On clearer pictures, it shows a little girl's face on his Shoulders. He also has blood on his teeth and around his face, similar to the Wolf. His ears seem peculiar as they have a waffle-like look to the inside. Panda is a Panda animatronic with glowing red eyes. He's a scrapped character and doesnt appear in Gameplay. “You sometimes don’t know if you’ve gone too far or are showing too much.”Įllis is also taking on lighter fare, he says, and will be directing and shooting a film called “In the Miso Soup,” “definitely happening next year – I think that one’s going to be really fun.Panda is an antagonist in CASE: Animatronics. “It’s so helpful to have a test screening,” he says. “We tried to do as much of it in camera as possible,” he says, “because I always think it looks better.”Īfter a screening at Sundance, he adds, he decided – in addition to the need for haunting musical themes – to cut down much of the original CGI while also tightening run time. Later, as monsters begin appearing, seemingly to avenge the massacre, Ellis says he found old-school special effects and animatronics more powerful than CGI. “You’re holding the audience prisoner to it,” Ellis says.
The scene, incorporating waves of violence wrought by white men on horseback wielding muskets and torches, is entirely contained in a single distant long shot. Shooting on 35mm with anamorphic lenses, the director makes thorough use of the timeless rural landscapes his story is set in – particularly during a brutal attack on a band of Roma. “Going into this I originally wanted a completely static film.” “I would say ‘Anthropoid’ was my handheld film,” Ellis says. “Eight for Silver” certainly takes the idea of the sharp-toothed and insatiable monster down a different path in imagery that has a richness and stillness that’s distinct from his previous work. There was just this cliché of what the werewolf was.” It felt like zombies had been updated and we could do many different things with that. “I kind of love the werewolf mythology but I hadn’t loved where it had gone. That image led Ellis to the idea of a kind of werewolf that audiences haven’t seen before, he says. That’s when I came to the idea: What if the actual beast was carrying you inside, imprisoned inside?“ “I started to think of the wolf in terms of addiction and you are a slave to your addiction,” he says. “It’s really weird how this echoes what’s going on today,” he says, citing the film’s themes of powerful elites trampling the rights of refugees as the security of the poor is ignored by the uber wealthy.īut as the production rolled along in the Charente region of western France – a seemingly eternally misty and ethereal landscape – Ellis and his crew began to feel “Eight for Silver” was paralleling still another modern crisis.Īfter filming his characters retreating to a church and locking themselves in to hide away from a mysterious threat to their lives that has rolled into their world, Ellis and his team learned of the COVID pandemic and thought, “This is pretty crazy how much this is reflecting what’s going on today.”Īs for his choice of menace, Ellis says he wanted to explore new ways to think about the concept of a predator stalking a community. I think cinema is about visiting other worlds.”Īt the same time, this tale of a wealthy landlord who hires mercenaries to brutally put down a group of Roma who may have a legitimate claim to some of his land seems to connect with the contemporary world in many ways, says Ellis.
When you do a period piece you’re creating a world. “I felt it needed to be a period film – they’re more cinematic. Setting the film in the 1800s adds a dimension of strangeness and fear, Ellis says. Films like ‘Alien’ and ‘The Thing’ had a big influence on me.” “I wanted to go back to a genre piece,” says Ellis. Ellis, who is next directing and shooting a “quite exciting” English-language re-conception of 2016 Spanish revenge story “The Fury of a Patient Man” with his current team, LD Entertainment and Piste Rouge – his first feature he hasn’t written – says “Eight for Silver” was inspired by a love for horror classics.
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