I’ve had my fair share of ups and downs in this film industry, but let me tell you, nothing compares to the rollercoaster ride that has been bringing Shelby Oaks to life. As a kid growing up in Ohio, all I ever wanted was to make movies. I dreamt of the day when my creations would be seen by audiences far and wide. But little did I know, the journey to getting there would be filled with more twists and turns than I could have ever imagined.
Chris Stuckmann had the comfort of relying on his large YouTube following and being known as the internet’s foremost movie enthusiast. However, his adolescent aspirations didn’t fade away that effortlessly. Despite being content with the movie community that emerged around his self-named channel, Stuckmann yearned to create films instead of merely discussing them. Since he was 14 years old, the Ohio native has been collaborating on amateur shorts and films with friends. He pursued this passion further when he began YouTube at age 21. With each project improving, Stuckmann made a decision in 2019 to seriously pursue a professional filmmaking career.
At the 2019 Fantastic Fest, the initial domino fell when Stuckmann came face-to-face with Aaron B. Koontz from Paper Street Pictures. This encounter took place during one of the event’s unique boxing matches, marking Stuckmann’s very first pitching experience for what later evolved into “Shelby Oaks”.
“Suddenly, out of nowhere, Koontz asked, ‘What projects are you currently working on?” Stuckmann shared with The Hollywood Reporter. In an uncharacteristic move, I enthusiastically spoke about my idea for ‘Shelby Oaks’. I noticed then that he had stopped paying attention to the boxing match and was completely engrossed in thought.”
The pair continued their chat into the year 2020, defying any disrupted plans due to Covid-19. In May 2021, a YouTube channel called JesstheParanoid started publishing old clips from a forgotten series named Paranormal Paranoids, which aired between 2005 and 2008. The hosts of the supernatural show, led by Riley Brennan (played by Principal Figure), vanished mysteriously. Just under two months following these rediscovered videos, Stuckmann and Koontz revealed their plans to produce a movie about Mia Brennan-Walker’s (portrayed by Camille Sullivan) quest to locate her lost sister, Riley. (Feel free to figure out the timeline yourself.)
In late 2021, there were plans to produce the film “Shelby” with Shelby being shot as the final act. However, Stuckmann put the project on hold due to the impending IATSE strike and the realization that the current budget was insufficient to bring his vision to life. As a well-known movie critic on YouTube, Stuckmann understood the higher expectations for him as a first-time filmmaker. Therefore, he humbly asked his devoted subscribers for financial support in making “Shelby Oaks.” In response, they generously donated approximately $1.4 million – a new record for horror films funded through Kickstarter.
In May 2022, Stuckmann filmed his movie in Ohio, his home state, and started post-production in early June. Once he had a preliminary edit, he asked horror expert Mike Flanagan for advice. Flanagan, who had previously benefited from Stuckmann’s endorsement of “Oculus” (2013) on his YouTube channel, returned the favor by offering to collaborate on Stuckmann’s new project, “Shelby.” The two had developed a long-term friendship and exchanged ideas through their correspondence. In May 2024, it was announced that Flanagan had joined “Shelby” and brought his producing partners at Intrepid Pictures, Trevor Macy and Melinda Nishioka, along with him.
“Stuckmann recalls that among only a handful of individuals, Flangan was among them who witnessed the initial unrefined version. Impressed by his enthusiasm, Flangan asked, ‘How can I contribute? What role can I play?’ In response, Stuckmann gratefully replied, ‘Whatever you suggest, please.’ “
Flanagan spent two productive days in the editing room with Stuckmann, assisting him in perfecting the film’s transitions and enhancing the middle act. He also invited his composers, James Burkholder and the Newton Brothers, to join them. Stuckmann’s long-time composer, Aaron J. Morton, made significant contributions as well. Following the improvements, Neon reviewed the movie, leading to more good fortune for Stuckmann. Notably, the distributors of “Parasite,” “I, Tonya,” and “Anatomy of a Fall” expressed interest in worldwide distribution of “Shelby Oaks.” This exciting news was announced only hours after Neon broke its latest opening weekend record with Oz Perkins’ “Longlegs.”
