I just finished watching The Devil’s Five – while Houssem Turki‘s music score played along to it. You couldn’t possibly wipe the big smile from my face. Houssem brilliantly underscores every moment in the film and captured a true hybrid musical feel that blends the horrific bleakness of The Exorcist and the action propulsion of The Terminator. He did this in a way that sounds like a true Hollywood level score that is uniquely his own. I couldn’t be happier with what the talented composer delivered for The Devil’s Five.
During the 90 days between shooting phases of Abandoned Filmmaker Terry R. Wickham was extremely busy on the post-production of Stash and The Devil’s Five Segments from the feature film Devil’s Five. Wickham says, “During this time we recorded the last couple ADR sessions of dialogue for Stash with Sound Designer Thomas Jackson and I honed on finding the right music composers for The Devil’s Five and Stash. I found Houssem Turki from Tunisia for The Devil’s Five and Geoff Tyson for Stash in Progue. Plus I was working with Editor Kris Ramsey on polishing The Devil’s Five Final Cut.
I also had to unearth a VFX Artist for Stash. I thought I had the right person in New York City, but they ultimately bowed out forcing me to locate another person, which I eventually did with a VFX Artist in Los Angeles named Martin Bresino.
I also found an excellent Sound Designer for The Devil’s Five located in Los Angeles named Juan Pablo Moreu, who dove right into the film supplying Foley, sound effects, cleaning and mixing the dialogue. In the process of looking for the Sound Designer for TDF, I found Anthony Canchola in Chicago for Abandoned.
We also took advantage of this time to come up with multiple locations as backups for Abandoned in case we had trouble again at the original location, because I told Production Coordinator Jason Paluck we had to finish shooting the next time we all got together.”
Jason Paluck teamed with Production Designer Michelle Rickert and scouted at least three new locations that could substitute in case needed. Paluck actually had more places than that on his radar.
When the film team got back together on Saturday July 23, everyone was back except for the roles of make-up artist and 1st Assistant Camera. Wickham says, “It’s almost impossible to expect a crew to be the same 3 months later because people travel, take vacation and move onto other projects. Thankfully we found more than suitable production members in Make-Up Artist Regina Tune and 1st AC/Steadicam Operator Leftonred Atanycorner to step into those roles and I was relieved that the core crew remained the same.”
This time Wickham and Paluck devised ways for the production members to be as stealth as possible and not draw attention. Wickham says, “Jason and I discussed at length what we could do differently the second phase..
The first thing was we gathered and parked most of the cars off the premises at 8am. Then we ate breakfast there and then car-pooled in together in just two cars. We wanted to start the day at a structure that nobody ever goes. It’s a set of buildings we always planned on shooting the last couple sequences of the movie. The only little thing we had to worry about was Jason noticed that poison ivy had grown up into the walkway into the building. Thankfully he noticed this and we didn’t have a problem. ”
The Director continues, “I had hoped to be there about 3 hours and we ended up there just short of 5 hours. All things considered that wasn’t bad, as I had our Steadicam Operator Leftonred Atanycorner doing some pretty ambitious Steadicam moves.”
The first scene of the day really let Production Designer Michelle Rickert create something ghoulishly spectacular. Wickham expounds, “I think it’s the greatest set-piece Michelle has created so far on any of the films we’ve done together. She knew how important the look of the space had to be in what we called “The Kill Room.” What she did was further tell the story of the antagonists in visual terms and then Adrian’s remarkable lighting to go along with Lefty’s Steadicam work made it all gel together.”
This scene also brought Sound Recordist Patrick Reilly into a new role on the film. The guy who was supposed to play the First Assailant never showed or even called to say he wasn’t coming. So the filmmaker asked Reilly to play the part and he gladly stepped into the role. Wickham says, “Pat has a strong physicality that probably comes from his martial arts training and guitar playing. It wasn’t hard for me to envision him for the part. Listen, sometimes things happen for a reason. Donald Pleasence wasn’t John Carpenter’s first or even second choice for the role of Dr. Loomis in Halloween and we all know how that turned out.”
Then the team filmed the rest of the scenes that followed during the climax of the movie. Wickham says with excitement, “My vision really came to life with everyone doing their part to make it happen.
Director of Photography Adrian Popescu can make so much out of so little. The deserted place we were shooting was in pretty bad shape. Obviously there was no electricity of any kind, but there was jagged pieces of steel sticking up from the floor with parts of ceilings scattered about. Adrian used it all to his advantage with his implementation of some GED lights and his Sony FS-700 Camera’s amazing aptitude to capture images in dark conditions.
I’ve also got to talk about Leftonred
Atanycorner. Lefty put in more than a full day’s work. During the 12-hour shoot, Lefty told me he guesses he operated the Steadicam 8-hours on Saturday July 23rd and that sounds exactly right to me.
