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 Hayride Slaughter
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 Gary Whitson


 W.A.V.E. Productions
 P.O. Box 83
 Deerfield, New Jersey
 08313

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Independent Producers:

 Debbie D
 F & C Productions
 Luc Bernier
 Siren Tales


Actors and Actresses Wanted!
     
Join the WAVE Team!


W.A.V.E. Productions is conducting a talent search for actors and actresses for our low budget horror and action/adventure movies. We do pay. Non SAG. Must be athletic. Our main need is for actresses in the age range of 18-35, but will consider anyone. A driver's license and transportation to South Jersey are a must.

Send all resumes and headshots to:
W.A.V.E. PRODUCTIONS
P.O. Box 83
Deerfield, NJ 08313
You may also e-mail the info along with a photo if that's easier.

You must be 18 or over and sign a model release and have proof of age at the time of the first shoot. Please include your address so that we can send you a questionaire to be filled out about your various skills and interests.

OPEN VIDEO AUDITIONS!

We are looking for actors and actresses.
If you're interested, please read the following. Thanks.

In order make the casting process as easy as possible, and rather than having the actor or actress have to take time to come for an in-person audition, we would like everyone who is interested in shooting with us to submit a video audition following the specific guidelines as listed below. There are three basic parts to the audition tape. First is following the prepared script. You can adlib your reactions, but try to keep the lines as written. The second part deals with your basic facial improvs to help showcase what you can do with your face and eyes on film. And finally, the third part deals with the most important shot of our horror/thrillers... the dramatic death scene.

Video Submission Instructions:

We would need your video submission in as soon as possible. The video can be in any of the following formats: VHS, VHS-C, MiniDV, DVD or CD.

Please donít worry about editing to make the takes and transitions perfect. We would rather see your multiple takes and mistakes, as that shows us about how you work.

Before starting the scene, say your name and explain what the part is that youíre about to do. And remember, you want to come across to in a positive and energetic way.

Step One: Reading

First read the scene as indicated on the side below. You do not need to memorize this. Your part is that the editor. You donít have any confidence in the person youíre going to send out on this story and remain sarcastic throughout. Adlib whatever actions you might want to add, but keep the script as written. If you wish, you can read the Travers lines and show how you might play that part as well.


The Editor is seen sitting at his desk. He is speaking on the telephone.

Editor
Now, Mrs. Jones, now wait a minute...wait a minute. Horoscopes are just for entertainment. Yeah, right, it said itís your lucky day, I know. But when you go to the casino you canít depend on your horoscope, and weíre not responsible for your gambling debts. No, yeah, get my lawyer. Okay. We could use the publicity. Thanks a lot (He hangs up the phone).
(He picks up the phone and presses a button)
Mary, get Brady on the line. Tell him no more UFO stories about the police department. Theyíre starting to make me pay on my fines.
(Pause) Okay, sheís here? Send her in.

(A voice is heard off camera saying,)
ďSee you in the unemployment office, Mel.Ē

Travers
(She comes in the door and speaks somewhat timidly and apprehensively. Sheís dressed in a short skirt and hi-heeels with a light colored blouse that buttons down the front) You wanted to see me?

Editor
Sit! You know, Travers, Iíve never considered you one of the best reporters on the staff. A couple of times Iíve even thought about letting you go. But the owner has taken some kind of liking toward you and wants me to take you off school board meetings and send you out on a real assignment. I think Iíve found something that suits your abilities.

Travers
Yes?

Editor
Iím sure youíre aware of the construction going on for the new interstate. Well, across from the old Hadley place, theyíve drilled into the old mine and flooded the work site.

Editor
The mine is now accessible to work crews. Many of the minerís families want their bodies recovered to give them a proper funeral.

Travers
Hadley! Wasnít he the old eccentric who died in a sanitarium a while back?

Editor
Mmmmm...fine, you want to spin the wheel and go for the big money, and let me know what else you know? (He says this sarcastically and skeptically as though he thinks sheís not very knowlegable.)

Travers
Didnít he also spend some time in prison back in the 40ís?

Editor
Not exactly. Back in í45 the mine flooded and killed about 70 men. Hadley was the only one to survive it, and he came out raving about booger bears and ghosts and goblins, and they gave him a padded room. And thatís where he died.

Travers
Whatís the hook on this?

Editor
Thereís an archaeologist, J.B. Russo. He claims thereís a lot of artifacts down there as well as the minersí bodies, but he doesnít want anybody to touch the site.

Travers
That doesnít make sense. An archaeologist should want someone to get in there.

Editor
Exactly. And thatís your assignment. Find out what itís all about. Heís waiting for you down in the lobby.

Travers
All right. But Iím not exactly dressed for exploring mines. Do I have time to change?

Editor
No, you donít. Do you want me to assign someone else?

Travers
No...(Annoyed. She knows heís trying to set her up to fail.) Iíve got sneakers in the car.

Editor
And Travers...(sarcastically) come back with a story this time.

(End of scene.)




Step Two: Facial Expressions

Next, do some on camera improvs to show us your facial expressions. You can do these seated or standing with the camera in close enough that we can see you from the waist up. Note some simple camera shot instructions.

WHAT'S THAT? You are sitting in your apartment reading a book and you keep hearing noises from outside... each time you hear it you get a bit more worried and scared.

