Reviewed by Ronny

“Nick Calder is definitely a perfect balance of artist and horror movie director. This means that he has all the potential in the world to achieve great things in his future endeavors.”

Plot:
English spoken foreigners are stuck in Korea after an epidemic breaks out. Demons are roaming the streets, and the group have to struggle to stay hidden from them. Soon they find out what the government is planning, and they realize they can’t continue to hide if they want to survive.

Our thoughts:
I’ll get this out of the way. “Fear Eats the Seoul” is the debut feature of Nick Calder, and no matter what people’s opinion is on the actual film in question they have to see what a great, slick production this is for a first-timer. It packs a lot of things that you rarely see in debuts, and while I don’t know what he has spent his life doing before making this film I still feel that the production values and ideas in this film are much greater than most people’s first films. It’s extremely professional in most aspects, and I’ll get more into details later on. That said, there will also be some negative things to bring up, but it’s important to realize what a great effort this truly is.

“Fear Eats the Seoul” essentially shares most things with your typical zombie movie, but the monsters in this one aren’t really zombies. Unlike some films that have questionable zombies, these are definitely not just brain-eaters. They’re fast, vicious, with weird Joker-esque faces (made by scars/wounds) and huge claws on their hands. So they’re not zombies, but the easiest comparision is with that genre. We have a number of English spoken people in Korea. Out main lady, for example, is an English teacher is Korea. They all have to take shelter once the city is over-run by these bloodthirsty demons that we don’t really know much about. But when they stumble upon a Korean woman, she tells them that the government is planning to nuke the city to get rid of the infection that is spreading. The group realize they have to get out of there.

Like I said, it’s a very zombie-ish story, but there is no question about the monsters - they are definitely not zombies. The movie is quite interesting, though, because while it is frequently action-filled already from the beginning, it feels more like a drama piece than horror/action. They often have to fight off these demons, and that brings a lot of stressful situations, but at the same time it focuses so much on the characters, their relationships and their backstories. This is both good and bad - I think the fact that it’s basically the same from the beginning to start, going from action to drama and drama to action through-out, gets a bit boring. It doesn’t have a build-up of the break-out because it’s already there when we start the movie. We basically have to sit through the same stuff up until the end, and it gets tedious.

However, the stories that the characters tell are rather interesting and I think the idea is very interesting too. It’s not easy to perfectly balance these things, and I think even though “Fear Eats the Seoul” is a bold attempt it doesn’t really work for full 99 minutes. Had it been a more linear story, where it goes from early infection, to full infection and finally the escape, I would’ve been more involved in the entire story and its characters. When we are given too much too early, and it stays at that pace, it’s hard for it to be exciting through-out.

I really liked the action scenes, though. The demons are simple but still very interesting to watch - they come off as rather animalistic and that’s just great, and a lot more scary. The action scenes are shot in handheld so it does get a bit shakey at times, but overall I feel that they work well. You can say these scenes could vary a bit more as you can almost figure out what will happen.

The acting goes from bad to great, and that was a bit annoying. I think the narration was top class, but many of the lines spoken in dialogue feel misplaced at times. I couldn’t really feel for the main lady, she seemed a bit like a prude and wasn’t very relatable, and that does hurt the film a bit as well. I don’t know if she was written this way or if it’s something that came out of the actress, but it made it even more tedious to get through.

“Fear Eats the Seoul” isn’t fantastic and the reason for that is because it stays too much the same during the entire movie. The character backstories work, but the present time isn’t going through many changes and it tends to get boring at times. But the film overall is both visually great and ambitious, and I have to congratulate Nick Calder for his creation. It’s a lot bigger and professional than expected, and there’s no cheesiness to be found except for a few lines here and there. I think it’s a lot better than majority of zombie/vampire movies of recent years, and Nick Calder is definitely a perfect balance of artist and horror movie director. This means that he has all the potential in the world to achieve great things in his future endeavors.

Negative things:
- Couldn’t really care for the lead lady.
- It stays too much the same through-out. Would’ve wanted more of a progression.

Positive things:

- Great production values.
- I really did like the demons, even if I wasn’t sure what they really were.
- Good narration, which can sometimes be hard to pull off right.
- Has some great ideas.
- A lot of effort is put on the little things, such as end credits.

The Directors of The First Annual Chicago Fear Fest (2012)

It all happened too quickly to process and now it’s over as I wander around downtown Chicago where juggernauts like The Dark Knight, Spider-Man, and Transformers have filmed.

At the first annual Chicago Fear Fest, watching all these other films and the directors behind them made me find peace with myself and boil my dreams down to the bare essence. I can only do me. I have a voice and it is my responsibility to take charge of it.

Telling the stories only I can tell, that’s the path for me. Amongst the clouds and passing planes I caught my next film in a net. Waiting for money is never a reason to hold off. Leap and the net will appear.

It’s starting to rain, I’m waiting for the train and it’s long ride back to NYC.

Fear was always the practice round, the warm up. The Mixtape.

