An empty car can become a terrifyingly small world when you have no idea what is waiting outside. In Anthony Lin’s The Lull, the filmmaker builds his nightmare around Jason, a camp counselor whose fear of unseen threats makes even the next movement feel dangerous.
For Lin, that tension comes from a lifetime of watching horror films and playing survival-horror games. His influences range from The Evil Dead to Resident Evil, but the production also taught him when to pull back: fewer explanations, fewer references and less of the monster itself. Made with an iPhone 13 Pro, iMovie and the support of his collaborators, the film turns practical limitations into an approach built around dread.
For WAJ Magazine’s JCIFF Presents: Nightmares coverage, Lin discusses first-person perspective, sound, creative restraint and the people who helped bring the film to life. Members of the cast and crew join him for the final two answers.
The Interview
What inspired Jason’s story and the central idea behind The Lull?
Jason is the amalgamation of Ash Williams from Evil Dead and Ethan Winters from Resident Evil, as well as my reaction to these horror mediums. I wanted to create a character that went through a night of terror that would reasonably cause him to question the world around him; in a very humanly-impulsive way. I shot a good amount of the movie from first-person point-of-view (POV) as a way for viewers to put themselves in Jason’s shoes, to feel the tension in his body, to better hear his shuttered breathing, and to maximize the unsettling-ness that is: “Anthony Lin’s The Lull”.
The inspirations behind the central idea of “Anthony Lin’s The Lull” started with a kid too young to watch horror movies (me). Throughout the years, I found myself drawn to summer-camp type horror movies where the somewhat endearing camp counselors must fight some type of impossible evil (like Friday the 13th). When I finished my 20th game play-through of “The Quarry” which has that same premise, I decided it was time to pay homage to that fascination. I took bits and pieces of different horror mediums such as Resident Evil 7, Silent Hill, P.T., Outlast, Alien Isolation, The Evil Dead, The Thing (1982), etc, to help me morph my homage to an unsettling environment teeming with screeches and windy suspension breaks!
How did you build dread through unseen threats and the isolated setting?
I’ve spent much of my life thus far watching a wide variety of horror movies and playing a wide variety of horror games. The very good ones, the ones that stuck with me the most, oftentimes emphasized an extreme focus on design, sound, lighting, and scene. Whether it be the flickering lights and hum of the Sevastopol Station or the creaking floorboards topped by the haunting footsteps of Jack Baker in the Baker House, I’ve found myself captivated especially when the attention is on a single character experiencing such moments. In those moments, I am that character; I can see myself shaking and jumping to every wind, whistle, or random object hitting against some-type of metal surface...at the exact time I decide to finally move a muscle, to gather my courage and move around the corner of unknown dangers! At least when I can see a threat coming, I know how to act (whether it’d be good or bad for my life). I imagine taking that defense away would bring anyone apart and could cause panic and stress. Maybe the monster is lurking at the corner of my eye, always sliding away into darkness just when I manage to catch a glimpse of it. Isn’t that unnerving?
So, I thought about the perspective of a singular character facing such horrors and decided to jam such a character into an enclosed space. Having nowhere to go and being cornered with objects blocking me was a discomfort I wanted to share with viewers. By keeping the film to one location I wanted to keep the unsettling and looming threat all around Jason and create that sense of hopelessness and dread that prevails throughout the movie. Even when I added my sketches, I intentionally made sure there was little room for the camp counselors to relax as there was something coming out to get them. And drag them into the darkness…
How has your experience across acting, writing, and directing shaped this film?
When I attended Rutgers, I took multiple classes on acting, costume design, set design, script work, etc. I took what I learned and applied them to “Anthony Lin’s The Lull”. Very quickly, I realized how little I knew in terms of being able to apply the lessons passed down to me. For example, I had to learn how to keep track of props and what scenes I needed to shoot for the next day. I’m so lucky that my friends and family helped provide equipment and helped me set-up props from time-to-time! I pushed myself through post-production to determine how to best help my film stand out, which required learning things like managing and overlaying several layers of audio on top of one another. Watching the scenes during production, allowed me to know how to articulate my lines based on the given scenario. Post-production seriously gave me the chance to become a better performer. Being the writer of the film gave me the chance and freedom to revise on the fly when lines or scenes just didn’t work. Overall, I’d like to think that my experience making “Anthony Lin’s The Lull” grew me as not just an actor, writer, director, but also as an aspiring creative.
