If you are a fan of actor and filmmaker Dominic Brunt, you will no doubt be interested in our new interview with him, which has just been uploaded onto YouTube. Brunt has directed numerous horror films, including Attack of the Adult Babies and Wolf Manor. Outside of the horror genre, Brunt has also been playing Paddy Kirk in Emmerdale since 1997, so he is clearly a major celebrity who the British public will be very familiar with.
Brunt regularly attends FrightFest, and he was there this year to promote Broken Bird, which had its world premiere at the event. Written by Brunt and directed by his wife, Joanne Mitchell, Broken Bird tells the story of a mortuary assistant named Sybil (Rebecca Calder), who undergoes a downward spiral into the depths of madness, resulting in her causing harm to those who cross her path.
The film was shot in Serbia, and it...
Brunt regularly attends FrightFest, and he was there this year to promote Broken Bird, which had its world premiere at the event. Written by Brunt and directed by his wife, Joanne Mitchell, Broken Bird tells the story of a mortuary assistant named Sybil (Rebecca Calder), who undergoes a downward spiral into the depths of madness, resulting in her causing harm to those who cross her path.
The film was shot in Serbia, and it...
- 9/23/2024
- by David Gelmini
- Love Horror
Bloody Disgusting has an exclusive look at the trailer and art for Wolf Manor, described as a “full-throttle, gore-filled tale” of a film crew caught in the claws of a manor house’s resident werewolf.
Directed by Dominic Brunt, the film was shot in three weeks in locations in Shropshire.
In the film…
During filming of a British, low-budget horror movie, the cast and crew begin disappearing. As the full moon rises, the nightmare begins, and the werewolf strikes.
Wolf Manor’s creature design was created by renowned special make-up effects artist Shaune Harrison with make-up design by Katie Wrigley.
It stars James Fleet (“Bridgerton”, Operation Mincemeat), Jay Taylor (Donkey Punch, Misfits), Thaila Zucchi (Evie, Attack of the Adult Babies), Rupert Procter, and John Henshaw (The Keeper, Looking For Eric).
Wolf Manor will be available to own or rent on DVD & Digital Download on January 9, 2023.
The post ‘Wolf Manor’ Trailer...
Directed by Dominic Brunt, the film was shot in three weeks in locations in Shropshire.
In the film…
During filming of a British, low-budget horror movie, the cast and crew begin disappearing. As the full moon rises, the nightmare begins, and the werewolf strikes.
Wolf Manor’s creature design was created by renowned special make-up effects artist Shaune Harrison with make-up design by Katie Wrigley.
It stars James Fleet (“Bridgerton”, Operation Mincemeat), Jay Taylor (Donkey Punch, Misfits), Thaila Zucchi (Evie, Attack of the Adult Babies), Rupert Procter, and John Henshaw (The Keeper, Looking For Eric).
Wolf Manor will be available to own or rent on DVD & Digital Download on January 9, 2023.
The post ‘Wolf Manor’ Trailer...
- 11/24/2022
- by Brad Miska
- bloody-disgusting.com
Joanne Mitchell has racked up more than thirty screen acting credits over the course of a career that goes back thirty years – and Deadline reports that she is now making her feature directorial debut with a psychological horror film called Sybil! Filming is underway in Belgrade, with Rebecca Calder (Wrath of Man) starring alongside James Fleet (Four Weddings and a Funeral), Sacharissa Claxton (Sandman), Rupert Proctor (Notting Hill), Robyn Rainsford (Letters to April), and Jay Taylor (Red Tails).
Mitchell crafted the story for Sybil with Tracey Sheals, and even directed a 12 minute short version of the concept a few years ago. Dominic Brunt (the 2021 thriller Evie) has written the screenplay for the feature version of Sybil, which will be a twisted tale of a lonely mortician and her macabre quest for the perfect family. The Mortician’s life can be a lonely one. But there are always opportunities for love and revenge.
Mitchell crafted the story for Sybil with Tracey Sheals, and even directed a 12 minute short version of the concept a few years ago. Dominic Brunt (the 2021 thriller Evie) has written the screenplay for the feature version of Sybil, which will be a twisted tale of a lonely mortician and her macabre quest for the perfect family. The Mortician’s life can be a lonely one. But there are always opportunities for love and revenge.
