions yeah had a lot of fun with that yeah no
27:58
i was yeah i was like okay he's gonna just dry off but no oh okay here we go.
28:05
And this is the sign of abraham no one's ever seen i
28:08
was waiting to see a tattoo of roy orbison there but there wasn't what
28:11
i won't know but exactly but
28:16
it's uh like you say it's it's important in
28:19
these films because there's a great tension and a great build-up of
28:22
tension too like you say drop some levity like uh
28:25
you know the prepare the cupcakes that's yeah
28:28
it's it's all gold and everyone just even the rest of your supporting cast there's
28:34
no there's no weak links there's no drag you know i i don't like i don't like
28:39
pigeonholing films and i don't really like labels but the term elevated horror
28:45
is is is out there and this definitely fits into that.
28:49
Category because it's not it's not one of
28:52
your simple slashes like you say it's not one you know
28:55
a guy invites a bunch of people around to a house
28:58
and plans to murder them one at a time it's it's
29:01
something that has a lot more gravitas and and
29:04
and depth to it than that sort of thing but in
29:07
many ways not just clever in script and construction this
29:11
this film really utilizes the
29:15
the the low budget sort of concept of of single location really well is there's
29:22
only because there's an awful lot of people making these films and going out
29:25
and and hiring like airbnbs and and some of these nicer places and go, well, I can make a whole.
29:32
Film here was that that factor into your thinking
29:35
that when you were constructing yeah but it's like
29:38
yeah we've all seen we've i mean i know
29:40
a lot of filmmakers and writers who sort of they find
29:43
a location that they dig right they have access to an abandoned factory and
29:47
it's like oh let's shoot here let's write a story to that yes and that's just
29:51
a really difficult challenge to then like if that's your if that's your objective
29:57
is to write a cool film in this location you're.
30:01
Limited so much by that and often it tends to be
30:04
a little flat or a little obvious because
30:07
it's just why don't they go out the ground in an abandoned factory
30:10
right like what can we do we have either zombies or there's a serial killer whatever
30:13
so so the challenge is to use a
30:16
location i think cleverly and then try to come up with something that we
30:19
haven't quite seen before and in this case you know
30:22
we've we looked for a location for a long time
30:25
that fit our purposes it had to have the right tone i
30:28
had to have a we sort of knew what we wanted and the
30:32
look of it we just locked out that the tv series
30:35
walker which we filmed this in austin texas and the
30:38
tv series walker is filmed there and they were on
30:40
hiatus they didn't know if they were going to be extended or not so that entire
30:44
crew were up for work and then i mean working on our film so we got super we
30:50
got a super professional crew and i think that the gaffer did an incredible
30:54
job with the light and just made stuff pop.
30:59
So it was easy to color correct in post. And Alex Walker who shot it did a great
31:02
job as well. So it was just a really good crew a really good.
31:07
Vibe on set and that's credit to lisa she's
31:10
a real sort of actress director she loves pulling the actors aside
31:13
and having quiet conversations with them and and and
31:16
i shared a house with natasha which was helpful because we could
31:19
then a we could sort of debrief about the
31:22
days filming together because we were almost that
31:26
every all of us she and i were on set pretty much every day
31:29
and then we came at night and we would cook together and
31:32
chill out on the terrace and just chat and then we could sometimes
31:35
run lines or discuss things that were coming up so there's
31:38
many that made this a really pleasurable experience yeah no mate look this is
31:44
a film ladies and gentlemen listening we're going to put all the links in the
31:48
description the house of abraham i believe there's a website too isn't it lucas
31:51
has a.com and uh it's out uh june 12th.
31:57
June 13th it opens in new york and comes to
32:00
l.a june 20th and then it'll roll out
32:03
across the u.s and somebody just took it to can
32:05
and it seems to have some some interested people there so
32:08
it'll definitely come out in new york and maybe even to the
32:11
way of australia at some point that's fantastic i i
32:14
hope everyone will get out and support this
32:17
film check the links in the description the house of abraham.com plus
32:22
we'll put all the links to lucas and stuff a film as fantastic
32:25
as elevated as layered
32:28
and as classy as the gentleman who
32:31
wrote it and abraham himself you get to
32:34
see all sides of lucas hassel in this film front
32:37
back uh side by
32:41
side you'll get to see where he tans and where he doesn't but
32:46
what you will get to see is an incredibly classy elevated
32:49
horror that really made my friday night
32:52
viewing lucas hassel it's great to talk to
32:55
you again mate and what a wonderful film i can't wait
32:58
to see it really means it means a lot i appreciate
33:01
your time and i appreciate catching up with you again and thank
33:04
you for the kind words i can't wait to see what
33:06
you do next mate it's yeah sequel right watch this place house of abraham too
33:13
yeah you never know yeah might be good could be good could be clever it's definitely
33:18
possible definitely possible if people are out there watching the movie i'm
33:21
sure we i definitely have more ideas for it, but let's see what happens.
33:25
It's really good. Ladies and gentlemen, it's better than really good. It's really great.
33:30
It's unlike anything you've ever seen, and they're the best kinds of movies
33:34
that are, especially today, where
33:37
everything is a remake or a version of something that has already been.
33:41
Here's something that's truly original from a truly wonderful gentleman,
33:46
thehouseofabraham.com. Check the links in the description.
33:49
Lucas Hassel, thank you for being my guest again, mate.
33:52
Such a pleasure. Yes, Lucas Hassel, the suave, benevolent, terrifying Lucas Hassel.
34:01
What a fantastic film, The House of Abraham. Please check all the links in the description,
34:07
www.houseofabraham.com, and check out www.filmthreat.com on the 13th,
34:16
the 13th of this month, the 13th of june 2025 when
34:20
the house of abraham it comes
34:23
out it will be out in the world and i
34:26
really hope you get a hold of it get enjoy it don't uh read the review don't
34:32
read anything watch the trailer if you want but the less you know the more you'll
34:37
enjoy this movie get out there and see it that's my word to you if get out had
34:41
a spiritual equal sister film in tone,
34:47
get out and the house of abraham would be a great double feature i can't wait
34:53
to do it neither should you check the links in the description the house of abraham is fantastic,
35:01
check the links in the description and as always my little yuganites thank you
35:09
for listening to us on spotify or wherever you choose to listen to your favorite
35:14
podcasts i'm ken hill and until next time, you've been listening to Cinema,
35:19
Zero Game.
35:21
Music.