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Danielle Harris Reveals ‘Stake Land’ Webisodes!

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While visiting the set of Dark Sky Films’ Stake Land in the cold, upstate Catskill Mountains, leading lady Danielle Harris spilled the beans about a series of webisodes that were shot for each of the main characters in the film. You can read all about them beyond the break. Being helmed by Jim Mickle (Mulberry Street), the flick takes place following a global spread of vampirism.
Kelly McGillis plays a nun who joins a small team of survivors – including Danielle Harris – as they make a treacherous journey north to safety through the war-torn U.S.

With there being so little dialogue in Stake Land (watch for our full report soon), and virtually no back stories, some of the lead actors and actresses in the movie have directed their own shorts, which will be available for viewing before the film’s release.

I just directed a webisode for Stake Land,” Danielle Harris told Bloody-Disgusting. “The webisodes are a nice little look inside our lives before we met. They’re short, maybe four to seven minutes each. It’s a great chance to sort of see all the directors’ styles, and how we differ from one another, which I don’t think is done very often, giving the fans the chance to sort of become emotionally invested in these characters before they watch them. A little snippet into their lives.

Further conversation revealed that Danielle Harris would be singing in her back story.

I come out in a beautiful, risqué, very short, cleavage gown… I’m just kidding. No, there’s no Sequin gowns in this movie! It’s just a nice way to sort of introduce who Belle is. We’re sort of having a little honkey tonk. We’re singing – Jim Mickle (director) and Adam Folk (producer) were out there with me – one playing the banjo, one playing the guitar. I got a chance to sing, and I have a horrible cold – I don’t have the greatest voice to begin with. I guess I can kind of carry a tune. But, um… I gave it my all. I’m the girl you usually have to bribe when I’m drunk – cause I don’t get up and do kareoke, no matter how much money you put on the table. I did it once, because Quentin Tarantino directed me up on stage and I just couldn’t resist, but other than that, I just don’t get up on stage. So – this was new for me. It will be interesting to see. I think it will be on the soundtrack, which I’m really nervous about.

When asked if it was ever considered to go into a studio:

Jim is really about leaving it real and keeping it real and not having it look like we’ve done it in the studio, pitch corrected. I don’t really care, to be honest,” said Danielle, shrugging it all off. “Whatever. I’m not a singer, I’m an actress. But it was fun to do. Again, I have this cold, and I couldn’t really hear myself, so it’s probably a little bit off key. Or a lot off key. But I got the crowd going, which is all that really mattered. And then I left, drove six hours, slept, got up and drove to the mountains and watched the sun rise for my short. I shot for twelve hours today. And now I’m going to bed…

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‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”

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backrooms director kane parsons mark duplass

There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.

In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.

“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”

“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”

He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”

Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”

Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.

His debut feature is the #1 movie in the world, so perhaps he’s onto something.

What’s next from Kane Parsons, you ask? Stay tuned…

backrooms 2 movie

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