Liam Gavin’s debut feature, A Dark Song, isn’t your typical horror fare filled with jump scares and predictable tropes. Instead, it offers a chillingly realistic and deeply unsettling exploration into the world of occult rituals. Forget the Hollywood clichés of pentagrams and fleeting chants; Gavin’s film meticulously portrays the grueling and psychologically demanding process of a genuine magical ritual. This slow-burn thriller immerses viewers in the claustrophobic journey of Sophia (Catherine Walker), a woman desperate for closure, and Joseph (Steve Oram), the abrasive occultist she hires. Together, they lock themselves away to perform an intense rite, pushing their physical and mental limits in pursuit of a profound and potentially terrifying outcome.
In an insightful interview, Gavin delves into the genesis of A Dark Song, revealing the inspirations and creative decisions that shaped this unique and disturbing film.
The Genesis of A Dark Song: From Concept to Creation
The seed for A Dark Song was planted during a conversation about the stagnation in modern horror. Lamenting the over-reliance on vampires, possessions, and zombies, a development executive challenged the notion of originality in the genre. Serendipitously, Gavin encountered a documentary about Aleister Crowley, the infamous occultist, and his practice of a lengthy and demanding ritual within a secluded house in Scotland. This sparked the initial concept. The ritual itself, perceived as “bonkers” yet contained within a single location, resonated with Gavin, making it a conceptually and practically feasible foundation for a film. The confined setting immediately suggested an affordable and intensely focused narrative.
Grounding Occult Horror in Social Realism
Gavin’s approach to A Dark Song was far from sensationalist. Drawing from a brief personal fascination with the occult during his youth, he understood the reality behind the mystique. He aimed to depict the practice with a stark social realism, emphasizing the arduous “journey” inherent in such rituals, rather than just the anticipated “result.” This commitment to authenticity distinguishes A Dark Song from typical occult horror films, offering a more grounded and disturbing portrayal of the subject matter.
Catherine Walker and Steve Oram in A Dark Song, embodying the intense and claustrophobic nature of the occult ritual.
The Power of Slow-Burn and Character-Driven Narrative
Rejecting the jump-scare formula prevalent in contemporary horror, Gavin consciously opted for a slow-burn approach in A Dark Song. He describes the film as being “about a wait,” mirroring the protracted and demanding nature of the ritual itself. This deliberate pacing cultivates an atmosphere of mounting tension and dread, creating a “pressure cooker” environment for both the characters and the audience. Gavin wanted to immerse viewers in the experience, making them feel like a “third character” trapped within the ritualistic confines alongside Sophia and Joseph.
This emphasis on atmosphere is intrinsically linked to character development. Gavin prioritized creating complex and believable characters over cheap thrills. In early drafts, Sophia was younger and Joseph less abrasive. However, to heighten the dynamic tension and sense of pressure, Sophia’s age was increased, establishing a more equal, albeit fraught, relationship. Joseph’s character evolved into a more damaged and bullying figure, amplifying the external pressures on Sophia and contributing to the film’s unsettling atmosphere. Interestingly, as the ritual progresses, a subtle softening emerges in their dynamic, adding layers of complexity to their interaction.
A tense moment between Sophia and Joseph in A Dark Song, highlighting the evolving and complex relationship between the two protagonists.
Casting the Darkness: Finding Sophia and Joseph
Casting the lead roles in A Dark Song presented unique challenges, particularly for Sophia. One specific scene, deliberately left ambiguous here to avoid spoilers, proved to be a significant hurdle. Its graphic nature on paper deterred several actresses who struggled to envision Gavin’s directorial approach. Adding to the casting difficulties, the film’s occult themes even led one actress to believe in a genuine curse, causing her to withdraw from the project, reminiscent of anxieties surrounding The Exorcist.
Catherine Walker, a celebrated Irish theatre actress, emerged as the ideal Sophia. Despite initial hesitations from others, the Irish Film Board championed Walker. Gavin’s meeting and audition with her proved decisive; he recognized her suitability almost instantly. Her theatrical background and inherent intensity perfectly embodied Sophia’s desperate determination.
