The Haunting Vision of The Woods: A Deep Dive with Director Sarah Lyons

In the realm of independent filmmaking, few debuts captivate and linger as deeply as Sarah Lyons’ The Woods. Set against the backdrop of dense, shadowy forests, this psychological thriller unfolds a chilling narrative of mystery, memory, and haunting metaphors. In a candid conversation, Lyons, the creative force behind the film, shared insights about her journey from conception to execution, as well as the personal and practical elements that shaped her cinematic vision.

From Page to Screen

Lyons began crafting The Woods during her middle school years, revisiting the story repeatedly until it became the foundation for her directorial debut. “This was always the story I knew I’d tell first, whether in novel or film form,” Lyons explained. “It felt like something I needed to get out, almost like an inevitability.”

Growing up in a small, forested town of 2,000 people deeply influenced the setting. “The woods always felt alive, almost as if they were characters themselves,” she said. “Their presence was more than just physical—they had a spirit that demanded attention.” This connection with the natural world imbues the film with authenticity and an eerie vitality.

Practicalities and Artistic Choices

Beyond the symbolic, shooting in the woods also provided practical benefits. Lyons described how, as a first-time filmmaker, limiting locations was crucial to managing the budget. “The fewer locations, the better,” she noted. “It’s cheaper, but it also gives the film a contained, intimate feel.”

Despite potential weather challenges, the decision paid off. Lyons leaned on her familiarity with the environment to create an evocative, haunting atmosphere. The film’s visual style, a collaboration with director of photography Madalina Debaney, played a significant role. “Madalina and I discussed the aesthetics and mood for a long time,” Lyons said. “She has such an eye for framing and lighting, and she helped bring my vision to life.”

The use of drone shots, courtesy of Erica Rogers, added a distinctive edge. “Erica’s drone work captured the vastness and isolation of the woods,” Lyons explained. “Her editing skills brought cohesion to the final product.”

A Tale Told Through Light and Sound

Lyons’ attention to detail extended to the film’s contrasting environments. The cold, industrial podcast studio scenes featured sharp lines and muted tones, while the flashbacks in the woods were warm and fluid. “It was intentional,” she said. “The woods represent the organic, messy aspects of life, while the present is structured and sterile. That final shot in New York City merges both worlds.”

Sound design also played a pivotal role in building tension. Anastasia Goldberg, one of the onset sound workers, ensured clean on-set audio, while George Miata, a sound designer Lyons serendipitously discovered, crafted the film’s haunting soundscape. “The only real input I had was wanting the podcast audio to feel like a podcast and the rest of the film to feel cinematic,” she said.

Challenges and Serendipity

Lyons faced the dual challenge of maintaining her creative vision while navigating the unpredictability of filming in the wilderness. “Knowing exactly what I wanted beforehand was key,” she explained. “From color palettes to storyboards, I had to be prepared so the crew could stay focused.” One unexpected moment of serendipity occurred during the campfire scene. “It was scripted that the characters hear something, but during every take, an owl actually hooted at just the right moment,” Lyons shared with a laugh. “It was surreal like the owl was part of the cast!”

Looking Ahead

Lyons is already working on her next project, a folk horror crime thriller exploring cults in rural settings. Though details remain under wraps, she expressed excitement about continuing her collaboration with Debaney and Rogers.

When asked which character from The Woods she related to most, Lyons reflected deeply. “I think I see myself in all of them,” she said. “They’re like pieces of my brain—broken, sad, hopeful. None of them are truly villains; they’re just trying to navigate their own struggles.”

A Unified Vision

Ultimately, The Woods is as much a psychological exploration as it is a supernatural tale. The forest serves as a metaphor for memory, childhood, and the messiness of life. “It’s a space where the characters confront their fears and truths,” Lyons explained. “The woods aren’t just a setting—they’re the stage where everything unfolds.”

As Lyons continues her filmmaking journey, her passion for storytelling and dedication to her craft promise even greater accomplishments ahead. For audiences, The Woods is a testament to the power of independent cinema and a debut worth celebrating.

A Sense of Community on Set

Filming on location created an environment of unity among the cast and crew. Lyons described the setting: “The house we stayed in had a porch out back with views of mountains and trees. It was a beautiful place to reflect, especially during sunrises and sunsets, which

became part of the daily rhythm on set.”

This shared living space fostered a sense of camaraderie, with everyone spending downtime together. “We’d stop for the day, eat, play music, and watch TV. It created a warm, communal atmosphere that shines through in the final product,” Lyons explained.