Now I have joined the “My Film Played In A Movie Theater” club. Not a horrible way to start a future. Being the youngest of the group of directors, I was awkward at first. But as many of the supportive filmmakers finally pointed out, I have only turned 25. “You definitely have a career ahead of you.”

And I have every intention of proving to everyone who has supported me or dissuaded me that I am here to stay. And you will know it when you see it.

You can’t hit the bottom when all you believe is up.

[The World Long Gone] will be my first “real” film. The first LP.

You ain’t seen nothin’ yet.

NJ

“Nick Calder has created something very different to what is normally expected from an epidemic movie and although it has its flaws, it shows promise for Calder’s career as a filmmaker.”

Reviewed by Charlotte Stear

“Fear Eats the Seoul tells the story of four English teachers in Korea who, after an unexplainable demon epidemic takes over the country, are forced together to stay alive in the most incredible of circumstances.

This is the first film from director Nick Calder, which was surprising to find out as it has a fresh look and interesting story that does not hint at a first effort. The cast does not let it down in that respect either, and it manages to have an all-round polished feel to it.

Some may be deterred from watching another monster movie like this, but Fear Eats the Seoul promises something different with its demons. They snarl and chase their prey like animals with Edward Scissorhand-like claws that at first glance are a bit ridiculous, but the style of shooting the action scenes means we never see too much and they become creepy and threatening. In fact, the way the demons move and stalk around is very reminiscent of the velociraptors inJurassic Park, they are not dumb zombies; these are things to be feared as they seem to know what they’re doing.

The way the camera moves during action scenes does create a good atmosphere, you never see too much so it doesn’t ruin the illusion, but it is so rapid and clumsy it gets quite confusing as to what is happening. Although it is a good device to heighten the panic of a situation, it made me quite nauseous at times as I’ve never been good with motion sickness, so maybe have some sea sickness tablets to hand just in case.

The story mainly surrounds lead character Nadia and her reasons for being in Korea, she is hot-headed and opinionated which makes her a tough lead to connect to. At times it is hard to stick with the film because it’s difficult to sympathise with her. But then again, it would be hard to react differently in her situation and as the film progresses she does thaw out, but not as much as she possibly could to connect with the audience.

We are also given background stories to the other main characters through flashbacks, which is a good way of breaking up the action and tension and connecting more with the characters. It is particularly interesting to see why these people are in Korea, and it will appeal to anyone who has traveled as the confusion and excitement that they all go through is something to identify with. These are five lost souls trying to find their way when something unbelievable happens to them, making it all the more sad and gripping.

Nick Calder has created something very different to what is normally expected from an epidemic movie and although it has its flaws, it shows promise for Calder’s career as a filmmaker.”

THREE out of five STARS

I’m so very excited to announce our first official festival selection in CHI-TOWN, USA!!!  This marks the first time the film is going to play before an audience that is completely unexposed to the film until now.    

You can check the official website for more details:

http://www.chicagofearfest.com

We screen on Saturday!

There is so much to say, so instead I will make it simple:

Don’t give up dreaming.  Eventually, someone else jumps onboard too.  :)

Thank you to everyone who supported Kickstarter again, this is possible through you.  

XII

“Many of the component parts here are truly well-done; Calder gets the most out of his cast with some convincing performances from those involved, the effects, mood and tone of the film are pitch-perfect…”

Reviewed by John Milton

“Zombie flicks are ten a penny with “the infected” storyline becoming more and more favoured by film-makers these days. How about demon zombies then? Ok, that got my attention too… Director and writer Nick Calder takes us to South Korea in his genre offering Fear Eats the Seoul.

Nick Calder’s own website offers the following synopsis by way of introduction:

‘We All Have Our Demons…

When South Korea is ravaged by a massive demon epidemic that nearly wipes out its entire population, four foreigners are forced to stick together to survive the fallout. After they encounter a Korean survivor who informs them that a nuclear purge of the country is imminent, they realize that escape is the only option. But nothing comes free, and to make it out alive they must overcome their differences and work together to confront not only the flesh-hungry demons waiting for them around every corner, but also the personal demons hiding within themselves.’

Setting aside my dislike for the pun-tastic title, I was looking forward to this film and within the first few minutes, I was drawn in to the story instantly. Proceedings open intriguingly and show a view of a nightmarish vision of Seoul with imagery that reminded me of something from Silent Hill- no mean feat since Silent Hillstill stands as the only computer game to actually give me the creeps.

As the story unfolds, we are introduced to a number of Americans living in Korea, teaching English; and how they are coping with the subsequent outbreak/epidemic/demonic plague a month after the initial incident. The group themselves, although sharing a common job, are the usual mixed bag of disparate individuals but such an assortment allows Calder to tell his story.

I was most appreciative of the fact that all the effects were practical in nature, lending an element of realism to the film that may have been absent in a bigger budget project that may have employed CGI. There was a particularly nice kill involving chopsticks that I will leave you to find out about for yourself!

My only problem with the effects employed were the fingers of the infected/demons. They just seemed comical when I think they were meant to be claw or talon-like.

