For some time now, we’ve been following the journey of Dante Tomaselli’s latest film, Torture Chamber. This marks his fourth feature, and it’s almost ready to hit the screens. Tomaselli is known for his previous works, including Desecration (1999), Horror (2002), and Satan’s Playground (2006). After completing post-production, I had the chance to interview him about his thoughts on the finished product.
This is our third conversation with Tomaselli. In our first chat, he was gearing up to shoot Torture Chamber. In the second, he had just wrapped principal photography and was diving into editing. Now, we discuss his reflections on the shoot and his feelings about the final cut, including sound, music, and editing. He even compares Torture Chamber to his earlier films!
As a special treat from The Film Connoisseur, here’s our latest interview with the rising horror director, Dante Tomaselli.
Film Connoisseur: What inspired you to create Torture Chamber? What sparked the idea?
Dante Tomaselli: I was set to direct a horror film called The Ocean, but it fell through. I felt angry and hurt, almost tortured. I wanted to create a low-budget film that captured a Euro-horror vibe—something unique, weird, and genuinely frightening. Scary is subjective, but I aimed for a film that was dark and surreal. The concept of a torture chamber has always been present in my films. In Desecration, it was a childhood nightmare room. In Horror, it was hidden in a religious family’s home. Even in Satan’s Playground, there was a backroom torture chamber.
FC: You have a distinct vision as a filmmaker. Were there any films or directors that influenced Torture Chamber? It seems to have a strong 70s aesthetic.
DT: Thank you! This film is a reflection of my earlier works. I wanted to recreate my childhood nightmares. Torture Chamber definitely has a 70s vibe—maybe even a 60s one. I made sure to avoid modern elements like cell phones. You’ll see LP records in the background to set the mood. I’m not a fan of trendy, corporate horror films. I prefer a vintage design. Influences include Halloween, Suspiria, The Exorcist, and many more.
FC: Was the filming process smoother this time, given your experience?
DT: It was a lesson in perseverance. After The Ocean fell through, it felt like my first film again. I felt raw and alive.
FC: Now that Torture Chamber is complete, how do you feel about it compared to your previous films?
DT: I value this film the most. I can watch it without feeling uncomfortable. It was essential to create Torture Chamber. It’s a journey through hell, exploring deep psychological themes. The budget was $200,000, which is less than my previous films, yet it feels more polished.
FC: What was it like to see your written words come to life on screen?
DT: That’s the best part! However, it can be tricky. Unplanned things happen during shooting, and I’ve learned to adapt. It’s magical when it works. As a child, I dreamed of having a funhouse in my backyard—now, I feel like I’m creating psychedelic funhouses with my films.
FC: After finishing the editing, what challenges did you face?
DT: I spent three months getting to know the footage. The first cut was nearly two hours long, and trimming it was painful. I constantly adjusted the music and sound design. The film is like a sculpture; I had to refine many shots to create a faster pace. It’s shadowy and hallucinogenic—an out-of-body experience.
FC: You mentioned that Torture Chamber isn’t just a gore fest but aims for suggestive scares. Do you think you achieved that?
DT: Yes, it’s a mix of both. The film creates an under-the-skin feeling, exploring themes of pain and guilt. It’s a trance movie, designed to keep viewers guessing. Torture Chamber is a psychological horror film that challenges the mind.
FC: How would you describe Torture Chamber?
DT: I hope it’s a step above my previous works. It seems more watchable, but I understand that some may still prefer my earlier films. Torture Chamber feels like a blend of Desecr
FC: How would you describe Torture Chamber?
DT: I hope it’s a step above my previous works. It seems more watchable, but I understand that some may still prefer my earlier films. Torture Chamber feels like a blend of Desecration and Horror, mixed together in a unique way. It’s a strange world that intrigues me the most right now.
FC: Can you share the benefits of making Torture Chamber independently?
DT: I only make films independently. It’s the only way to maintain creative control. Why spend years on a project only to have someone else change it? I want to tell my story without interference.
TFC: Have you screened the film with an audience yet? What’s that experience like?
DT: Yes, I’ve had private screenings since Halloween. I’ve watched it with strangers and friends who aren’t even into horror. The feedback has been positive. Despite being a low-budget film, the visuals and soundtrack stand out. Torture Chamber explores themes of family dysfunction and the confusion of childhood.
FC: What was it like working with Lynn Lowry?
DT: Working with Lynn was a joy. She brought an unconscious nod to Mario Bava’s Black Sabbath in her scenes. She’s a wonderful person with great stories about working with directors like Cronenberg and Romero. In Torture Chamber, she plays an art therapist at a juvenile detention center for the mentally ill. Her character is like a wounded angel, and her story unfolds through dreams and hallucinations.
FC: What lessons did you learn while making Torture Chamber? Do you feel you’ve grown as a filmmaker?
DT: I’ve learned to never give up. It’s crucial to hold on through the tough times. You have to go through darkness to reach the light. I feel I’ve grown, but oddly, I also feel like I’m starting over again.
FC: What’s next for you, Dante? Is the remake of Alice, Sweet Alice still in the works? What about The Ocean or Salem?
DT: I’m grateful for the chance to make four features, especially Torture Chamber. Next up is the reimagining of Alice, Sweet Alice, which is my cousin Alfred Sole’s film. The Ocean is still on the horizon, depending on financing. As for Salem, I’ve put that on hold, especially with Rob Zombie’s Lords of Salem coming out. However, I do want to explore witchcraft in a future project. I love setting my films in a New England gothic atmosphere, where the locations resonate with pain and suffering.
That wraps up our 13 questions with Dante Tomaselli. I want to extend my gratitude to him for this insightful interview. It’s been a fascinating journey following the production of Torture Chamber. Who knows, maybe we’ll get a set visit for his next film! In the meantime, keep an eye out for the release of Torture Chamber—an announcement is coming soon!
Conclusion
Dante Tomaselli’s Torture Chamber promises to be a unique addition to the horror genre, blending psychological depth with a vintage aesthetic. As he continues to carve his path in independent filmmaking, fans can look forward to more intriguing projects from this visionary director. Stay tuned for updates on the film’s release and future works from Tomaselli!