- 11/18/2022
- by Cody Hamman
- JoBlo.com
Described as a psychological thriller, Deadline reports today that Joanne Mitchell (The Outing) is on board to direct Sybil, an upcoming movie that’s centered on a lonely mortician.
Rebecca Calder (Love Me Do), James Fleet (Four Weddings and a Funeral), and Sacharissa Claxton (Sandman) will star in Sybil, which was written by Dominic Brunt.
Deadline previews, “The flick is billed as a twisted tale of a lonely mortician and her macabre quest for the perfect family. The Mortician’s life can be a lonely one. But there are always opportunities for love and revenge, the synopsis reads.”
Rupert Proctor (Notting Hill), Robyn Rainsford (Letters to April), and Jay Taylor (Red Tails) will also star. Joanne Mitchell and Tracey Sheals came up with the original story.
“We have an extraordinarily talented cast and crew to bring the bizarre and macabre world of Sybil to life,” said Mitchell. “I love the psychology behind the horror genre,...
Rebecca Calder (Love Me Do), James Fleet (Four Weddings and a Funeral), and Sacharissa Claxton (Sandman) will star in Sybil, which was written by Dominic Brunt.
Deadline previews, “The flick is billed as a twisted tale of a lonely mortician and her macabre quest for the perfect family. The Mortician’s life can be a lonely one. But there are always opportunities for love and revenge, the synopsis reads.”
Rupert Proctor (Notting Hill), Robyn Rainsford (Letters to April), and Jay Taylor (Red Tails) will also star. Joanne Mitchell and Tracey Sheals came up with the original story.
“We have an extraordinarily talented cast and crew to bring the bizarre and macabre world of Sybil to life,” said Mitchell. “I love the psychology behind the horror genre,...
- 11/17/2022
- by John Squires
- bloody-disgusting.com
Seemingly coming out of nowhere, the werewolf horror-thriller Wolf Manor, from actor and director Dominic Brunt has entered post-production. Directed by Brunt, the full-throttle, gore-filled film is the tale of a film crew caught in the claws of a manor house’s resident werewolf, was shot in three weeks in locations in Shropshire.
Shooting a vampire flick in an old, abandoned manor house should have worked like a dream, but the film crew are out of their depth, over schedule and desperate to get the shoot finished and go home. However, as the moon turns full, the nightmare begins. Blood flows and the body count rises as cast & crew meet the manor’s resident werewolf…
Brunt’s UK-produced film, which was written by Pete Wild and Joel Ferrari, stars James Fleet, Jay Taylor, Thaila Zucchi, Rupert Procter and John Henshaw. Wolf Manor’s creature design was created by renowned special make-up effects artist Shaune Harrison.
Shooting a vampire flick in an old, abandoned manor house should have worked like a dream, but the film crew are out of their depth, over schedule and desperate to get the shoot finished and go home. However, as the moon turns full, the nightmare begins. Blood flows and the body count rises as cast & crew meet the manor’s resident werewolf…
Brunt’s UK-produced film, which was written by Pete Wild and Joel Ferrari, stars James Fleet, Jay Taylor, Thaila Zucchi, Rupert Procter and John Henshaw. Wolf Manor’s creature design was created by renowned special make-up effects artist Shaune Harrison.
- 4/28/2022
- by Phil Wheat
- Nerdly
Karla Crome leads the cast of a new ITV thriller The Level which has just started filming in London and Brighton.
Karla (represented by Troika), stars as Detective Sergeant Nancy Devlin who has a secret double life. Her exemplary police career masks a covert attachment to shady businessman and drugs trafficker, Frank Le Saux (Philip Glenister). Inextricably linked to Frank from childhood as the father of her best friend, Hayley, played by Laura Haddock, and the father figure she herself craved.
Nancy has been playing a dangerous game to ensure that Frank always remains off the police radar.
Nancy soon finds herself at the centre of an investigation which puts her at risk of exposure and sees her stalked by a killer intent on destroying her. Nancy’s complicated love life and relationships with colleagues creates further tension as she doesn’t know who she can trust..literally with her life.
