A Quote by Adam Wingard
If we're going to be considered horror filmmakers, we have to prove it not only to ourselves, but to the audience that we can actually make something scary.
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If we're going to be considered horror filmmakers, we have to prove it not only to ourselves but to the audience that we can actually make something scary.
I love scary movies and respect the filmmakers of scary movies, and it's just as hard to make a great scary movie as it is to make a great comedy or drama or anything else.
The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.
The sinister, the terrible never deceive: the state in which they leave us is always one of enlightenment. And only this condition of vicious insight allows us a full grasp of the world, all things considered, just as a frigid melancholy grants us full possession of ourselves. We may hide from horror only in the heart of horror. (“The Medusa”)
Although we're all in this to make a living, why not make something to make an impact? One day, I'll make a horror film. I think I know what the audience wants.
If you can get the audience to talk to the screen, I just thought that was so cool, and I wanted to do that. And I just leaned towards the scary and the thriller. I find it very emotional. I want to make emotional horror. If I can make you cry, than you have a full experience.
I can't imagine making something that is made only to be scary. For me, the darkness and scary material has to have meaning attached to it, or I can't invest the time and energy it takes to write and script or make a movie. It has to mean something.
The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.
I have been trying to make the reader believe that we actually are, at present, creatures whose character must be, in some respects, a horror to God, as it is, when we really see it, a horror to ourselves. This I believe to be a fact: and I notice that the holier a man is, the more fully he is aware of that fact.
It took a generation of filmmakers who loved and were raised on comic books to make movies that you actually cared about and felt something for. I think that's absolutely the same with what's going on with videogame movies.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.
It's intriguing to me, when I see a horror script, or something like that, that's actually original. I think that's why I love 'Stranger Things,' because it's not just horror, it's everything, and when they use horror it's right.
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
While it is increasingly possible for filmmakers to find an audience on their own (something that is particularly popular amongst documentary filmmakers) I'm still a believer in the "specialist". By this I mean, I back myself as a filmmaker, but I leave the marketing and distribution of my films to the experts.
I've seen a lot of movies that were great and scary, but not particularly fancy in their filmmaking or performance. And they're still scary, and I think a good horror movie should be scary above all things.
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