- [Commentator] The following program contains scenes and images that may be offensive to some viewers.

Viewer discretion is advised.

(light music) (upbeat music) - Welcome to "TV Film," I'm Jermaine Wells.

"TV Film' showcases the talents of upstate New York media makers across all genres.

In this episode two Capital Region filmmakers present their thrilling short stories.

When a knight is troubled by haunting memories from his past, he journeys through the woods in the hope of finding peace.

"La Pierre" is directed by Everett Martson.

- I originally went to school to study physics in Massachusetts and quickly found out that was not for me.

I dropped out from studying physics and went to film school in New Zealand which was a super awesome opportunity and worked on a ton of projects over there.

And once that year was kind of wrapped up, it was COVID so I couldn't really stay there.

Came back to the U.S.

So I moved back home to Albany, New York and was not happy just sitting around.

So I wrote myself a film to direct and made "La Pierre."

The inspiration came, I had actually written a short story years before that was kind of similar to this, but on a much grander scale.

So I sat down and tried to figure out a way to really pare it down to something I could achieve in just a few days with just a bunch of friends and stuff.

I was the only person on set who had any sort of prior experience creating anything in terms of film.

You know, having come just from film school where everyone thought they knew the correct answer to this situation where nobody knew.

It really created some interesting moments and dynamics that I had not experienced before and really expanded what I think I would've been able to do on the film.

And we were able to shoot some stuff in ways that were kind of non-traditional, people who have no idea how it's supposed to be done, quote unquote, just come up with an idea of, "Hey, we can solve this problem by doing this."

And that was really awesome.

I think the biggest thing I learned was just to kinda let some control go.

They definitely bring their own perspective, their own ideas, and I think that also helps make it more universal and really, really happy with what I ended up coming up with and how we were able to make it turn out.

(dramatic music) (footsteps crunching) (metal clanking) (intense music) (knife slicing) (birds chirping) (dramatic music) (birds chirping) (dramatic music) (birds chirping) (fire roaring) (dramatic music) (intense music) (dramatic music) (intense music) (fire roaring) (bird chirping) (dramatic music) (birds chirping) (dramatic music) - Pierre?

Come back to me.

Come be with us.

Pierre wants to come to me.

Pierre.

Pierre?

Ariel wants to come to me.

Pierre.

Come back to me.

Pierre.

Come be with us.

Come back to me.

Pierre.

Ariel wants to come to me.

Come back to me.

Ariel wants to come to me.

Come back to me.

I miss you, Pierre.

(light music) (dramatic music) (dramatic music continues) (knife slicing) (dramatic music) - Next, a distant widower discovers his children are grieving their mother's death in their own terrifying way.

"The Rickety Man" is directed by Cameron Gallagher.

- I'm terrified by a lot of horror movies.

They scare me, but it's because they tap into something, right?

You know, in my psychology that either scares me or creeps me out or whatever it may be.

So, and I think too, as a director and as a filmmaker it's fun because you can kind of play with those things and you can kind of experiment with concepts and things that maybe scare you.

I was kind of in a little bit of a point where I was stuck and I was like, you know, we had done a short film called "The Faceless" and I was going to actually submit it to what I thought was a short film competition.

Well, I found out that it was a short script competition.

And I realized on the website though they had a lot of cool like scripts and they were like, "Oh, you can reach out and read them."

And one of them was Jeremiah Lewis who wrote The Rickety Man and we kind of chatted and I believe it was December of 2020 and we really hit it off and quickly we realized that we were just in pre-production and it was really strange.

Like it was almost just like, it felt like, "Oh, so we're gonna do this."

What I love about good horror movies is the idea of a really good drama movie that has something horrific about it, right?

I think that's what makes it a really good horror movie.

And I think what drew me to "The Rickety Man" was it's got this cool lore, but at the heart of it it's this family drama that then feeds on that lore.

And I think what was cool about "The Rickety Man" and what still is is the concept as a whole is kind of timeless.

Actually we've talked 'cause it's a period piece and we've even talked of the idea of the possibility of it being a modern day thing.

And there can be prequels and sequels because there's so much to the lore and sort of the way it works that can be fundamentally changed and moved to anything.

