A Injured Grovel Cast & Break Break Down Its Greek-Inspired Frightfulness

A Injured Stoop stars Sarah Lind and Josh Ruben connect filmmaker Travis Stevens to talk about the hallucinogenic, Greek-inspired frightfulness motion picture.

The minds behind Jakob's Spouse and Werewolves Inside are joining up for A Injured Stoop. The frightfulness thriller spins around a lady endeavoring to induce back into dating after getting away a toxic relationship, as it were to arrive within the crosshairs of a rationally unhinged serial executioner.

Sarah Lind and Josh Ruben lead the cast of A Injured Grovel nearby Malin Barr, Katie Kuang, Laksmi Hedemark, and Tanya Everett. Co-written and coordinated by Travis Stevens, the film takes gatherings of people through a hallucinogenic diversion of cat-and-mouse with frequenting visuals reminiscent of the Giallo class and Greek tales.

In honor of the film's Shiver make a big appearance, Screen Rage talked solely with stars Lind and Ruben and filmmaker Stevens to talk about A Injured Grovel, the film's Greek and Giallo impacts, the delights and peculiarities of working with down to earth impacts, and more.

Behind The Scenes of A Wounded Fawn

Screen Tirade: This can be a rollercoaster of a motion picture Travis, where did the concept for this truly come almost?

Travis Stevens: Well, the concept of a man and a woman going to a cabin, and the Furies attacking him came from Nathan Faudree, who wrote the original draft. My work on the script was sort of reinventing the world that the story takes place in, and reinventing the visuals, and what the relationship was. But, all credit to him for recognizing the value of telling a horror story with the Furies as the sort of Cenobites. Then it was just a process of — I've been telling other people, turning off the parts of my brain that that sort of analytically approach stuff, and just turning on the part of the brain that's just like, "Let's get f----ng weird," and that's what we ended up with. [Chuckles]

I think it was abnormal in all the most excellent ways, and I adore that it does moreover feel exceptionally much like an ancient Giallo motion picture, particularly in its visual aesthetics. Was that continuously the deliberate going in, to reproduce that ancient fashion?

Travis Stevens: Yeah, because this story is told from the character's perspectives, which is an exaggerated sense of reality, it seemed to make sense to sort of lean into, like, the really theatrical blood. I didn't want this to feel like a reality sort of man-killing-a-woman type thing. I wanted it to feel like a play a bit, and I think those giallo movies, in what they were doing with the production design and cinematography, all that sort of heightened their reality. So, that was our visual template.

Sarah and Josh, what around this fabric truly started your interest?

Josh Ruben: For me, Travis, whose work I have immensely admired, had sent me a DM asking me if I wanted to read some new script, I was like, "Oh boy!" I cracked it open, and it truly was like, "Holy shit, this is Patrick Bateman at the Evil Dead cabin, this could be really, really fun." Sometimes you read things where you know it'll be either be too much of a challenge, or it's something you can kind of roll out of your bed and do, and this was the combination of that, it's not quite fun to just roll out of bed and just be able to do a thing. I hadn't quite played vulnerable or hadn't quite played seductive and truly scary in this way. It was a combination of that, and also just the practical effects of it all, just reading through the visual deck the Travis had, I went, "Oh, no, this is going to be great. This is going to be truly an homage not to Dead by Dawn, but to the first Evil Dead, to the early Raimi stuff, the true horror fan loving giallo." Even Hammer films, to a degree, once I saw that color palette, as someone who grew up with the Christopher Lee of it all, I was just like, "Oh, this is gonna be really, really fun." Sarah Lind: Yeah, similar, as soon as I read the script, so much of what you see in the movie, all of what you see in the movie, was very clear in the script. It reads in a very similar way to the way it plays, and I loved it, I just think it's really cool and unusual. I love themes it danced with, I love the visuals, I love the references to artists I've never heard of. I thought Meredith was also a really interesting take on the final girl, or the terrorized woman, or the woman in horror, where she holds her own in an interesting and unusual way for a movie like this. I was stoked as soon as I read it.

I cherish how she turns the tables at that midpoint. Josh, you're no stranger to the frightfulness sort, but it's for the most part been from more of a comedic focal point. What was it like plunging into this exceptionally genuine tone in comparison to Panic Me and Werewolves Inside?