“Admitting that I would have chosen Neon as my top pick for our film’s location if asked, Stuckmann adds, ‘But I never truly believed it would happen. In fact, I spoke with a Neon representative this morning, half-expecting the call to be a prank. Amazingly, we’re making it a reality.’ “
In the bustling year of 2021, Stuckmann was juggling his first attempt at making a feature film with the continuous success of his YouTube channel. To make things even more exciting, he and his wife Samantha Elizabeth were trying to start a family. They shared their joyous news in November that they had welcomed twin boys, Fox and Grayson, into their world. The couple openly discussed their challenging journey to parenthood, with Elizabeth contributing her experiences to the film’s storyline. She loosely inspired Stuckmann in creating the central characters of Mia and Robert (Brendan Sexton III) in Shelby Oaks.
“For my wife and me, starting a family was a deeply cherished aspiration. However, due to some medical complications, achieving this goal took much longer than we had hoped. Thus, I found myself drawn to the conflict between Mia and Robert in the movie. Personally, my wife and I are content, but I could use her perspective to explore how I might feel if I were them or in her shoes. This collaborative process was both enlightening and enjoyable.”
In a recent chat with THR, Stuckmann shared insights about producing Shelby Oaks’ fictitious doc and expressed gratitude for his choice to critically assess films he enjoys.
When you were 14 years old, you started to consider a filmmaking career and created low-budget shorts and films with your friends. This continued at age 21 and beyond, as you built a YouTube following for sharing your movie reviews. Fast forward ten years: in 2019, during the Fantastic Fest, you crossed paths with producer Aaron B. Koontz. So, how did the collaboration on “Shelby Oaks” begin after this chance encounter?
At Fantastic Fest, I was pleasantly surprised to discover the exciting tradition of “Fantastic Feuds,” where participants engage in a boxing match inside a ring. This included filmmakers, like a husband-and-wife team I saw squaring off, which was quite astonishing. Amidst a crowd of intoxicated spectators, I found myself near Gigi Saul Guerrero, whom I now consider a friend. She was competing against another filmmaker, and I struck up a conversation with Aaron B. Koontz from Paper Street Pictures while we watched. We chatted animatedly for about half an hour about the impressive lineup of films at the festival that year, which included “Parasite,” “The Lighthouse,” and many other standout titles.
Suddenly, without warning, he asked, “Are you currently working on any projects?” I took this as an opportunity and, in a rather informal manner, shared my idea for “Shelby Oaks” with him. His reaction was intriguing; he seemed fully engrossed and even expressed his enthusiasm. However, just six months later, the unexpected arrival of Covid threatened to derail our progress. Initially, I feared that this opportunity had slipped away, but we persisted through the challenges and have made it to where we are now.
As a film critic turned filmmaker myself, I can relate to the unique journey of the Philippou brothers as they transitioned from their gonzo YouTube channel to creating their own talk show, Talk to Me. The path they chose is not an easy one, and it’s fascinating to see how they’ve navigated the industry so far.
I had the pleasure of crossing paths with Cargill during my early days at Ain’t It Cool News and Spill. His encouragement and guidance were invaluable as I navigated through the initial stages of pursuing my filmmaking dreams. Long before the idea of sharing my thoughts online became an intriguing prospect, making movies held a deep-rooted fascination for me. Film production remained my primary focus, with the goal of reaching my destination and bringing my visions to life. Cargill offered invaluable advice, reminding me that despite my passion, not everyone might understand or share my perspective. He urged me to embrace this reality and not let external pressures cloud my judgment. Instead, I was encouraged to focus on creating the best movie possible.
During the year 2021, you were working on your film with a production timeline in mind. However, due to the impending IATSE strike, you decided to go the Kickstarter route instead. Your goal was to bring your vision to life without compromising. The response was overwhelming as you broke the record for horror movies on Kickstarter, raising almost $1.4 million. Subsequently, did you adjust the script to accommodate this larger budget? Or did you simply enhance the existing elements?