NO... DON'T! You look up from your book and see the killer standing over you with a large butcher knife... without getting up from your chair you look up at the killer and plead for him to spare you with your face and eyes... the only two words you can say are "no... don't".

REACTING TO A MIRROR The camera is a full-length mirror... you admire yourself and your looks... you think your pretty cool... show it.

COMBINE ALL 3. Enter the frame, face the mirror, admire yourself... after a bit, start reacting to offstage noises... try to shrug them off... suddenly, the killer has stepped in front of the mirror (he is the camera now)... plead for your life with your expressions go down to your knees (the camera closes in for a tight shot of your head and face)... you stare directly into the camera as it is the killer... suddenly your face shows shock, horror and pain as you have been "stabbed" by the killer... (the camera widens out) we see you kneeling clutching the "knife" that is embedded in your stomach, you cough, gurgle, gasp... your eyes roll... you start to weaken and crumble to one side ending up on your back... the camera moves in for a close up of your final breath... you die dramatically.



Step Three: Horror Death Scenes

Some of the most important moments in a horror movie are dramatic death scenes. Think of the horror movies you have seen. Most of the best ones are a bit over the top, dramatic and follow a formula. These are the "money shots" of any horror film. The actor has to be able to carry these off with some effect. Our style is to show most of our "deaths" on screen and we like them played for maximum effect.

We believe in the actors' talents more than any wild FX The acting always comes first.

Horror films are a safe fantasy for the audience, so we play these scenes over the top and dramatic. The "fantasy" of what happens when a hunting knife is jammed in a back. The victim has to have great facial expression, a progression of horror, disbelief, pleading, struggling and defeat... all of this suited for the intensity of film not for stage.

Here we give you some step by step suggestions. The camera should be close in so that we see you from the chest up.

Classic Backstab
You are seated reading your book.
You hear a noise, you look off camera, decide it is nothing and return to the book. Suddenly a knife is plunged into your back. You look ahead in shock and horror. You raise one of your hands to your mouth as "blood" begins to pour from it. You begin to gasp for breath and start to weaken. Your eyes roll as you pass out, your head slumping to the side, your hands and arms go limp.

The Final Phone Call
You are sitting hiding in a corner, frantically trying to contact 911. There is a killer loose in the house. You finally get through. You are having difficulty explaining the situation to the 911 operator. They do not seem to understand you. Suddenly a hand appears from behind you, grabs your throat and begins to tighten. The 911 operator listens to your struggle, choke, gasp and eventually fade away.

Final Thoughts

In these scenes you can use a friend to play the other actor or just pantomime that someone is there. If you do this with another person they are of course putting no real pressure on your neck at any time... you are just such a good actor it will "look like they are".

Also do not rush these scenes as they should be dramatic. Death scenes that are too quick lack realism and dramatic effect. If you think you've "struggled long enough", double the time and you will probably be on the mark.

Enjoy making your audition tape. If you have any questions feel free to email us at waveids@aol.com.

When you finish your tape, please notify us at . That way we will be sure to look for it and let you know when it arrives.

Tapes should be sent to:

WAVE PRODUCTIONS
PO Box 83
Deerfield, NJ 08313

Anatomy of a Strong Horror Death Scene -- Some thoughts for actors and actresses. Over the years we have developed a three-step approach...

Step One:
When the victim is first attacked, theyíre surprised. Depending upon the situation, there may be an element of disbelief, as if "this can't be happening" -- particularly if the killer is a friend. As the constriction tightens, an awkward discomfort sets in, and the struggle becomes focused on removing of the object from the neck or the knife from the wound. Once the victim realizes what is happening, he panics. Naturally, the victim is struggling for his life. He scratches, claws, pushes, kicks -- anything that might free him. His focus is on the weapon, but in his struggle he impulsively attacks the killer. It is important that this attack is realistic; the victim does not have the brain power -- or the time -- to calculate his moves. We know his attempts are futile, but we understand his frenzy.

Step Two:
Now the victim begins to slow down. This is progressive. They are is still struggling but their moves are clumsy. The actor pretends that their limbs and body are getting heavier, now. Their eyes begin to bulge, and they seem to make eye contact to remain focused (eye contact with the killer is effective), but soon, even their eyes glaze over, unseeing. Their tongue, also heavy, begins to ooze out of their mouth, and saliva soon trickles out as well, as we understand the constriction has prevented swallowing. It is important that the tongue does not flip in and out of the mouth or move around too much.

Step Three:
Here the body begins to go limp. We have done this many ways, from arms slowly getting "heavier" and then plopping down to a gradual release of all limbs. In addition, the tongue, if it remains out (if not, it would be pushed forward at least), must be set thickly between puffed lips. Again, it should not move around. It is swollen, and fills up the space. Shortly before, or simultaneous to, the merge into limpness, convulsions would set in. We have done little convulsions, and very active ones. It is tough for many actors to get the hang of it. They have to be limp, but yet flop around, at first rhythmically, then in shudders that become less and less frequent. Even when the body is still there may still be a hint that the victim is trying to hold on to life. In some scenes, for example, the victim's hand slightly rises after we presume he is dead, making it appear he is still hanging in there. How the body rests is another concern. The actors settle themselves "as they land," so to speak. It is imperative that the victim is as limp and floppy as possible. Actors have told us that they just let their minds wander during this time; that if they think about it, they could not be limp.