Interview: Devi Snively Chats Horror Roots, Women in Horror
Interview and article by Keri O’Shea
Directrix Devi Snively had a range of careers – ballerina, translator, newspaper columnist – before throwing herself with customary enthusiasm into working in the horror genre. I first became aware of Devi when I saw her short film Death in Charge, a project which – like all of Devi’s work – conflates some pretty heavy themes with a distinctively offbeat, self-aware style. Devi ‘s playful sense of humour brings us titles like I Spit on Eli Roth and Teenage Bikini Vampire, as well as manic-depressive vampires, American Civil War-era zombies and stoner-road trips-gone-bad, but in amongst the laughs you’ll no doubt spot Devi’s real love for the genre, as well as a unique, reflective way of handling horror themes.
And yet, all of this started with some decidedly practical reasons. “As unromantic as it sounds, ‘twas poverty that first brought me to horror,” Devi explains. “I was a writer who wanted to see my films brought to life and I was broke.” She wouldn’t be the first person to be attracted to horror for its forgiving attitude to all manner of comers (or budgets) but it didn’t take long before a marriage of convenience became something else entirely. “Always the academic, I obsessively studied the genre from the classic early German Expressionist silent films up through contemporary fare and suddenly found myself not only shooting horror films, but also teaching a class on it and becoming immersed in the horror community. It’s a wonderfully universal genre that poses endless questions to explore.”
So far Devi has nine short films under her belt, as well as a feature-length film (Trippin’) and more projects in the works. Currently, Devi is working on what she describes as “a loosely autobiographical, romantic teen murder mystery slasher dark comedy / horror – sort of “Heathers meets Serial Mom with a healthy dose of American Werewolf in London”’. This project is Paige and Hadley’s Prom from Hell: “I wrote the first draft in 5 days over a decade ago and put it with all the others on my “Island of Misfit Screenplays” shelf,” Devi told me. “Three years ago I dug it back out, brought on my writing partner Circus-Szalewski (also an actor in many of our films) and we went on this totally insane rewriting trip. By now, this script has probably had as many different incarnations in its life as I have, which seems appropriate somehow.”
As Devi’s first budgeted feature, Paige and Hadley will be “positively mammoth in scope” compared to past projects. That aside, it’s come at a point when Devi’s confidence has reached a new high. “My motto in life has always been ‘do what makes you happy’, so I guess the common theme that’s run through all of my pursuits is allowing myself the freedom to explore what that is – freedom to pursue my whims and obsessions, freedom to make a fool of myself, freedom to fail, freedom to change my mind. Most of the protagonists I write experience a similar journey in our films. They constantly question and explore various possible answers.”
With this in mind, how would Devi personally define ‘success’? “’Success’ is a terribly misused term much like the word ‘love’”, Devi responded. “It’s so ubiquitous and shallow, yet carries so much weight in our society. It’s unfortunate. Too many people, particularly in the film industry, take a results-driven approach to filmmaking (i.e. aiming to ‘succeed’), which I blame for so many of the ‘unsuccessful’ films I see. These filmmakers do what they feel they must to get their films made, even when that means turning away from their vision and/or becoming a total dick in the process.”
So, Devi’s approach is different. The end result is important, but she sees a lot more to her role as a director. “Both the artist and the audience should be moved. And let’s not forget the enjoyment factor. Too many filmmakers whine and complain so much I wonder why they even bother. If it’s not giving you pleasure, why do it? A film that’s not fun to make is rarely fun to watch. The truth is always right there if you look for it.”
As a woman working in an industry dominated by men, I was interested to hear Devi’s take on the status of women in horror – a subject garnering a lot of attention within the horror community of late. Had she ever felt disadvantaged by her gender?
“When I first started out on the genre festival circuit back in 2004, I was almost always the sole female director,” Devi explained. “I’d show up to claim my filmmaker badge and the programmers would inevitably be shocked, having presumed from my name (and genre) that I was a dude. Once ‘outed as a woman’, I didn’t feel I got treated any differently (well, except I probably got more free drinks. Being a chick does have some definite perks.) In truth, I didn’t really think about it until it became a hot topic.
‘I’ve never thought of myself as a ‘female filmmaker’. I’m a filmmaker who happens to be female and who frequently uses horror as my mode of expression. Nonetheless, in recent years the female horror filmmaker community has been mighty supportive of me and I truly adore them. I’ve certainly gotten more exposure because of them. And I’m grateful. It’s provided a wonderful chance to meet and learn from other women with whom I share a common passion.
‘Admittedly, I’ve also gotten some backlash. Some folks have attributed our films’ successes to my being female. Sadly, that attitude’s mostly been voiced by other females. I think it sets us all back when we limit ourselves according to sex stereotypes. Nonetheless, I mostly just ignore it all. I’m not one to pigeon-hole myself. If others feel the need to, that’s their issue. I believe the work should speak for itself and the work isn’t just me. I’ve got a team that includes men and women of varying ages. Our stories have laughs and romance, suspense and the macabre. We can throw labels around, or we can make movies. I prefer to make movies personally.”
Finally, I asked Devi how she thought more women could be attracted to work in horror cinema. “I think the best thing we can do to promote females in filmmaking is to provide more development support. Programs like AFI’s Directing Workshop for Women (which enabled me to make Death in Charge) give women a chance to grow as filmmakers and get recognition for it.
‘However, I think we also need to encourage women to stick with it, despite the inevitable rejections, and truly hone our craft. We need to admit when we’re ‘not there yet.’ It’s really important we keep the bar high and not rely on our minority status to grab attention. Kathryn Bigelow didn’t win the Oscar because she was a woman and it was about time. She won because she made a powerful film with true vision and talent. If we’re all as honest with our own work, we cannot be ignored.”
Many thanks to Devi Snively and Deviant Pictures