How did you and Brendan Roberts approach the score and sound?
Brendan helped guide me in managing my register when it came to recording lines and other ADR materials. They also helped with positioning and set-up when it came to recording with their mic-set. It was such a surreal experience to be recording with their professional equipment. Previously, I had only recorded and mixed together a version of the Monster’s voice for Brendan to review. However, I quickly recognized just how talented they were and have been so lucky to get more of their input. For instance, Brendan and I eventually agreed that the Monster of this movie had to sound haunted, tortured, jaded, or a close approximation to the Regenerador from Resident Evil 4. Brendan introduced me to a selection of filters and options to pitch the monster’s voice, and suggested how to make the monster the way it’s depicted in the movie. Brendan taught me the limit to where an audio can be the loudest before possibly breaking/damaging speakers! It was Brendan who helped equalize the audio of the film, and this was only after I showed them the first cut. Did I mentioned they were the one who helped change some corny lines and delivery to award-worthy performances? That’s them! I owe them plenty for how “Anthony Lin’s The Lull” turned out, especially because of Brendan’s ingenuity, creativity, and (corny as it sounds) friendship.
What did your cast and production collaborators contribute to the story?
When I recorded lines with each cast member, it was such a joy to see everyone bringing their own perspectives to how they’d approach the situation their characters are in, in the movie. None of them were afraid to call me out when they felt that a line didn’t make sense! And I say, good on them. This type of collaboration helped strengthen and prepare me for future dialogue creation. Travie did a couple of takes where he was practically emulating Stu Macher from Scream to Shaggy from Scooby Doo. While this was fun, it gave me the chance to see who his character (Alden) was outside the pages and paint his tragedy into a blend of comedy and seriousness. Xeleighta was phenomenal when it came to delivering the panic, malice, and steadiness that is Suzie Griggs. Every time she uttered her lines, I would be blown away by how she added so much more to Suzie as a character than I ever envisioned her to be.
Brendan, Rahul, and Nick provided me critical insights to how I could move the story along (for the better), on how to best utilize the camera and recording equipment, and provided their voices for their respective roles. While I’ve already spoken about the greatness that is Brendan, I want to speak about Rahul and Nick. Nick was originally part of an earlier version of my movie called “Last Call”, where he was going to play a Camp Counselor named Dell in 1976. After that idea was shelved, I made sure to involve Nick in other creative decisions - whether it be checking to see if the filter being added was too much or if I still needed to tighten the script after the umpteenth edit, Nick was there. When I had the chance to bring him back and resurrect a version of Dell, Nick didn’t hesitate. He delivered his line with the gusto of Bruce Campbell with a side of snarky wit. Now onto Rahul. This man is the reason why I started acting, and in-turn get heavily involved in the entertainment industry. This movie wouldn’t be here if it wasn’t for that day in 10th Grade Spanish Class, when he pushed me to successfully audition for Captain Hook in my school’s production of Peter Pan. Rahul was brutally honest with me when he saw clips of the film that didn’t work, and reminded me to pat myself in the back when I didn’t realize I should. He also taught me how to operate the mic he lent for when I had to voice-work from home. Rahul gave me first-hand experience with how brutal it could be when you’re trying to film that perfect scene you want, and taught me lessons on recognizing when it was the right time to stop. To Rahul, Nick, Brendan, Jori, Andrew, Kayla, Xeleighta, and Travie; I couldn’t have made this movie without you. You guys are the best crew anyone could ask for!
What was the most difficult production decision?
There’s so many to choose from! Honestly! There are! If I had to boil it down, it was when I had to tell myself “No”. That is an important word. I had to say ”No” when I wanted to explain where the Monster came from. Nick helped me realize that it would’ve been too much and would break the scene his character was in. It would’ve been an injustice to Nick and the story being told. I had to say “No” to one last homage to my favorite horror story. Cause then the movie would have no identity outside of just being a boat full of references and cool throwbacks. I literally wanted to add “No thanks, bro” (Leon Kennedy reference) anywhere in my movie when it just wouldn’t have worked and be an unnecessary disruption. The most important “No”, was not showing too much of the monster. There was a point where I wanted to show a disfigured skull with dried blood and wig over it as the face of the monster. Then I realized, with a few others’ input, how ridiculous it looked. And that worked in my favor anyway. That by not really showing the “true face” of the monster, I was depriving viewers a relief from the tension and unsettling-ness throughout the movie. “No” is the reason why I finished this movie in the first place.