As a devoted fan, I’ve had the privilege of collaborating with the exceptionally talented Director of Photography, Andrew Scott Baird, for approximately a year before embarking on our cinematic journey. We meticulously prepared by creating shot lists and storyboards, delving deep into the intricacies of every detail. In this process, I gained insight into the financial aspects of film production, such as the considerable cost of renting equipment like a technocrane, which were previously unfathomable concepts to me. However, before our Kickstarter campaign even began, we came to the disheartening realization that we would be unable to afford the movie we both envisioned. Consequently, we had to accept that our script would remain as is, and we grappled with the challenge of whether or not we could bring this project to life due to time constraints.
As a gamer, I can relate this experience to my gaming projects with limited resources. Before crowd-funding platforms like Kickstarter, we managed to gather some financial support from individual investors. However, our shoot duration was only around 15 to 16 days, which would have been extremely challenging and taxing. With Kickstarter, we were able to extend the shooting schedule, bringing in a superior crew, extra time for preparation, equipment rental, and even animal wranglers. In essence, having more time on set was the game-changer, allowing us to bring our vision to life more effectively, making the whole process an absolute delight.
With all the knowledge you had about filmmaking before starting production and the valuable guidance you received, you must have been well-prepared. However, nothing compares to actually going through the experience yourself. What surprised you most during the production process?
As a child, I made numerous home movies with friends and family, donning rubber creature costumes and other absurdities. It was an enlightening moment when I discovered myself surrounded by true professionals, who not only desired to be present but excelled in their craft. The contrast was stark; no longer did I feel the need to explain every detail as I once did with my companions.
One image that left a strong impression on me is a picture of a crib being used for storage instead of a baby. This single frame conveys so much about the central couple’s situation in the film, and it reminded me of your own journey toward building a family with your wife. Did this experience coincide with the creation of Shelby Oaks?
Having gone through the process of collaborating with my wife on a movie script, I can attest to the immense value of having a trusted partner during the early stages of development. My wife, Samantha Elizabeth, and I share a deep connection and happiness in our personal lives. However, the characters in the film we were working on were far from contentment.
In regards to starting a family, my wife and I had always harbored the dream. However, due to medical complications, achieving this goal took much longer than anticipated. Thus, I found the dynamic between Mia and Robert in the film, who were at odds with each other yet neither completely wrong, intriguing. Their relationship resembled two powerful trains moving in opposite directions. Normally, films portray one character as the villain and another as the hero, but here both characters were simply experiencing difficulties. Although my wife and I are content, her insights helped me understand their perspectives, making the creative process more engaging.
The movie is structured like a mockumentary, with the protagonist Mia Brennan-Walker recounting the 2008 disappearance of her sister Riley Brennan, who was known for her ghost-hunting exploits. Consequently, several documentary features mimic the visual style of the late 2000s internet, such as MySpace. Did you obtain approval from every platform or their surviving counterparts to replicate this appearance? Alternatively, did you create designs that closely resemble but aren’t completely accurate?
I love this question, and the legalities were a big talking point early on. So, what we learned is that, for most companies, as long as you are showing their product as it is to be used in real life, they usually don’t care. If you’ve got an Apple computer in a movie and someone is just using it in a library, cool. But if they’re looking up how to be a criminal on an Apple computer, then Apple might have a problem. When it came to YouTube, I actually was able to reach out to them directly and get permission, so that was easy. For some of the older interfaces, we had a lot of people check and make sure that there were no issues with it.
In 2008, I was thrilled about this aspect because the early internet period was so uncorrupted, and there were very few creators on YouTube at the time. YouTube had only been around for three years. As an up-and-coming content creator, you could produce amateur videos and still gain attention since there weren’t many others doing it. The first YouTube video was of a man at the zoo and received millions of views. At that time, there were no advanced AI or visual effects experts creating videos, making it easier for niche channels like ghost hunting to gain credibility without much competition. Overall, it was an exciting era to be part of due to its simplicity and uniqueness.