Karla (represented by Troika), stars as Detective Sergeant Nancy Devlin who has a secret double life. Her exemplary police career masks a covert attachment to shady businessman and drugs trafficker, Frank Le Saux (Philip Glenister). Inextricably linked to Frank from childhood as the father of her best friend, Hayley, played by Laura Haddock, and the father figure she herself craved.
Nancy has been playing a dangerous game to ensure that Frank always remains off the police radar.
Nancy soon finds herself at the centre of an investigation which puts her at risk of exposure and sees her stalked by a killer intent on destroying her. Nancy’s complicated love life and relationships with colleagues creates further tension as she doesn’t know who she can trust..literally with her life.
- 4/5/2016
- by noreply@blogger.com (ScreenTerrier)
- ScreenTerrier
Stars: Rachel Capovila, Rupert Proctor | Written by BFI Film Academy students | Directed by Matt Palmer (Directorial Mentor)
From January 2013 to January 2014 young filmmakers aged 16-19 from Cumbria and Lancashire have took part in courses covering all aspects of filmmaking and the film industry including programming, script writing, film production and distribution, receiving training and mentorship from industry professionals – and the end result is the brief, but remarkable Driven.
Produced within Signal Film and Media’s BFI Film Academy in Barrow-upon-Furness, Driven is a short, very short, but eerie ghost story that tells the story a man driven (pun intended) insane by his car’s sat-nav.
You would think, given that it was made as part of a training programme for film students, that Driven would be less of a film and more of an exercise in the process of filmmaking. However that’s certainly not the case. Running a mere 6 minutes,...
From January 2013 to January 2014 young filmmakers aged 16-19 from Cumbria and Lancashire have took part in courses covering all aspects of filmmaking and the film industry including programming, script writing, film production and distribution, receiving training and mentorship from industry professionals – and the end result is the brief, but remarkable Driven.
Produced within Signal Film and Media’s BFI Film Academy in Barrow-upon-Furness, Driven is a short, very short, but eerie ghost story that tells the story a man driven (pun intended) insane by his car’s sat-nav.
You would think, given that it was made as part of a training programme for film students, that Driven would be less of a film and more of an exercise in the process of filmmaking. However that’s certainly not the case. Running a mere 6 minutes,...
- 10/3/2015
- by Phil Wheat
- Nerdly
One for the Road
Edinburgh International Film Festival
EDINBURGH, Scotland -- Writer-director Chris Cooke and a small but expert cast turn an essentially downbeat story of three losers and the rich man they hope to fleece into a richly humorous and surreal fable. Smartly marketed to an audience that likes its comedy stiletto sharp, martini dry and a little bloody, "One for the Road" could be in for a very profitable ride.
Jimmy, Paul and Mark meet millionaire Richard Stevens at a rehabilitation course after they've each been convicted of driving while intoxicated. Jimmy (Greg Chisholm) is the youngest -- a callow, cheap-suited lad whose father has died leaving a failed business and an empty warehouse. Paul (Rupert Procter) is a flop-sweat salesman with a disaffected wife, two kids and an expensive mortgage. Mark (Mark Devenport) is an affable dopehead. Stevens (Hywel Bennett) is a retired businessman who lives a lonely life in a grand mansion and boasts of the thoroughbred horse he owns.
They make an incongruous bunch at the court-enforced meetings, where a supercilious assessor named Ian (Jonny Phillips) plays touchy-feely games and conducts role-play sessions so that he can write reports to the magistrate that will decide when they get their licenses back.
At the first lunch break, they all go down to the local pub. Cooke cleverly uses the twin devices of the role-play sessions and what become marathon drinking sessions to explore the characters of the four men. Seldom has British pub drinking been so convincingly and unapologetically conveyed. It's both tragic and hilarious.
Jimmy lies to himself and his mother about what he's doing, telling her he's in a business course. "It's the networking opportunity of a lifetime," he says hollowly. He earnestly romances a young woman working behind the bar in the local pub, but when push comes to shove he says he'd better get back to the lads.
Paul is thrown out of his house by his fed-up wife. The option she suggests and he accepts is to live in a tent in their back yard. Mark rides about as a forlorn passenger in his mate's taxi rather than stay home alone. The rich man advertises overseas for a bride, hoping she understands English.
