Q&A with Anthony Dones, Director of “A Doll For Edgar”

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Name a Horror character you relate to on a spiritual level? Who is your Horror spirit animal?
My closest connection to a horror figure would be Tod Browning’s rendition of Dracula starring Bela Lugosi. We both embrace solitude and beautiful dark castles.

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?
Every idea that inspires me to put pen to paper is always the result of a spiritual spark. Whether it’s dark, humorous, inspiring or hopeful, I always try to work on films that feel real and honest to me. Sometimes your worldview about certain things can come off as bad ideas I guess. Other times it connects. You just gotta keep swinging.

Do you consider yourself part of a horror community?
Horror films are the result of collective craftsmanship. The horror genre endears us to be part of a strong community that both challenges and inspires one another. I am proud to be a small part of said community.

When you’re building the world of your film, where do you look for inspiration?
Before I dive into production, I usually create a mood board from different sources. These sources can be photographs, paintings, architecture or other films. I also study lighting choices from some of my favorite cinematographers such Dariusz Wolski (Dark City, The Crow, Sicario) and Freddie Francis (The Elephant Man, Dune)

What would you do if you woke up inside of your film?
I’d stay away from some of the characters I’ve created.

Who would be on your ultimate horror villain squad?
Dracula, Alien, Darth Vader, the evil entity from The Conjuring (2013) and the Creature From the Black Lagoon.

Lightning round: Freddy or Jason? Stephen King or H.P. Lovecraft? Practical or CGI? Post Apocalypse or Pre Apocalypse?
Never really followed either
Post Apocalypse

How do you go about creating the props and sets for your film? How do you create objects that are relatable but unfamiliar?
My films usually work backwards from an interesting prop. Case in point, I was in a junkyard a few years ago here in Miami, and came across this cool, vintage WWII era radio. I produced a short film entitled 8GHz, completely inspired by that radio. I find that if I work backwards from interesting and obscure props, I sell the idea to my audience that the props were specifically made for my story. It’s a real cost effective strategy that gives the illusion of increased production value. Working backwards from a prop also makes your story much more cohesive.

And finally, Ghostface would like to know ‘What’s your favourite scary movie?’
The Conjuring (2013)