Latest / Frightmares / Bury The Devil feat. Adam O'Brien (2026)

Transcript

Bury The Devil feat. Adam O'Brien (2026) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:07
  Speaker 2: Hey, this is Jason Kleberg from the Force 5 Podcast,
• 0:10
  Speaker 2: a show that forces a guest to come up with
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  Speaker 2: a movie-themed top five list topic, and then we reveal
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  Speaker 2: listening now.
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  Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
• 0:44
  Speaker 1: excessive foul language. Viewer discretion is advised. Enjoy the show.
• 1:30
  Speaker 3: Welcome back to Frightmares Podcast. I'm your host, Austin Proctor,
• 1:33
  Speaker 3: and joining me today for a very special director interview
• 1:35
  Speaker 3: of Barry the Devil, we have the director himself, Adam O'Brien.
• 1:40
  Speaker 3: How are we doing today?
• 1:42
  Speaker 1: Pretty good.
• 1:42
  Speaker 4: Thanks for having me. This is great.
• 1:45
  Speaker 3: Thank you for responding. It's always like, I always reach
• 1:48
  Speaker 3: out to directors and sometimes it's either usually no response,
• 1:52
  Speaker 3: which is totally fine. Or it's a yes. So I'm,
• 1:54
  Speaker 3: thank you for responding and wanting to be here. It
• 1:57
  Speaker 3: always makes me, uh, it just makes me feel good
• 1:59
  Speaker 3: that someone wants to spend an hour or whatever with,
• 2:02
  Speaker 3: with my goofy ass over here. So, um, for those
• 2:05
  Speaker 3: of you who don't, for those of you who don't know, uh,
• 2:08
  Speaker 3: cause buried the devil is a, is, is a fairly
• 2:10
  Speaker 3: new movie that released, um, Adam directed, but Adam himself
• 2:14
  Speaker 3: is a multi-award winning film and television director and producer
• 2:18
  Speaker 3: whose work spans live action, animation, music videos, and commercials.
• 2:22
  Speaker 3: With more than 25 years of experience, he has established
• 2:24
  Speaker 3: himself as a versatile and seasoned filmmaker with a distinctive
• 2:27
  Speaker 3: command of visual effects, motion capture, and storytelling craft. So
• 2:31
  Speaker 3: he's been doing this for quite some time. And you
• 2:34
  Speaker 3: had one movie prior to this called Mom, a feature length, correct?
• 2:39
  Speaker 1: Correct. Yes.
• 2:43
  Speaker 3: I didn't get a chance to watch, but it is
• 2:45
  Speaker 3: on my list to watch. It's on Tubi right now
• 2:47
  Speaker 3: if you want to check it out. And then Buried
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  Speaker 3: the Devil we have releasing. Has it officially released?
• 2:55
  Speaker 1: Yes. We released it in the States on August 21st
• 2:59
  Speaker 1: on Limited Theatrical. It went to the cinema in Beverly Hills.
• 3:06
  Speaker 1: It's there for the whole week, so that's cool, so
• 3:08
  Speaker 1: everybody can catch it up there. And it will be
• 3:12
  Speaker 1: released in Canada this week, on the 27th, in the Cineplex, basically.
• 3:18
  Speaker 4: Our version of AMC.
• 3:20
  Speaker 3: Okay.
• 3:21
  Speaker 1: So we have Montreal, Ottawa, and Toronto, basically, the screeners
• 3:26
  Speaker 1: on the movie, and it's going to be on VOD
• 3:30
  Speaker 1: on around September 22nd.
• 3:32
  Speaker 4: Oh, in the UK. It's today. We're on the 24th.
• 3:36
  Speaker 4: Today is released in the UK, Australia, and New Zealand.