If these episodes sound banal and sad, their depiction and accompanying dialogue are so sardonic and penetrating that the screening here at Edinburgh had the audience in stitches. This is comedy writing and performing at a very high level. The acting is uniformly acute, with all the principals able to portray deep stupidity in a believable and sympathetic manner. Procter, especially, reveals an outstanding ability to deliver outrageously funny lines with a perfectly straight face.
As the plot moves along and the plan of the three losers to sell the boy's inherited warehouse to the millionaire takes shape, it becomes inevitable that they are all heading for a car wreck in some shape or form. But when it comes, it is from so far out of left field that even though it's monstrous, it is unutterably funny.
"One for the Road" is entirely politically incorrect in its affection for its group of drunks, but it's totally clear-eyed in respect to the self-delusion their indulgence breeds. Cooke doesn't preach, but he does make you laugh.
ONE FOR THE ROAD
U.K. Film Council and FilmFour present a One for the Road Films production in association with Strange Dog and Intermedia Film & Video (Nottingham) Ltd.
Credits: Screenwriter-director: Chris Cooke
Producer: Kate Ogborn
Executive producers: Peter Carlton, Paul Trijbits, Robin Gutch
Co-producers: Helen Solomon, Alexander O'Neal
Director of photography: N.G. Smith
Production designer: Jason Carlin
Music: Steve Blackman
Costume designer: Claire Finlay
Editor: Nick Fenton
Cast:
Paul: Rupert Procter
Jimmy: Greg Chisholm
Mark: Mark Devenport
Richard Stevens: Hywel Bennett
Liz: Julie Legrand
Eve: Micaiah Dring
Ian: Jonny Phillips
Running time -- 96 minutes
No MPAA rating...
EDINBURGH, Scotland -- Writer-director Chris Cooke and a small but expert cast turn an essentially downbeat story of three losers and the rich man they hope to fleece into a richly humorous and surreal fable. Smartly marketed to an audience that likes its comedy stiletto sharp, martini dry and a little bloody, "One for the Road" could be in for a very profitable ride.
Jimmy, Paul and Mark meet millionaire Richard Stevens at a rehabilitation course after they've each been convicted of driving while intoxicated. Jimmy (Greg Chisholm) is the youngest -- a callow, cheap-suited lad whose father has died leaving a failed business and an empty warehouse. Paul (Rupert Procter) is a flop-sweat salesman with a disaffected wife, two kids and an expensive mortgage. Mark (Mark Devenport) is an affable dopehead. Stevens (Hywel Bennett) is a retired businessman who lives a lonely life in a grand mansion and boasts of the thoroughbred horse he owns.
They make an incongruous bunch at the court-enforced meetings, where a supercilious assessor named Ian (Jonny Phillips) plays touchy-feely games and conducts role-play sessions so that he can write reports to the magistrate that will decide when they get their licenses back.
At the first lunch break, they all go down to the local pub. Cooke cleverly uses the twin devices of the role-play sessions and what become marathon drinking sessions to explore the characters of the four men. Seldom has British pub drinking been so convincingly and unapologetically conveyed. It's both tragic and hilarious.
Jimmy lies to himself and his mother about what he's doing, telling her he's in a business course. "It's the networking opportunity of a lifetime," he says hollowly. He earnestly romances a young woman working behind the bar in the local pub, but when push comes to shove he says he'd better get back to the lads.
Paul is thrown out of his house by his fed-up wife. The option she suggests and he accepts is to live in a tent in their back yard. Mark rides about as a forlorn passenger in his mate's taxi rather than stay home alone. The rich man advertises overseas for a bride, hoping she understands English.
If these episodes sound banal and sad, their depiction and accompanying dialogue are so sardonic and penetrating that the screening here at Edinburgh had the audience in stitches. This is comedy writing and performing at a very high level. The acting is uniformly acute, with all the principals able to portray deep stupidity in a believable and sympathetic manner. Procter, especially, reveals an outstanding ability to deliver outrageously funny lines with a perfectly straight face.
As the plot moves along and the plan of the three losers to sell the boy's inherited warehouse to the millionaire takes shape, it becomes inevitable that they are all heading for a car wreck in some shape or form. But when it comes, it is from so far out of left field that even though it's monstrous, it is unutterably funny.
