Soul To Keep
Beelzebub, an ancient demon hellbent on consuming and possessing souls, hunts down siblings and their lifelong friends at a rundown country house.
Interview with Director David Allensworth and Moniere
Congratulations! Why did you make your film?
David: Horror is often an entry point for first time filmmakers. But what motivated me most is the potential the first script had to surprise the audience with plot twists and freshen up a sub-genre (indie supernatural horrors) with legitimate story and film quality.
Moniere: I wanted to make a micro budget film that could be distributed. Dave and I discussed various feature film genres in the summer of 2015. One day he came to me with the screenplay “I Eat Your Soul”, the original title of “Soul to Keep”. Horror has a proven track record of films being distributed. Films made for under 100k with no stars that have hit major box office successes. This was the first reason. But then the story that David, Eric and I began to mold, became one that had to be told and hopefully sold.
Imagine I’m a member of the audience. Why should I watch this film?
David: When you watch Soul To Keep, you will discover a roller-coaster ride of evil beset in a realistic environment. And just as importantly, you will see a seamless inclusion of a Deaf character without being hit over the head about it.
Moniere: As several reviews have stated, the film is well made in various aspects: music, sound design and performance.
How do personal and universal themes work in your film?
David: We all battle our own demons, most commonly (and I’m no exception) the earthly desires of sensory consumption. We then personify that desire in our main villain Beelzebub, who can never consume enough. The effort to control and ban such a demon is parallel to our own efforts to control our addictions and bad habits. Easier said than done.
Moniere: a personal theme would be the deaf angle. The deaf and hard at hearing being a minority group that I can relate to. Growing up in Brooklyn as one of the only Afghan families in the early eighties and not speaking a word of English. I wanted to bring that theme out and portray them as the heroes. Universal themes are the sex, drugs, rock & roll and plenty of violence. The average human ego seeks those thrills. Those thrills they shall have in STK.
How have the script and film evolved over the course of their development?
David: The script originally was a comedy horror. Friends show up at a house to discover a ritual, resulting in a tongue-in-cheek bloody mayhem, and lots of kills and one-liners. When I got a hold of it, the vision swiftly shifted to a darker more horrifying reality, peeling back the comedy, and inserted a fresh character dynamic (a Deaf character) into the prototypical horror ensemble. The Deaf character idea was originally to enhance the scares, but the evolution of the script to realistically incorporate a Deaf Person who is lifelong friends with several hearing characters presented the most interesting outcome – hearing characters seamlessly signing with her. It’s inspiring to say the least.
Moniere: The script and characters evolved drastically in the course of four months when the new version was written towards proven metaphysics, magic and apparitions. I come from a lineage of Sufis and healers in Kandahar, Afghanistan. My ancestors have encountered such dark matter in the remote regions of Kandahar. It’s all energy, vibration, frequency and consciousness. The mind being pure energy, the body vibrating particles on high or low frequencies and the soul/spirit pure consciousness.
The editing process continued to take on its own shape as David and I lived with the cut for almost six months, tweaking, slicing and snipping away the magic that Ray Chung our editor had already set. I was up at all hours of the day and evening in my apt chiseling any little fat.
What type of feedback have you received so far?
David: We’ve been floored by the absolute love for this film from all screenings so far (some private, and now Shriekfest). From authentic characters and actor performances, to an amazing visual backdrop of a creepy farmhouse, to organic VFX, to a powerful score and top notch sound design. We’ve even had folks asking details about the sequel already.
Moniere: First off, we’ve received a hats-off feedback from the Deaf and hard at hearing community in LA. An audience of almost two dozen stuck around after the screening to praise the film. They went into details on how most of them hadn’t seen such a film when it came to the authenticity it held regarding the deaf element. They wanted sequels and prequels. As David mentioned, the sound design and score was highly praised. I knew Irv Johnson, who composed my first feature over a decade ago would compose a memorable main theme melody.
Has the feedback surprised or challenged your point of view?
David: Not in the least. It has inspired and empowered me to continue on this path. But I’ve had high expectations because Moniere and I have surrounded ourselves with such amazingly talented people in all departments in front and behind the camera.
Moniere: The feedback has and continues to inspire me. I am humbled to have had such a talented team part of our cast and crew.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
David: Solid distribution. We want an explosion of an audience not just for a career breakout or monetary reason, but for the impact it will have on the social acceptance of the Deaf Community. Deaf Talent has so often been ignored in general audience content, it puts a stigma on them that keeps them ostracized. Here’s an opportunity to change that.
Moniere: The extended visibility will help showcase a minority group as the heroes and should let audience members realize that each and every one of us is a hero and has unique talents. Individuation: no two human begins are alike; although there’ll be seven billion entities on this planet. Why even have labels? Why can’t we all be one big loving community, melt into one another’s altruism and love? I’ve been bullied, scrutinized and bashed because I was from a minority group, an Afghan growing up in Brooklyn. I will always tell stories that touch the soul no matter what genre, horror, drama, dark-comedy or thriller. Let’s raise the collective awareness of humanity as a whole. What better way to do then film and media. Rise, all filmmakers!