• 3:40
  Speaker 3: Okay, cool. Yeah, so it is making its rounds in cinema,
• 3:44
  Speaker 3: and it's very exciting. I actually got a screener for
• 3:46
  Speaker 3: this from Pixel Scene Media because I did a trailer reaction,
• 3:50
  Speaker 3: and then they sent me the screener, and I watched
• 3:52
  Speaker 3: it and really, really enjoyed it for many reasons we'll
• 3:55
  Speaker 3: get into. Um, so I decided to reach out and
• 3:58
  Speaker 3: I was just telling you before we started recording, I
• 4:00
  Speaker 3: went to go reach out and I was like, oh,
• 4:01
  Speaker 3: he doesn't have an Instagram. I can't find anything. And
• 4:04
  Speaker 3: then I just tried it again, like five or six
• 4:06
  Speaker 3: days later. And I was like, oh, there he is.
• 4:08
  Speaker 3: I was like, let me, let me see if I
• 4:09
  Speaker 3: can get him on. So I appreciate you being here
• 4:11
  Speaker 3: because this movie for me. So everyone who's listening to
• 4:15
  Speaker 3: this knows, knows, you know, what I like, but for me,
• 4:18
  Speaker 3: this movie is kind of like a, a amalgamation of
• 4:21
  Speaker 3: three different movies. In my opinion, one, you have silent house.
• 4:25
  Speaker 3: which is a one-take movie, or a one-shot movie from
• 4:27
  Speaker 3: 2010 with Elizabeth Olsen. Then you have The Taking of
• 4:31
  Speaker 3: Deborah Logan, which is a found-footage-style movie, and they're documenting
• 4:36
  Speaker 3: this lady's Alzheimer's. And then, fuck, what's the third movie?
• 4:41
  Speaker 3: There's a third movie that just left my head. But nonetheless,
• 4:43
  Speaker 3: it just reminded me of so many things. And doing
• 4:46
  Speaker 3: a one-shot movie, I can imagine, has its struggles, and
• 4:52
  Speaker 3: it's not easy. But so is it a full one
• 4:56
  Speaker 3: take or did you, because I noticed there were some
• 4:59
  Speaker 3: spots where I was like, okay, they probably could have
• 5:01
  Speaker 3: done a cut here because doing an actual one shot
• 5:05
  Speaker 3: entire movie is a feat. And I don't, the only
• 5:08
  Speaker 3: one that I know that exists, I think is Mads,
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  Speaker 3: the French horror film from 2023. So was your film
• 5:14
  Speaker 3: a full one take or did you have some cuts
• 5:16
  Speaker 3: in there that you hid, you know, like kind of covertly?
• 5:21
  Speaker 1: Yeah, no, we did, we did, we did cuts. Okay.
• 5:23
  Speaker 1: There was planned cuts.
• 5:25
  Speaker 3: Right.
• 5:25
  Speaker 1: So basically what we did though was 15 minutes long take. Okay.
• 5:31
  Speaker 1: So that was, but that was planned in the script.
• 5:33
  Speaker 1: Actually we separated like that in the script. So we,
• 5:37
  Speaker 1: we did it because there was two reason was technical reason.
• 5:41
  Speaker 4: Mostly it was technical reason.
• 5:43
  Speaker 3: Right.
• 5:43
  Speaker 1: It's not because we didn't want it to all do
• 5:45
  Speaker 1: one shot. It's literally technical. Sometimes the camera could not fit.
• 5:49
  Speaker 4: In some places.
• 5:50
  Speaker 1: So we said, okay, here we need to figure out
• 5:52
  Speaker 1: a way to change because, or to figure out to
• 5:56
  Speaker 1: either cut or make it dynamic or something like that,
• 5:58
  Speaker 1: because just didn't have the choice to do it.
• 6:01
  Speaker 4: And the second reason is also because it's a low budget.
• 6:05
  Speaker 1: Um, could not make all the rehearse. Like if you take,
• 6:10
  Speaker 1: Those movies, okay? So we can go on horror movies,
• 6:13
  Speaker 1: but if you take also the other movies like Boarding
• 6:16
  Speaker 1: Point or The Russian Ark or Adolescence or, you know,
• 6:21
  Speaker 1: The Siri Adolescence, they all do that thing in one shot, okay?
• 6:24
  Speaker 1: One take.
• 6:25
  Speaker 4: And they do it for real.
