Today, another exclusive for BMovieFilms, an interesting interview with director, writer and producer Monte Light (Space, Blood Covered Chocolate, Bittertooth).
Do you mind introducing yourself to our readers and users?
I’m Monte Light. I’m a filmmaker in Los Angeles. I’m the writer, director, and producer of the movies Space (2020), Blood Covered Chocolate (2022), and Bittertooth (2024).
Your Latest project is Bittertooth, a horror movie about two female true-crime podcasters and a serial killer. Can you speak in detail about this movie?
“Bittertooth” contains numerous twists and turns that lead the audience to expect one outcome, only to have a revelation that completely reinvents their understanding of everything they’ve previously witnessed. It’s a psychological thriller with surrealist flair and a healthy dose of blood, too. We’ve seen many serial killer films over the years, but “Bittertooth” turns the camera on us. It focuses on our modern parasocial relationship with true crime.
The main actresses of Bittertooth are Genevieve Thomas and Autumn Ivy, but the cast also includes Helene Udy, famous for Dr. Quinn Medicine Woman. What can you tell us about these actresses? What was it like working with them?
I love Helene Udy. She is a consummate professional and an immensely intelligent person. She was in both “Blood Covered Chocolate” and “Bittertooth”, and most of her scenes were done in long takes, like theater. It’s a very special actor who can go for two to five minutes, sometimes longer without cutting, hitting ten marks in a row. Helene made it look easy.
Genevieve Thomas has a dancing background, so she preferred a more physical approach. Some scenes with her weren’t rehearsed beforehand. We would just train multiple cameras on Genevieve and let the magic happen organically.
Autumn Ivy is like a brother to me. We became close while working on “Bittertooth”, where they played the protagonist. I remember one of our first conversations about the character; I told them, “I need someone who can convincingly portray both the soft, romantic scenes and handle a chainsaw like a badass.” Autumn is one of the few people I know who can do both—truly a horror icon in that sense. Additionally, Autumn is an inspiring person, the definition of charisma. They maintain a positive presence on social media, alongside their work in film and voice acting. I highly recommend following them. It will do your soul good.
What attracts you to the horror genre?
There is power in horror. Horror is subversive. It speaks to the deeper truths, the hard facts that society works hard to paper over. Deep down, though, we’re keenly aware those very real horrors are out there. It’s the lizard brain in us. Evolutionarily, those threats will always haunt us. Horror is a therapeutic tool, helping people confront the threats in their lives in a safe, controlled environment. Also, I grew up loving the surrealists like Luis Buñuel. Horror is a genre where you can explore dream interpretation, the subconscious, and other abstract ideas in a commercial way.
What is the most difficult thing about being a writer and a director at the same time?
For me, I find it liberating to be both the writer and director. In the case of my last two films, I was signed on to be the director before any words were put to the page. So, as the screenwriter, I focused exclusively on the characters, story, and themes. Ultimately, though, it was all about telling the movie visually. I subscribe to the Hitchcockian idea that a good movie should be understood without sound, though an expressive sound mix is equally important to a horror film.
I storyboard every scene in my films. I also put together animatics of those boards with recorded audio from my table reads. This means my cast and crew can watch the entire film before we even make it. From there, we all get to have fun, bouncing creative ideas off each other and improvising where appropriate. It’s an efficient way to make an independent film, especially when you have to make it in ten days with a crew of four to eight.
In your movies, I have seen great attention to photography and a very careful use of lights and shadows. In this regard, what can you tell us about your collaboration with the director of photography, Neal Tyler?
Neal Tyler is a genius. I’ve never seen a man do more with less so fast. His understanding of light, lenses, and camera technique is unparalleled. He is also my producing partner and a director in his own right. He just released a psychological thriller titled “Driftwood”, for which I’m honored to have a producership. It is currently available on Amazon Prime. Check it out.
We’ve been working together for almost ten years now, so we have our shorthand. We’re kind of one hive mind. Sometimes, we’ll be setting up a particular shot, look at each other, and say in unison the movie we’re drawing inspiration from. One of the actors called it our “secret language”.
On “Bittertooth”, we were shooting on five cameras simultaneously, three Black Magics and two iPhones. So, Neal uses a technique that every cinematographer on an independent or limited-budget film should do, especially if you’re shooting digitally. He lights the entire set first, everything from the background to key. He conceptualizes light and shadow in 360 degrees, so there is very little breakdown and setup needed in between shots. It saves so much time and maintains quality throughout your day.
Another very interesting and relatively recent movie of yours is Blood Covered Chocolate, where you tackle the theme of addiction and mental health with horror themes. In this movie, you worked with Christine Nguyen, a fan-favorite actress from our readers. How has working with her been? Is there some hope to see Christine in your future project again?
Oh, Christine is an absolute legend. One of the nicest people I’ve ever met. When I saw her in Jim Wynorski’s “Sharkansas Women’s Prison”, I thought she would be perfect as Tien, the love interest of the protagonist in the film, Massimo. It might seem a bit incongruous since my film isn’t a horror-comedy, but talent lights up a screen no matter the genre.
I will admit I was a bit nervous the first time we met. It was the second day of filming “Blood Covered Chocolate”, and we were doing the Skype call scenes. We got to the point where she needed to break down in tears. I think I said something along the lines of, “Just imagine you’re losing the love of your life to a horrible disease, and you’re helpless to stop it.” That’s all it took. Christine was there instantly, so vulnerable and intense. My entire crew and I were in awe. I’d work with Christine again in a heartbeat.
Gregory Schmittel is making a documentary with the behind-the-scenes of Blood Covered Chocolate. When will we see it? Do you know anything about it?
I’ve seen the film. It’s fantastic. Greg won a Best Director Documentary Award for his work from the Culver City Film Festival. Fingers crossed, I’m hoping it will see the light of day, perhaps if “Blood Covered Chocolate” gets a physical Blu-Ray release. It’s something I’m currently working on. Christine Nguyen and “Blood Covered Chocolate” fans out there, let your voices be heard.
You are also a producer. What is the biggest challenge to making a low budget/indie movie?
You will always be behind the eight ball. As a producer, you have to think worst-case scenarios and how you might have to deal with them. Honesty is an important skill as a producer. Be fair with every actor and crew member, and make them all know how immensely valuable each one of them is as an artist. If compensation is minimal, encourage pride in their creation. Collaborate. Respect. Oh, and make sure everyone stays well-fed and hydrated.
What has been your favorite project until now and why?
Oh, don’t make me choose. They’re all my kids. I would say “Blood Covered Chocolate” reflects me the most since I was first starting my sobriety journey when I made it. “Space”, my first film, taught me so much, and I think “Bittertooth” is the best story I’ve ever written so far.
Next projects?
I am currently working on raising financing for my next horror film, which will incorporate a significant amount of dark satire alongside the horror elements. I wrote it with a wonderful guy named Kyle Gibbs, another horror aficionado and crackerjack writer/director. The film is titled “Unit 6-66: Midnight in the Black Ambulance.” It follows a group of first responders who answer emergency calls in a world where all supernatural monsters are real. The film promises to be a thrilling roller coaster of chills, with the greatest horror being our healthcare system.