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Kevin Riepl Infects With ‘Cabin Fever’ [Interview]

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Somebody call the vet.

Composer Kevin Riepl is one of Hollywood’s best kept secrets. Let me rattle off a few of the titles he’s composed for, okay? Let’s start with games: Gears of War, Alien: Colonial Marines, Twisted Metal: Black, and Unreal Tournament, as well as others. When it comes to film, he’s done The Aggression Scale, Contracted, Silent Night, Lost Boys: The Tribe, and two Batman Unlimited titles. And that’s just scratching the surface.

Coming to today, we’re here to talk about the recently released remake of Cabin Fever, which was produced by Eli Roth, who directed the original film. Riepl, who composed the 2014 prequel Cabin Fever: Patient Zero, is the man who composed the score for this remake, effectively creating a large portion of the tension and fear that is felt. I won’t speak for the whole BD family but I know that I’m a big fan of Riepl’s, so when the opportunity to ask him a few questions about the score presented itself, I couldn’t turn it down.

Below are six questions for Riepl about Cabin Fever, what inspired and influenced his pieces, what his thoughts were when approached for the film, and what he’s got coming up for us next.

Make sure to read Luiz’s review.

kevinriepl

You scored the 2014 prequel Patient Zero. Did any themes and motifs make a comeback for this new film or did you start with a brand new slate?

I approached this one with a new vision. As much as the director Travis Z and I liked what was done for Patient Zero, since the film itself was being completely reimagined we thought it best to start afresh and create something new, specifically designed for his version of the film.

When you were first approached with the offer to score a near exact remake of the original 2002 film, what thoughts went through your head?

When Evan Astrowsky the producer contacted me about coming on board, my knee jerk reaction was…“They’re remaking Cabin Fever? It’s a beloved cult classic. How can they do this?” But that alone piqued my interest. Travis and Evan asked me to come in for a viewing of a rough cut of the film before I gave them a definite answer about working on the film. The fact that I had a great experience working with Evan on Patient Zero, and I was interested in seeing how they reimagined this classic, I accepted and went in to watch the footage. It was like watching an entirely different film. Yeah, the same plot was there, the same characters, etc. But the film had a whole new life to it. It was shot completely different, there was no dark humor aspect, all the characters played their roles seriously and to me it was a totally different film. After seeing the footage and getting inspired by Travis’ passion for the project, I agreed to score the film. Reboots or re-imaginings of films are sometimes frowned upon and not well received. If they are done well with a new vision, I think they can work and survive on their own. It’s a common practice in theater. There are constant new productions and new visions of classic plays all the time. I think we are a bit too harsh on the whole reboot phenomenon in film.

What kind of mental space do you have to put yourself in to compose for something so intense?

It’s definitely a different space than the one I use when scoring Batman animated features. In all honesty I usually don’t sit there and over-analyze where my mind needs to be or where I need to be emotionally in order to score a film like this. I don’t take time before approaching a cue to get into a certain ‘mental mode’ like an actor would do to get into character. I look at a scene and think, what’s the best way to support what’s happening here? What I look at in a film like this though is, “What’s driving all the action? What’s pushing this film forward?” In this film it’s straight up fear. Fear is such a primal emotion. It’s so rooted in our psyche and our DNA. It runs deep in all of us. To help tie the music to that primal aspect of the film, I approached it with the idea of rhythm, another primal part of our being. We breathe in rhythm, we walk in rhythm, talk in rhythm, our heart beats in rhythm. It’s a part of everyone. So in most of the score throughout the film there is a heavy sense of rhythm. Not necessarily percussive rhythm, but a sense of movement. Even with simple synth or ambient cues there is a repetitive movement of oscillation or something similar.

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The original Cabin Fever mixed humor with gore and paranoia. Do those themes show up in the remake and, if so, how do you convey them musically?

There is no humor in this one, but yes, there is definitely gore and paranoia. Plenty of it!