• 6:26
  Speaker 1: But they had like months and months arrears with the
• 6:31
  Speaker 1: actors and with the crew. Us, our actors, came on
• 6:34
  Speaker 1: board two weeks before the shoot.
• 6:36
  Speaker 3: Oh my gosh, okay.
• 6:38
  Speaker 1: Okay.
• 6:39
  Speaker 4: So, so because we didn't have the money to do it, like,
• 6:41
  Speaker 4: you know, properly.
• 6:42
  Speaker 1: Yes. The thing we had was the house. It was, it's,
• 6:47
  Speaker 1: it's owned by one of her friend. So I knew
• 6:49
  Speaker 1: where I will, I will shoot. So I knew, so
• 6:53
  Speaker 1: I can go with my iPhone, do shots, take pictures,
• 6:57
  Speaker 1: do a bird's eye view of the place. So I
• 6:59
  Speaker 1: can already think about what about we can do, what
• 7:02
  Speaker 1: we can not do, what could be interesting and, But
• 7:05
  Speaker 1: to do really, really doing it with the crew and
• 7:08
  Speaker 1: the cast for real, we had a weekend to do
• 7:11
  Speaker 1: rehearsals for the whole movie. So this is why we're like, okay,
• 7:17
  Speaker 1: we need to find cheat here and there. They wanted
• 7:20
  Speaker 1: to have full cheat. It's like, no, no, let's do
• 7:23
  Speaker 1: 15 real minutes in a day. Cut. Let's do it
• 7:26
  Speaker 1: again and again and again. And after that, what I
• 7:30
  Speaker 1: did is, this is funny that you said that, oh,
• 7:33
  Speaker 1: you maybe know where they are. Yes. I didn't go
• 7:36
  Speaker 1: through a keyhole for real with the camera.
• 7:39
  Speaker 3: That was, by the way, that fucking floored me. I
• 7:42
  Speaker 3: was like, oh my God, that was such an incredible shot.
• 7:46
  Speaker 3: So yeah, there are some instances where I know there's
• 7:49
  Speaker 3: a cut. Because like, yeah, I mean, if you did
• 7:52
  Speaker 3: manage to go through a keyhole, let me know your secrets.
• 7:54
  Speaker 3: You can tell me off air.
• 7:57
  Speaker 1: So we could have done that. But I will tell
• 8:00
  Speaker 1: you funny stories about those things because it was not planned. Oh, really?
• 8:03
  Speaker 4: Yeah.
• 8:04
  Speaker 1: No, because it's on the blocking than we did on
• 8:07
  Speaker 1: the weekend rears with the actors and the crew. And
• 8:10
  Speaker 1: we figured like, oh, the camera cannot do what we
• 8:14
  Speaker 1: think they can do because it's too big.
• 8:16
  Speaker 3: Okay.
• 8:16
  Speaker 4: But like, okay, what can I do?
• 8:18
  Speaker 1: So I'm like, okay, it will be cool to have
• 8:19
  Speaker 1: a cool blocking going inside the house and having the
• 8:23
  Speaker 1: door separate them. Yes. Because it gives the danger, it
• 8:26
  Speaker 1: gives something interesting, it gives a cool shot at the
• 8:29
  Speaker 1: same time. And you ask, why are you not just
• 8:31
  Speaker 1: pushing the fucking door and talking? Because the guy's not
• 8:33
  Speaker 1: there to, you know, to hurt her. It's not about that.
• 8:36
  Speaker 3: Right.
• 8:38
  Speaker 1: And he wants to save her. So like, okay, I'm
• 8:40
  Speaker 1: going to lock this door in. And the original plan was,
• 8:44
  Speaker 1: the blocking was so different, but because the camera itself
• 8:48
  Speaker 1: and the crew said, okay, we cannot enter the way
• 8:51
  Speaker 1: you want to enter the place. So we need to
• 8:53
  Speaker 1: go inside first in the room. And I'm like, okay,
• 8:58
  Speaker 1: how the hell am I going to get out? It
• 9:00
  Speaker 1: just happened. Seriously. And I'm like, fuck, what am I
• 9:04
  Speaker 1: going to do? But we discovered that on the door,
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  Speaker 1: it has those little keyholes.