What does selection for Nightmares mean to you?
Anthony: Being selected for JCIFF’s Nightmares means so much to me. I get a chance to show people what I can do with a shoe-string budget, an iPhone 13 Pro, iMovie, and so much creativity! Showing more people what I love about horror and all of its sick and twisted intricacies makes my entry into this festival all the more meaningful. I also hope that being selected showcases not just my talent and work, but for my Cast and Crew as well. I would like to hand the mic to some of my cast and crew!
Xeleighta: It is a complete honor. I just love to work creatively and the opportunity for this project to be chosen! To share it - in of itself - is an honor!!
Rahul: Being selected is a privilege and it makes all the effort and skill that went towards creating this project a little bit more meaningful. Indie movies get made because a group of people found themselves motivated by their love of film and was driven to create. Now, being able to share that creation with a wider audience is an opportunity to connect with others like us and hopefully spread that motivation to create.
Nick: With the rise of New Jersey as a hotspot for filming by the major studios, it’s important to remember that this state is filled with homegrown creatives who want to share their unique stories. Nightmares act as a platform for local talent who are fascinated with the dark and macabre. I am proud to be involved in a film that will be shown among works made by other passionate filmmakers. I hope to be part of Nightmares for years to come.
Andrew: Being selected to participate in Anthony Lin's "The Lull" was an honor as he is wonderfully talented actor himself. Anthony is a true visionary with the drive to persevere in this or any other industry that he puts his passions into!
Jori: I think nightmares are terrifying and they can be just related to trauma. Not everyone loves a nightmare when they dream, but they love a good horror film. So, it’s like watching a fever dream. What does it mean to me? Potentially something unexpected. It’s the Sensory Details: document the plot, thoughts, and feelings of the nightmare while awake. Boom there’s the script!
What do you hope audiences feel after watching, and what is next for you?
Anthony: Dread. Unsettling-ness. Anxiousness. I want the audience to feel the hopelessness that Jason and his friends faced. That something is lurking at their periphery, and to keep one eye open when they sleep afterwards…in terms of what’s next for me? I’m currently working on an idea and script for a new horror short that might have a spiritual connection to “Anthony Lin’s The Lull”. Also, buying Candy Corn to have a sugar crash to before Halloween Ends. Now, some words from the Cast and Crew!
Xeleighta: I hope they’re excited! Thrillers tend to get the adrenaline going and the mind thinking, and that’s the excitement I hope the audience experience. And I hope they continue to support individual artists too. What’s next for me is unknown but whatever it is I look forward to any possibilities.
Rahul: After watching this movie, I hope the audience feels like they were in the car with our character(s) experiencing the confusion, fear, curiosity and all the rest. Next for us is a celebratory dinner, courtesy of the director.
Anthony (smirking): No thanks, bro.
Nick: I hope the audience will feel the same dread and paranoia the protagonist feels in Anthony Lin’s The Lull. I also hope the audience feels a desire to see more of the world that is created in the short. That will motivate us to possibly turn the short into a full-length feature! I hope to continue making horror shorts and possibly dabble in other genres like crime and comedy.
Andrew: I would hope audiences feel as if they aren't just watching the film but rather feel fully immersed with Anthony's vision & the world (on film) he has created. As for myself, I would simply love the opportunity to work with Anthony again in the future on any new creative formulations he puts to paper & film.
Jori: I can hope that audiences will feel interest and excitement when watching the short film, and confusion as well. I think a good film needs to have some type. Of confusion to get the viewers’ attention. It’s part of the experience. I want the audience to think to themselves “I want more of this, but on a bigger screen and with more story to tell “.
About Anthony Lin
Anthony Lin has worked in the entertainment industry for more than a decade, taking on roles in front of and behind the camera. His experience spans background acting, directing, screenwriting, and the many other responsibilities of independent production.
Watch the official teaser and follow Anthony Lin and DANDYLiON PiCTURES.
An official selection of JCIFF Presents: Nightmares. Explore the festival and viewing details.