As for Calder’s undead/demons, I had no issue with them on the whole. My sole concern arose when one of the survivors came across one of the demons, who was still wearing spectacles and high heels. I know women that can’t last a Saturday night without breaking heels that big, what chance would a demonic zombie have in them after a month? I digress…

Within the first few scenes, I thought I was to be treated to a story that was perhaps a little more like a play: set within the survivor’s flat and dealing with their own emotions, fear, hunger; and their own personal demons. This was not to be the case as the film progresses to repetitive scenes of the survivors scavenging and inevitably having to fight the undead.

The film itself was shot using handheld cams and results in many shaky scenes, close-ups, off-centre shots and generally trying my patience and giving me a headache; leading to a lack of comprehension on my part as to what is going on.

Fear Eats the Seoul is overall narrated by the protagonist and has some interesting moments. Nick Calder has created an impressive tale for his first feature film but for me, the movie really failed to satisfy. Many of the component parts here are truly well-done; Calder gets the most out of his cast with some convincing performances from those involved, the effects, mood and tone of the film are pitch-perfect but I can’t help but feel that the story could have been a little tighter, reducing the length of the movie, upping the pace and negating some of the more redundant scenes.

I look forward to seeing what Nick Calder has to offer the genre in the future.”

“An impressive, original, sincere and mesmerising horror film.”

Review by MJ Simpson

“Well, here’s something you don’t see every day: a Korean/American miserabilist slacker zombie film.

Fear Eats the Seoul is very artistic and very indie. It’s all shot handheld and mostly framed off-centre or super-close so that characters are partially cropped. It’s 100 minutes long and much of that consists of people sitting around talking, or sometimes standing around talking, generally in a flat, listless monotone with lots of pauses before and after. And then, every so often, the pace picks up a bit when someone fights a zombie.

This makes the film sound pretty poor and in truth it’s not. It’s an impressive, original, sincere and mesmerising horror film. But if the previous paragraph puts you off, this probably isn’t the movie for you. It’s not conventional horror, it’s not for gorehounds. It’s for horror fans who want to see something different and who like to, you know, think.

Amber Green stars (and narrates) as Nadia, an American living in Seoul for a couple of years teaching English. Something unspecified has happened and the city is now virtually deserted except for roaming, hungry, animalistic zombies. Referred to as ‘demons’ in the publicity, we never get a really clear look at any of these as the zombie attacks are very fast-cut and very shaky. We can see that they have very long, sharp fingernails/claws. It’s a different look for what are, to all intents and purposes, zombies - and it works well. All credit to make-up FX designer Cho Young Hwa.

Nadia, a strong, bitter woman, is holed up in her flat with three other American EFL teachers that she has met since the unspecified disaster: grumpy Rufus (Miles Meili, also in ‘deep south horror’ Zydeco), meek Mary (Elinza Pretorious, who is actually South African) and relaxed Alex (writer/director Nick Calder, who was also DP and editor). They make occasional forays out into the city in search of food, where they target private property, so presumably the shops are by now all empty. Occasionally they have to face off against demons/zombies, smashing their heads in with whatever implement is to hand. The rest of the time, they sit around and mope. Not a lot else to do in Seoul these days, it seems.

On one excursion they come across Miji (Kim Hyun Do), a Korean nursery school teacher, and accept her into their group. But that’s four, now five, people holed up in a tiny one-bedroom flat and tensions are inevitable. Miji brings news that the zombie/demon problem is confined to South Korea and that a nuclear strike is scheduled a few days hence to wipe out the threat. Nadia proposes heading for the coast and commandeering a boat but first they need to find a car. This isn’t some dumb American thing where automobiles are routinely left with the key in the ignition when zombies go wild, or can be easily hotwired by any passing idiot. No, they actually need to find a car and the car keys that go with it. It’s not easy, but Miji thinks she can help.

Before this happens, they visit Olympic Park, just to get away from the confines of the apartment, but the fenced-in area is not as secure as they think it is and they are attacked, leading to tragic problems later on. I won’t reveal the ending, or whereabouts it lies on the bleakness-to-optimism scale, but it is slightly anticlimactic. Although I suppose that is in keeping with the generally bleak and depressing nature of the story and characters.

The film is divided into four sections, with title cards, and contains several flashbacks to earlier times, before the disaster. For example, after Alex realises that he has passed his 24th birthday without noticing it, there’s a scene of his older sister visiting him when he turned 23. The movie also has the unique schtick of dual subtitling: English subs for all the Korean dialogue and Korean subs for all English. I suppose that means it’s easily marketable in both territories…

Despite the violence of the zombie attacks (and the tension of trying to avoid them) this is a slow-moving, grim film, not unlike Andy Parkinson’s first two features in its outlook. If you reduce it to the core plot, it’s not too different from a hundred other zombie pictures but the mixture of western and eastern - both on screen and in the general approach - plus the restrained, pessimistic tone throughout (leavened only by the flashbacks of When Things Were Better) mark Fear Eats the Seoul as something unique. And yes, the title is a crappy pun, but this is a film about people’s crappy lives so I think it’s kind of appropriate.