Josh Ruben: It was super fun. I think because I knew, and just in speaking with Travis, this is an absurd character, t's not like I'm going in and trying to have a Marathon Man moment, it's definitely more of an homage — his name is Bruce, it is an homage, in many different ways. I think Travis is a very with-it visionary filmmaker, and producer, I don't think he would have taken the risk and seen in me an opportunity to be able to bring this thing to life. If he didn't see that, he certainly wouldn't have DM'd, and I'm thrilled that he did. It was more fun than anything, because it was the kind of stuff that I longed to do, or playground I longed to play in, but it was like, "Well, I'm probably not going to quite go this route, or that type of project won't quite find me, maybe someday when I'm old or whatever." I'm really glad it did, because I was a horror fan before I was a comedy fan, so it just became another bucket list item check. Travis Stevens; I just want to add to that, like Bruce as a character has to have a skill set that allows him to accomplish his objective, and his objective is to disarm and get them to trust him. When I watched Josh's films, that I think the thing that I've really sparked to is how in control he is in his performances, and the humor is so charming, and his ability to land the joke, but then give a little space. As a viewer, I lean into your work, Josh, the work that you've made, not you as a person, but the work that you've made. [Chuckles] That was what was fascinating, like this would be a really great skill set for Bruce to have, which is just this sort of like, "I really like this guy," and yes, obviously playing a bit sexier, debonair, as well. Josh Ruben: Well, the idea of the mask too, just the veneer of it all, that's what was exciting. Just kind of remembering that, what it was like, "Oh, that was the acting challenge, the veneer, all these guys wear masks." That was what was so fun about this part is you get to play the — I've done it so many times. It's someone who people asked to be on, or has been on as my defense mechanism. I've done so many things that people walk away. I know what that's like, it was so great to play in that liminal space, and to see someone like this in private time. You see Sarah in that, too, Meredith in the bathroom is one of my favorite scenes in that she's putting on the mask to compose herself to get out of there alive, that's what, unfortunately, so many women have to do in these situations, dating in today's world, you don't know who you're going to a cabin or to dinner with.

The early parts of the film rotate around this ungainly getting-to-know-each-other energetic between you two. What was it like creating that affinity which energetic with one another earlier to, and amid, shooting?

Sarah Lind: We had a lot of long discussions, the three of us did, in the week or two leading up to filming. Not exactly rehearsals, but we read through the scripts a lot and just talked about it a lot. I think we were really confident going into it that we were all on the same page. And then, I think the first stuff we shot was in the car. So, that was our first day, and I think we would have gotten there anyway, because the script sort of dictated it, but it's always nice when, like, we were able to get to know each other acting in a scene about two people trying to get to know each other. So, I think it really lends itself well to that, that was a very generous bit of scheduling on the part of Travis. [Laughs] Travis Stevens: The producer brain. [Laughs] Josh Ruben: [Laughs] I couldn't have said it better myself, so much of what we do is pretending there's history, or pretending there's no history, or history when there's no history. I think the most fun part of getting to know one another through reading it and sitting down was just like,"Oh, I can tell this isn't going to be a bleak summer camp experience, Sarah likes to have fun and take swings." I think we recognized there's that kind of gene in us where we're just like, "Oh, let's just try to do it," or, "Let's just play," or, "Let's just stop talking about it and just dance," or whatever. That's, I think, why we were so down to just do everything you see in the film, including the last scene, which was kind of a last minute decision, not to speak for Travis, but was like, "Hey, let's just try this," and it just ends up being this thing people talk about, because that's just what the troupe was, and how we were arriving.

I don't need to induce into spoilers, but that last shot is fair so captivating to me. I know that this was done some time recently Pearl, but it so also holds that camera as the conclusion credits roll. How did you go around figuring out you needed to do this for this film?

Travis Stevens: Well, I had snuck onto the set of Pearl while it was filming, and then ran back to New Jersey. [Laughs] No, when you see the film, the effect of it you hopefully feel, but intellectually, it's just the idea of, for the first time, showing the audience a different perspective on the events that are happening, because up until that point, we're seeing things through a very biased perspective. By that point of making the movie with these two, we could go for something as big and as risky as that, because we had trust, and we were pretty in harmony, and it was just exciting. It was one of the more exciting things in any of the movies that I've made, because it's so simple, in what's happening, and therefore, it's so complex. Because the process of making the movie is not getting in the way, resetting lights and moving the camera around and going into touch up makeup, you're literally just sitting there, filming two actors act in almost like a security camera point of view. It was really, really invigorating for me.

