Filmmaker Anthony Spadaccini utilizes cinematography stylishly.

Filmmaker Anthony Spadaccini utilizes cinematography stylishly.



By Brian Lynch
Staff Reporter

Anthony Spadaccini, Delaware native and up-and-coming independent film director, was proud to premiere his latest installment in a tetralogy of independent horror films on Saturday, Sept. 28.

“Head Cases: Serial Killers in the Delaware Valley” plays off of Spadaccini’s earlier works in the series, which began with the acclaimed original  “Head Cases” in 2007 and also included “The Ritual” in 2009 and  “Post Mortem” in 2010.

Spadaccini discusses his latest project, his career as a filmmaker and his vision for Fleet Street Films, his microcinema production company.

Spadaccini traces his penchant for filmmaking back to his youth.

“I always had sort of a creative bug,” he said.

He would often involve his younger sister in his creative projects, futhering his development as a leader.

However, his career as a filmmaker did not really get rolling until 2004, when the passing of his father,  a musician,  inspired him to express his creativity through film.

His background as a dilettante writer caused him to tend towards the directorial side of the field. Directing, especially in his unique capacity as the founder of his own production company, affords him to the ability “create [his] own party,” exercising his creative  vision as he sees fit.

Spadaccini has never been afraid to blaze his own path within the cinema industry. His start was anything but formal.

“In high school, I would make little films,”  he explained.

Using small, amateur cameras, Spadaccini used this experience to springboard himself to greater things, such as teaching himself the business by watching films and experimenting.

Perhaps his unique style, which includes using cameras that suburbanites would buy and that date to the periods in which his fictional films are set, can be attributed to the fact that he forged his way in the industry without the substantial benefit of formal training.

While such attention to detail may provide his films with profound cinematic advantages,  Spadaccini’s dedicated efforts are not devoid of obstacles, such as faulty or otherwise broken recording equipment.

Surely the realism achieved by using socioeconomically and age-appropriate camcorders outweighs any difficulties, however.

He identifies such films as “Best in Show,” Pennsylvania crime documentary “The Last Broadcast” and Peter Jackson’s “Forgotten Silver” as major influences on his work.

Fictional documentaries that appear realistic, especially in the case of Jackson’s film, undoubtedly inspire Spadaccini’s distinctive style, including the true crime approach he takes in his latest effort.

Of the future, Spadaccini says that “anything is possible.” To start, however, he plans to move on from the “Head Cases” franchise in favor of a more traditional narrative piece.

He expressed a desire to examine some less morbid subject matter and take on a project that allows his actors more flexibility and creativity within their roles.

Certainly, the sky is the limit for Fleet Street Films and its inventive founder.






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