{"id":4820,"date":"2026-03-23T10:22:41","date_gmt":"2026-03-23T09:22:41","guid":{"rendered":"https:\/\/www.horrortalks.com\/?p=4820"},"modified":"2026-03-23T10:22:43","modified_gmt":"2026-03-23T09:22:43","slug":"interview-with-can-evrenol-2015","status":"publish","type":"post","link":"https:\/\/www.horrortalks.com\/en\/interview-with-can-evrenol-2015\/","title":{"rendered":"Interview with Can Evrenol (2015)"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=””]Baskin<\/em><\/strong> is your first feature film, after making many short films. What kind of experience was it?<\/strong><\/p>\n

It was 28 nights of shooting, none daytime, mostly outdoors, with 80 percent of the cast and crew having no previous experience in feature films, at once complicated and fantastic, with a great team spirit, smiles all around, doing something that had never been done before in the country. I see Baskin<\/em> as a story about the dark fantasies of childhood, bad news and blind fate. It is a very personal film. It probably comes from my early childhood, when I would put my head on the pillow, the lights would go out, and all I could do until I fell asleep was imagine stories in the dark. Just like the beginning of Baskin<\/em> with the little boy, with his toys next to the bed…. <\/p>\n

How did the project come about? It’s based on a short film of yours, isn’t it? <\/strong><\/p>\n

Yes, the short film was already a kind of dress rehearsal for the feature film. And when it attracted enough attention at festivals like Fantastic Fest and Sitges, with any luck, we ended up turning the little nightmare into a bigger one. The story of Baskin<\/em> takes place over the course of a single night. The cast consists almost exclusively of men. There are only the woman and the girl by the fire, who are part of the frog hunters. And they seem to be the first to tell the cops, in their own way, that they are meeting their fate. Once inside the building, the cops are confronted by two butchers and a sexually ambiguous cult. This element of sexuality in the film refers to the male-dominated society of the land where I was born and raised. Is it a harsh critique of machismo culture? It probably is. I like to think of it as one of the main subtexts of the film. <\/p>\n

You co-wrote the film. How difficult was it to turn the story of a 10-minute short film into a feature film? What were the main difficulties? <\/strong><\/p>\n

The script of the short film was already similar to the sequence of a feature film. I always imagined that what happens after the events of the short film was a kind of crazy mass ritual, in the style of “The Cursed Temple.” I was also inspired by my childhood dreams and, in particular, by a nightmare my father had had and told me about when I was a child. At first I wrote the script only in pieces and then, together with my co-writers, we turned it into a coherent narrative puzzle, taking cues from some of our favorite movies. <\/p>\n

What, on the other hand, was the most difficult challenge you faced on the set?<\/strong><\/p>\n

Even before filming, finding funding for an under-18 Turkish horror film, which starts with a slow pace and lots of dialogue and then turns into a splatter film, was a big challenge. Convincing talented artists and actors to participate in this minimal-budget project was a daunting task. With 80 percent of the cast and crew having no previous experience in feature films, every day on set was a new challenge. Having naked actors covered in fake blood… the make-up gore effects we had never experienced before… having limited time and budget to shoot everything I wanted… getting the performance we got from our only non-actor villain, who played The Father… And in general, getting everyone on set to believe in our crazy movie was a challenge. <\/p>\n

Despite very little experience, the acting is very good. How did you choose Mehmet Cerrahoglu and the rest of the cast? And who impressed you the most? <\/strong><\/p>\n

Thank you. I personally contacted all the actors one by one and tried to make them understand how I envisioned this film. It was hard because in Turkey horror films are considered low production value and lacking artistic value. Of course, we could not pay the cast very much. And the talented actors were mostly engaged in other TV projects. So it took me a long time to find the right people. I was very lucky to be able to put this cast together. The villain, Mehmet Cerrahoglu, has a story of his own. He did not wear any plastic makeup in the film. Two different doctors in northern Turkey are still trying to patent his very rare medical condition, which is said to be 1 in 30 million. Nicknamed “Spaceman” in his neighborhood, Mehmet Cerrahoglu is nothing short of an extraordinary guy. He is 40 years old. He is a parking attendant. He has three children. I took a big risk by choosing him as the main villain in the film. He had no acting experience. But in his soul is a true naive artist. When I sent him the script, he replied with paintings of some scenes. I was astounded. His paintings were like those of a gifted 10-year-old child. But the way he used the frame, the different shades of purple in the night sky and his attention to detail fascinated me. I gave him DVDs of Hellraiser<\/em>, Apocalypse Now<\/em>, The Descent<\/em> and many other films, and it was clear from his comments that he understood the soul of these films perfectly. We eventually constructed his character, Father, as a combination of Pinhead and Colonel Kurtz. <\/p>\n