As a seasoned film industry insider with over two decades of experience under my belt, I can tell you that joining the post-production phase of a project is a pivotal moment. It’s when all the pieces of the puzzle come together and the vision of the filmmakers starts to take shape.
Approximately a decade ago, I exchanged emails with Mike Flanagan for the first time after coming across his work. At that point, he was an unknown figure in the film industry, and his debut independent production, “Oculus,” struggled to find distribution. Nevertheless, it became a significant success, earning $40 million against a budget of $5 million. When I reviewed it, I was impressed and urged people to watch it, leading Flanagan to reach out to me in gratitude. Our connection began as film enthusiasts exchanging passionate discussions. Later, when “Before I Wake” faced distribution issues in the U.S., he suggested a Canadian Blu-ray version for me, knowing my fondness for physical media. For several years, we continued our conversations about movies and shared our interests.
Later on, just like Koontz did at Fantastic Fest, he casually inquired, “By the way, what projects are you currently developing?” I replied, “I’ve been tinkering with a feature script for the first time.” He found it impressive and offered me valuable feedback. This interaction marked the beginning of our collaboration. We exchanged roles, reading and providing notes on each other’s work. Our bond grew from discussing Blu-rays to critically analyzing one another’s creations.
When he observed the achievement of the “Shelby Oaks” Kickstarter campaign, he contacted them to request a read-through. After reading it with great enthusiasm and no corrections, he expressed his eagerness, stating, “Go ahead and produce your film. I can’t wait to watch it.” At that moment, there was no formal agreement in place, so I proceeded to create the movie. Later on, he became one of the initial five viewers of the unfinished version. He then asked, “How can I contribute? What role can I play?” Overjoyed, I agreed to his involvement and said, “Yes, please.” Overall, it was an exciting experience.
Flanagan worked closely with you in the editing room for two consecutive days, and it seems he even brought along his composers. This is a common experience among fledgling filmmakers. Did he impart the valuable lesson of trimming cherished scenes during the editing process?
Yeah, he helped quite a bit with getting in and out of scenes faster. Sometimes, when you’re writing, you never really know if someone will get every intention, and you want to make things clear. So Mike was there to say, “It’s clear enough, and it’s okay if not everything is perceived instantaneously on the first viewing, like a conveyor belt into our mind. That’s why you have rewatches.” So there were many scenes that began sooner or ended later, and he would suggest cutting five seconds here or five seconds there. That eventually amounted to a few minutes.
One key edit was implemented in the movie around its midpoint, featuring additional scenes of Mia and Robert. At first, we felt it necessary to include these scenes for clear character motivation. However, after numerous viewings, we came to the realization that some parts could be eliminated without affecting the story’s coherence. Mike played a pivotal role during this process due to his extensive editing experience, having started with commercials before working on films. His guidance proved invaluable.
In addition to Flanagan, you received assistance from other filmmakers such as Beck and Woods, David F. Sandberg, and Sev Ohanian.Did they offer suggestions on script revisions or final cuts?
I contacted various filmmakers for their feedback on the rough cut of my project. Respecting their expertise and diverse filmmaking backgrounds – from “Judas and the Black Messiah” to “Shazam” and beyond – I sought their insights. Our initial discussion proved invaluable as they provided fresh perspectives, having seen the movie for the first time since production. Their constructive feedback significantly enhanced the project’s quality.
After Neon broke their record for best opening weekend with “Longlegs” just the day before, it was revealed that they had secured the global rights to “Shelby Oaks”. The timing of this deal could not have been more perfectly scripted. How did this negotiation unfold?
I find it hard to accept that it’s true. For several weeks, I refused to believe it. Every time my phone buzzed with a message from our producers, I would think, “This must be the end of it all.” But somehow, things continued to progress. We managed to show Neon the movie, and they reportedly enjoyed it. Still, I remained skeptical. My friends often tease me for my pessimism, but I’ve always been like Larry David from “Curb Your Enthusiasm – overly cautious and expecting the worst.
