When I first moved to Buffalo from New York City, intending to switch creative gears from filmmaking to writing novels, I assumed that I had left all of my indie film connections back in the Apple and would never make new ones in my new city. Not so. Very early on, I met Emil J. Novak, the proprietor of a comic book store called Queen City Books (which had been started by his father), and Emil showed me, on his laptop, some short zombie films he had made. As someone who had shot two features in 16m, and had suffered through the deficiencies of Hi 8 video for my third feature, I was not yet sold on the possibilities of films shot in the Mini-DV format. I changed my mind upon viewing Emil's films. Digital video will never be film, but if you accept it as a slightly different medium, it is still an excellent format--and getting better all the time. It really doesn't make sense to make a low budget movie on film when so many features in the $3 million - $5 million range are being shot with these formats.

I was more impressed when, on another occasion, Emil showed me some behind the scenes footage of a feature he was making called TESLA THE ACCUMULATOR, a dramatic yet fantastical take on the life of Nikola Tesla, who invented AC current and is considered one of the fathers of science fiction. Even on the LCD screen of Emil's video camera, I was impressed by images of a barn which had been transformed into a laboratory set straight out of a Hammer film production, by a miniature of turn-of-the century Buffalo.

Later, when I was hired to direct a local film called PRISON OF THE PSYCHOTIC DAMNED, Emil was the first person I brought on board, as an art director and cameraman. I left the film during pre-production and David Kann took over, but I did get to see and admire some of Emil's set direction, including blood soaked walls and ghoulish dolls. And soon after that, I attended a rough cut screening of TESLA THE ACCUMULATOR, produced under Emil's banner, Buffalo Nickel Productions. The film features strong visuals and a compelling performance by Gary Marzolf, but suffered one of the strangest post-production mishaps ever. The film will be completed, and that story may be told one day.

Since then, Emil has directed another feature, a monster movie called BANSHEE, which is also working its way through a protracted post-production period. But the filmmaker has completed a film, a horror-suspense anthology called SOMETHING DARK, which will have its premiere at The Screening Room in Amherst, this Saturday, November 21st. The film will screen at 7 pm and 9 pm, and the second showing will be followed by the premiere of another locally produced film, RESIDENT HORROR, from X-Strike Studios . Like many horror anthologies, SOMETHING DARK features three short films and a wraparound segment that ties them altogether.

Although Buffalo Nickel Productions spearheaded this project, three other production outfits were involved as well:

ollagnod productions (Don Gallo)
Full Circle Studios (Terry Fisher, creative partner)
Kaptured Kitty (Maryellen Pylik and Michael O'Hear)

"I produced, wrote and directed BLEEDER and the MR. MARCH wrap seg," Emil told me, "and I also directed, co-wrote and co-produced MIRACLE NECTAR with Don Gallo. So I am essentially responsible for three of the shorts."

The film's synopsis describes the setup for the wraparound segment thusly: Mr. March is desperately in search of a rare manuscript. His traveling brings him to a dealer of rare books and curiosities. After conducting business with this book seller, a special arrangement securing a chance view see and possibly relish this tome is made. Sadly, there is a price to pay to view and gain knowledge from the rare quality of this book. And the initiation fee is blood! From here he engages in four stories from the book of the arcane and the supernatural. Only you can decide if this discovery was worth all the effort.

The segments include:

MR. MARCH: Producer Buffalo Nickel Productions, Director Emil J. Novak

BLEEDER: Producer Buffalo Nickel Productions, Director Emil J. Novak

FAST FORWARD: Producer Full Circle Studios, Director Jason Holler

MIRACLE NECTAR: Producers Buffalo Nickel Productions & ollagnod productions (Don Gallo), Director Emil

PERFECT CANDIDATE: Producers Maryellen Pylik and Michael O'Hear, Directed by Michael Bohatch and Michael O'Hear


I interviewed Emil as he was readying the first premiere of a feature film which bares, in large part, his creative stamp.


