One of the most original movies of FrightFest 2024 is Dead Mail which is showing today, so we decided to chat to its creators Joe DeBoer and Kyle McConaghy.
NYX: Where did the idea for Dead Mail come from?
We stumbled upon the concept of dead letters and thought it was interesting. From there, we had the idea for the first scene, and then really dove into creating the fun — albeit sensationalised and mostly fictional — world of Jasper/the dead letter operation at the postal service.
We’ve also had an affinity for analog synths so it was fun finding a way to weave that into the plot. In our late youth, we bought a couple suspect analog synths off eBay (user rating remains at 100%) and had to open them up and attempt to fix them. So we drew from a little of that experience.
NYX: What is your writing and directing processes, I mean do you choose sections to write and direct individually etc?
We’ve learned we’re best off collaboratively immersed in all phases of the filmmaking process. Most of our disagreements/differences are resolved in the writing/development process, so by the time we get on set, we’re fully aligned and try to operate as one unit.
NYX: Was it written with a cast in mind?
It is always an honour to work with Sterling Macer Jr. He was one of the leads on our first film BAB and I and have done several other collaborations with him since, so we definitely had him in mind for Josh. We also wrote the role of Renee for our Norwegian-born collaborator Nick Heyman. But outside of that, we were fortunate to find such amazing talent across the board after the script was finished.
NYX: Sterling Macer Jr. and John Fleck are incredible here, their onscreen relationship is electric, did they have much time to rehearse?
They actually didn’t meet ‘til the first day on set! True professionals and incredible talents is how we’d describe them: both theatre actors who should be known worldwide, and it was incredible watching them build chemistry in real time on set. Our rehearsal time was very limited so all the credit goes to those two who really brought it. It was fun watching their friendship evolve between takes. As soon as their characters were done grappling with each other on a bathroom floor and we called ‘cut’, they would be trading heart-felt Star Trek and theatre stories.
NYX: I also have to mention Tomas Boykin who is absolutely superb in this movie, his considered performance is mesmerising.
During casting Tomas just felt like an original and he had an absolute passion for getting to know this Jasper character even before we cast him. There were other choices that were more in line with how we’d written Jasper, but we both just agreed Tomas had something more risky/special and we’re so grateful we got to work with him. It wasn’t until after the film premiered at SXSW that we learned of some of his real-life P.I.-adjacent work that informed his character choices.
NYX: It’s a very tense, psychological chiller, what was the atmosphere like on set and how would you describe the movie?
We had a very lean but aligned crew and limited time — which means limited takes — so shooting was really quite fun. The actors really made the moments for everyone. Notable scenes included Sterling/Josh’s chained crawl from the bathroom to the front door (shot on day 1) and a memorable scene where John eats a pivotal piece of breaded chicken (plant-based playing for the real thing). Those were “chillers” for sure.
NYX: The film looks stunning, it captures the era perfectly, how difficult was it to get this to your satisfaction?
We wanted to really embrace the textures of the lived-in sets, the frumpy wardrobe, the outdated technological props. While we strove for authenticity, we always tried to make the stranger choice and our department heads to do the same. The 80s aesthetic we were going for was based more on photos from our Midwest families/upbringings than pop cultural references of the era. So we had a good idea of the gritty Peoria, IL / Monroe, WI feel we were going for and how that would play in the frame.
NYX: Was it all shot handheld to give it that cinéma vérité look?
The sexy answer is of course! But we’d be dishonest if we didn’t admit that budgetary restraints also helped solidify that decision. And while we felt handheld was the right choice, we also just didn’t have the option to move slowly within our scope. Most of the time there weren’t any camera rigs/tripods/etc or film lights on set, so that allowed us to be nimble and pick off and reframe shots quickly. Sometimes it’s nice to have creative constraints and the pacing in which we shot really made the process fun and not laborious.
NYX: Did you have problems finding the right locations?
This was probably the biggest challenge. We originally thought we’d shot in the midwest, but things like props and period cars became virtually insurmountable on our budget. Thankfully, a hodge-podge of L.A. (and surrounding) locations surfaced, albeit with a ton of leg work. But ultimately, piecing all those locations together combined with the treasure troves of LA prop houses pulled it all together.
NYX: Is there any chance the amazing score will get a release?
That’s something we haven’t even thought of, but would certainly love it!
NYX: Do you get nervous when your work premieres at film festivals?
Premiering at SXSW was surreal, so certainly. Anytime people fill a theatre to watch your film that started as a collaborative google doc, it’s hard not to get a little nervous/feel like the attention is quite undeserved. We definitely are honoured that anyone would take the time to watch this little low-budget indie film about letters, synthesisers, and lonely men.
NYX: So, what are you working on at the moment?
We’re a few drafts into an early 90’s thriller/loose slasher/drama (we’re clearly bad boxing ourselves into actual genres) titled Gunger Creek, where a couple is forced into hiding at a remote animal sanctuary after the kidnapping of their foster child. It will hopefully loosely explore the value of humans vs. animals (in a fun way, we hope), and the complicated dynamics of the adoption system — but hopefully all within a unique/strange world and tone.
NYX: Joe DeBoer and Kyle McConaghy, thank you very much.
You’re very welcome and we’re grateful for the opportunity. And so glad you enjoyed the film!
