THE DEMONS ARE HERE

I’ve finished the screenplay for The Demons Are Here. It’s version four, and I plan to produce and direct it myself, shooting in Charleston and in the mountains outside Asheville next year, Christmas 2027.

A contract killer well past his best is sent to get back stolen money from a broke young couple and their friend, who have taken it up to a cabin in the North Carolina mountains to lie low. A family lives down the road. And something is going around.

It started as two scripts, a Charleston crime story and a cabin in the woods. This fall, I put them together. The first half is a deadpan crime film. Then they pass a hand-painted sign that says TURN AROUND, and it becomes something else. The dialogue is flat and evenly spaced, and it’s shot like a documentary that never admits it. It’s set at Christmas. The cabin is called the lake house. There is no lake.

In an earlier entry, I said Milo Mad would be my next production. That’s no longer the case. Milo Mad is finished and isn’t going anywhere, but The Demons Are Here comes first. It was written to be made with what I have: one main location, a small cast, and a style that doesn’t need money to work.

I’ll post news here as it happens, so check back.

Haunting The Better

Hill Rossin is an Independent writer, director, and producer with three decades of self-directed work across thriller, drama, and dark comedy. His filmmaking career started early; in high school, he took a college film course at Pittsburgh Filmmakers. In the summer of 1992, he shot his first 8mm film — a music video for Sonic Youth's "Sugar Kane," from their then-new album Dirty — for a contest on MTV's 120 Minutes. Although he didn't win, the project helped him get into film school. He studied at the College of Santa Fe and later trained again at Pittsburgh Filmmakers, gaining comprehensive skills in writing, directing, producing, cinematography, editing, and sound.

He founded Haunting The Better in 1996 and moved to Charleston, South Carolina, in 1998, where the company is now based. Through it, he develops original feature screenplays and no-budget narrative films, and in the 2000s he directed two features, As He Fired Up the Drum Machine and Hey Android. Over thirty years, his work returns to the same concerns — place, voice, and the dark humor of ordinary life — shaped by roots in western Pennsylvania and a sensibility in which violence and tenderness sit at the same table.

https://hauntingthebetter.com
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