When I first moved to Buffalo five years ago, you showed me some short zombie films you shot on Mini-DV. When did you start making films, and what led to the formation of Buffalo Nickel Productions?


In December, 2003, I bought what was then new to consumers, a Mini-DV camera and an Apple laptop with iMovie. Next I took the premise from Sam Peckinpah's THE WILD BUNCH and loosely made, IF THEY MOVE KILL 'EM. And that was how I began movie production. Though let's not count the 1980s Super8 horror flicks we made during that era.


What films inspired you to make your own?


My influences are all more or less related to what I saw in the Drive-In theatres as a kid in the 1960s and 1970s. Early Terence Fisher-directed Hammer Horror flicks, such as 1957's CURSE OF FRANKENSTEIN, 1958's HORROR OF DRACULA & REVENGE OF FRANKENSTEIN, 1959's THE MUMMY, 1961's BRIDES OF DRACULA & CURSE OF THE WEREWOLF, 1969's FRANKENSTEIN MUST BE DESTROYED. Also, I enjoy classics by Val Lewton: 1942's THE CAT PEOPLE, 1943's I WALK WITH A ZOMBIE. David Lean's 1946 GREAT EXPECTATIONS, 1948's OLIVER TWIST. Corman's early Edgar Allen Poe period. And of course ,anything by Orson Welles, David Cronenberg, Fritz Lang, Terry Gilliam, and Bergman. And yes, I love contemporary horror also.


Your first feature, TESLA THE ACCUMULATOR, utilized miniatures, and all of your films have incorporated strong art direction. What is your philosophy about utilizing such strong visuals in filmmaking, even on a low budget level?


When I began making movies I decided if I couldn't obtain the funding that I'd like to have, I would at least have control of what I can do best and that is my art. My ultra low-budget indie films look more expensive than they really are. For me, art is everything, from illustrating to movie making, so why not give the audience the best visual possible? Good story + good compositions make great entertainment.


You run a comic book store, and you self published an indie comic version of TESLA before you attempted the film. I know you do a lot of storyboarding. Do you see a connection between the panel-by-panel format of comics, and the shot-by-shot format of film?


Yes! The connection between both mediums seamlessly connects. I like mood and visual stimulation on screen as much as I like my original comic book art, which is sharp contrast and black & white. Being involved with comic book art since age 11 (in 1969), my understanding of storytelling became as natural to me as breathing. If you can illustrate comics, you're more than halfway there. Any good movie maker must be able to tell a story without dialogue. I would suggest watching the great German expressionistic films of the past to understand silent movies and why they work.



When writing a screenplay, do you start with visuals in mind, or a specific story?



I first write a wide range of story ideas, then I retro fit them to visuals that my canvas, my great city of Buffalo, and friends provide me. From there I structure the script to what I can create and what I have access to as far as locations. I will admit that I mix my created interior set designs with real locations which mixes a bit of fantasy with reality that all of my features have. In TESLA THE ACCUMULATOR, I redressed my home cellar set approximately 10 different times and you would be hard pressed to even notice.


TESLA THE ACCUMULATOR is one part biography, and one part science fiction. It's almost experimental in nature. What made you want to tackle the inventor's life story in this manner?


The Buffalo - Niagara connection is what started it all. And that statue of Nikola on Goat Island in Niagara Falls, NY. I am drawn to the failed artist, or that troubled genius that loses in the end. Nikola Tesla is one such person I admire immensely. He was without a doubt the most important creator in the world and almost nobody knows who he really was. Tesla was more interested in his art than his business sense and sadly he was taken advantage of for being too nice of a human being. I love the biography movie. Someday I hope to make a movie on the sad death of William S. McKinley.


SOMETHING DARK is your first completed film. What's the status of TESLA, and BANSHEE, the ambitious monster movie you filmed in the Central Terminal?


