A Quote by Leigh Whannell
One of the most crucial aspects of a haunted house movie is the fear and disbelief of the characters, because they don't know what's happening to them.
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When I was a little kid, I wrote this play about all these characters living in a haunted house. There was a witch who lived there, and a mummy. When they were all hassling him, this guy who bought the house - I can't believe I remember this - he said to them, 'Who's paying the mortgage on this haunted house?' I thought that was really funny.
I think the way to create a lot of terror in a haunted house film is to have a bunch of people who have no idea what's happening to them, and you sort of live the movie through their eyes.
Even in horror novels where you know most characters aren't going to make it to the end, it's crucial to have fully fleshed-out characters. If you don't do that, the reader doesn't care what happens to them.
I probably have more female friends than any man I've ever met. What I like about them is that almost always they're generally mentally tougher, and they're better listeners, and they're more capable of surviving things. And most of the women that I like have a haunted quality - they're sort of like women who live in a haunted house all by themselves.
Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative.
What a great unifier getting scared is. Not in an actual threatening, real-world way, but getting scared from horror movies or haunted houses or ghost stories. You laugh because it's a release. People laugh when they're nervous. I laugh so much at a haunted house. It's out of fear, but it's also a wonderful release. Getting scared like that, you feel good, and you feel exhilarated afterwards.
Real life is a funny thing, you know. In real life, saying the right thing at the right moment is beyond crucial. So crucial, in fact, that most of us start to hesitate, for fear of saying the wrong thing at the wrong time. But lately what I've begun to fear more that that is letting the moment pass without saying anything. I think most of us fear reaching the end of our life, and looking back, regretting the moments we didn't speak up. When we didn't say "I love you." When we should've said "I'm Sorry." When we didn't stand up for ourselves or some one who needed help.
'Insidious 2' is a direct continuation of the first movie. We literally pick up from where we left off at the end of the first film. And whereas the first movie is a twist on the haunted house genre, the second movie is a twist on the classic domestic thriller.
Nature is a haunted house--but Art--is a house that tries to be haunted.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
Know what your characters want, know what they need most, know what they fear most, and don't be fearful of facing it, no matter how unpleasant it may be.
Most of the women that I like have a haunted quality - they're sort of like women who live in a haunted house by themselves.
Most of the women that I like have a haunted quality - they're sort of like women who live in a haunted house all by themselves.
I would love to make a 1830's period piece, a house in the country, a classic atmospheric haunted house movie, visually it would be so beautiful, the costumes, the candles, the darkness, and the quiet, no radio, to TV, the clock ticking away.
I love the supporting characters because you get to do more, to be totally honest. It's been sort of a theme with me. In Son of No One, I think I might have seven lines in the entire movie because everything is happening to my character.
You start to fall in love with characters as you work with them, and anytime that you care about your characters and you realize that you're gonna have to kill them, that fear creeps in. It's sad. It's scary, and it's also sad. Because you like these people.
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