Most of our actors came from within the city as well, and brought their own experiences that they’d been going through into the project. And then drawing the soundscapes of the sirens usually, you’re trying to cut the sirens out of your film, and we were trying to loop them in instead, and kind of trigger what it was like to be there during that time. Part of what helped us create that was, Binghamton naturally sounds more “dead” than New York City, so that silence outside that normally wouldn’t have played well for the city was perfect for us. He was in his Brooklyn apartment during the height of the New York pandemic, and he knew all those sounds very well. And really, my main source there was my sound mixer at Soundtrack New York, Dan Brennan.
During that time, I was in Connecticut, tucked away with my family, so to draw on that, I had to be more of a listener. I believe that that early period of time, when the National Guard was in White Plains or wherever they were, and Brooklyn was overrun and all the hospitals were full, was unique. Talking about New York, do you think the pandemic experience in that city was different from how it was in other parts of the country?ĪNDY MITTON: I do. The testing was what it was, and we were able to get it done, but it was just an additional stressor on top of already trying to mount something with a small amount of money, trying to achieve something much larger in scope. Once we started landing all these pieces, it was a big weight lifted off. But I believe we got to a place where things started to fit into place we found locations, we found people, we went to Binghamton and that community embraced us.
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It was certainly a big added question mark in an industry that is already full of question marks, so it was very difficult. But since they say that quarantine time is work time, that was what made us decide to shoot in New York and try to actively hunt down theater actors who were in the city, so they wouldn’t have to have that mandatory quarantine period coming in from another state. Because our cast were SAG members, we had to deal with the union, which was fine. I remember reading a lot of news articles, the return-to-work agreement with the unions, just dealing with all that stuff.
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KING: It was a lot of stress, especially early on, trying to figure out how to deal with keeping everybody as safe as possible while still being able to do the things we needed to do: telling the story, capturing the horror and scaring the audience. How was it mounting the HARBINGER production during the worst of the pandemic?
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( See our review of the movie here, and for more on THE HARBINGER and Mitton’s career, pick up RUE MORGUE #209, now on sale.) THE HARBINGER, which Mitton and King discussed with us following the world premiere at Montreal’s Fantasia International Film Festival, is both deeply eerie and has a lot to say about emotional resilience in the face of ongoing tragedy. Mavis has been afflicted with nightmares about the title phantom, which appears in a dark shroud and plague doctor-esque mask when Monique arrives at Mavis’ apartment, her psyche is also invaded by the malevolent being. Gabby Beans stars as Monique, who travels from upstate New York to Queens during the worst of the pandemic to check in on her friend Mavis (Emily Davis)–against the wishes of Monique’s brother Lyle (Myles Walker) and father Ronald (Ray Anthony Thomas), with whom she’s been sheltering. THE HARBINGER (no relation to Will Klipstine’s same-titled film from earlier this year), in theaters and on VOD today from XYZ Films, is the most emotionally authentic fright film yet to arise from the COVID era. We have exclusive words with Mitton and HARBINGER producer Richard W.
Among the year’s creepiest and most resonant achievements in the horror genre is THE HARBINGER, the latest feature from rising genre auteur Andy Mitton.
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