5 Questions with "We Are Still Here" Director, Ted Geoghegan
Raking in high praise from the horror-themed Stanley Film Festival and tizzying fans with it's trailer in anticipation for it's VOD release this week, June 5th - We Are Still Here is a film worth all the hype.
The film follows Anne and Paul in the aftermath of their son's tragic death in a car accident. Deciding to move to the New England countryside, the couple hopes to be able to move forward and restart their life together. Immediately in their new home, Anne believes she feels the presence of her son Bobby and decides to enlist her friend, who also happens to be Bobby's best friend's mother and a medium, to make contact with his otherworldly presence. However, Anne and Paul soon realize that the strange occurances in their home might not be familiar or friendly and could have darker connections to the mysterious and violent past of their new home.
Director Ted Geoghegan was kind enough to take a moment to indulge us for a few questions:
We Are Still Here is inspired by the movies I grew up watching at my local video store – which were primarily melodramatic, heavy genre films that basked in the ridiculous without veering into camp. Fulci, of course, was a huge influence, but my movie is a far bigger nod to his film House by the Cemetery than to the director himself. I was deeply inspired by its unique pacing, characters, and odd situations – all of which found its way into my script, and ultimately, the film itself.
The crucial reception has been really great for We Are Still Here, what element of the film are you most proud?
I don’t know if I could pick one element that I am most proud of. The film was a team effort, made by a very talented group of people who love the genre, and they all brought amazing strength and skill that shines through in the final film.
In the director's chair, what was good and bad about bringing your own story to life?
I cannot think of a single thing that could be considered “bad” about bringing my story to life, or about the amazing opportunity to direct my first feature. I can, however, think of countless great things: the film family I became a part of, the people of upstate New York who opened their homes and hearts to us, the amazing experience of living and breathing my film for a year, the personal growth as a filmmaker and human… The list could go on forever. I could never truly express how wonderful it was.
There are a lot of unconventional things about the Dagmar family that work so well for the film. How did you approach them as characters?
The Dagmar family, in many ways, mirrors Anne and Paul. Aside from being ghostly, burnt husks, the Dagmars are three very real people who suffered their own great loss long before the events of the film began – and they are still there, dealing with it in their own way. They’ve been unjustly vilified by the people who murdered them, and are still consumed by that aggression. We opted to say very little about them (save for some revealing information buried in the film’s end credits), and let their family be perceived as the audience wishes. If you see them as villains, so be it – and if you see them as victims, that’s fine, too. It’s really more important that you see them as three-dimensional beings who are more characters than special effects!
What are a few contemporary horror films you've really admired or enjoyed?
I quite enjoyed SINISTER, and am eagerly anticipating its sequel. The director of SINISTER 2, a fellow named Ciarán Foy, made an absolutely thrilling film a few years ago called CITADEL, which also blew me away, so I’m quite eager to see what he does with the franchise.
CC
Associate Editor/Horror Literature/Podcast Guest
CC is the High Priestess of BGH. She's into creeping around in the shadows and loves animals, but especially baby bats and puppies.