Mental Health and Haunting Questions

A central theme of the film is the impact of untreated mental health issues, particularly how they manifest in close relationships. Lyons noted that Amy’s character was designed as someone deeply in tune with the world around her but overwhelmed by a lack of resources to navigate her sensitivity.

“You can interpret it as something supernatural haunting Amy or as untreated mental illness that her friends fail to address,” Lyons said. “I think both interpretations are valid and can exist simultaneously.”

The director emphasized that leaving some aspects open-ended allows the audience to grapple with these questions on their own terms. “Horror is a genre that thrives on asking big questions without necessarily answering them. That’s the beauty of it—it reflects the mysteries of life itself.”

Crafting Characters and Performances

Rehearsals played a crucial role in shaping the film’s emotional core. Lyons worked extensively with her actors to ensure they could dive into their roles once filming began. “We spent a lot of time building chemistry and exploring the characters’ backstories beforehand,” she explained.

Amy’s descent into darkness required a nuanced performance, and the actor delivered. Lyons praised her ability to embody the complexities of someone wrestling with inner demons and external pressures.

The Challenges of Indie Filmmaking

When asked about the most difficult scenes to film, Lyons highlighted the fight sequences between Amy and Kate. “Action scenes are technically demanding. You have to get precise angles, choreograph movements, and ensure safety while creating something visually cohesive. We wrapped that scene at 4 a.m., and the actors were exhausted after hours of rolling around in the dirt.”

Despite the challenges, the hard work paid off, with performances and cinematography receiving accolades. Lyons reflected on what she’d do differently with a bigger budget: “I’d extend certain scenes, explore flashbacks, and delve deeper into the mystery of the woods. But sometimes, constraints force you to be more creative, and that can lead to something special.”

Advice for Aspiring Filmmakers

Lyons offered practical advice for budding filmmakers, especially those interested in horror. “Write a screenplay you love because it’ll be your baby for years. Build a community of collaborators you trust. And if it’s your first film, keep it small—horror is a great genre for stretching a tight budget.”

She also encouraged filmmakers to study horror for its efficient storytelling. “You can do so much with shadows, sounds, and subtle scares. Even if you’re not making a horror movie, the lessons from this genre are invaluable.”

A Lasting Impression

For Lyons, the film is about more than just scares—it’s an exploration of memory, relationships, and the mysteries of life. “I wanted to show how our perceptions of people change over time, especially when trauma is involved. The ending reflects how memories can distort and how some questions are never truly answered.”

As Sarah Lyons continues promoting her film, her passion for storytelling and her reverence for the horror genre shine brightly. For aspiring filmmakers and horror enthusiasts alike, her journey is an inspiring reminder of the power of creativity and community.

Follow Sarah Lyons on Instagram for more updates on The Woods and for future projects.

Written by Chloe-Kaleah Stewart

Photos by Sarah Lyons

No “Wasted Time” Seeing Juniper Live at Mercury Lounge

Taking a step outside the usual indie rock scene in NYC, I saw a show at Mercury Lounge with a band originally from Boston. It was on a Friday night after work in December, an ideal way to end the work week and start the weekend. As expected, the room was filled with drinks in hand, and everyone’s attention raised towards the stage, awaiting Juniper’s arrival.

The trio consists of Scott Johnson (lead vocals), Alejandro Marin (drums), David Sessions (guitar), along with Jacob Shneiderman (bass), and Angela Morano (keys and vocals) during live sets. The bands' cohesiveness in sound and performance was notable from start to finish.

Originating from Boston, MA, (but recently moved to Nashville, TN) each artist's love for music began at a young age, as a way to express their emotions and connect to others. Juniper as a band initially began as a high school cover band back in 2017, but as time has passed, their work in music took them to new heights, collecting almost 130k monthly listeners on Spotify! The start of their career was playing shows everywhere around the city of Boston, like college campus basements. As the lockdown of COVID made the continuation of their live performances more difficult, they realized they needed to record and release music. Thus, later on, came their first EP For The First Time released in 2019 shortly after their single “Here For The First Time” which now has over 10 million streams! The trio has spent time crafting music reflecting their personal experiences in love, life, work, and just being human. 

Their own eagerness to begin the show was visible. As the lights dimmed, they walked through the crowd and hopped on stage taking their respective spots. For anyone, headlining Mercury Lounge is a huge accomplishment that feels special, not only to the performers but also to the audience. Obviously ecstatic to be on stage, the band looked at one another in excitement and began their set.