"One for the Road" is entirely politically incorrect in its affection for its group of drunks, but it's totally clear-eyed in respect to the self-delusion their indulgence breeds. Cooke doesn't preach, but he does make you laugh.
ONE FOR THE ROAD
U.K. Film Council and FilmFour present a One for the Road Films production in association with Strange Dog and Intermedia Film & Video (Nottingham) Ltd.
Credits: Screenwriter-director: Chris Cooke
Producer: Kate Ogborn
Executive producers: Peter Carlton, Paul Trijbits, Robin Gutch
Co-producers: Helen Solomon, Alexander O'Neal
Director of photography: N.G. Smith
Production designer: Jason Carlin
Music: Steve Blackman
Costume designer: Claire Finlay
Editor: Nick Fenton
Cast:
Paul: Rupert Procter
Jimmy: Greg Chisholm
Mark: Mark Devenport
Richard Stevens: Hywel Bennett
Liz: Julie Legrand
Eve: Micaiah Dring
Ian: Jonny Phillips
Running time -- 96 minutes
No MPAA rating...
- 7/9/2004
- The Hollywood Reporter - Movie News
One for the Road
Edinburgh International Film Festival
EDINBURGH, Scotland -- Writer-director Chris Cooke and a small but expert cast turn an essentially downbeat story of three losers and the rich man they hope to fleece into a richly humorous and surreal fable. Smartly marketed to an audience that likes its comedy stiletto sharp, martini dry and a little bloody, "One for the Road" could be in for a very profitable ride.
Jimmy, Paul and Mark meet millionaire Richard Stevens at a rehabilitation course after they've each been convicted of driving while intoxicated. Jimmy (Greg Chisholm) is the youngest -- a callow, cheap-suited lad whose father has died leaving a failed business and an empty warehouse. Paul (Rupert Procter) is a flop-sweat salesman with a disaffected wife, two kids and an expensive mortgage. Mark (Mark Devenport) is an affable dopehead. Stevens (Hywel Bennett) is a retired businessman who lives a lonely life in a grand mansion and boasts of the thoroughbred horse he owns.
They make an incongruous bunch at the court-enforced meetings, where a supercilious assessor named Ian (Jonny Phillips) plays touchy-feely games and conducts role-play sessions so that he can write reports to the magistrate that will decide when they get their licenses back.
At the first lunch break, they all go down to the local pub. Cooke cleverly uses the twin devices of the role-play sessions and what become marathon drinking sessions to explore the characters of the four men. Seldom has British pub drinking been so convincingly and unapologetically conveyed. It's both tragic and hilarious.
Jimmy lies to himself and his mother about what he's doing, telling her he's in a business course. "It's the networking opportunity of a lifetime," he says hollowly. He earnestly romances a young woman working behind the bar in the local pub, but when push comes to shove he says he'd better get back to the lads.
Paul is thrown out of his house by his fed-up wife. The option she suggests and he accepts is to live in a tent in their back yard. Mark rides about as a forlorn passenger in his mate's taxi rather than stay home alone. The rich man advertises overseas for a bride, hoping she understands English.
If these episodes sound banal and sad, their depiction and accompanying dialogue are so sardonic and penetrating that the screening here at Edinburgh had the audience in stitches. This is comedy writing and performing at a very high level. The acting is uniformly acute, with all the principals able to portray deep stupidity in a believable and sympathetic manner. Procter, especially, reveals an outstanding ability to deliver outrageously funny lines with a perfectly straight face.
As the plot moves along and the plan of the three losers to sell the boy's inherited warehouse to the millionaire takes shape, it becomes inevitable that they are all heading for a car wreck in some shape or form. But when it comes, it is from so far out of left field that even though it's monstrous, it is unutterably funny.
"One for the Road" is entirely politically incorrect in its affection for its group of drunks, but it's totally clear-eyed in respect to the self-delusion their indulgence breeds. Cooke doesn't preach, but he does make you laugh.
ONE FOR THE ROAD
U.K. Film Council and FilmFour present a One for the Road Films production in association with Strange Dog and Intermedia Film & Video (Nottingham) Ltd.
