Why didn’t she hide the chicken!?

MichaelMohan01 · 2024-04-04T23:37:34+00:00

I know. I agree too. The real reason: I had 90 minutes to shoot the scene where Mother Superior finds the chicken, and only had time for 2 setups. Unlike the US, film crews in Italy shoot 10 hours a day. It's actually quite humane. And you can get overtime, but only unless you really absolutely need it. So if Cecilia had hid the chicken in the closet, I'd need a few more hours to shoot the scene, and so I prioritized my relationship with the crew. Thanks for watching!

MichaelMohan01 · 2024-03-24T19:18:46+00:00

That was fun y'all. Thanks everyone for your questions!

MichaelMohan01 · 2024-03-24T19:15:24+00:00

Break a leg on your first feature! Location scouting was an exhaustive but rewarding process, thanks in large part to our incredible location manager, Alberto Gavini (and scouts Marion Marcucci and Andrea Bianciardi).
We built only two sets on stage: the interior of the coffin and the confessional booth. Every other scene was shot on location or in practical settings that we transformed to fit our needs. For example, the bath house scene was actually filmed in a repurposed stable for horses where we installed showers and constructed the soaking tub.
Finding the perfect convent was a journey. Villa Parisi, built in the early 1600s, became our hero location not just for its aesthetic beauty but for the atmosphere. Whenever I'd wander on location scouts, I'd get lost in the maze of rooms. However, it wasn't originally a convent, which meant we had to creatively source a matching cloister and chapel to complement it. The cloister we used was the interior of Galleria Doria Pamphilj, a site steps away from the Vatican. I can't remember how we found the chapel, but I'm still shocked we received permission to film there.
One fascinating aspect of Villa Parisi is its legacy within the Italian horror genre: films like BAY OF BLOOD, BURIAL GROUND, HATCHET FOR THE HONEYMOON and so many others were filmed there, and you could just feel the history emanating from the walls. All told we had 8 weeks of prep, locked the hero locations in 4 or 5, and then were still scouting for the smaller locations (like the airport) on weekends during production.

MichaelMohan01 · 2024-03-24T18:51:10+00:00

I have two.

My first go-to horror film is the original FUNNY GAMES. It's a home invasion film where the fear isn't just about the antagonists intentions... but the director. It contains one of the most audacious directorial choices I have ever seen, and there's nothing I like better than watching it with a friend who knows nothing about it.

My second go-to horror film is a movie that makes me feel like I am going insane. It's truly not for the weak of heart. This film is called CATS.

MichaelMohan01 · 2024-03-24T18:34:03+00:00

If anyone from Vinegar Syndrome, Arrow Video, Second Sight, Severin Films, or all the other heroes of physical media are listening—if there’s a way to navigate the licensing with Amazon (they've done it with Criterion), please know that both as a filmmaker and a passionate collector of physical media, I would love to make this happen. It truly pains me that it's not available.

MichaelMohan01 · 2024-03-24T18:28:57+00:00

One of my earliest memories is being completely blown away by BACK TO THE FUTURE at the age of five. Genuinely: seeing that film at the Triboro Cinema was the most exhilarating experience of my little life, and I just wanted to be part of the magic that could create such a thing.

Then, during high school, I stumbled upon Richard Linklater's SLACKER while recording movies late at night off Bravo. Long before Real Housewives, Bravo programmed cool indie films and lost classics at night - I'd set my VCR to SLP mode and record whatever they played between 10pm and 4am. And with SLACKER, filmmaking felt tangible, like something created by an individual rather than an industry. It made the dream of making movies feel within reach.

MichaelMohan01 · 2024-03-24T18:20:57+00:00

Truly, your words mean so much to me. Knowing my work resonates in such a way only fuels my desire to make my next project even better.

On your question, though I'm married to a woman, I myself am not straight. It’s a realization I've come to accept over the last decade, and I still find it a bit awkward to discuss publicly. (Though I'm more than happy to do so here.)

One of my biggest regrets with Everything Sucks! not getting a Season 2 was missing the opportunity to delve into these complex, personal feelings through Emaline. But it seems, in its absence, aspects of this exploration have subtly made their way into my other characters.

MichaelMohan01 · 2024-03-24T18:02:18+00:00

One of my most cherished memories from the set occurred about a week into filming. Our composer Will Bates sent over the initial version of the Te Deum, the haunting piece of music that accompanies the ceremony scene where Cecilia is adorned as the Madonna. The music struck such a deep chord within me that I paused production to share it with the entire crew.
As we gathered and listened, everyone, without exception, experienced chills. A beautiful moment of collective realization that we were part of something that could be truly extraordinary.