One thing I could not stop thinking about during their set was how groovy their sound was- so forgive me if that description becomes overused. If you have listened to Juniper's music before you can agree with me, however, seeing them live truly solidifies that description. Because not only is their sound relaxing and fun to dance to but so is their stage presence. The first song of the night, “Angelina” starts off just like that, groovy and upbeat. Immediately as the guitar riffs began I knew I would be mesmerized by guitarist Sessions's talent. 

Lead singer Johnson has an ability to draw in the crowd during each song. As the rhythm continued as upbeat and the guitar carried on, the drums in the third song, "(Come to My) Senses" picked up, further intensifying the performance. Each transition between songs was smooth, carrying the same energy throughout as Johnson showed gratitude for the ability to play at Mercury Lounge. He invited the audience to dance along since “It’s a Friday night!”

Their newest single, “Wasted Time,” released in September 2024, was rhythmic and catchy, as sweet harmonies between Morano and Johnson tied the track together. Marin's steady drums and the sick bassline backed the emotive lyrics of the song. The instrumental break was slow and nothing short of groovy as the audience swayed along to the melody. 

The introduction to their song “Daydream” was “If you've been on the bad side of a one night stand yell “Booo”.... that shit sucks!” A good hook prior to a song always gets me more intrigued, and the crowd felt the same as the song began. As Johnson’s vocals engaged the audience, the crowd waved their arms back and forth in the air along to the music. A good guitar riff is always riveting to watch, and Sessions had a relaxed way of completely shredding. 

Juniper has a sound that showcases influences from a myriad of genres spanning, alternative, pop, R&B, and so on. Their live performances exude a funky melody that’s so intoxicating you can’t help but dance along. You get lost in their performance and truly just feel the music move through you as they play. A great range in sound, some songs are slower than others, with calming harmonies and a deep bassline whereas others have crashing drums, a fast tempo, and sparkling keys that liven up the energy in the room.

Johnson introduced their next song by saying “We haven’t played this since B.C….. before COVID” and transitioned into playing “Please Stop Calling” – a personal favorite. Emotionally raw lyricism, heavy keys, a slick electric guitar, and gorgeous harmonies yet again by Morano and Johnson. The instrumentals and vocals collapsed together beautifully, stopping time altogether in the Mercury Lounge room.

Another favorite song of mine, but this time they were doing a cover of “Evil Woman” by Electric Light Orchestra. With deep alluring vocals and a groovy live twist, Juniper’s rendition of the song was impressive and exciting. On the bass, Shneiderman was going crazy alongside the electric guitar, completely captivating us all! Ending off with their most streamed track “Here For The First Time”, the well-known riff and heavy drums signaled the night of good music was coming to an end. Everyone jumped and sang along to the chorus as the melodies of the night began to finish. 

A charismatic frontman with the ability to entice the crowd and a band full of life, they had a chemistry that was felt throughout the crowd. We as an audience had the opportunity to see people who genuinely loved to play music together. From dancing on stage to harmonizations that wowed us all, to a flawless instrumental performance, Juniper knows how to put on a show worth remembering. It was a fulfilling night being able to experience their set in a room full of people who also love their sound. 

Check out and follow Juniper's socials for more music and future show announcements and stream their recent single, “Wasted Time”!

Written by Amy Kapel

Photographed by Emma Wannie

Glory and Gore: Corruption and Masculinity Through a Feminine Lens

In an era of entertainment where the majority of Hollywood productions are sequels or remakes, audiences are starving for original and authentic stories. While independent In an era of entertainment where the majority of Hollywood productions are sequels or remakes, audiences are starving for original and authentic stories. While independent filmmakers have the stories, the lack of funding prevents their work from reaching a wider audience. 

With all of social media’s vices, free marketing has been one of its greatest gifts to creatives. Writer/Director Gianna Cavarozzi and Lyanna Zammas used their social media skills to share their short film Glory and Gore on Tiktok, which follows an exclusive study group and the mischief that happens behind closed doors. After posting teasers and behind-the-scenes content, they quickly grew a following. Their comments flooded with comparisons to films such as Dead Poets Society and novels like The Secret History and If We Were Villians. 

In the months leading up to the premiere, their follower count grew into the tens of thousands, all waiting in anticipation to see the mayhem and destruction these alluring scholars get into. Within hours after being uploaded to YouTube, fan edits of these characters were posted on TikTok. 

