We’re going a bit dark this week on BEHIND THE LENS thanks to writer/director JEREMY RUDD and his directorial feature debut with DIE’CED: RELOADED, and the fabulous veteran director CHUCK RUSSELL and his latest dive back into the darkness with WITCHBOARD.

Let’s kick things off with JEREMY RUDD and his feature debut, DIE’CED: RELOADED, which follows the story of Benny, an infamous serial killer who escapes a high-security asylum on Halloween night, turning 1980s/90s Seattle into a blood-soaked nightmare. Reborn behind a twisted scarecrow mask, he leaves a trail of carnage across the suburbs, as whispers of his gruesome past resurface, fueling panic in a city soaked in neon and fear. But Benny isn’t just killing for pleasure - he’s hunting someone. A young woman unknowingly tied to the darkest chapter of his madness becomes his fixation, and the closer he gets, the bloodier it gets. The result is a brutal, synth-drenched scarecrow slasher soaked in nostalgia, where Benny carves his place in horror history - one body at a time.

What makes DIE’CED: RELOADED interesting from a storytelling and production standpoint is that this began as a short film, conceived by Jeremy Rudd during the pandemic and inspired by slasher movies of the 80s and 90s. With the idea of a film that would pay homage to those bloody slasher classics, Jeremy developed the scarecrow-like villain of Benny and blending elements of those classics with his own ideas, DIE’CED was born. Garnering a cult following thanks to it being a viral online hit in 2023, Jeremy then took the next step and expanded DIE’CED into DIE’CED: RELOADED, taking a deeper dive into this new franchise villain.

Written and directed by Jeremy Rudd, DIE’CED: RELOADED stars Eden Campbell, Jason Brooks (who is fantastic as the non-verbal Benny), and Nigel Vona, among others.

In speaking with Jeremy in this exclusive interview, we highlight the film’s creative elements, including the opening title design and the use of red, black, and white, working with cinematographer Tyler Jones, discussing the visual grammar and lighting design which gives way to some very cool visual metaphors. Also, the challenges of extending the film by an additional 40 minutes or so to turn the short into a feature. Initially, Jeremy handled all aspects of editing, color grading, and sound design himself, learning as he went, and he has some interesting things to say about that learning curve, including the film’s pacing, minimal dialogue, and gory kills. And one of the biggest highlights of the film - beyond Jason Brooks’ incredible performance as Benny, the film’s score and needledrops - all of which I want on a soundtrack.

Then we shift gears with the wonderful director, writer, and producer CHUCK RUSSELL. I have long admired Chuck’s work, going back to “Nightmare on Elm Street 3" and since then, “The Scorpion King”, “Dreamscape”, “The Mask”, and a shift into action with one of my favorites, “Eraser”, and most recently, “Paradise City.” But now, Chuck goes back to his roots, shall we say, with WITCHBOARD. Now, WITCHBOARD may sound familiar to many of you. It was a terrific franchise back in the late 80's to mid 90's, but now it’s time for a new generation and a reboot and reimagination. And Chuck Russell is just the filmmaker for the job.

Resurrecting the '80's horror classic with a chilling new vision, WITCHBOARD takes place in present-day New Orleans, where a cursed artifact unleashes a vengeful witch, drawing a young couple into a deadly spiral of possession, temptation, and occult terror.

Directed by Chuck Russell and co-written by Chuck and Greg McKay, WITCHBOARD stars Madison Iseman, Aaron Dominguez, Melanie Jarnson, Charlie Tahan, Antonia Desplat, and, one of my favorites, Jamie Campbell Bower.

Speaking with Chuck is a pure joy. With no holds barred, we dug into all things witchy, notably the visual richness and historical accuracy of the film.

Inspired to incorporate the historical significance of pendulum boards, or Witch Boards as they were also called, into the story, after researching their origins and uses, Chuck noted that pendulum boards predate Ouija boards and were prevalent as far back as ancient Egypt, used for spell casting and fortune telling. He found it fascinating that these boards, which include astrological signs and symbols, were outlawed by the French Pope in the 1700s, with women being burned at the stake for possessing them. This direct historical connection to the occult and their transformation into Ouija boards intrigued him. So Chuck worked this into the story and then personally designed the film’s pendulum board to reflect both positive and negative balances, aiming for a nuanced portrayal rather than a purely demonic one. You’ll love hearing Chuck discuss the witch facts of history and why they are so important to this new 21st Century WITCHBOARD universe.

Diving into casting and performances, there is plenty of praise to go around, particularly for Jamie Campbell Bauer and Madison Iseman, who is phenomenal with Chuck noting their passion for their roles. One of the most interesting story aspects of WITCHBOARD is integrating the 1700s storyline with the present and the seamless editing process by his team of Alex Marquez, Joe Plenys, and Emily Vallee. Many filmmakers out there may find Chuck’s thoughts on the flexibility of digital editing compared to film and the seamless integration of visual effects to be of great interest.

In our discussion, Chuck emphasizes the use of color and texture, particularly with the intricate design of the pendulum board and the positive and negative forces in the various avatars. And when it comes to color and vibrancy, Chuck looked to a fave DP of mine, Yaron Levy, and gives us the details on the design of the visual grammar. But let’s not forget the work of production designer Camille Parent. It’s thanks to Yaron and Camille that we are treated to a balance of glamour and darkness to create an immersive cinematic experience. As you’ll hear Chuck discuss, it was his intention to make the film "sumptuous and tempting" while also highlighting the dangers and allure of magic. He wanted to create a "glamorous world," but the trick was to make that world terrifying, drawing viewers in with its beauty and then unsettling them with its darker elements. Rich colors, intricate set and production design, and dynamic lighting—such as candlelight and vivid color cues— reinforce this duality throughout the film, and Chuck goes into detail discussing the cinematic approach for both the allure and the threat presented.

Of course, what would an interview of mine on a film like WITCHBOARD be without talking about the score, and this one is just fabulous, courtesy of composer Sam Ewing; a contemporary score influenced by classical music. Plus, Chuck and Sam fought for and won the use of a full orchestral score for the film.