When I envisioned the story and wrote the screenplay, I wanted to move the camera a lot. I would even say it’s actually my preference of choice and my directorial style, that had never really been displayed as much as it is in Abandoned. I have tons of gratitude for Lefty really busting his butt to make my vision come to life and for Adrian lighting the sequences and setting up the camera to be able to shoot these longer shots that cover a lot of ground.
This is a perfect example of the incredible team work that happened on Abandoned. I didn’t want a big crew for many reasons. First of all a sizable crew wasn’t conducive to the the location we were filming at and to be honest I had come off two movies with close to 40 to 53 people working on them, so I wanted something more intimate.
When you are directing a movie with a lot of people involved, it’s very easy to lose track of things. There were many instances on The Devil’s Five segment where four people were trying to talk to me at the same time (one in front of me, one behind me tapping me on the back and two people tapping me on each shoulder). Because there are more people to communicate with it takes not only more time but energy. It’s like a big machine that needs to be fed gas and get oiled up to work right. I was yearning for something smaller, where I could really get my vision to the screen without it being watered down by being so spread out.
Without question I absolutely enjoyed those other experiences on the larger crewed films, because I was the one who designed them to have full teams of people behind them. I’m actually quite comfortable leading a full group of people and have been conditioned since I’m the oldest of nine children. I feel very proud of both films and handpicked the folks who I worked on them. But I was very conscious of everything that could separate Abandoned for sake of the movies not feeling the same and it would show my diversity as a filmmaker.”
Look for Wickham’s next detailed blog to continue the story of what took place while Abandoned was photographed on Saturday July 23rd, 2016.
Filmmaker Terry R. Wickham talks about his search for the music composer for his film The Devil’s Five, “My goal for finding a Music Composer for The Devil’s Five was to find a talented composer who could create Hollywood level score that was orchestral, epic and percussion based. Something that sounded way better than would our limited budget could afford. To exceed our financial limitations and help the film reach the cinematic level that would help us sell the movie in every available market all across the world.
With that in mind, I didn’t limit myself to just where I live in New York. I put the word out all across the country, which truthfully spread all across the globe.
Within just a couple days I received responses from over 100 composers from all over the world who were interested in scoring my film. So what I did was scour through all their reels, listened to examples of their stuff and wrote down a grading scale 1-10 (10 being the best) honing in on the ones that struck me the most. There was a sound I was looking for. Something that exuded both huge (epic) professional recording ability mixed with emotional feel for conveying the truth of action moments and character.
I wanted The Devil’s Five to have a different score than both Stash and Abandoned. It’s not to knock those films or the amazing people scoring those movies. I just that I’m striving for contrast and diversity not just from the films, but the stories I’m telling as a storyteller. I’m also trying to not to repeat myself and give the viewer three separate distinct tales.
When I received the response from Houssem Turki, who is from Tunisia, I checked out his site and his work. Right off the bat there was no mistaking his grasp of creating full-blown professional recorded music. Then his ability to capture both big (https://soundcloud.com/houssem-turki/enemy-invasion) and small intimate moments (https://soundcloud.com/houssem-turki/the-survivor) made indelible impressions on me. I also loved how he switches gears from dramatic driving music to tender heartfelt sensitivity in the blink of an eye. His music was exactly what I was looking for. So after letting him see The Devil’s Five in it’s “Rough Cut” form, he expressed his excitement and agreed to score The Devil’s Five today.
I’m honestly thrilled because I believe that without question Houssem is the right guy to help me achieve my ultimate vision of The Devil’s Five. When I read the composers who he lists as the most important to his composition like Hans Zimmer, Brian Tyler, John Williams, James Newton Howard and Hammock I knew we could speak the same language. Those are not only composers I listen to often myself, but Hammock is hands down on of my five favorite bands period. To this day, I have never seen another composer list them as an influence and that made Houssem stand out very big in my view.”
When you get a moment, please do yourself a favor and check out Houssem’s website (http://www.houssemturki.ml) and his exceptional music. I think you’ll agree getting Houssem to score The Devil’s Five was a big victory for the film.
Houssem Turki is a Tunisian composer mostly working in films and videos games as well as producing various genres of music such as epic, hybrid orchestral and ambient.
Many composers have had an important influence over the composition process for him like Hans Zimmer, Brian Tyler, Harry Gregson-Williams, John Williams, James Newton Howard, Daniel James, Hammock, Rudy Adrian, etc…
Graduated from the Higher Institut of Music in Tunis, Houssem tends to start his journey as a Composer and Sound Designer, as well as finishing his master degree in music composition next year.
Houssem is essentially a violinist, Pianist and Percussionist.