I had the pleasure of chatting with the writer/director duo about the journey of Glory and Gore and how it evolved from a small student club project to finding a cult following on TikTok. 

Ashley Murphy: How did Glory and Gore first come to be? Was it originally written as a feature, or did it grow from something smaller?

Co-Writer/Director Gianna Cavarozzi and Lyanna Zammas

Lyanna Zammas: I never know where to start with this; Gianna and I became friends the summer before college. We met on our school’s Instagram page for the Class of 2026. When we got to school, we were in the same first-year seminar course, Love and Neuroticism in Western Cultures. We did all the readings and film screenings together, and we really connected with a couple of things we read, Plato’s Symposium and Plato’s Republic (the classics) We were talking about those two books and dark academia novels such as “Secret History” and “If We Were Villians,” and we were thinking about them as a whole and our love for them. And she [Gianna] was like, “What if we write a TV show together?” “and I was like, no, I would write a manuscript.”  And she said, “No, I want a TV show,” and then I was sold.

Gianna Cavarozzi: Lyanna and I were internet friends; we didn't know this before coming to college, but we found out in the dining hall while going through old DMs that we talked when we were 12 years old.

LZ: Even crazier, the last thing I posted on that old Instagram account was Lorde's lyrics for Glory and Gore. 

GC: There is a secret first Glory and Gore that is being dubbed by our cast as Baby Glory and Gore. It was a 10-minute pilot; it had a small budget and really big ambitions. It’s out there somewhere on someone’s drive. After we filmed the pilot, we thought it could be something more, so we decided to turn it into a proof of concept. What’s really interesting about Glory and Gore as a proof of concept is that, at this point, we had somewhat of an audience  (not as big as we have now). And we loved this story so much and the characters; we knew we wanted to tell a complete arc, a full story. So, instead of using the usual proof concept format, a part of a story, or the beginning of the story to prove you can make it into a feature film,  Glory and Gore is the beginning, middle, and end,  but nothing really in between. there are a lot of blank spaces, and that's kind of done intentionally just to the point to leave the audience somewhat unsatisfied and feel they want more of this and more of the characters and to expand on the world. That is the Glory and Gore you are viewing now, something we reformatted to be a proof of concept.

AM: One thing that really stood out to me was the cast. These boys truly encapsulated their characters. Did you seek out these specific actors or hold open calls?

GC: This was for a student club, so they have their own audition/casting process. Through the club, people auditioned, and since we go to such a small school, we knew we wanted some of these boys to be in it. Like Mateo Bailey ,who played Brooks,  we reached out personally to play Brooks. We knew we wanted him for that role. Same thing with Jason Korn [who played Monroe] and Andrew Bova [who played Will]. Originally we wanted Jason to play Cassius; he came into the audition room and wanted to play Monroe. In that audition, we knew that was Monroe, and that was the best surprise of the casting process.

LZ: Also, we didn’t know Javier. He never did film acting, and Glory and Gore was his first time on screen. He does wonderfully on stage. He walked into the casting room, and I go, “Oh my god.” It was immediate he was Cassius, and if he wasn’t going to be, he had to be on the cast. Thank god he was Cassius; he brought so much to the role.

GC: Javi wasn’t going to audition; Jason made him audition. 

LZ: They were in Little Women together at the time.

GC: For David Wright’s role, Elliot wasn’t in the original Glory and Gore. We wrote him in for the proof of concept because he was so necessary. We knew of David; he is such a talented actor, and we had a small audition process. We didn’t write Elliot for him, but we knew we wanted him for the role.

LZ: We had two people in mind, and we only asked those two people, and they both ended up in the film. The other one was Luke Joyce, Winston, the goofy little character, the club’s TA.

AM: It’s rare to see such a contrast between the cast and crew;  all men on screen and women nearly made up the entire crew. How do you think a story about corruption and masculinity is told in a different light through a feminine lens?

