As I noted in my review from the SXSW , we’ve been waiting a long time for Adam Wingard’s You’re Next. The film had its world premiere at the Toronto International Film Festival in 2011, where it received rave reviews, and followed that up with a screening at Fantastic Fest that same year, but since then has been completed off the map.

After a full year of waiting Lionsgate finally gave the movie a release date and will have it in theaters this August, but what has been going on with the film since its debut? According to the director, it’s only been improved.

The day after the SXSW screening on Sunday night at midnight I had the chance to sit down with Wingard to talk not only refining the film, but also his collaboration with screenwriter Simon Barrett and how the fact that star Sharni Vinson comes from Australia actually makes her character more believable.

Are you enjoying the festival?

Oh yeah. It’s been a lot of fun.

This is kind of a home for you, I have to imagine, yeah?

Yeah, well, I mean, I just love playing movies here, you know? They always go over well. It’s the right crowd for it.

So, how did you feel about the screening last night?

Oh, I loved it. See, I missed it when it played at Fantastic Fest during the initial run. Our two screening run, basically. And I was really bummed out because it was received really well and this is such a movie that is designed to be made for audience participation. So, there’s nothing better than watching the film with a huge crowd like we did last night.


And just having people go nuts for it.

So, that’s something that’s kind of entering your mind, when even just in production on it too?

Oh yeah, I mean, like this movie, most of the stuff I’ve done prior to this were all very low budget things, so a lot of the decisions made were made from that perspective. The goal in those films is just how do we just make this movie. So, a lot of stylistic choices and so forth were designed just to be able to get through the project, you know? And find a way to make that work and so it’s kind of almost more of a compromise right away. But, with this film it was always about, to me, doing a film that is made for an audience, with an audience in mind and also an audience that isn’t necessarily used to watching experimental films. I wanted to do something where your casual movie goer could watch it and pick it up. So, going into it, my DP and I, we watched a lot of Hollywood movies and horror films, like Alien, that we thought were the most effective and tried to figure out what made them work. What makes a movie feel expensive? What makes a movie feel, you know, like the movie that’s played in a theater? And that’s kind of what our focus was going into it.


And what that really means is that you’re using, you know, more of a conventional cinematic language. You can’t rely on experimental gimmicks to get you out of the scene and so forth. But, at the same time, it’s like trying to find a way to put your own stylization on top of that so it’s not like just boring or whatever, but it does create a set of rules you have to abide by and it just makes the process that much more difficult, because your coverage is more intensive and so forth, but, it’s so much more worth it when you can sit there with a crowd and have people cheering and laughing and screaming, you know, that whole thing.

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