I cherish the generation plan. Was that as of now saturated with the house after you to begin with begun putting the film together? Or did you truly work with the generation originator to have a particular see?

Travis Stevens: In the script, we have defined what that house needs to look like, because basically we start the story in the cold, modern world that Bruce is in control of. Then, we end the story in the sort of wild wilderness that Meredith is sort of in control of, the house is sort of a train station in between. So, a cold, modern type of house, Bruce would be very proud of, and then we just started the process of looking for it. Once you find what you can afford on your budget, then you tinker with what's there, so the tinkering we did in this was sort of augmenting the house with the artwork, and sort of choosing what parts we were going to show, what parts we weren't going to show, and create that illusion of everything being very precise and intentional design, which I think is like important for Bruce's character. I think Bruce is super concerned with how things look, and how he's perceived, so in what we were showing of the house, we couldn't just show like the laundry room [chuckles], everything needs to be like the coolest thing.

Sarah and Josh, what were your to begin with responses after you saw these visuals amid shooting?

Sarah Lind: Oh, man, I mean, one of the best things about the effects being practical is you get to interact with them and add to them. Everyone starts getting ideas, they start bouncing around, and if you can't see what it's gonna look like, it's a lot harder to spark to it. So, like, Tisiphone's entrance, the big music moment with the fabric was so much fun to play with. It was like, "Okay, that's what that's gonna look like, and then the cameras [are there], okay, can we do this or that?" I wasn't there for the d--k snake stove-pipe scene's filming. [Laughs] But I wish I had been, to fight with a puppet, it's so much fun, and I find makes the job a lot easier and more fun for me if I'm interacting with practical effects in real time. Travis Stevens: I think that's one of the times when I was just so incredibly grateful to you, Josh. It's like, "Alright, Josh, so your character is going to have this very, very intense monologue where we're going to need to feel his bulls--t, because he's like pleading his case right now, and then he's going to turn around, he's going to swing a stove tong at this giant... And there's a guy in a green suit controlling the puppet." And Josh is like, "Alright, intense, intense, intense, intense." I was like, "Thank you, thank you!" Josh Ruben: [Laughs] Oh yeah, it was like, "Harder to the right, harder, really put your back in." It was just like literally Fraggle Rocking left and right while still intense, you know? That's the best part, I think it's why we do all this stuff, I think all the stuff we've been most affected by are the things that were assaults on the senses, even if it was just a straightforward horror or straightforward comedy, they get us kind of on all sides of the palate, that's what was so fun about creating that scene, in general. I think the fabric scene was so wonderful, I remember actually reading that scene on my couch, and imagining reacting to it, and how it would look, knowing that it was going to be practical with 40 feet of fabric flying in the air. Then, you're actually there in the woods, in the misty dark cold woods, and you're seeing the entire production team navigating fabric with wind machines and everything else, and you're really able to react to this spectral giant. One of my favorite moments, I think, to watch other actors do is react to a Kaiju, or react to some larger thing, that Spielbergian kind of looking up at the [figure], that stuff is so exciting. I was like, "Oh, that's gonna be that." And then you see it with Vaaal's score, when Tisiphone is revealed, and it's like, f--k off Chris Nolan, that [makes ambient noise]. It was just so intense, so rad, so that was definitely the one. And then also just to see all the Furies together was really phenomenal. Erik Bergrin's work on this film, our wardrobe designer artist, sculptor, [he's a] genius. It's just like, "Oh, no, these are real, these are real things. These are not costumes, these are these are entities."

About A Wounded Fawn

Propelled by surrealist craftsmanship and Greek mythology, A Injured Stoop takes after the story of Meredith Tanning (Sarah Lind, Jakob’s Spouse), a nearby historical center guardian who is plunging her toe back into the dating pool, as it were to be focused on by a charming serial executioner (Josh Ruben, Frighten Me, Werewolves Inside). When a game changing sentimental getaway between the two gets to be a tense diversion of cat and mouse, both must go up against the franticness inside him.

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