Exclusive first details/art on Dante Tomaselli’s “THE DOLL” and conceptual soundtrackMovies/TV,News Ken W. Hanley
Fans of extreme and surreal horror need no introduction to the work of indie auteur Dante Tomaselli, and while he continues to develop his remake of ALICE, SWEET ALICE, he has given us the exclusive on another nightmarish project in the chamber: THE DOLL.
“I was offered the opportunity to create an independent film, same budget as [this month’s release] TORTURE CHAMBER,” Tomaselli tells Fango. “THE DOLL is a haunted-house shocker that deals with a violent haunting at a family-owned wax museum in Salem, Massachusetts. Inside there are wax figures and mannequins depicting that cruel and sadistic period of history, and something is reaching out to a child who lives in the house. It all goes back to an old, cracked Victorian doll that belonged to a little girl who drowned in a lake.”
Fans of period horror will find much to love in the film, which is to be set in the ’70s and will feature flashbacks, nightmares and visions from the Salem witch trials. FANGORIA’s own Michael Gingold will be co-writing THE DOLL, as he did on the ALICE redux (see details here). “Mike and I have worked twice together before,” says Tomaselli. “I respect his instincts; he brings depth and polish to the screenplays.”
Before THE DOLL hits the screen, however, Tomaselli will release a CD of music for the film (front and back covers seen here), in the vein of his album SCREAM IN THE DARK (which we told you about here and debuts today; order it here). The DOLL disc will be released by Elite Entertainment, which is issuing SCREAM, on April 15 in conjunction with MVD Audio. “The DOLL CD is a conceptual soundtrack for the film; I have a tendency to score my movies before they’re even shot,” Tomaselli explains. “I just set the tone with music, and it propels what’s next. Once footage is actually shot, I add many new soundscapes, but the flavor of the original music remains.
“It’s what’s inside my mind at this time, and could also be music for funhouses, like SCREAM IN THE DARK,” he continues. “Or it’s for anyone who enjoys listening to ambient electronic horror music. On both 60-minute albums, you should get the feeling of poking around in the darkness, as if moving through a mazelike funhouse. Growing up, I craved having my own funhouse in my backyard, so this is pretty much a natural progression. Inside my brain, all these sounds are crawling around like spiders.”
However, these musical endeavors won’t get in the way of Tomaselli’s film work. “I love horror films, and never want to stop making them,” he says. “I learn from each movie, and I’m always aiming for something more absorbing, more intimate—more frightening.”