Interacting with Neon has been an uplifting experience for me. They share my passion for films and filmmakers, offering unwavering support for creative projects. Their positive reputation precedes them – almost everyone I’ve met who has collaborated with Neon speaks highly of their experience. In a industry where many filmmakers have had disappointing encounters with movie buyers, particularly in the independent sector, Neon stands out as an exceptionally encouraging partner.
If someone had inquired about my preferred choice for the main location of this film during production, I would have responded with “Neon.” Yet, I would have added that it was an unrealistic prospect. Amazingly, it actually transpired. I even conversed with a Neon representative this morning, expressing my belief that it was just a formality before everything came to an end. However, we’re still here.
When you get to reading this text, Shelby Oaks already would have been unveiled at the Fantasia film festival in Montreal. Why was this particular event chosen for the debut?
At Fantasia, the crowd is incredibly warm and passionate about genre films. They can’t get enough of these movies – they’re insatiable! From anime to action, sci-fi, and horror, they showcase an intriguing variety from all corners of the world. For someone like me who shares their love for these genres, it truly feels like coming home. Mitch Davis and the entire team at Fantasia have been exceptionally welcoming and encouraging as well.
As someone who has always been passionate about films and running a YouTube channel dedicated to reviewing them, I’ve come across my fair share of movies that didn’t resonate with me. But after listening to the story of John Krasinski and Paul Thomas Anderson, I’ve come to appreciate the wisdom in giving every film a chance.
(Laughs.) I can relate to that. Going beyond what’s expected as a filmmaker, I find myself immeasurably happier. It’s all too simple to be swallowed up by negativity and forget the very reason we adore films – the nostalgic memories of our childhood. When I used to go to movies as a kid, I didn’t rush home to scrutinize every social media platform for opinions. Instead, I shared my experiences with friends or family. Those moments were untainted by external validation and criticism, filled instead with genuine inspiration and the joy of loving something wholeheartedly, regardless of others’ feelings. There’s an undeniable purity in that experience, which is increasingly challenging to recreate today given our obsession with labeling things as “good” or “bad,” “liked” or “disliked.” Instead, we should strive to reconnect with the simple pleasure of appreciating films for their unique merits and emotional impact.
Meeting numerous filmmakers has given me a newfound appreciation for the complexities of bringing a film to life. While it’s natural to have criticisms or disappointments, the process extends far beyond production. Obtaining distribution and selling a movie involves countless encounters, such as questioning if a company is the right fit. The journey to release a film is arduous, which is why I now fully understand the phrase “any film is a miracle.” Watching a project evolve from an idea into something others can enjoy is truly remarkable, and I hold filmmakers in high regard for their perseverance throughout this process.
Shelby Oaks’ journey from Kickstarter and Mike Flanagan to Gersh and now Neon has been quite fortunate. However, every successful person encounters challenges. what was the most difficult situation Shelby had to face?
Despite experiencing numerous setbacks with significant delays in our project, which were disappointing at the moment, they ultimately led to fortunate timing as you mentioned before. I currently reside in Ohio and have harbored a lifelong dream of creating movies. With Covid interrupting my plans after an initial pitch, I assumed the project was doomed. However, we began utilizing Zoom for script discussions, rekindling my hope that it wasn’t entirely lost. Nevertheless, last year brought additional challenges in the form of labor strikes, which halted our post-production progress. We hadn’t completed our Automated Dialogue Replacement (ADR) sessions and required actors to finish them. An almost Industry Alliance of Theatrical Stage Employes (IATSE) strike threatened us with more delays. Consequently, we encountered numerous interruptions, and each delay left me feeling that the project was on the brink of being terminated.
During that period, I was under immense pressure as I was simultaneously learning the ropes of fatherhood with my newborn twin boys, and working hard to establish “Shelby Oaks.” At the time, my boys were just a few months old, meaning I had to adapt quickly to the challenges of raising twins while also focusing on my business. Looking back, I can’t believe how gray my beard has become since then! (Laughs.) It was a chaotic and intense phase in my life, but everything ultimately fell into place.
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Shelby Oaks arrives in theaters next year via Neon.
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2024-07-24 02:26