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<\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nOne of the biggest changes to the RESURRECTION ROAD script was the addition of Michael Madsen’s character of Quantrill.\u00a0 Quantrill was inspired by a real historical figure like Quantrill and his Raiders, as well as Bill Anderson, who fought for the Confederacy.\u00a0 In developing the character, Ashley added a fictional backstory that Quantrill was a former slave catcher and was “baptized”, which made him particularly mean and evil.\u00a0 This backstory of Quantrill was created after the decision to add vampires to the film and was not part of the original script.\u00a0 Because Michael Madsen was cast as Quantrill, Ashley wanted to give depth to the villain by creating a complex historical and supernatural background that explained Quantrill’s ruthlessness.\u00a0 \u00a0 He definitely succeeded.\u00a0 Interestingly, Ashley mentioned that for Madsen’s key scene in the catacombs, they decided to focus on a powerful speech about vampires not dreaming rather than a choreographed fight.\u00a0 Ashley wrote the monologue the night before, and Madsen learned it that afternoon.\u00a0 Noting that Madsen liked to do less action if possible, his casting was a collaborative choice that allowed Madsen to deliver a nuanced, powerful, and compelling performance.\u00a0 Ashley has nothing but praise for Madsen, particularly in the catacombs scene.\u00a0 (NOTE:\u00a0 To hear more about Ashley’s work with Michael Madsen on RESURRECTION ROAD, go to the approximate 24-minute mark of the interview<\/em>.)<\/p>\nAnother casting standout is Malcolm Goodwin as Barabbas.\u00a0 Goodwin is riveting to watch and brings depth and believability to the character and his place within the story.\u00a0 A wonderful surprise is Triana Browne as Native American Tsula.\u00a0 Although contemporized in language, syntax, and cadence, bringing in an indigenous character, and a woman at that, elevated the story and gave an added dimension to the squad of soldiers.<\/p>\n
Working with cinematographer Samuel Calvin, they developed a visual grammar based on several key principles.\u00a0 Aiming to create a classic, old-fashioned feel by avoiding handheld shots and using dolly tracks extensively, even in challenging outdoor terrain, they established rules like minimizing handheld camera work to differentiate from typical low-budget indie films. They focused on deliberate camera movements, using dollies and sticks to create a more intentional visual style. For night scenes, they shot night for night and used a specific color palette, gradually introducing more green tones as the characters approach the fort to create an unsettling atmosphere.\u00a0 Samuel used creative lighting techniques, particularly in tight corridor spaces, to maintain visual interest and tension.\u00a0 The cinematography aimed to build tension through careful framing, use of natural light filtering through trees, and strategic camera movements that keep the audience uncertain about what might be lurking just out of frame.<\/p>\n
Production design was a blend of real location and set builds by O’Shay Brooks and his team.\u00a0 Necessary sets were built quickly and created for the film’s period setting, noting that they constructed the fort interiors, telegraph room, dungeon, and gun set in just two weeks.\u00a0 Ashley was particularly impressed that they managed to create these complex sets with a limited budget, and had nothing but praise for everyone on the Oklahoma crew who worked extra hours, including weekends, to complete the sets.\u00a0 \u00a0RESURRECTION ROAD is Ashley’s first film working primarily on sets, as his previous films were location-based.<\/p>\n
Collaborating with editor Tommy Aagaard, the initial cut of RESURRECTION ROAD had a more action-oriented, choppy editing style akin to what we would see in an MCU film, which was Tommy’s background as an assistant editor.\u00a0 Ashley wanted a slower, more atmospheric approach, reminiscent of 1970s filmmaking.\u00a0 Tommy was very collaborative and quickly adapted to Ashley’s vision, agreeing to hold shots longer and not cut to every speaker.\u00a0 They worked together to pace the film, especially in the first half, intentionally crafting the edit to build tension gradually.\u00a0 Initially, Ashley wanted an even slower pace, but budget constraints and genre expectations influenced the final structure.\u00a0 The first half of the film focuses on character development, introducing the soldiers and their dynamics while maintaining a sense of mystery.\u00a0 Around the 43-minute mark, the film begins to reveal more of its supernatural elements, which gives the film a “slow burn” feel.\u00a0 The deliberate pacing allows viewers to become invested in the characters before the vampire and action elements fully emerge, creating a more engaging and suspenseful narrative experience.\u00a0 Working together, Ashley and Tommy achieved a measured, atmospheric progression that builds tension without rushing the story.<\/p>\n
Emphasizing the collaborative nature of the production team with the cinematography and editing,\u00a0 the musical score was equally collaborative, working with composer Jacques Brautbar.\u00a0 Describing their collaboration as “highly flexible”,\u00a0 Ashley would use temp music only to set the mood, then encourage Brautbar to surprise him with original compositions. Initially, Ashley wanted a score that transitioned from Western to horror, though the final version maintained a more consistent horror tone.\u00a0 Jacques created a relentless, driving score that often incorporated ambient sound elements, which Ashley considers Jacques’s best work to date.\u00a0 \u00a0The key to their collaboration was mutual respect and willingness to adapt.\u00a0 Be it Samuel Calvin, Tommy Aagaard, or Jacques Brautbar, all were open to Ashley’s creative input, making changes without taking criticism personally, which allowed for a more dynamic and creative filmmaking process.<\/p>\n
TAKE A LISTEN. . .<\/strong><\/h2>\nby debbie elias, exclusive interview 06\/10\/2025<\/p>\n
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RESURRECTION ROAD is available in select theatres, On Demand and digitally.<\/strong><\/em><\/span><\/p>\n
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