Episode
Directing Indie Folk Horror: Alex Noyer on Funding, 40% Tax Rebates, Two-Camera Setups, Ensemble Casts and his latest indie film 'Love is The Monster'
- Podcast
- The Filmmakers Podcast
- Published
- Jun 23, 2026
- Duration seconds
- 3877
- Processing state
not_requested- Canonical source
- https://traffic.megaphone.fm/KILM7246193688.mp3
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Summary
Noyer on filmmaking, Tax Incentives, Folk Horror, and Directing Love is the Monster What do you do when your folk horror film is deeply rooted in Finnish mythology, but the financing dictates you have to shoot it in Canada? You adapt, you pivot, and you get your movie made. This week on The Filmmakers Podcast, Giles Alderson sits down with returning guest, writer-director, and genre champion Alex Noyer (Sound of Violence) to unpack the production of his latest feature, the creature-feature folk horror Love is the Monster. Starring Madeline Zima and Leonardo Nam, the film follows a toxic couple whose trip to a remote wellness retreat plunges them into a deadly mythological ritual. Alex strips back the curtain on the grueling reality of independent film financing, sharing the exact strategic choices that moved his production across the globe to secure the best tax rebates possible. 🎬 IN THIS EPISODE WE DISCUSS: Following the Financing: Why Alex pivoted from shooting in Finland (with a 25% cash rebate) to Northern Ontario, Canada, to capitalise on up to 40% in combined tax incentives. Directing Toxic Characters: How to keep an audience engaged when your lead characters are deeply flawed, and why Madeline Zima was the perfect collaborator to find the humanity in the horror. The Two-Camera Rule: Why Alex insists on running two cameras simultaneously at all times to protect his coverage and buy himself freedom in the edit suite. Language & Leadership: The unique challenge of directing an ensemble cast across three different languages (English, French, and Finnish) while maintaining complete control of the set's tone. Protecting the Edit: Moving from the chaos of the set to sitting alongside the editor, and why the script is completely rewritten once you hit post-production.…