A few cast/crew points of interest. New York-born Calder actually did work as an EFL teacher in Korea. However, he doesn’t speak Korean. Furthermore Kim doesn’t speak English so all conversations with her had to be translated (via Jo Young Hoon). Green and Pretorious starred together in Suicides in Vegas, a played which premiered in Seoul before touring Canada. Producer Whitney Thompson is not the skinny bit from America’s Next Top Model. Associate producer Raoul Dyssell is South African but now lives in Seoul. William ‘Sonny’ Sonbuchner, credited with ‘Demon Sound Design’ makes short comedies at www.thesonnyside.com. And there’s even a British contribution because the effective score was provided by my mate Scott Benzie!

Fear Eats the Seoul premiered in September 2011 with a Korean theatrical release the following month and a US premiere in New York in December. It’s a very impressive debut from Calder, who is still only 24, and it will be interesting to see where he goes next.”

MJS rating: A-

(Source: mjsimpson.co.uk/reviews)

Review by Mark Bullock

“Nick Calder’s Fear Eats The Seoul offers an interesting and original spin on the zombie (more like demon in this case) apocalypse scenario.

I was excited to check out this movie after viewing the trailer. It looked dark, creepy and action packed and the setting of a bleak and desolate South Korea gave it a fresh look. Although the film turned out to be a lot more dialogue heavy and lower on the action than I anticipated it was still an involving and original watch. 

The story centres on four English teachers who had travelled to Korea to work only to eventually find themselves in a devastating and terrifying predicament with seemingly no hope for rescue. It turns out that in the time since the four arrived, the whole of South Korea has been afflicted by a mysterious horror , turning the population into freakish demons with the scariest looking claws you will likely see in a horror movie. Being lucky enough to be alive and thus far unaffected by the epidemic the four must figure out a way to get to safety or face the gruesome transformation into demons as they have seen happen to so many others. One break of the skin from one of these creatures and that’s exactly what will happen. Add to this the personal demons of the four characters and effective flashbacks to their arrivals in Seoul before the horror began and you have a far more complex and layered movie than it might have been. Watching to find out if any of these characters would be lucky enough to make it to safety and normality makes for tense, edge of the seat viewing. I wont spoil anything by eleborating on this though!

The demon effects in Fear Eats The Seoul are incredible. The makeup work is second to none on the facial disfigurements and as previously mentioned, the claws are indeed scary. Think Freddy Kruegers glove mutated x10 and you have it!  

The actors all do a great job in the movie. I found Amber Green as sarcastic ‘Nadia’ to be extremely natural and she has some great/funny lines. Elinza Pretorius as ‘Mary’ also has a brilliantly acted scene involving an uncomfotable conversation with a slighty, shall we say crazy, young lady. 

The movie is extremely well shot and absolutely looks like a big screen release. Nick makes the most of the setting to create a sprawling and treacherous wasteland. The score is also both haunting and appropriate for the dire situation unfolding. 

I really look forward to hearing more about a wide release for the movie and would highly recommend checking it out. You can find out more about the movie over at the official Facebook page: www.facebook.com/fearseoul”

Review by Derrick Carter

“Independent zombie films are a dime a dozen and it takes some real creativity to make an apocalyptic horror film that maintains the viewer’s interest. The disaster that befalls South Korea in FEAR EATS THE SEOUL is actually demon-related rather than involving zombies or nuclear war. It’s a bold idea that pays off in many ways and has a lot of ambition.

The film is narrated by our protagonist, who is one of a group of four English teachers who traveled to South Korea. Unfortunately, this was a mistake on their part, because a demonic epidemic is spreading across the country and soon our group are some of the only survivors left. With the impending threat of the county being blown to smithereens to contain the plague, our heroes must trek across a savage landscape where death could come at any moment. The film also shows moments from the characters’ past to give us more of a backstory on what kind of person they are.

Director/writer/actor Nick Calder realizes that to have a successful end-of-days type movie, you have to focus on one particular thing: your characters. If we don’t care about the lives at stake, then the movie will be boring and we will lose all interest within the first 20 minutes. I cared about these people and they spoke like a normal person would in this unthinkable scenerio. They make snide remarks and become even more desperate, reaching their emotional limits when the situation keeps going from bad to worse.

The acting ranges from good to a little shaky in places. Also, there is quite a bit of shaky cam which may turn some people off. The look of the demons is pretty neat and you can really tell that the cast and crew made the most with what they had and put all their effort into making this idea come to life. The film is very professionally shot and looks much better than a lot of indie horror flicks out there right now (which look like they were shot in someone’s backyard with props from the dollar store). It’s a nice change of pace to see an indie effort come out that mostly succeeds in creating an original and well-written story.

Grade: B: FEAR EATS THE SEOUL is a good horror flick. I can’t think of another movie out that works exactly like it. It’s not a ripoff or a remake, just original. Sure, there are some of the usual pitfalls with independent film (some wavery acting and shaky-cam), but in the end this one is competently made and well-constructed. If you get an opportunity, check out FEAR EATS THE SEOUL!”

“Calder skillfully pieced together a horror flick, ripe with depth and subtle original twists to the genre.”