I’m always fascinated by composers and the interesting ways they find different tones and sounds out of the oddest kinds of instruments or tools. Did this movie provide any such opportunities?

When first approaching the film I set out to use a Double Wind Wand Bull Roarer. Something I’ve had in my studio and have wanted to use on a film for a while. The instrument is made up of two thick rubber bands stretched across dowels of wood with a handle attached. The handle allows you to switch it around to create this low gutteral rhythmic drone sound. I thought it would be perfect to help convey the rhythmic aspect I was going for. It worked its way into many cues but usually never in its raw form.

What’s next on the plate for you? Any fun projects that you can tell us about?

I just finished scoring my third Batman animated feature for Warner Bros. that should have a release sometime this fall. Two other films I scored last year, The Night Crew and Get the Girl should be having releases this year with coinciding soundtrack releases. Something interesting is happening this year having to do with the sci-fi Atropa short I scored. A lot of good things happening that I am excited about.

CABIN FEVER 2016 exclusive poster courtesy of IFC

Managing editor/music guy/social media fella of Bloody-Disgusting

Exclusives

Brazil’s Fantaspoa Film Festival Announces Second Wave of Titles for Epic 20th Edition This April

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Azrael SXSW 2024
Pictured: Samara Weaving in 'Azrael'

Brazil’s Fantaspoa film festival is celebrating its 20th anniversary this year, and the festival is breaking numerous records, presenting an impressive total of 114 feature films, 22 of these as World Premieres, marking the largest number of feature films in Fantaspoa’s long history.

The final selection of feature films for Fantaspoa’s highly-anticipated 20th edition has been exclusively presented to Bloody Disgusting, so read on for everything you need to know!

The festival tells us this week, “With a diverse selection, the feature films screening at Fantaspoa XX have been divided into seven distinct competitive categories: International, Ibero-American, National, Documentary, Animation, All-Nighter, and Low Budget, Great Films. These categories promise audiences a variety of cinematic experiences, from the fringes of horror and fantasy to the depths of the human imagination.

“In addition to feature films, Fantaspoa will screen 123 short films, totaling 237 participating works, making this edition of the festival the largest in its history.

“The stunning lineup of competition titles includes the International Premiere of E.L. Katz’s SXSW charmer AZRAEL and the World Premiere of The Butcher Brothers’ new Devon Sawa-starring thriller CONSUMED, and Fantaspoa is also proudly presenting a diverse selection of special screenings, including Demián Rugna’s recent Argentinian hit WHEN EVIL LURKS with the writer/director in attendance. The fest will also feature special screenings of two Argentine films, 2014’s JORGE & ALBERTO VERSUS THE NEOLIBERAL DEMONS, Fantaspoa’s first original production which is celebrating its tenth anniversary, and TRENQUE LAUGUEN, which was selected as the best film of 2023 by Cahiers du Cinéma.

“Fantaspoa XX will also have the honor of presenting a special screening of Robin Hardy’s classic British folk horror film THE WICKER MAN (1973) in the presence of the director’s sons, Justin and Dominic, who will be also attending the festival for the previously-announced World Premiere of their stunning new documentary, CHILDREN OF THE WICKER MAN, which offers a very unique perspective on the lasting legacy of this cinema masterpiece.

“Among the confirmed guests for the festival’s second wave of films are Alejo Rébora and Daniela Jimenez (7 Lives), Paulo Caldas (Atmosphere), Jaco Bouwer (Breathing In), Karim Lakzadeh and Arash Jooyandeh (Dark Matter), Ryan Ward and Mackenzie Leigh (Daughter of the Sun), Nando Martínez (Fantastic Golem Affairs), Mike McCutchen and JJ Weber (A Game in the Woods), Mario Mayo and Jaime Arnaiz (I’ll Crush Y’all), Roger Elarrat (I, Nirvana), Mike Hermosa (The Invisible Raptor)Gonzalo Quintana and Hernán Quintana (Jorge & Alberto Vs. The Neoliberal Demons), Benjamin Pfohl (Jupiter), Gabriel Papaléo (Liminal Space), Igor Bastos (Motherboard), Armando Fonseca (Remind), Julio Cesar Napoli (Road to the Mouth of Hell), Gonzalo López-Gallego (The Shadow of the Shark), Máncel Martínez (Shit Happens and Miracles too), Guto Parente (A Strange Path), Juliana Muras (Trenque Lauquen), Kenichi Ugana (Visitors – Complete Edition), and Demián Rugna (When Evil Lurks).

