A Quote by Wes Craven
I didn't even know what a horror film was. I kind of made it up as I went along.
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With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.
I think that, back in the day, there used to be a lot of horror films that kind of had a checklist of what went into making the 'perfect horror film', and I think now people are raising the bar in the industry, as far as the types of horror films that are being made.
'Hereditary' is unabashedly a horror film. In a lot of ways, it's in dialogue with other horror films. But I do know that it was important for me that the film functioned first as a family drama. I know that I'm never affected by anything if I'm not invested in the people to whom the genre things are happening.
The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.
Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.
I booked a horror film called 'Where the Devil Hides.' It's... you know, a horror film. But it was the first full-length movie I'd ever done, and it got me my visa, and I could start work.
It’s funny, I can sit through the worst horror film ever made! But even a quite good romantic comedy.
The safest genre is the horror film. But the most unsafe - the most dangerous - is comedy. Because even if your horror film isn't very good, you'll get a few screams and you're okay. With a comedy, if they don't laugh, you're dead.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
It's funny, I can sit through the worst horror film ever made but even a quite good romantic comedy can drive me nuts.
Why should a horror film be just a horror film? To me, The Company of Wolves is a fairy tale; it's got all those elements plus a lot more. And we know that fairy tales aren't innocent any more.
I stopped watching horror movies after I watched 'Candyman' when I was - I don't know, fifteen or something. I remember my sister rented it, 'Candyman,' and it really, really scared me. And so it was only after I found myself in a horror film that I really went back and kind of rediscovered the genre.
When horror turns into gore, when you show the monster, the killings, and the blood, it loses its suggestive powers. It loses part of what makes a horror film a horror film, which is that the images you see develop in your brain and you become the one imagining what you are not seeing on screen.
Horror films had died a little bit before Scream came around. That was one of the reasons I wrote it. I wanted to write something that wasn't being made right now and maybe sell if I come up with a new horror film. Because no one is watching those movies. Let's do it. That was my whole goal, and it paid off. I feel like it's never stopped.
Even in 'The Red Shoes,' a film that nobody ever has complaints about, there are enormous continuity bumps, and it doesn't matter. You know why? Because you're being carried along by the power of the film.
No film is made without the people behind the lens. Of course, most people, even I, tend to look at films in the most simplistic way, and say, "Wow, so-and-so is in this film." We talk about who's in it, as opposed to who got it made. But there are financial and technical aspects which go along with it, that should be addressed and acknowledged, including those minorities who are doing excellent work as well.
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