Review by

Film & Television Critic Michael Stahl

Fear Eats the Seoul debuted in the United States last night to a quaint group of twenty-to-thirty-somethings, who could not have known what to expect from the cherubic NJ Calder on his maiden feature film effort.  With a budget of $4500, Calder skillfully pieced together a horror flick, ripe with depth and subtle original twists to the genre.  Set in Seoul, South Korea, it is about four English teacher transplants trying to survive a sudden zombie apocalypse, while facing their own unsavory character flaws.  Mirrors are a prevalent symbolic presence, representing a forced reflection that the protagonists must have of themselves if they are going to deal with the “demons” and get along with each other.  After locking themselves into a safe haven, the foursome find that, aside from hunting for food and debating what their next move will be, there’s not a whole lot to do.  The stress and tension build as the realtime vignettes pull viewers into a setting saturated with conflict.

In the spirit of 28 Days Later, Fear Eats the Seoul is better characterized as a drama with zombies as opposed to a traditional gore fest, like Dead/Alive and Dawn of the Dead.  With expected budgetary constraints, Calder knew he had to piece together images that suggest devastating violence instead of putting it on gratuitous display.  The result proves Calder a prodigy in that often overlooked editing portion of the filmmaking skill set.  Couple the quick cuts with near seizure-inducing focus shifts, throw in a sickly tense score, and voila: a highly entertaining, gripping movie emerges.

Another applaudable aspect of the film is Calder’s awareness of the need for the zombies to be stylized.  He challenged himself to be original.  Though inspired by Freddy Krueger, the “demons” as they are called (a play on the “inner demons” that the characters must face), are different from the monster predecessors that fans of the genre have seen countless times before.  Once transformed, the demons develop a predatory tool with their fingers having turned into elongated root-like claws.  The faces of the demons resemble a somehow even more horrifying version of Heath Ledger’s Joker of The Dark Knight fame and these zombies are fast and smart too.

Calder appeals to the horror die hards though by lifting the premise that once a human’s skin has been broken by a demon, they too turn into one.  This sets up the inevitable moment where a character must choose to become malevolent towards someone who, moments earlier, were quite dear to them.  Perhaps the best example of Calder’s ability to be true to the genre, yet unique is the kill method that must be employed, which involves pinpoint blows to an undead head, originating from the unquestioned foundational film Night of the Living Dead, but with a symbolic variation that astute viewers will find themselves pondering in between late night shuddered looks around their apartment.

Opportunities to view NJ Calder’s Fear Eats the Seoul may be limited, but should you over the course of the next year or so find it listed on the queue of a local indie film festival, a download of a couple of etickets to your smart phone should happen as quickly as you can say “Soju Hangover.”

More reviews and information on Michael Stahl over @ http://wpeckepa.wordpress.com/

“THIS  ZOMBIE  FILM’S  A  STAGGERING  ACHIEVEMENT”

GROOVE MAGAZINE REVIEW

BY DEAN CRAWFORD

Most of us have had one of those days in Korea. You know, one of those days where you feel like you don’t belong. One of those days where people won’t stop staring at you as if you’re from another planet. One of those days where you wonder what you are really doing here and what you are going to do with your life. One of those days where you are being chased through Seoul by hordes of flesh-eating zombie demons who have been hit by a virus so bad than not even Kimchi can fight it off. No? Well, you would have if you were a character in the new micro budget horror movie “Fear Eats the Seoul” (2011) written and directed by Nick J. Calder.

A virus has taken over Korea, transforming its citizens into flesh-eating zombie demons. The only survivors that remain uninfected are holed up in Nadia’s (Amber Green) studio apartment, a strange mix who fight about everything and anything from whether kimchi is delicious to whether they should stay and hide or go and find help.

As they take necessary steps to find food, they encounter not only survivors, but rabid demons and must fight to stay alive. After meeting fellow survivor Minji, they learn the world’s solution to Korea’s zombie epidemic is to drop a bomb on the country, erasing it from the map. From here on out, the survivors must decide on their next plan of action before they, and the rest of the peninsula, are wiped from existence.

“Fear Eats the Seoul” is relatively light on gore and instead ramps up the terrifying mood. In terms of style, “28 Days Later” (2003) is a clear influence as the zombies are fast, strong, angry and purposeful, as opposed to George Romero’s more languid incarnation of the monster. However, “Fear Eats the Seoul” definitely tries to be different in terms of its look and plot development. The zombie’s bodies morph, sprouting creepy, elongated fingers and when was the last time you saw a movie where the victims call a zombie on its cell phone as they need to retrieve a set of keys in its pocket?

The film looks great and I was surprised to find out it was only shot on a Canon 550d. It is aided by superb postproduction. While the dubbing of the dialogue could have been slicker, the editing and the creature sound FX are both excellent and are a perfect fit. At times, the makeup effects looked like they were from a film with an exponentially larger budget, not bought from the supermarket. And the score by Brit Scott Benzie is fantastic and unexpected. Rather than textbook pulsating sounds all the way through, he too has chosen to create mood with sinister, yet melancholic music that is emotional and scary in equal measures.