Yes, SOMETHING DARK is my first completed feature; TESLA THE ACCUMULATOR would have been first back in 2006, though powers beyond comprehension have delayed its completion until early 2009, when it will be re-mastered and premiered. BANSHEE had two editors pass on the project. In the interim, BANSHEE's delay allowed me and my associates to make and finish SOMETHING DARK. When BANSHEE finally comes out (May 2009) people will be impressed by how we utilized the Buffalo Terminal in the movie.


Regarding SOMETHING DARK, what made you attempt an anthology film, and why did you decide to use a pool of directors, including youself, rather than direct the whole thing?


Anthology movies have always been a favorite of mine and so have the famous EC Comics from the 1950s, which are also anthology-based. In SOMETHING DARK I wanted to do something lighter, with less blood and guts, something more like what my favorite directors had done in the past, which is basically be more suspenseful than shocking. And the work load would be easier, and so would expenses, if the responsibilities were shared. FYI- One short was pre-made by Terry Fisher from Full Circle Studios. The 'wrap-a-round', and two of the shorts are directed by myself. The final one is directed Michael O'Hear and Mike Bohatch. In the end the movie has a rich visual sense and is very entertaining.


We both know there's a large pool of talent in Buffalo, much of it untapped, with a lot of people working on each other's projects. Can you speak about the support system that's in place, and what needs to be done to draw more attention to the films being made in this area?


There is no denying the talent pool in Buffalo is rich! In economically depressed towns like Buffalo, folks rely on escapism through art to stop the hurt in their hearts and pocket books, so they do creative things; like make movies. Though be careful.: I've run into more than my share of "arm-chair directors" than actual movie-makers. This art form requires sleepless passion, not pretenders. We're all on set to try to bring a script's vision to screen, not invent the producer's vision.

In my opinion the support system locally is a combination of factors. One part is the Buffalo Movie-Video Makers, one-part the Buffalo Niagara Film Festival, one-part Artvoice, one-part The 48 Hours Film Project, one-part Full Circle Studios, one-part local theatre, one-part Squeeky Wheel, one-part Hallwalls, and one-part Buffalo Nickel Productions. The key is getting out there and meeting your peers, talk passionately about telling stories and become involved with anything related to acting and movie making. And lastly, buy a camera and press the darn record button and make movies!


What would you like people to know about Buffalo Movie-Video Makers?


As the current president of the Buffalo Movie-Video Makers, I would like everyone interested in movie making to know our group is the best support system for experienced and amateur movie makers. Networking with members happens all the time and the end result is-- movies! For the record, we are possibly the longest running group of its kind in America. The Buffalo Movie-Video Makers began in 1935! We meet every second Sunday of the month, from 7:00 pm to 10:00 pm at The Screening Room .


Can you discuss the advantage to local filmmakers of having a venue like The Screening Room?


When you are ready to view your rough cut you always need to see your movie on the large screen. This allows you the chance to see if your compositions are right and to check sound and color, etc. By becoming a member of the BM-VM you get that opportunity to do just that at the Screening Room, where the BM-VM meets. And its members are there for critical analysis if you need that also.


Are there any locations, actors, or special effects used in SOMETHING DARK that you'd like to point out?


We used an ensemble of actors and crew on most of the movie to speed up production time. MIRACLE NECTAR was shot entirely in an authentic 1890s four story mansion on Delaware Ave. FAST FORWARD and PERFECT CANDIDATE have MaryAnn Reisdorf in them. Tim Dugan, Virginia Davidson and Mike Carrigan are all in both BLEEDER and MIRACLE NECTAR. Mike Bohatch from Nightmare Kinetics did all of the digital FX and the stunning opening credit titles and FX in BLEEDER and PERFECT CANDIDATE. The complete original music score was done entirely by Ron Gardner and Shawn Brawdy and is rather impressive! And I did the all of the Foley and sound design (except on FAST FORWARD).

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We'll keep you posted on SOMETHING DARK's future, as well as developments with TESLA THE ACCUMULATOR and BANSHEE. Visit Buffalo Nickel Productions