Exclusive Interview: Martin Malinov & Erik V. Lund (It Goes On All Fours)

https://www.indiegogo.com/projects/it-goes-on-all-fours-a-new-horror-legend–3#/

What made you want to get involved in the film industry?

Erik: Ever since I was a child, I’ve entertained myself with a rambunctious and wild imagination.
It’s a curse in some ways; as it’s a challenge to focus when I’d instead be living in a story. But
through the magic of cinema, I’ve finally found a place to be rewarded for dreaming. Or,
nightmaring, I should say.

Martin: At age 9, I started experimenting with a DSLR camera, making short 3–4 minute films
with my friends. Out of all the hobbies I went through as a kid, filmmaking was the only one that
stuck. I wanted to take it more seriously, so I asked all the guests at my 12th birthday party to
give me cash for a film budget instead of gifts. With that money, I was able to write, direct, and
produce a 30-minute horror short. I did almost everything on that set and gained first-hand
experience in every production role. After that film, I knew I wanted to be a producer. I became
fascinated with the pre-production process—taking paperwork, numbers, and business deals
and turning them into art on the screen. Since then, I’ve been fortunate enough to produce
seven of my own short horror films and be involved in many other projects. Nothing brings me
more joy than completely immersing myself in filmmaking.

What makes It Goes on All Fours different from other horror films?

Erik: It Goes on All Fours was born out of a want to subvert this modern expectation of “The
frightening culture of Eastern Europe” perpetuated by films such as Midsommar or The Ritual.
We hope to add a more nuanced take to the customs and folklore of especially native European
groups, with multiple morally complex characters and even a morally grey area added to our
monster itself.

What makes Erik V. Lund a great director for this project?

Martin: I believe Erik V. Lund is a great director for this project because of his specific
background in production design and his extensive experience with horror research. With his
desire to pioneer a new era of genuine quality horror films that don’t stray too far into drama or
suspense, It Goes on All Fours is his attempt to elevate the monster movie into a more
nuanced, thoughtful genre.

Having worked with Erik on four projects already, his passion for detail and storytelling is
inspiring. On It Goes on All Fours, with his production design expertise and deep understanding
of the story, I know he will bring a deeply thematic and terrifying film to life. His work ethic is
second to none. I remember when we received notes from our screenwriter—Erik took a hard
copy of the script into the forest to immerse himself in the world he created. That kind of
dedication shows how much he brings to the table.

What makes Bulgaria a good landscape to make a horror film?

Martin: Bulgaria has an incredible landscape, perfect for a horror film. With massive forests and
open spaces, the environment becomes a character in itself. The country’s rich history and
unique architecture provide eerie buildings and exteriors that fit the tone of the story. From a
producer’s standpoint, Bulgaria is cost-effective while offering an extremely professional
workforce with years of experience in international and horror productions.

What perk excites you the most in your Indiegogo campaign?

Erik: The film prop collector’s item perk is by far the most interesting to me and definitely the
best deal. The precise craftsmanship that goes into our creature combined with the knowledge
that you get to hold a piece of the title monster that was really used… it’s far too great of a deal
to pass up. I’d buy it myself if I could.

Martin: I’m most excited about the Skinwalker collector’s perk. With this reward, you’ll receive
an actual piece of the Skinwalker we’re building for the film. You could own its fur, nails, teeth, or
even parts of the head, all framed with a certificate of authenticity and on-set photos. It’s the
perfect holiday gift or a must-have collector’s item for any horror fan.

Why the choice of Keith Thompson to design the creature?

Erik: Keith Thompson was an easy choice for our creature design. His work on The Ritual
proves that he puts extensive research for implementation into his designs and has had no
trouble in the past coming up with these incredible designs.

Martin: Keith’s extensive credits and deep knowledge of mythology and culture made him the
perfect choice to design our monster. During our meeting, we didn’t just craft a design for the
creature—we developed a deep backstory and lore for it. Every small detail on the monster is
intentional and has a reason behind it. Working with Keith was an incredible experience, and I
can’t wait to show him the finished creature in real life!

What other filmmakers inspire you to do what you do?

Erik: By far, my largest filmmaking inspirations are Guillermo del Toro and Robert Eggers.
There’s this beyond-obsessive level of meticulous worldbuilding both of them provide (one to
creative fantasy and one to historical accuracy respectively) to their filmmaking that immerses a
viewer so incredibly. They do such a good job transporting you to a fully thought-out, different
world.

Martin: Robert Eggers is by far my biggest inspiration. I vividly remember watching The Witch
when it was released—I was 11 at the time—and it’s one of the first horror movies I can still
recall in vivid detail. Seeing him craft such a dark, terrifying world using the nature around him
on a low budget was incredibly inspiring. Then I saw The Lighthouse, and it solidified him as the
greatest horror director alive. Erik and I have been obsessing over the release of Nosferatu and
already have tickets for a Christmas Day screening, right before we start shooting our own film.

What is your favorite horror decade and why?

Erik: As generic of an answer as it is, the 1980s are an obvious choice. There are just so many
examples of aggressively creative ideas executed with horrifically impressive practical effects.
The Thing, Hellraiser, A Nightmare on Elm Street—just to name a few low-hanging fruits. I think
with so many of the later entries in these franchises stooping so low, we forget just how good
these films had to be to spawn such a franchise.

Martin: I have to say the 2010s are my favorite horror decade. As much as I appreciate older
horror, modern horror is what I grew up with. Films like The Conjuring, As Above So Below, and
Sinister are movies I rewatch on a monthly basis, always finding something new to love. What I
really appreciate about older horror, though, is the creativity and the ability to work with the
limited technology of the time. This is something we aim to recreate with It Goes on All Fours, by
using as many practical effects as possible.

How do you stay relevant in our ever-changing world of indie films?

Erik: Indie films, especially in the horror genre, appear to be at a very divisive split right now. On
one end, we have films such as Terrifier, which appeal to horror fans with a practically
impressive yet somewhat excessive gore-fest all about the kills and not the substance. On the
other end, we have directors like Robert Eggers and Ari Aster, who are in favor of slowing down
the scares for melodramatic films. Both of these directions are great in their own right, but I want
to aim to fly right through in the middle, preserving what makes horror, well, horror, while still
keeping a level of subtle messaging and storytelling.

What is the next step in your filmmaking career?

Erik: That’s an impossible question to answer, to be honest. It all depends on how the world
receives It Goes on All Fours. But rest assured, I’m not done trying to terrify audiences, and my
nightmares will find their way onto the screen, one way or another.

Martin: I’m confident that It Goes on All Fours will become a cult classic, giving Erik and me the
opportunity to create beyond this film. While horror is the genre I want to focus on, I already
have my “10-year plan” laid out. It includes four horror features, a drama, and a horror TV show.
Bulgarian culture is deeply important to me, and I’ll continue to integrate it as much as possible
into my filmography.