• 9:08
  Speaker 4: Like, okay, but we're going to go through the keyholes.
• 9:10
  Speaker 1: And everybody's like, how are you going to do that?
• 9:13
  Speaker 1: It's like, well, okay, we're going to do a door
• 9:15
  Speaker 1: and green screen, and we're going to do the shot,
• 9:17
  Speaker 1: and we're just going to open the door and do
• 9:18
  Speaker 1: the other shot and following the character.
• 9:20
  Speaker 4: And in the CG, I will match that properly.
• 9:24
  Speaker 1: So, yeah, because that was on the time. And another
• 9:29
  Speaker 1: shot was on the day that nobody discovered that. It was,
• 9:35
  Speaker 1: we were, okay, when all the group coming in and
• 9:38
  Speaker 1: you had the boats, You know, the scene where the
• 9:40
  Speaker 1: boat's coming in, and she's just hearing the boat, and
• 9:43
  Speaker 1: she goes where the solarium is. So in the movie,
• 9:46
  Speaker 1: you have that solarium. Well, in the original plan, it
• 9:48
  Speaker 1: was rehearsed like that. It was planned like that. The
• 9:51
  Speaker 1: crew rehearsed it like that. Everybody knew. Then what we
• 9:55
  Speaker 1: need to do is to follow our ghost in the window,
• 9:58
  Speaker 1: and the camera goes through the solarium. go down the
• 10:01
  Speaker 1: stairs and go straight to the deck where the boat
• 10:05
  Speaker 1: will be. The issue, because we have 50 lights lighting
• 10:10
  Speaker 1: that house.
• 10:13
  Speaker 4: Outside, inside, hiding lights. We all eye the ship because
• 10:18
  Speaker 4: we're shooting at night.
• 10:19
  Speaker 1: That's the other thing that all the other movies you're
• 10:21
  Speaker 1: talking about sometimes are more daylight and just going with, you.
• 10:25
  Speaker 4: Know, because how the fuck you can like this?
• 10:27
  Speaker 1: It's huge. Okay.
• 10:30
  Speaker 4: So we did that. But on the day we start
• 10:34
  Speaker 4: to rehearse, I'm like, okay, let's go guys. We're going
• 10:36
  Speaker 4: to do that shot.
• 10:37
  Speaker 1: And we go to our, the seller was like, oh,
• 10:39
  Speaker 1: we have this big structure light outside. I said, oh damn,
• 10:44
  Speaker 1: I cannot go there. And now the DP said, well,
• 10:47
  Speaker 1: we can't take it out, but it's going to take
• 10:48
  Speaker 1: us two hours to take it out. But I thought
• 10:51
  Speaker 1: we need to bring it back because we need to
• 10:53
  Speaker 1: continue the shot.
• 10:54
  Speaker 4: I'm like, oh, shit, what am I going to do?
• 10:57
  Speaker 4: So I was sitting down.
• 10:58
  Speaker 1: I'm like, okay, we're going to.
• 10:59
  Speaker 4: Go the other direction, which is through the window.
• 11:02
  Speaker 1: The biggest issue is not because I didn't want to
• 11:04
  Speaker 1: put the camera outside the real window into doing it.
• 11:07
  Speaker 4: It's a freaking old house. I cannot do that.
• 11:11
  Speaker 1: I don't have the money to just say, okay, let's
• 11:13
  Speaker 1: just take out the window and let's just go through it.
• 11:15
  Speaker 1: So I'm like, okay, well, okay. So we have those sheets.
• 11:19
  Speaker 1: So just put the sheets and figure out a way
• 11:21
  Speaker 1: that we go through like that. And after that, we're
• 11:24
  Speaker 1: going to go outside, put the sheets out, and just
• 11:27
  Speaker 1: doing the stitches. And then visual effects, what I did
• 11:30
  Speaker 1: is I put a window effect just to give us
• 11:33
  Speaker 1: a little thing and move a little bit the sheets
• 11:37
  Speaker 1: like that. So that helped us to go through and
• 11:40
  Speaker 1: having that dynamic part. But that was on the day.
