RISE OF THE MICRO MOVIE MOGULS: A CONVERSATION WITH BRANDON WALKER AND ASHLEY PARK OF GHOST MACHINE PICTURES

By Alex Mateo

Somewhere deep in Topanga Canyon, producers Brandon Walker and Ashley Park are conjuring their latest paranormal petit four, Ghosts of Hiroshima. This bite-sized nightmare comes from a screenplay by Walker and stars Robert Palmer Watkins (The Walking Dead: World Beyond), Akihiro Kitamura (The Human Centipede) and Ashley Park (Los Angeles Overnight). In the vein of films like Ju-On and Ringu, Ghosts of Hiroshima is being made on location with the same relentless spirit as a Japanese Onryo. In fact, one could say that this dynamic producing duo is “possessed” with a passion for making high-concept micro-budget features. FearWire recently caught up with Walker and Park at their downtown Los Angeles studio.  

FW: In a world where Hollywood studios spend 50 million on a horror movie, how does a micro-budget film compete?

BW: We take a no-excuses approach to filmmaking. By embracing the power of today’s inexpensive technology, we use our limitations as a creative catalyst. Telling a good story despite extreme budgetary constraints means being inventive, flexible and willing to do most of the work ourselves. It also means focusing all our energy on essential storytelling ingredients and not things like gourmet catering. Our projects are extremely lean, and it demands a certain kind of tenacity to see them through.

AP: I’ll add that a 50M studio film goes on a tremendous journey before reaching any kind of profitability. Our films have a lower target in terms of return on investment.

FW: How did you settle on your current production model?

BW: We took stock of the things we had on hand and started writing movies that we could make ourselves. We’ve done our best to lean into our creative strengths while avoiding the pitfalls of venturing too far out there technically. Honestly, this process can’t be about funding or lack thereof, it has to be about creating something new. The movies that never get made are the ones that are never seen. For that reason, completing and distributing these small films is very important to us.

AP: We’re also focused on a very specific niche in the industry. We want to deliver big scares on a small budget, and we love the paranormal horror community!

FW: Does specializing in one type of film help you succeed?

BW: Ghost stories are universal and timeless. Within a ghost story you can have a love story, a war story… a historical drama. It’s a very liberating sub-genre that I’ve always found fascinating. There is also a built-in fan base for all things paranormal, and we enjoy doing one thing above all else… scaring the audience with our brand of terror. If you can do that as a filmmaker, you will live to fight another day.

Co-Founder Brandon Walker

FW: Does “fight another day” mean more projects are in the pipeline?

BW: We are committed to a slate of at least 3 new pictures in the next 16 months. On the heels of Ghosts of Hiroshima, we go straight into production on a film called E.V.P. The title refers to Electronic Voice Phenomena, where voices from beyond the grave can be heard on audio recordings.

FW: Is there another “Hiroshima” film in the works?

AP: We think there is more story to tell on both sides of our current film’s timeline. While it’s not an official announcement, I can say confidently that we will revisit the Hiroshima stories.  

FW: What is the mission of your film studio, Ghost Machine Pictures?

BW: Ultimately, it’s about producing creatively frightening films that rise above their budgetary limitations. We want to maintain our position in the market by shepherding tiny films from script to screen.

FW: When and where can audiences see Ghosts of Hiroshima?

AP: GOH will premiere Autumn of 2022 and roll out on multiple major streaming platforms.