They're fantastic actors, first of all, I love working with both of them and I think they had a lot of chemistry with each other. How was it working with them on a lighter scene, with still plenty going on under the surface? I was struck by the scene in the dive bar between James and Alice passing shots. RELATED: The Overlooked Phantasm Movies Paved the Way for Supernatural ‘80s Slashers He's very charming and good-looking and all these things so when he starts to unwind and go down a rabbit hole and lose a grip on some rationality, it starts to feel unsettling. Harry's an amazing actor and can draw you in because he's so relatable. He's active and trying to accomplish tasks, and hopefully, you'll start to get the feeling of paranoia the same way he does. We see this person and get inside of him looking at him doing mundane things. It's a first-person, subjective but also differentiating between the media he's consuming, his dreams and the future and past starting to blur and, within that, the audience is hopefully taken on a ride similar to what he's going through while also having the privilege having the parallax view of what he's doing and also having the tension and suspense of being afraid for someone. I think because this is a very first-person, subjective narrative and all the good and bad that comes with that. Harry's just brilliant! He's wonderful to work with but also very smart about rhythm, which is something I'm also interested in. How was it working out that sense of pacing with Harry Shum, Jr.? Over the film, we see James start to progressively unravel and lose his grip on this growing obsession. We shoot it really formalistically in the first part and then it eventually unwinds like the videotape for the main character. It was like the idea of having the visuals, that Scott and I talked a lot about, that should really become psyche. We took the score and ran it through video recorders to degrade it. I needed to know why am I so freaked about this and that really drew me into this in the same way as going down a rabbit hole about a broadcast signal intrusion - an unsolved mystery, like the Max Headroom incident, that starts as a curiosity and then becomes a fascination.īen Lovett also did that with the score. It wasn't a phobia I have but there was something about videotapes and even something about things that have an uncanny valley, a unsettlingness because there's just something off about them. My horror director friends and I speak about them the way I think comedians talk about jokes, instead of being scared, just going, "Oh, that's scary!" But this material really unsettled me and I wanted to know more and investigate this feeling further because I couldn't put my finger on it. I'm not really squeamish and I don't really get freaked out by horror movies on a deep level: it's more of an analytical thing or appreciating it on an art level. Jacob Gentry: I felt very unsettled by the material and I didn't know why I was unsettled by it. What was it about this script and project that really intrigued you, Jacob?
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