The 20th edition of Fantaspoa takes place between April 10 and 28, 2024, and is presented by the Ministry of Culture, Fantaspoa Productions, and Instituto Ling, with sponsorship from Crown Embalagens, America Embalagens, and Banrisul.”

Below is the full second wave of feature films to screen at Fantaspoa XX:

  • 7 LIVES (dir. Alejo Rébora. 2024, Argentina, World Premiere)
  • ALBERT PYUN: KING OF CULT MOVIES (dir. Lisa D’Apolito. 2023, United States, International Premiere)
  • ANNA’S FEELINGS (dir. Anna Melikyan. 2023, Russia, Latin American Premiere)
  • ANOTHER CURSED MOVIE (dirs. Alberto Andrés Fasce and Mario Gonzalo Varela. 2023, Argentina, Brazilian Premiere)
  • ATMOSPHERE (dir. Paulo Caldas. 2023, Brazil/Germany, Regional Premiere)
  • AVIVA (dir. Boaz Yakin. 2020, United States, France)
  • AZRAEL (dir. E.L. Katz. 2024, United States/Estonia, International Premiere)
  • BA (dir. Benjamin Wong. 2024, United States, International Premiere)
  • BABY ASSASSINS 2 BABIES (dir. Yugo Sakamoto. 2023, Japan, Latin American Premiere)
  • BEYOND THE INFINITE TWO MINUTES (dir. Junta Yamaguchi. 2021, Japan)
  • BREATHING IN (dir. Jaco Bouwer. 2023, South Africa, Latin American Premiere)
  • CLARICE’S DREAM (dirs. Fernando Gutierrez and Guto Bicalho. 2023, Brazil, Regional Premiere)
  • THE COMPLEX FORMS (dir. Fabio D’Orta. 2023, Italy, Latin American Premiere)
  • CONSUMED (dir. Mitchell Altieri. 2024, United States, World Premiere)
  • DARK MATTER (dir. Karim Lakzadeh. 2023, Iran, Latin American Premiere)
  • DAUGHTER OF THE SUN (dir. Ryan Ward. 2023, Canada, United States, Brazilian Premiere)
  • DEMIGOD: THE LEGEND BEGINS (dir. Chris Huang Wen-Chang. 2022, Taiwan, Latin American Premiere)
  • DIE NIBELUNGEN: KRIEMHILD’S REVENGE (dir. Fritz Lang. 1924, Germany)
  • DIE NIBELUNGEN: SIEGFRIED’S DEATH (dir. Fritz Lang. 1924, Germany)
  • EIGHT EYES (dir. Austin Jennings. 2023, United States/Serbia, Brazilian Premiere)
  • ENCOUNTERS (dir. Dmitry Moiseev. 2023, Russia, Latin American Premiere)
  • ENTER THE CLONES OF BRUCE (dir. David Gregory. 2023, United States, Latin American Premiere)
  • THE FANTASTIC GOLEM AFFAIRS (dirs. Juan González and Nando Martínez. 2023, Spain/Estonia, Latin American Premiere)
  • THE FUNERAL (dir. Orçun Behram. 2023, Turkey, Latin American Premiere)
  • A GAME IN THE WOODS (dir. Mike McCutchen. 2024, United States, World Premiere)
  • THE GLASS HOUSE (dir. Taras Dron. 2023, Ukraine/Cyprus/Romania/Germany, Latin American Premiere)
  • THE HANDS OF ORLAC (dir. Robert Wiene. 1924, Germany, Austria)
  • THE HYPERBORIAN (dir. Jesse Thomas Cook. 2023, Canada, Brazilian Premiere)
  • I’LL CRUSH Y’ALL (dir. Kike Narcea. 2023, Spain, Brazilian Premiere)
