David Bruckner records cultural terrors on V/H/S

From “The Walking Dead” to Splatter Cinema film screenings, the horror genre has tapped a vein in the local creative community. David Bruckner of the Studio Outpost filmmaking collective turned Atlanta’s population into homicidal maniacs as one of the directors of the 2007 underground horror film The Signal (with Jacob Gentry and Dan Bush). With this year’s Sundance Film Festival hit V/H/S, Bruckner joins other macabre moviemakers like House of the Devil’s Ti West to reanimate the found footage genre along the lines of Paranormal Activity and The Blair Witch Project. Bruckner talks about his contribution to V/H/S, which screens on March 26 at the Atlanta Film Festival and opens theatrically later this year.

What’s the concept of V/H/S, which I understand features six chapters?

It’s a found-footage anthology. I think Brad Miska at the horror website Bloody-Disgusting.com had always wanted to do a TV show using found footage, but he decided to do a movie and reached out to his filmmaker friends. The anthology format appeals to independent filmmakers who have a concept that might not be enough for a full-length movie. It gives us a chance to explore concepts that are riskier and more innovative, without carrying the weight of a feature.

How did you get involved? Did you coordinate with the other directors while making it?

Ti West had mentioned that Jacob Gentry might be interested, but Jacob couldn’t do it, so he threw my name in the hat. Brad asked if I had any ideas, and Nick Tecosky and I wrote a treatment, and then we just wouldn’t leave them alone until they gave us the go-ahead. The producers had the attitude, “We know you’re DIY. Here’s a little bit of money, and we’re not going to breathe down your neck much.” The filmmakers didn’t communicate with each other at all, but the producers at Bloody Disgusting kept a bird’s-eye view of things that emerged.

What can you tell me about your chapter? And where did you shoot it?

Our chapter is about a group of college-age dudes who on the final night of spring break decide to go out with a pair of spyglasses to try and trick some girls into making a porno without their knowledge. They find out that they’re not the only sexual predators out that night. We shot some at the Aloha Motel on Memorial, inside the Perimeter, as well as at the Star Bar, the East Side Lounge, and here at Studio Outpost.

What do you like about making movies in Atlanta? Do you plan to stay here?

What I love about this place is, we’ve been here a while, and there’s a huge network of DIY filmmakers here. It’s kind of a self-taught community. The tide has turned a little in the Hollywood machine. I think they’re looking more at these DIY camps as an alternate to bloated studio projects. Ultimately, my responsibility is to the films and the stories, and I’ll go wherever I need to go.

Why does horror seem to be striking such a chord in Atlanta?

It’s not just in Atlanta. We’ve been going around Hollywood, and everyone’s trying to make a horror film. I don’t really know. In movies right now, it’s difficult to find audiences for drama. It might be that people are so distracted right now with everything in their lives that when they pick a movie, they just want to be scared.

Why does the horror genre appeal to you?

I’m particularly interested in science fiction horror. The current zeitgeist is wrapped up in technology advancing faster than culture, and horror’s a great way to explore that. I’m very interested in cinema and its power to affect you as both visual and an auditory experience. One of the great things about making genre fare is that when you have a communal experience, everyone gets involved in it. It’s great when you can hear a pin drop in a crowded theater while people are waiting to see what happens. And if I could count the number of times I’ve heard people say “Holy fuck!” while watching it.