From top to bottom: Nikki Yar (2nd AC), Gianna Cavarozzi  (co-writer/director), Lyanna Zammas (co-writer/director), and Katie Pak (2nd AC)

LZ: Trying to think about what sets us apart is looking at these spaces. Let me be more specific– looking at this Symposium, I mean, it's so Meta on so many levels because looking at the Symposium, which is, you know, the angle that we set the situation for the story,  all these men are in this prestigious academic forum to discuss philosophy and ide, and that is the opposite of what they’re doing. Women were excluded; they weren’t invited for ideas they were invited to be the entertainment. Even thinking about our film school and how many women make up the crew. Thinking about how we came up with the idea in her [Gianna] dorm room. Women weren’t allowed to go to school for a long time, and it is really true that you need a room of your own to come up with these ideas. To have the space to talk about these things, that if a woman were present for these things, none of this would happen. All this debauchery, terror, and one bad apple turning the bunch wouldn’t be possible in our mind. It gives a distinct feel that these men were directed and supported by all these women; this story could only be told in that setting because we aren’t glorifying this behavior. Any investment in these characters is a success; it’s so rewarding to see because, as terrible as they are, they are human just the same. I think, more often than not, characters tend to fall flat or glorified when they are told from that certain perspective. I tend to think of Fight Club,and  how people watch that movie and take it in all the wrong ways. I hope we made it so people can be attached to these characters but view them with a critical eye.

GC: A lot of people question us, “How is this the female gaze?” It's because women made it. 

LZ: I’m a gender studies minor, and that’s what I want to pursue in the future; I always think about the fact, and it started as a joke, but I think ultimately it's important; people were like, why would you have just a male cast with a female crew? Why wouldn’t you have women in this story? That’s the whole point.

GC: I’ll add to that, especially with this story and having a female character present; besides the point of would this happen if a female character was present, it’s just the problem of this is a story of corruption and impact of masculinity. Me personally, as a writer/director, I never feel the need to show and perpetuate violence against women onscreen. I think this is a story that can be told without perpetuating that narrative and without showing women being sexualized or brutalized onscreen. I don’t think it is necessary for a story to comment on or critique masculinity.

AM: The locations were absolutely stunning, radiating old money, elitist university. What was the process of being permitted to film at these locations?

GC: We had two other amazing producers, Nikki Emma and Dailey Newcomb, who were mainly in charge of locations. They would text locations, and we would just say yes or no.

LZ: We filmed in some creepy locations. You think it's private universities? No. One of those is a university. We were in a terrifying temple; there was cult propaganda everywhere. The film is based in the 90s, and everything looks like it was from the 70s, so it worked.

GC: The only location that we kept from Baby Glory and Gore was the symposium room, which by far was our favorite location. We loved that room; we loved the school that let us use it, and they were very kind. Technically, that room is not one they film in; you're not supposed to film that room. They rent out their college for students to film in, but not that room. They allowed us to use it twice, which was very kind and awesome.

LZ: The second time around, when we were filming at a high school, we made a little name for ourselves on social media. The students were still hanging out there after class, and they were stopping our actors to take photos. It was very sweet.

GC: It was really cute; they said, “We know you, you were here.”

AM: The marketing for this film over the last year has been stellar. Growing a strong fanbase leading up to the film, nearly 65k on TikTok and 44k on Instagram. Only two weeks after release, dozens of fan edits on TikTok and fanfiction are in the works on A03. How does it feel to have such a loyal fanbase to these characters you’ve created?

GC: It doesn’t feel real. We haven’t fully processed things. Since the release, it’s been a lot all at once, so much attention that we aren’t used to. Especially for a project that wasn’t really an impediment for this big of an audience, we never knew that many people were going to watch it when we initially wrote it. It’s really cool, and we’re really grateful,l but we haven’t fully processed and this is actually happening with our characters. Like with the fanfiction and the edits, I’m watching it thinking it's so cool, then realize it’s mine.

LZ: We grew up being those kids; Gianna was an editor, and we both wrote stories about other stories that we were passionate about. That was something we knew when we were pitching to the club’s organization. We knew there was a unique space to market this film. That was always the plan; we never envisioned it working to the degree it has. To see people invest in and care enough about something that we came up with that drives them to write and create. It’s equally as gratifying that just as many people on this crew and cast were just as deviated and passionate about this project, which was the first thing we were grateful for to see this many people come together and work this hard. 

AM: What is in store next for the boys of Symposium Club? 

LZ: There are worlds for these boys that didn’t make it onto the screen, and we haven’t been able to work through ourselves with the time crunch, budget, and resources. We would love to dive back head-first into this world and have every intention to do so. I know the future holds something more in some type of revision.

GC: No matter what, we are rewriting to be in feature or miniseries format. We are currently in the process. People have grown to love this world; we really love it, and I think no matter what, we are going to expand on it no matter where that lands us.

LZ: Hopefully to a theater near you.

You can now stream Glory and Gore on YouTube.

For more behind-the-scenes content and other updates follow them on Instagram and TikTok.

Interviewed by Ashley Murphy