FANBOY CONFIDENTIAL – The house itself is a major character in the film and the sets were so intricate and detailed.
DBA is so beautifully shot and the attention to detail was a thing of beauty…I was mesmerized by the woodwork around the house.
Can you tell us a little bit about filming in Australia and set design ?
Was all the post production done in Australia also?
TROY NIXEY – Yes, we shot in Melbourne and the exterior house scenes were shot in Mount Macedon. I loved it! Melbourne is my favorite city in the world. My ideas for the house came as I read the script over and over and over….. I didn’t want it to be just a scary, creaky home that the moment an audience is introduced to it they know bad things are going to happen. My idea is that the house would be the most inviting location in the movie. I picked two very strong color palettes for the movie, a warm autumnal color scheme for the house and Kim’s wardrobe and a colder starker color scheme for outside (excluding the house) and for Alex’s wardrobe- the bedroom being a combination of both Kim and Alex. Sally had her own color scheme, different from both Alex and Kim but through the course of the movie she starts shifting closer to Kim’s. I know I gave people fits through the course of the movie because of this but it was important to me and I believe it pays off in the final result.
I love texture and this is reflected in the house. As I mentioned I wanted it to be inviting so when the mayhem starts to happen it throws the audience off because it’s not expected. I had very strong ideas about the look of the movie and thankfully Guillermo agreed. Haha. This obviously comes from my artist background. Working with Roger Ford, the production designer, and his team was a dream. He’s world class and knew exactly what I was going for. The only thing I can say that we struggled with is we wanted so much we ran out of time. It was a good problem to have.
Obviously the DP Oliver Stapleton was also integral to the look of everything. We talked at length about how the house at night would drop to black and the house was designed so that it could. We referenced ALIEN as well As Rembrandt as jumping off points. he man is a lighting genius. He didn’t know what to do with me at times as I never left the set, not even between set ups, because I wanted to watch him work.
FC-With all the positive buzz that DBA is getting, do you think that the film will end the whole “gore porn” movement and bring about a resurgence of true suspense/terror/horror movies?
TN-Oh I don’t know about that. I don’t really worry about what’s going on with things I’m not really interested in- I’m too busy trying to get the things I am interested in moving along. I do hope that the movie will influence more people to take a chance on a more classic horror model but as far as killing gore porn? Well I don’t think about gore porn. Hahaha.
FC-Having debut some footage at last year’s San Diego Comic Con, how was that Hall H experience?
And it was just announced that FILM DISTRICT will have another Hall H panel this year…how awesome is that?
TN-I still fondly remember my days sitting in artist’s alley hawking my wares with my buddies. To sit in hall H last year and look out at 6000 people and have them respond the way they did was amazing. Film District has been batting a 1000 in their marketing of the movie and I’m incredibly proud of it so I can’t wait to get back on stage and share more glimpses of it leading up to the August 26th release.
FC-You produced an exclusive SDCC DBA print, what was the process behind that and how did you come up with the layout? Because the image is so striking.
TN-Thank you. Guillermo had great success in the past with the HELLBOY and PAN’S LABYRINTH posters so it seemed natural to do a poster for DON’T BE AFRAID OF THE DARK and with my background I of course bullied my way in to do the image…hahaha. One of the major theme for DON’T BE AFRAID OF THE DARK is loneliness, specifically Sally’s. For me the image of a little girl peering through massive dark doors reflects that. Then of course with the shadowy creepy hands reaching down to her adds another dimension to the image. I’m happy to see that FILM DISTRICT has continued the creepy hands in some of its marketing.
FC-The way you draw tends to lend itself to each project while not compromising your unique style.
I see hints of Richard Corben in your Simpson work and your plate work on the upcoming special edition of The Strain is very Bernie Wrightson. Everything is beautifully rendered, is that done on purpose or do you change up your style for each project?
TN-I don’t think I gear my style to be project specific I think I’m just constantly working to evolve. I used to ink with a brush and was very happy with the results I was getting but it caused a serious case of tendinitis in my drawing arm so I had to give it up. I’ve been using pens ever since and love to experiment with them. There is a greater tonal look to my current work than my past work.
FC-Can you tell me how The Strain illustrations came about?
Your work from the samples I’ve seen are nothing short of phenomenal.
TN-You’re making me blush here. THE STRAIN illustrations came about last year in San Diego. We were having dinner after the panel and Guillermo asked me if I knew any artists who I thought would be right for the job….I said yeah, me! I had been looking to do some drawing as it had been a while, Guillermo thought I had packed it in after I moved to movies. He was pleasantly surprised I hadn’t and that started drawing shortly after I got home from the Con. I’m about half way through THE FALL illustrations now and am really enjoying it.
Coming up tomorrow we have a new feature spotlighting the very talented and generous Troy Nixey
We here at FANBOY CONFIDENTIAL would like to thank Troy Nixey for taking the time out from his busy schedule to grant us this interview,Thanks Troy!!!
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’til next time Cabrones