However, if I am being totally honest, as much as I enjoyed the aesthetics of the edit, I felt the film could have been a good deal shorter. This may be explained by the fact that the film initially started out as a short but evolved into a feature. I also wasn’t a fan of the overuse of shaky cam during the film’s pivotal action scenes. A steadier camera in places would have shown off more of the fear exuding from the actors, but I guess this will come with time and a budget. I was also unsure as of what to make of the main characters. They are a motley crew who generally hate where they are in their lives and enjoy telling us so. I suppose you would feel slightly aggrieved if you were being attacked by zombies, but you get the impression they would be the same in any scenario. It will be interesting to see what a Korean audience will make of the film, as most of the characters seem to hate the country and see it only as a means to an end, the exception being Mary (Elinza Pretorius), but she is only in the country because her fiancé ran off. A minor point, possibly, but when a film revolves around your characters being chased by zombies, you really need to care if they live or die.

Despite any misgivings I may have had with the film, the fact remains that with a budget of only 4,500,000 won ($3,950), “Fear Eats the Seoul” is a staggering achievement. With a strong opening, a frantic ending and some tense set pieces in between, the film shows a real eye from first time director Nick Calder and a huge credit should go to producer Whitney Thompson for getting the film made. Nick remarked that somebody referred to the film as a time capsule of their stay in Korea, and despite the fact the film is clearly written by someone who doesn’t want to be a teacher, there is enough nostalgia for expats to laugh along with. Talk of soju as “Korean hooch that will fuck you up” or kimchi being “rotten reeking cabbage” will sum up many a first year here. “Fear Eats the Seoul” will not only be an enjoyable watch for expats, but for fans of the genre in general as no matter who you are, it’s good to know that after a post-apocalyptic event, much like cockroaches and Twinkies…Kimchi will still survive.

Fear Eats the Seoul [2011]

“Fear Eats the Seoul has been a passion project for me nearly as much as it has been for Nick.  It was a dream-come-true to work with such an amazing person doing something we both love and are extremely passionate about.

After graduating from Auburn University in Alabama, I moved to New York City where I lived and worked for 2 years before coming to Korea.  I had lived in Alabama my whole life and when it came time to do an internship, it was New York or nothing.  I knew I wanted to do something in film, I just had no idea what that was.  I had a terrible desk job for a year, then the recession hit and I was fired.  I started doing small jobs as a PA, then worked my way up doing everything from camera assistance to art department work, until finally working as a producer and assistant director.  I discovered I’m pretty good at those roles so I kept looking for jobs in that area.  I wasn’t getting paid though and I had no food to eat, so when the job in Korea came up, I jumped on the opportunity to get the hell out of a bad situation.  The recession was probably the best thing to ever happen to me.  Things get handed to you and it’s what you make of them that matter.  

Nick and I met last May, 2010 outside Jamsil station to discuss Fear Eats the Seoul.  I quickly discovered a few things:  Nick is a vegetarian, very opposed to beer, and is one of the most passionate and driven people I’ve ever met.  So, after a basket of fried potatoes, about 7 bottles of soju, and 7 hours, we formed a partnership that gave me hope for my future and a place in the world.  Leaving that meeting, yes I was completely hammered, I had a new purpose in life and had met someone who wanted to create something amazing and challenging, and I was so excited.  I finally felt like I was in the right place at the right time.  

We started pre-production fairly soon after meeting and we both had some really great ideas.  I knew a bit about working with a small budget and being as creative as possible so we worked together and sorted out some big problems we knew we would face.  We tested makeup and created creatures that have evolved from looking something like lepers, to something completely terrifying, while graceful and beautiful at the same time.  We spent about 14 hours creating a hundred some odd demon fingers and then did camera tests and lighting tests and worked on the moves for the demons.  We scouted locations and worked on lighting (most of which came from the camping and hosiery section of E-Mart).  We thought we had everything cast and ready to go in June and we were planning for about a month and a half of shooting.  That turned out to be really difficult because our actors were all on vacation and none of them were in the country at the same time.  That’s a bit of a problem, really.  So, the schedule that had been made turned out to be worthless and we decided to take a step back, made some casting changes, and started again.  We found Miles (and what a gem he is!) to play Rufus and then really started shooting in August.  

Most spare moments of the next 5 months were spent filming.  We worked on weekends, after school, pulled all-nighters more times than human beings should, and had many breakfasts at Food 2900 and many dinners from Pizza School.  It wasn’t healthy, but, really, what filmmaker’s life is?  It was amazing.  

The hardest part of filming for me was playing so many different roles.  Every day I was a producer and assistant director, but some days I was a PA, some days a camera assistant, camera operator, art director, lighting technician, props mistress, sound engineer, make-up assistant and script supervisor.  We all worked together well, but it was really stressful at times.  I had to be extremely creative and try to make everything happen the way it was supposed to.  Murphy’s law is a bitch.  If it had a face, I would punch it.  Some days, everything was planned out perfectly, and something still went terribly wrong.  We had to work through so many uncontrollable elements like heat and rain and drunk people.  There were many times I felt like just quitting, just calling Nick and saying, “I can’t do this anymore.”  But then, I would show up on set because I was addicted to being there, and things would go wrong, and we worked together to fix them.  That’s kind of my drug, fixing problems.  I’ve learned to plan for everything to go south, and when I have overlooked the biggest unforeseen problem, to roll with it and make it work.  I hated the moments when I couldn’t make things look the way Nick saw them in his head, but he’s a genius and he still made the film look incredible with what he had to deal with.  