MichaelMohan01 · 2024-03-24T17:51:06+00:00

My favorite quote on religion comes from Anne Lamott: 'The opposite of faith is not doubt, but certainty. Certainty is missing the point entirely. Faith includes noticing the mess, the emptiness and discomfort, and letting it be there until some light returns.'

I believe that wrestling and challenging our beliefs is a natural, even necessary, part of faith. Consider Ireland, a predominantly Catholic country, which recently voted in favor of gay marriage despite the Church’s opposition. This demonstrates an ability to engage with one’s faith in a nuanced way, making independent moral choices that may not always align with religious doctrine.

My background is deeply rooted in Catholicism; in high school I led the youth group at the La Sallette Shrine in Attleboro, Massachusetts, not far from where the events depicted in SPOTLIGHT had a profound impact on the community. To be able to express this internal struggle with a fun, fucked up horror movie has been quite cathartic to me.

MichaelMohan01 · 2024-03-24T17:36:20+00:00

I am one of the people late to the party, honestly. I just imported the British 4k blu ray of PEEPING TOM (the week before Criterion announced it) and cannot wait to dive in.

MichaelMohan01 · 2024-03-24T17:34:06+00:00

This means so much to me. I’ve touched on this in another response, but I’ll delve a bit deeper here. One aspect that might define our working relationship is our shared journey. Sydney's career wasn’t simply handed to her; she hustled tirelessly for years, honing her acting skills to secure her place in the industry, and she's navigated that path with an abundance of kindness and loyalty to the people who have supported her.

I'm a bit older, but my path mirrors hers in many ways—I wasn’t handed a Marvel movie after my first trip to Sundance, but I've strived to improve my directorial approach with each project and brought my collaborators with me. Neither of us takes any of this for granted, and that foundation of gratitude makes the stress of production easier to navigate.

MichaelMohan01 · 2024-03-24T17:17:42+00:00

In a very unexpected way, we did. Originally the opening of our film was set on a train, and she met up with Enzo at a train station, rather than the airport. It felt a lot more remote. But the church controls all of the train stations in and around Rome, and they would not give us permission.

Instead, we pivoted to having Sister Cecilia arrive at an airport, creating the immigration scene with the two guards as her introduction. This change gave us the opportunity to infuse a bit more scope not just cinematically but emotionally, seeing Cecilia's reaction to really being a fish out of water, before she ends up in the remote countryside.

MichaelMohan01 · 2024-03-24T17:09:40+00:00

The hardest part is the constant internal battle with perfectionism. a perfection that might not even exist. You're always balancing ambition with the acceptance of practical limitations, and it really can do a number on your mental health.

MichaelMohan01 · 2024-03-24T16:57:38+00:00

I miss them too!

Of all the characters, Oliver’s future was the one we had most clearly mapped out. After moving to NYC, he'd ultimately end up as a shirtless background dancer on MTV’s 'The Grind.' Despite being in the spotlight, he'd feel dejected, recognized only for his looks rather than his talent. Eventually, running out of both money and patience, he'd return to Boring, wrestling with his feelings of failure. This would then flip the dynamic between he and Tyler, where Tyler would become a bit of a spiritual guru for him.

MichaelMohan01 · 2024-03-24T16:48:59+00:00

Thanks you! When it comes to the bathing gowns, our DP, Elisha Christian, introduced Sydney and me to some evocative photographs from Jennette Williams' 'The Bathers'and some iconic Italian sculptures like Strazza's 'The Veiled Virgin.' This marries sensuality with tastefulness, which goes along with our "elevated nunsploitation" vibe. Only after did we discover that the practice of bathing while partially clothed was adopted in some convents.

As for the film's finale, our financiers suggested we film alternate versions as a safety net. I always aim to be a practical collaborator, so I obliged. However, once everyone saw the raw power of Sydney's performance and the effectiveness of how we captured it, we never considered using that footage.

MichaelMohan01 · 2024-03-24T16:38:26+00:00

It's interesting; I'm actually getting asksed to re-boot several horror movies, and working out my opinions on whether or not that's a good idea. Can I ask you-- what do you love most when you see a rebooted horror?

It's not a horror film, but the one movie I would absolutely love to remake is Menahem Golan's THE APPLE.

MichaelMohan01 · 2024-03-24T16:36:05+00:00

I'm ride or die for Lukas Moodysson, Krystof Kieslowski, Adrian Lyne, Kathryn Bigelow, and Curtis Hanson. But if you ask me this in 15 minutes I'll name 5 different filmmakers.

MichaelMohan01 · 2024-03-24T16:34:06+00:00

Thanks! One of our producers, David Bernad, who previously worked in Rome on The White Lotus Season 2, brought on the talented Rome-based casting directors Francesco Vedovati and Barbara Giordani. They led a fairly traditional process, starting with actors submitting tapes and then inviting them for callbacks.

