Q&A with Fredrik S. Hana, Director of “Angst, Piss & Drid”

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Name a Horror character you relate to on a spiritual level? Who is your Horror spirit

I can relate to Shinya Tsukamoto’s character in Hideo Nakata’s “Marebito”; the obsession of mystery and voyeurism – and having moments where you connect to something deeper through a lense than in real life.

You’ve gotta go through some bad ideas to get to the good ones. Tell us one of your bad
ideas. How do you get past the bad ones to find your spark?

Bad ideas are important to keep the creative prosess alive and fun, and they usually lead to better ones. So I rarely linger on something that I think is just plain bad. For instance, in the first script drafts for “Angst, Piss & Shit” there was a lot more going on. A time machine, a retired porn actress longing for her wild days, a whole serial killer community thing… just stupid ideas.

When you’re building the world of your film, where do you look for inspiration?
I look for inspiration all over the place, but it has to come from the concept; the story and the characters. The challenge to make my home town of Stavanger look anything else than a seaside dreck is also an inspiration in itself. So its an combination of finding locations that helps me tell the story, but with severe limitations.

What would you do if you woke up inside of your film?
I would start the first local police force, since there’s usually no sign of the law in any of my films.

Who would be on your ultimate horror villain squad?
Would love to see a evil filmmaker squad, consisting of Terry Hawkins from “Last House on Dead End Street”, Mark Lewis from “Peeping Tom”, Kyioshi Yamazaki from “Visitor Q” and … Sadako from “RIngu”?

Lightning round: Freddy or Jason? Stephen King or H.P. Lovecraft? Practical or CGI?
Post Apocalypse or Pre Apocalypse?

Freddy. H.P. Lovecraft. Practical. Pre apocalypse.

How do you go about creating the props and sets for your film? How do you
create objects that are relatable but unfamiliar?

We always work with a very limited budget so its all about being creative and working closely with the camera and lighting to help whatever illusion we’re trying to pull off. I’m lucky to be working with talented SFX people and they handle everything otherworldly, but I usually work a lot with the props and sets myself – mostly because of budget reasons. I like doing that kind of work as well. It brings me closer to the project, even though it sometimes becomes a bit too much to juggle everything with directing duties on top.

And finally, Ghostface would like to know ‘What’s your favourite scary movie?’
Kiyoshi Kurosawa’s “Pulse” (and Jonathan Glazers “Under the Skin”, its impossible to mention only one).