Everyone had diva days, my biggest one being the mountain scene.  It had to have been a hundred degrees and I was filming that day because Nick was in the scene.  I haven’t done too much camera work, but I did the best I could.  I don’t handle heat well and I burn way too easily and had failed to put on sunscreen.  Everyone was sweaty and in a horrible mood and I couldn’t get anyone motivated.  We had to climb a fence only to find out that was the wrong way to go, and I’m sure I was on the verge of heat stroke.  Poor Younghoon was in full Korean climbing attire and demon makeup and had to stay perfectly still under shade so he didn’t drip.  Everyone had bug bites, nobody had enough water, and, as most mountains are in Korea, we had to pause often for actual hikers.  The moment that made me cry of laughter (and insanity) was when Nick asked me to run near full speed backwards up a hill covered in spiky rocks, while holding the camera steady.  I’m not coordinated enough to do that on a good day.  Somehow, I still got that shot.  I’m proud of that one.  We made it through the day though, only to get completely separated and lost on the way down the mountain, having to trudge through incredibly soggy mud and then wait half an hour in the heat for taxis to pick us up.  Worst day ever.  I loved it.  

I also really enjoyed the small budget because we had to be so creative.  Nothing was conventional.  Our “crane shot” involved rock climbing equipment and a bridge.  The shots of the car driving were incredible dangerous because Nick was riding backwards on a scooter on the highway.  The makeup was cheap paint from an Alpha store.  The fire in the alley was burnt newspaper in a basket, away from CCTV’s eyes.  The demon fingers were chopsticks, latex gloves, and masking tape.  Most of the props were found household items, either borrowed or taken from the street, or bought at a Daiso.  We dug up dirt from the garden outside Nick’s place to dirty up our demons and our use of shredded towels was incredibly impressive.  

It’s also amazing shooting in Korea because permits are never required.  Everyone has a DSLR camera so we weren’t suspicious usually.  Anytime we were, we just pointed the camera at the cops, said, “Younghwa,” and they either stayed and watched or just left us about our business.  So much better than New York where you need a permit to put down a tripod.  It was a much enjoyed guerilla style and I don’t really want to go back to the strict way of filmmaking.  I really appreciate Korea for being so open to the arts and letting us be creative and spontaneous.  

I believe our last shooting day was December 15.  It was the scene I’m in with Nick.  I really enjoyed making my cameo as I haven’t acted in so long, and it was so much fun to have that moment with him.  

Nick has been working tirelessly this year, editing and putting the elements of post-production in place.  I ran away to Tongyeong.  After filming, I thought I needed some time to myself.  I came to Korea to escape a professional life, but found one instead and it was all kind of overwhelming to me.  I don’t think I was ready for it, but at the same time, I was.  The experience pushed me so much, so far beyond what I thought I was capable of doing.  I don’t think I made a mistake moving so far away from Seoul and Nick, but I also regret not being there for him during post-production.  My head just wasn’t in the right place.  However, that only lasted a few months.  

After a while, I really began to miss being around film and regularly being stimulated by these incredibly talented people.  I did as much as I could from a distance, and really tried to stay supportive.  I should have been there more, though.  Now, I’ve seen the film so many times that I don’t really know what we have.  I think it’s wonderful and I’m so proud of it.  Nick graciously lets me think of it as “our movie” and I really can’t believe what we have accomplished together.  

After the premiere in September, I was so moved.  It was a wake-up call.  I’m ready for this part of my life.  I’d like to continue working with Nick.  I think we have a great partnership and we work really well together.  He’s a very passionate and intense person at times, while I find it difficult to not behave like a 4-year-old child.  I think we kept each other balanced and sane through this process.  I wouldn’t let him get too stressed out about problems I knew we could fix, and he kept me focused and made me work hard to not let him and myself down.  I have a strong aversion to scary films though so I’m not really sure how he got me on board with this in the first place.  I like comedy and he likes to be terrified beyond all belief.  It’s a very strange relationship, but it works.

I loved producing this film.  I’ve said it so many times, but my favorite thing was trying to figure out what was in that kid’s head and really making it happen the way he saw it.  You know you have something special with someone when you can create whatever is in his or her brain, fairly accurately.  

We had such an amazing crew as well.  We have great friends.  Cho Younghwa, our incredible makeup and graphic design guru, worked so hard and gave up so much time to be on set.  Demon makeup took at least 2-3 hours each time and she rocked it on every occasion.  Plus, our poster is bad ass.  Jo Younghoon was always willing to help out, sacrificing himself to play about 7 different demons in the film.  He got us whatever we needed whenever we needed it, and he really helped keep me grounded and realize some mistakes I had made.  Maggie Whittum, or the infamous Ms. White from the film, not only helped with sound and a multitude of other necessities on set, she also introduced Nick and I and made Nick realize he was capable of creating this film.  Raoul Dyssell was Nick’s backbone and a complete godsend during post-production and nothing would be finished without him.  I’m so thankful for all of these people.  You want to know how we made a film on a tiny budget?  We had great people.  

