Genre: Vampire Found Footage Film
Plans take a turn when two amateur filmmakers are attacked at the Copy Cat Building in Baltimore. The footage that originally served as part of a documentary about the resident artists and musicians becomes topic of a great debate within the community. The filmmakers risk their lives to document events that have been kept secret for hundreds of years in order to spread the word of THE LIFT.
OUR BLOODY UNDERGROUND
Brady Starr shoots inside Baltimore’s loft life in The Lift
From citypaper.com by Martin L. Johnson:
The connection between Waters’ tableaux vivants of Baltimore’s underground made in the 1970s and early ’80s and Starr’s The Lift aren’t obvious at first. But both suburbanites share an interest in shining a light on people and places at the margins of the city. Starr, who moved to Baltimore a few years ago to start work on The Lift, has made a movie that is as much about his interpretation of city life as it is an urban version of The Blair Witch Project.
Instead of the Maryland woods, Starr said he was drawn to filming Baltimore’s loft-performance spaces. “We just wanted to film the Copy Cat,” Starr says. “It’s very hard to describe. There are apartments, there are bedrooms within apartments, but most of [the] apartments are locked. A lot of people live on couches, in little cubby spaces. It’s a very common area. They all cook for each other, they all share food. It’s really like its own community.”
Much of the movie is, in fact, a rather simple documentary of the Copy Cat; parts of it could have been shot by a MICA sophomore setting foot off campus for the first time to learn about artists’ lofts. The affable Dylan Lee Brady serves as the host for the first 45 minutes, asking a series of innocuous questions–”How old are you? How long have you lived here? What do you use the space for? How many roommates do you have?”–and getting stranger and stranger answers.
Starr says that the documentary approach, and the discomfort many Copy Cat residents felt in the presence of a camera, made the movie more eerie than even he was aware during the shooting. “It worked to our benefit that people were nervous,” he says. “We knew how the movie was going to end, and everything people said was so creepy and weird that we said, ‘Wow, this has to be in the movie even though it has nothing to do with The Lift.”
While the movie tiptoes around its vampire theme until the end, from the beginning it’s clear, as in almost all horror flicks, that something is off. While in other circumstances it may be easy to write off someone not knowing how many roommates they have when they live in a space so fluid, when you imagine vampires in this setting the same answers take on a more ominous tone. “What do you think you’ll accomplish with that?” one guy with glasses and a black skull cap asks Brady in between smokes. “People come and go around this place. I mind my business, do my thing.”
People doing their thing takes up much of the movie, which is as much social document as vampire movie. As Starr makes clear, “the lift,” is not slang for a human blood high, but instead code for an unveiling of a new subculture of vampires. As was done for The Blair Witch Project and the more recent Paranormal Activity, Starr has invested considerable effort into blurring the lines between fiction and nonfiction in the movie’s publicity, so much so that he worries that some people will miss the movie’s backdrop altogether.
“Some people are going to watch the movie and never know it’s a vampire movie,” he says. “They’re just going to go, What the fuck was that all about? The other people who understand the underground nature of the vampire, and what their exposed life would be like, they’re going to get it. I hope.”
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