I remember when the film played at Toronto – I wasn’t there but I remember going on Twitter and seeing all of these incredible reactions and I’ve been waiting to see this film ever since. I was super excited. So I have to imagine you’re even more so to finally have it be released.

Oh yeah. Well, we ended up getting bought, basically a month before Lionsgate merged with Summit and so a lot of movies were getting dropped to video because the just had such a huge slate and so we were really nervous that was going to happen to us and Lionsgate told us all along, you know, Jason Constantine, he’s basically like, “We love this movie. We believe in it and as soon as we have an opening for it, we’re going to put it out,” and, at first you’re like, “Oh, I hope he’s not bullshitting us,” but he put his money where his mouth was, you know, and they really did get behind it and pushed it forward.

Has the film changed at all or is it still the same as it was at Toronto and Fantastic Fest?

The main thing that changed since Toronto is, the movie was actually done with a base of four month turnaround. It was super rushed and the main thing we thought was rushed was the sound mix. Yeah, the sound mix was fine before, but we’d always been kind of unhappy with the Foley and just sound of the sound design elements and there are two music tracks we wanted to add different places in there. So, since we had some time, and Lionsgate was willing to let us get it to the next stage for another ten days, we went in there and we just tweaked things, we made ADR sound better, we did a couple lines, we redid them, because the performances didn’t match on the screen or the audio quality was different. So, basically, we just used this opportunity, which was great, while we were waiting to make the movie what we wanted.

Totally. To kind of go back to the beginning, I know you’ve worked with Simon before on other projects, but I’m curious, when it came to collaborating on this one, were you there for the entire script-writing process or did you...?

No, no, no. That’s not how Simon and I work. Basically, I come to Simon with my interests and in this case, I said, “Simon, let’s do a home invasion movie,” specifically the movies I told him that I was really interested in was Them, The Strangers and the first ten minutes of Scream, you know. And I was like, “Can we make a movie like that?” Simon literally just took that and went off and did his own thing and I was expecting to have a movie about one person in a house, because I really wanted to do something that was more, cause coming out of A Horrible Way to Die, which is like this drama, mumble core thing, with a lot of talking and stuff. I wanted to do a movie that was more technical based and it was really funny, because then I got the script and it was even more complicated then I was expecting, in all ways...totally it’s like, it’s a very challenging movie and I thought, “Dammit. I thought this was going to be something easy.”

But yeah, the way Simon and I work is I’ll tell him my interests and if it clicks with him, he goes off and just writes it and then the way we know that it’s the right film to do is if whenever he delivers that script, if it’s about 90% there, usually it’s like, “Ok, this is the one to do,” because we’ve gone done the line with other projects, specifically, recently we went down the line with this action thing and it just never came together and you just can’t force it. Simon’s the kind of guy who’s like, he does his thing and I do my thing and we give each other notes and stuff, but we respect each other as individual artists and stuff and I want him to put his voice on it, because it inspires me and then he lets me do my things as a director and gives me space sometimes to improvise lines. He’s not going to care.

He’s not precious about it.

Yeah, exactly. He knows that anything I’m doing, I’m just trying to make the best movie and I know he’s trying to make the best movie and there’s no point in second guessing each other and it always works out.

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