Nick is right.  We don’t fit the mold that exists nowadays.  We are outside the box and I’m completely comfortable there.  As long as I can keep working with people as creative and talented as Nick, and Nick, I’ll forever be happy.  I hope people enjoy the film and appreciate what we did.  My life is too short to not be passionate about what I do for a living.  The past year has been tough, but I’m more driven, more sure of myself, and more passionate about everything than I have ever been before.  I thank Nick for that and I hope that I’ve helped him achieve something he’s proud of, because I know I am.”

-Whitney Thompson

Fear Eats The Seoul recently premiered in Seoul to a very strong reception.  Our first true general audience screenings will take place on October 14th here in Seoul at the Laughing Tree LAB [RSVP details tba], followed by a true World Premiere on Halloween Weekend [also details tba].  

Currently, the film has no distributor and is completely being funded by myself and the producer.  This is the main reason why all you crazy folks who actually want to see the film… cant.  We need your help to spread the word and create a demand for the film to be seen.  So please spread the word and trailer to everyone you know, the more people, views, support, and the more the film enters the collective consciousness, the better our chances of being able to get the film to EVERYONE in the best light possible!

Its taken a long time to get it finished, and to have it become something I am so proud of, but we still have to fight to have the film reach the audience it is intended for:

YOU!! :D

So please spread the word.  Keep our momentum going, and no matter what I promise all the incredible people who want to see the film here in Korea, back in the states or around the world will get to see it as soon as I humanly can bring it to you.

For all our fans outside of Korea, keep your eyes peeled for some exclusive clips from the film coming sooN.  

NJ

njCALDER.com

At 3 AM last night, I walked out of a Noraebang and into the cold air of familiarity.  And I knew that Sept 19, 2011 (2 years & 8 days after my return to Korea) was the best day of my life.  

To live passionately for two years and not know what the future holds takes a large amount of bravery and endurance.  These fears of failure keep most from accomplishing incredible feats that, in truth, we are all capable of achieving.  For the last two years I have had to wrestle that fear to the ground everyday and push past feelings of inadequacy and limitation… to question tradition and commit to a dream no matter what the costs.

Last night, for a moment, I was standing outside of myself.  I could see the crowd, the film, the sounds, my friends.  And I understood finally that no matter how big or how small the victory, I had won.  The two years of uncertainty that took every ounce of my blood and spirit were not only worth it… but that was the test.  This final product playing before the audience was just a cherry on top.  Me never giving up, that was the triumph. 

I committed to something outside of myself and I fought for its existence.  And now one hundred people know it exists.  In three weeks, another hundred will know.  Another hundred after that.  

If you love something, never give up on it because it is giving you life.  When all things seem to fail, fight for your world.  Never be afraid to carve your own path and to live your own legend.  

Be the greatness you want for yourself and take no prisoners.  FIGHT FOR YOUR WORLD.  It is all you will ever have.  Fear will eat away at your dreams and your confidence, be brave and crazy.  

To everyone who was a part of Fear Eats the Seoul, there are never going to be enough words to express what I feel for you all.  But I hope that the film helps to reflect a tiny portion of the strength and spirit you all have infused in me on this long, singular journey.  

To all of my supporters who have spread the word and have been so enthusiastic to see the film, I can only promise you that this is the first of many, many films made only for you.  You have all given me a purpose.  Three years ago I was a lost soul.  Today I am found.  I can not thank you enough. 

There are so many things worth fighting for but you sit on a peak all your own, my friends and champions… you are my family.  A collective of neonRebels. 

Fear Eats the Seoul premiered on September 19, 2011 to a private crowd of Cast, Crew, Press, & Associates in the Land of the Morning Calm.  This is only the beginning for 24 years old NJ Calder who will soon depart from these shores… to fight for his world.

Fear Eats the Seoul (2011) on Flickr.

After an incredible 7 months of arduous trial & error, constant recording, foley producing, mixing, and mastering… we have finally crawled over the last massive hurdle and with one week to spare before the film premieres in front of an invite-only audience of Cast, Crew, Press, and Associates.

The film is RUMBLING.  I am so proud of the work that has gone into making this film a completed piece.  And I am so excited to finally have the film go out into the world and be given life through the eyes of the audience.

Subtitles and Credits are being applied to the finished picture lock and soundtrack as this is written.  

Running 107 minutes, Fear Eats the Seoul will make its debut to its first General Audiences in October.  More details to follow shortly.  

If you aren’t in Seoul, keep your eyes opened for upcoming exclusive clips and a new trailer shortly!  

And to celebrate our success, I leave you with a preview of credits to come:

NJ

Fear Eats the Seoul 

Black Tie Premiere Screening  9 . 19 . 2011