The casting of Joseph involved its own set of serendipitous circumstances. After a previous actor departed, Gavin’s attention was repeatedly drawn to Steve Oram through his roles in films like The Canal and Sightseers, as well as numerous television appearances. Oram’s consistent presence felt like “fate,” prompting Gavin to pursue him for the role. Oram’s interest solidified the project, and his casting proved crucial to the film’s success.
To cultivate authentic performances, Gavin dedicated several days to character backstory development with Walker and Oram. He provided each actor with a chronological outline of their character’s life events, tasking them to flesh out the details and inhabit their roles fully. This immersive process involved Gavin interviewing the actors as their characters, resulting in richly detailed backstories that informed their on-screen portrayals. This emphasis on depth ensured that Sophia and Joseph were not mere “cyphers” but complex individuals burdened by their pasts, adding emotional weight to their intense journey in A Dark Song.
Sophia and Joseph deep in ritual in A Dark Song, showcasing the film's commitment to depicting the intensity and demanding nature of occult practices.
Filming Under Pressure: Efficiency and Atmosphere
The production of A Dark Song was remarkably efficient, filmed in a mere 20 days despite its intricate and demanding scenes. Gavin’s background as a storyboard artist proved invaluable. Having meticulously storyboarded the entire film beforehand, he possessed a clear visual roadmap for each scene, maximizing efficiency under tight time constraints. Despite the film’s dark and intense subject matter, the atmosphere on set was surprisingly harmonious. Gavin describes a collaborative and pleasant environment, devoid of conflict, which contrasted sharply with the on-screen tension.
The primary location, a dilapidated mansion in North Dublin, contributed to the film’s unsettling atmosphere. Ironically surrounded by a modern council estate (carefully excluded from the film’s visual frame), the mansion itself was perpetually cold and damp, even during a July shoot. This eerie chill permeated the set, adding an unexpected layer of authenticity to the film’s unnerving tone.
Crafting the Pace: A Deliberate Build-Up of Horror
Achieving the deliberate pacing of A Dark Song was a meticulous process that extended into post-production. While the initial script was drafted quickly, a year and a half of development focused on refining the character relationships and narrative arc. However, it was during editing that the film’s rhythm truly took shape.
The confined setting and dialogue-sparse scenes offered considerable flexibility in editing. Scenes were fluidly rearranged, and sequences initially intended for one part of the film were sometimes relocated to entirely different sections. Extensive time was dedicated to manipulating the pacing, ensuring a gradual and impactful build-up of tension. Test screenings and audience feedback played a crucial role in identifying and resolving pacing issues, particularly in the initial stages of the ritual, which initially felt “lackluster.”
Inspiration and Influences: A Fusion of Realism and Horror
Gavin’s cinematic vision for A Dark Song is a unique blend of social realism and Japanese horror, visually informed by the dramatic lighting and composition of Counter-Reformation painters like Caravaggio and Rembrandt. He jokingly pitches his films as “Ken Loach does The Exorcist,” highlighting this fusion of gritty realism with supernatural horror. This distinctive approach is evident in his upcoming project as well.
A visually striking scene from A Dark Song, demonstrating the film's blend of realism with the dark and unsettling elements of occult horror.
Looking Ahead: Drowned Children and Zombie Reimagining
Gavin’s next film, set in North Wales, continues his exploration of unconventional horror themes. It centers around the unsettling premise of drowned children returning from the dead, described as an ensemble piece and Gavin’s unique take on the zombie genre. Despite humorously acknowledging his earlier comment about zombie fatigue, he assures that his approach will be distinct from typical zombie narratives.
When asked about his personal go-to horror films, Gavin cites The Exorcist as his all-time favorite, acknowledging its cliché status but emphasizing its profound impact, particularly within a Catholic context. He also highlights A Tale Of Two Sisters and Dark Water as significant influences, particularly for their atmospheric tone, and mentions Snowtown.
A Dark Song offers a refreshing and disturbing departure from mainstream horror. Its commitment to realism, slow-burn tension, and complex characters makes it a uniquely unsettling and thought-provoking cinematic experience. Released on April 7th, A Dark Song invites audiences to delve into a truly dark and meticulously crafted world of occult horror.