Are you satisfied with the special makeup effects and violent scenes?<\/strong><\/p>\n

Yes. Hiding behind the 1980s aesthetic was a backup plan in case some of the effects didn’t work. But I think the effects worked insanely and beautifully. We could only afford four to five gore effects. We improvised a lot and tried to make the most of what we had, using the same prop for two different effects and things like that. <\/p>\n

Did you create the design of the “demons”?<\/strong><\/p>\n

The main credit for the look of the film goes to my set designer Sila Karakaya and co-writer and concept designer Cem Ozuru. It is basically what Sila, Cem and I experimented with in the short film with whatever we could find with the almost non-existent budget at our disposal, and we then expanded that concept into the feature film. The main sources of inspiration for Father Worship were The Descent<\/em> and Frontiers<\/em>. <\/p>\n

The locations, visual appearance, atmosphere, and some sequences are reminiscent of the great horror films of the 1980s and the stories of Clive Barker. Where did you draw your inspiration from? <\/strong><\/p>\n

The visual aspect of Baskin<\/em> is something we experimented with my cinematographer and set designer in the previous short film. Our main source of inspiration was the French horror films of the last decade. But beyond that, I wanted a more stylized, colorful, dreamlike style, like in Only God Forgives<\/em> and John Carpenter’s films of the 1980s. It had to have a surreal touch. The question of how dark the film would be was a big challenge for us. Especially for our amazing cinematographer Alp Korfali, who was in his first feature film. We wanted it to be elegant, surreal, but also dark and realistic. Alp tested with 3 different cameras and decided that Alexa Amira was the easiest to use. It gave better results in the lighting conditions we needed. Our biggest advantage was that the most experienced person in the whole set was our chief electrician, Feramuz Tuna. He was like the big brother of the group. Once they hit it off with Alp right away, everything worked perfectly (not that we didn’t have many discussions about lighting during the shoot, and we shot several scenes with different lights). I grew up with my parents’ love for dark Renaissance art. I could talk at length about my love for the horror films of the 1980s, the Hammer and science fiction films of the 1950s, Lovecraft, Barker, the new extreme French horror films of the last 10 years, the dark atmospheres of extraordinary films like Calvaire<\/em>, Vinyan<\/em> and Only God Forgives<\/em>, dark children’s films like Krull<\/em> and Dark Crystal<\/em>, Frank Frazetta’s Conan<\/em>, all the video games I played in the 1990s, Phantasmagoria, Darkseed, Sanitarium, Doom, and the album covers of Manowar and Iron Maiden. But I like to think that my inspirations come from a broader source: real-life horrors, modern art, pop art, and fairy tales combined. <\/p>\n

What was the most difficult scene to shoot?<\/strong><\/p>\n

Sometimes our permits were uncertain, so we were always stressed that some official might find out what the hell we were doing in some crazy places. We had naked people on set in some of the most conservative areas of the city. It was a constant stress. The time constraints for some scenes also made it very difficult. And that single underwater shot cost us almost half a day (night) of filming. <\/p>\n

Is the final version of the film the same as the initial one, or did you have to change some aspects during production?<\/strong><\/p>\n

The core is the same. But we experimented and improvised a lot. It was part of the plan. <\/p>\n

What was the atmosphere like on the set?<\/strong><\/p>\n

Although it was fraught with difficulties and was very cold, overall it was an incredibly fun set. Unfortunately, genre filmmaking is nonexistent in Turkey. So our crew was sometimes completely lost and couldn’t really understand what we were doing. Afterwards, several crew members told me that in the first two days everyone was asking, “What the hell are we doing here? What movie is this?” But I clearly remember that on the third day of shooting, our caterer (we called him the tea specialist) came to me. He had worked in the industry for years and years and told me that he felt this would be the most unique project he had ever worked on and that he prayed every morning for us. It was an important moment for me. [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”4822″ alignment=”center” style=”vc_box_rounded” onclick=”link_image” css=””][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

With Baskin, Turkish director Can Evrenol forged a visionary and visceral genre, a daring talent playing with surreal nightmares, innovative gore and demonic folklore<\/p>\n","protected":false},"author":2,"featured_media":4821,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[346,352,348,347],"tags":[349,350,351],"class_list":["post-4820","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema","category-festivals","category-film","category-interviews","tag-cinema","tag-movie","tag-news"],"yoast_head":"\nInterview with Can Evrenol (2015) - Horror Talks<\/title>\n<meta name=\"description\" content=\"Can Evrenol forged a visionary and visceral genre, a bold talent playing with surreal nightmares, gore and demonic folklore\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.horrortalks.com\/en\/interview-with-can-evrenol-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview with Can Evrenol (2015) - 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