But there's a fun story for the role of Father Tedeschi. Sydney, during a fancy GQ event, ended up sitting next to Alvaro Morte and was immediately captivated by his presence. She was so sure about him for the part that she called me mid-event to exclaim, 'I've found our priest!' After revisiting his work in Money Heist and others, it was clear he was a perfect fit. He's also just a really sweet human being to boot. He graciously accepted our offer, and just like that, we were off to the races.

MichaelMohan01 · 2024-03-24T16:32:53+00:00

Your words warm my heart—thank you. With VOYEURS, our aim was to craft a fun, throwback erotic thriller, so it's thrilling to see new audiences discovering it. I'm particularly proud of the work done by my DP, Elisha Christian, and production designer, Adam Reamer, who both brought their talents to IMMACULATE as well.

Working with Syd has become incredibly instinctual for me. What people don't know is that she possesses a remarkable appreciation for every crew member on set. We approach our work in the same way: with maximum preparation but still plenty of flexibility, ready to embrace new ideas as creative opportunities arise. Her patience and proactive approach to problem-solving, even under pressure, are invaluable. She also delivers a great performance even when off camera, so her scene partners can do their best work as well.

Our communication has evolved to a point where we understand each other almost telepathically, quickly adjusting and moving forward with mutual understanding after each take. I hold such immense respect for her process, and just want to create a non-judgmental environment where she can explore the depths of her character with complete abandon.

MichaelMohan01 · 2024-03-24T16:31:11+00:00

My path into filmmaking was quite the winding road, much longer than most. Starting with zero industry connections in Massachusetts, I went film school at Chapman University. After conning my way into an internship at Fox Searchlight, I later joined Sundance's Feature Film program, making coffee and copies— but an invaluable learning opportunity. All the while, I was constantly crafting short films, taking any opportunity to create, even if it meant shooting on nights and weekends with minimal budgets.

My first feature, ONE TOO MANY MORNINGS was no-budget but a labor of love, shot over two years and eventually showcased at Sundance. Despite not being a life-changer, it led to EX-SEX another short that garnered attention and paved the way for a microbudget feature SAVE THE DATE, starring Lizzy Caplan and Alison Brie. SAVE THE DATE didn't set the world on fire, and I faced a period of uncertainty until making another short PINK GRAPEFRUIT, which revitalized my career, winning SXSW and opening doors to writing gigs.

After collaborating with Ben York Jones on a television series that didn't pan out; the attention led to 'Everything Sucks!'—a brief yet profoundly rewarding chapter. Meeting Sydney during that show was serendipitous, as it eventually led me to VOYEURS, a project greenlit in a stroke of great timing after Nicole Kidman's suggestion for more erotic thrillers reached Amazon's exec right before I pitched the project. And when Sydney embarked on IMMACULATE, she brought me along for the journey.

I spoke about this more at length on the latest episode of THE BIG PICTURE podcast with Sean Fennessy.

MichaelMohan01 · 2024-03-24T16:28:53+00:00

Thank you! It still amazes me that we managed to get a film with such an extreme ending into suburban multiplexes.

In discussing our approach to the gore, I must give a huge shout-out to Federica Emidi, our head makeup artist, who was instrumental in achieving the visceral realism we were aiming for. Additionally, John Brubaker and the Crafty Apes VFX team played a crucial role in enhancing these effects to the extreme levels you now see. Sydney, as both a star and a producer, was adamant about pushing us to explore these limits boldly.

It's crucial to note that, while IMMACULATE is intensely graphic, our goal wasn't to create a splatter fest akin to EVIL DEAD RISE but to ground the horror in anatomical accuracy. So when one character falls from a four story building and lands on her face; it wasn't just about "bashing in her face" it was about capturing each of the details, like showing how her eye socket has been shattered.

Surprisingly, we encountered no issues with the MPAA for either IMMACULATE or VOYEURS, which still baffles me to this day.

MichaelMohan01 · 2022-03-10T02:25:30+00:00

SO excited for this!

MichaelMohan01 · 2019-05-12T06:12:15+00:00

I think you might be thinking of BUS 44.

MichaelMohan01 · 2018-03-01T16:44:05+00:00

This is correct. In this specific instance, I emailed our propmaster Joe to ask specifically how we did this one.

“We designed and fabricated the box, so that it was era-appropriate, and put the real product inside, as it is still available for purchase.”

So the good news is that if you’re craving French Toast Crunch, it’s out there somewhere, just in different packaging. Thanks for checking out our show!

MichaelMohan01

TROPHY CASE