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
David: We have our sales company in Taylor & Dodge. And we already have a passionate publicist in ChicArt PR, and several marketing consultants to keep us focused on the prize. So, strong buyers/distributors, visionary film fest directors and of course journalists covering our screenings with news and reviews all will help create a groundswell for the film. With momentum, we’d love for buyers of this film – given it’s guaranteed loyal audiences (Deaf Community, and Possession film lovers rejoice!) – to recognize the need to go beyond just adding it to a film library. Even a theatrical release to bolster its brand as the first in a Dark Universe would pay big dividends for a distributor in both the short and long term.
Moniere: A theatrical distribution would be sweet to get the message across globally?
What type of impact and/or reception would you like this film to have?
David: With the social element of hearing characters signing with a Deaf character, we would love for Soul To Keep to help fill the gap between the two communities. And bring awareness to the mainstream that this can be and is the new normal. As far as reception, we know we have a highly entertaining cinematic experience, and we expect audiences to demand the highest level of distribution possible to make it available for everyone to see.
Moniere: If we had six actors learn ASL and communicate with a Deaf actress, then anyone from the hearing community can seamlessly communicate with the Deaf Community if they choose to. Any person from one community can learn to love and communicate with other communities. And of course to go on a roller-coaster thrill ride, twist and turns along the ups-downs of the story; pure entertainment.
What’s a key question that will help spark a debate or begin a conversation about this film?
David: Since we have successfully shown how the Deaf and hearing communities can exist and with a little effort communicate with each other, we wonder: Can what was socially presented in Soul To Keep actually exist? If so, what are the steps necessary to get us there as an evolved society?
Secondarily, the central story element of Soul To Keep debates excess and our desires for sensory pleasures. When pursuing the pleasures of the flesh, how much is too much? Or more theologically speaking, how much excess is the influence of the devil?
Moniere: Since dark matter, black magic and bodies being possessed by demonic energies is real. And, that a collective source of energies can overshadow and manipulate a single source of energy; like a single battery being overpowered by the energies of two dozen. Can we diagnose and determine the level of abnormal behavior of any person, if it’s a psychological disorder according to the DSM-V or their simply possessed by dark matter? May it be a politician, celebrity or a humble family man? Acts committed and then call it, his/her “pain body.”
What other projects are the key creatives developing or working on now?
David: I have multiple projects in various stages of development and pre-production. Notably, Soul To Keep sets the stage for a new dark universe anthology about the 7 Princes of Hell, culminating in the ultimate battle between Heaven and Hell during the forthcoming Armageddon.
My writing partner, David Wagner (co-writer Van Wilder, Girl Next Door), and I are in active development on a drama, Heaven Sent, that also dives into theological concerns. It’s about a workaholic father losing his wife to cancer, and in having to raise his 8-year-old daughter himself, resorts to sending Instagram messages to her as his wife in Heaven. A dangerous choice for sure, but a journey that puts all our faith into question.
Among other active projects that cross genres, we are set to write an action-comedy feature for Sony’s Crackle, and have a new Rated-R comedy spec on the market.
Moniere: I’m working on my next feature “Soil.” It’s about a marine who is haunted by combat action in Afghanistan, suffering from Post Traumatic Stress Disorder. As she returns to her life in New York City as a dancer, she discovers her world ripped from under her. Now she must find a way to prevent her demons from pushing her to the brink of destroying everything.
It’s about the fragile souls who suffer from PTSD due to war, may it be soldiers or civilians around the world. It’s a thriller with many twists and hooks. It’s a cross between Black Swan and American Sniper.
Interview: October 2018
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
Soul To Keep
Beelzebub, an ancient demon hellbent on consuming and possessing souls, hunts down siblings and their lifelong friends at a rundown country house.
Length: 94 minutes
Director: David Allensworth and Moniere
Producer: Patrick Kendall, Moniere, David Allensworth, Matt Meyer
Writer: Eric Bram & David Allensworth
About the writer, director and producer:
David Allensworth: David strives to have a positive impact on audiences. Whether to change the way we think, or simply entertain, he loves the element of surprise.
Moniere: Moniere strives to raise the collective consciousness of every viewer through the stories he tells. Taking stories, themes, and characters from the East and setting them in the West.
Eric Bram: Eric is a genuinely gracious individual. However, this only disguises his deep knowledge of horror, comedy and indie films. Just stay on his good side.
Key cast: Sandra Mae Frank, Aurora Heimbach, Kate Rose Reynolds, Tony Spitz
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Buyers, distributors, film fest directors and journalists.
Social media handles:
Facebook: www.facebook.com/soultokeepmovie
Twitter: @soultokeepmovie
Instagram: www.instagram.com/soultokeepmovie
Other: www.soultokeepmovie.com
Hashtags you use: #soultokeepmovie
Funders: Private equity
Where can I watch it next and in the coming month? As we consider various distributors, Soul To Keep has entered the festival marketplace. Toward the end of October, we will likely have a special screening in Louisville, Kentucky, where Sandra Mae Frank is from. The screening will benefit a Deaf organization. Our New York premiere will likely be in November.