  • I, NIRVANA (dir. Roger Elarrat. 2024, Brazil, Regional Premiere)
  • THE INVISIBLE FIGHT (dir. Rainer Sarnet. 2023, Estonia/Greece/Finland/Latvia, Latin American Premiere)
  • THE INVISIBLE RAPTOR (dir. Mike Hermosa. 2023, United States, Latin American Premiere)
  • JORGE & ALBERTO VERSUS THE NEOLIBERAL DEMONS (dirs. Gonzalo Quintana and Hernán Quintana. 2014, Argentina/Brazil)
  • JUPITER (dir. Benjamin Pfohl. 2023, Germany, Latin American Premiere)
  • KIM’S VIDEO (dirs. Ashley Sabin and David Redmon. 2023, United States, Regional Premiere)
  • THE LAST SPARK OF HOPE (dir. Piotr Biedroń. 2023, Poland, Latin American Premiere)
  • LIMINAL SPACE (dir. Gabriel Papaléo. 2023, Brazil, Regional Premiere)
  • M (dir. Vardan Tozija. 2023, North Macedonia/Croatia/France/Kosovo/Luxembourg, Latin American Premiere)
  • THE MONSTER WITH MANY NOSES (dir. Abigail Schaaff. 2023, Spain/France, Latin American Premiere)
  • THE MOOR (dir. Chris Cronin. 2023, United Kingdom, Brazilian Premiere)
  • MOTHERBOARD (dir. Igor Bastos. 2023, Brazil, Regional Premiere)
  • THE MUTATION PROTOCOL (dir. Marcelo Leguiza. 2024, Argentina, World Premiere)
  • THE OTHER SHAPE (dir. Diego Felipe Guzmán. 2022, Brazil/Colombia, Regional Premiere)
  • PANDEMONIUM (dir. Quarxx. 2023, France, Brazilian Premiere)
  • REMIND (dir. Armando Fonseca. 2024, Brazil, World Premiere)
  • RESTLESS WATERS, SHIVERING LIGHTS (dir. Ángeles Hernández. 2023, Spain, International Premiere)
  • ROAD TO THE MOUTH OF HELL (dir. Julio Cesar Napoli. 2024, Brazil, World Premiere)
  • SATRANIC PANIC (dir. Alice Maio Mackay. 2023. Australia, Latin American Premiere)
  • THE SHADOW OF THE SHARK (dir. Gonzalo López-Gallego. 2024, Spain, Latin American Premiere)
  • SHIT HAPPENS AND MIRACLES TOO (Dir. Máncel Martínez. 2024, Colombia, World Premiere).
  • THE SLEEPING WOMAN (dir. Laura Alvea. 2024, Spain, Latin American Premiere)
  • A STRANGE PATH (dir. Guto Parente. 2023, Brazil, Regional Premiere)
  • THE TENANTS (dir. Eun-kyoung Yoon. 2023, South Korea, Latin American Premiere)
  • TRENQUE LAUQUEN (dir. Laura Citarella. 2023, Argentina, Germany)
  • VISITORS – COMPLETE EDITION (dir. Kenichi Ugana. 2023, Japan, Latin American Premiere)
  • THE WAIT (dir. F. Javier Gutierrez. 2023, Spain, Latin American Premiere)
  • WAKE (dirs. Thom Arizmendi and Austin Parks Stewart. 2024, United States, International Premiere)
  • THE WEIRD KIDZ (dir. Zach Passero. 2023, United States, Latin American Premiere)
  • WHEN EVIL LURKS (dir. Demian Rugna. 2023, Argentina)
  • THE WICKER MAN (dir. Robin Hardy. 1973, United Kingdom)

Head over to the official Fantaspoa website to learn more.

Devon Sawa in ‘Consumed’

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