(birds chirping) (whispering) (laughter) (clock ticking) - When I awoke, I apprehended a sensation.

I have not felt in a half year's time.

Peace.

But the sadness is never far off.

(clock ticking) Yet today, Ravensmoor somehow seems brighter, more filled with promise.

I know it would be Alice's wish that we all be happy again.

(clock ticking) (intense music) (hand slams) - [Child] Look.

(eerie music) (clock ticking) - [Father] What is this horror?

(clock ticking) - It is us, father.

- United States?

Whatever do you mean?

- We have been beyond the wall.

Jamesd and I.

We've met your new friend, the rickety man.

- Matilda, put this ghastly nonsense out of your mind and do not venture past our gate.

Least of of all, not in the damn wood.

Now where is James?

- James?

(eerie music) He's about.

What are you writing?

- A letter, to your Aunt Liza.

Have you finished your lessons?

(clock ticking) - Of course.

Teacher is a voracious, reader.

(eerie music) - Yes, very good.

Tell your brother what I said and no more of these images.

Draw birds and flowers, trees, happy things.

(eerie music) (clock ticking) - Happy things, yes.

(eerie music) I love you, Father.

- What in heaven's gotten into you?

Run along to your room.

(eerie music) (birds chirping) (eerie music) James.

Did you do this?

- I heard mama, beyond the wood.

(birds chirping) (laughter) (eerie music) - I told you I don't want you venturing past the gate.

Matilda, did you not tell your brother?

(dramatic music) It is an old and fetid swamp.

Very dangerous.

(intense music) Spring I shall drain it.

- [Matilda] No, you mustn't drain it.

Mama is there!

- No.

No, she's in the church yard.

(Matilda sniffing) Children.

Come.

- I've been dauntless.

Forgive me?

I know you grieve still.

I do as well.

(Matilda sniffing) (eerie music) - I miss mama, but I love you, father.

(eerie music) - James, we're going home.

(eerie music) Lately, dismal mood is overtaken the house.

(intense music) Servants have fled.

Left no letter of withdrawal.

(intense music) I confess their departure leaves me in a state of constant agitation.

What do I know of preparing a meal?

Children's beds and laundry?

(intense music) As if it would alter their metamorphosis, James refuses food.

(intense music) Doctor says it's a malaise of grief and shall pass.

(intense music) I have doubt.

(Matilda panting) (eerie music) (monster growling) (door creaking) (intense music) Matilda's manner is haughty and wild.

(intense music) Nearly feral at times.

(intense music) (crunching) She takes on an aberrant make believe which confounds me.

(intense music) If it be grief, then it is a kind of ravenous.

(clock ticking) (fire crackling) (eerie music) (clock ticking) (door creaking) (intense music) James?

(intense music) (floor creaking) (intense music) (father panting) (heart pounding) ♪ Rickety crickety ♪ ♪ Rickety crickety ♪ ♪ Rickety man ♪ (intense music) Rickety crickety.

Rickety crickety.

Rickety man.

(intense music) - [Man] Rickety crickety.

Rickety crickety.

Rickety man's out the gate.

(intense music) (clock ticking) (door creaking) - [Matilda] Our dear brother James has gone away like mama.

Called home to the rickety man in the wood.

- Stay back.

(father panting) (intense music) (pounding) - [Matilda] Let us in, father.

Please.

(intense music) Mama wants to...

Pound your life.

Everything you wish.

(intense music) (door creaking) (intense music) - Who are you?

- Don't be unkind, father.

You know.

- You are not my little girl.

- Aren't we, father?

- Come on, come no further.

I warn you.

(intense music) (clock ticking) (pick stabbing) (father gasping) (intense music) If it be grief, then it is a kind of ravenous anguish.

I even in my deepest moments of despair could never comprehend.

- [Matilda] But all will be well if you, dear Liza, join us.

But till then, James have explored the wood beyond the wall.

We wish very much to show you all the sights.

I am most affectionately yours.

Edward.

- Learn more about the films and filmmakers in this season of "TV Film" at wmht.org/tvfilm and be sure to connect with WMHT on social media.

I'm Jermaine Wells.

(upbeat music) - [Commentator] "TV Film" is made possible by the New York State Council on the Arts, with the support of the office of the Governor and the New York State legislature.