Credits: Screenwriter-director: Chris Cooke
Producer: Kate Ogborn
Executive producers: Peter Carlton, Paul Trijbits, Robin Gutch
Co-producers: Helen Solomon, Alexander O'Neal
Director of photography: N.G. Smith
Production designer: Jason Carlin
Music: Steve Blackman
Costume designer: Claire Finlay
Editor: Nick Fenton
Cast:
Paul: Rupert Procter
Jimmy: Greg Chisholm
Mark: Mark Devenport
Richard Stevens: Hywel Bennett
Liz: Julie Legrand
Eve: Micaiah Dring
Ian: Jonny Phillips
Running time -- 96 minutes
No MPAA rating...
EDINBURGH, Scotland -- Writer-director Chris Cooke and a small but expert cast turn an essentially downbeat story of three losers and the rich man they hope to fleece into a richly humorous and surreal fable. Smartly marketed to an audience that likes its comedy stiletto sharp, martini dry and a little bloody, "One for the Road" could be in for a very profitable ride.
Jimmy, Paul and Mark meet millionaire Richard Stevens at a rehabilitation course after they've each been convicted of driving while intoxicated. Jimmy (Greg Chisholm) is the youngest -- a callow, cheap-suited lad whose father has died leaving a failed business and an empty warehouse. Paul (Rupert Procter) is a flop-sweat salesman with a disaffected wife, two kids and an expensive mortgage. Mark (Mark Devenport) is an affable dopehead. Stevens (Hywel Bennett) is a retired businessman who lives a lonely life in a grand mansion and boasts of the thoroughbred horse he owns.
They make an incongruous bunch at the court-enforced meetings, where a supercilious assessor named Ian (Jonny Phillips) plays touchy-feely games and conducts role-play sessions so that he can write reports to the magistrate that will decide when they get their licenses back.
At the first lunch break, they all go down to the local pub. Cooke cleverly uses the twin devices of the role-play sessions and what become marathon drinking sessions to explore the characters of the four men. Seldom has British pub drinking been so convincingly and unapologetically conveyed. It's both tragic and hilarious.
Jimmy lies to himself and his mother about what he's doing, telling her he's in a business course. "It's the networking opportunity of a lifetime," he says hollowly. He earnestly romances a young woman working behind the bar in the local pub, but when push comes to shove he says he'd better get back to the lads.
Paul is thrown out of his house by his fed-up wife. The option she suggests and he accepts is to live in a tent in their back yard. Mark rides about as a forlorn passenger in his mate's taxi rather than stay home alone. The rich man advertises overseas for a bride, hoping she understands English.
If these episodes sound banal and sad, their depiction and accompanying dialogue are so sardonic and penetrating that the screening here at Edinburgh had the audience in stitches. This is comedy writing and performing at a very high level. The acting is uniformly acute, with all the principals able to portray deep stupidity in a believable and sympathetic manner. Procter, especially, reveals an outstanding ability to deliver outrageously funny lines with a perfectly straight face.
As the plot moves along and the plan of the three losers to sell the boy's inherited warehouse to the millionaire takes shape, it becomes inevitable that they are all heading for a car wreck in some shape or form. But when it comes, it is from so far out of left field that even though it's monstrous, it is unutterably funny.
"One for the Road" is entirely politically incorrect in its affection for its group of drunks, but it's totally clear-eyed in respect to the self-delusion their indulgence breeds. Cooke doesn't preach, but he does make you laugh.
ONE FOR THE ROAD
U.K. Film Council and FilmFour present a One for the Road Films production in association with Strange Dog and Intermedia Film & Video (Nottingham) Ltd.
Credits: Screenwriter-director: Chris Cooke
Producer: Kate Ogborn
Executive producers: Peter Carlton, Paul Trijbits, Robin Gutch
Co-producers: Helen Solomon, Alexander O'Neal
Director of photography: N.G. Smith
Production designer: Jason Carlin
Music: Steve Blackman
Costume designer: Claire Finlay
Editor: Nick Fenton
Cast:
Paul: Rupert Procter
Jimmy: Greg Chisholm
Mark: Mark Devenport
Richard Stevens: Hywel Bennett
Liz: Julie Legrand
Eve: Micaiah Dring
Ian: Jonny Phillips
Running time -- 96 minutes
No MPAA rating...
- 8/26/2003
- The Hollywood Reporter - Movie News
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