• 11:43
  Speaker 1: Nobody knew. That was just not planned. Because there was
• 11:47
  Speaker 1: a problem on set, which is all the movie had problems.
• 11:51
  Speaker 1: And we found that part.
• 11:53
  Speaker 3: That is incredible.
• 11:54
  Speaker 1: Yeah, there's many, many things like that on the stitches
• 11:56
  Speaker 1: and why we did it in 15 minutes. I wanted
• 11:58
  Speaker 1: to give the real thing as most as possible, but
• 12:01
  Speaker 1: budget and time and technical issues were that plan. But Anyway,
• 12:07
  Speaker 1: so I have so many stories about the stitches thing
• 12:10
  Speaker 1: that people maybe not recognize, but in the first 10 minutes,
• 12:14
  Speaker 1: you know, then I have eight cuts in that. Really?
• 12:17
  Speaker 3: In the first 10 minutes?
• 12:20
  Speaker 1: Yeah. Wow.
• 12:22
  Speaker 3: Okay, so.
• 12:24
  Speaker 3: I started keeping track of them, just like, you know,
• 12:27
  Speaker 3: the ones I thought. Yeah, of course. And I had
• 12:31
  Speaker 3: one at 7.45 and the next one was at 20.20.
• 12:33
  Speaker 3: So you fooled me then with the first 10 minutes
• 12:36
  Speaker 3: because I didn't see any of those. So that's fucking impressive. Wow.
• 12:40
  Speaker 1: Probably the one at 7 is probably when you say
• 12:43
  Speaker 1: what you think that we went to down the stairs. Yep. Yeah,
• 12:46
  Speaker 1: but there's no.
• 12:47
  Speaker 3: There's not a cut there?
• 12:49
  Speaker 4: Wow.
• 12:50
  Speaker 1: Oh, shit.
• 12:51
  Speaker 3: Okay.
• 12:52
  Speaker 1: There's one at the first cut, I think, if I recall,
• 12:56
  Speaker 1: is around minute nine in that direction.
• 13:01
  Speaker 3: Wow. So I was way the fuck off, man. Okay.
• 13:06
  Speaker 3: I love it. I love being wrong because I was like,
• 13:08
  Speaker 3: these are the moments where I feel like it could
• 13:10
  Speaker 3: have been cut. Usually it's when you're going up or
• 13:13
  Speaker 3: down the stairs and the camera kind of goes to
• 13:15
  Speaker 3: that wall. And I'm like, I feel like that's where
• 13:18
  Speaker 3: that would make the most sense to cut.
• 13:20
  Speaker 4: I will tell you this.
• 13:21
  Speaker 1: Okay. The reason why we went on those walls and
• 13:24
  Speaker 1: that is the real truth for that. It's because the
• 13:27
  Speaker 1: camera was too big. So the camera operator and the
• 13:31
  Speaker 1: rig was too big. I have pictures of that. So
• 13:33
  Speaker 1: it was like the pic, basically the camera went to
• 13:35
  Speaker 1: that wall because he said, okay, I cannot make a
• 13:37
  Speaker 1: smooth turn and continue because I'm gonna, you know, the
• 13:41
  Speaker 1: old house. So basically the doorway was about two inch
• 13:45
  Speaker 1: less than regular doors. And the staircase is a little bit, narrow,
• 13:51
  Speaker 1: and even the steps are a little bit more narrow
• 13:54
  Speaker 1: than usually they're supposed to be. And that's one of
• 13:57
  Speaker 1: the technical issues that we found. So we said, okay,
• 14:00
  Speaker 1: what can we do with that? So we found ways, basically, yes,
• 14:04
  Speaker 1: it's true. When there's too much action, we said, okay,
• 14:07
  Speaker 1: we cannot kill the guy. Not because he cannot do it.
• 14:09
  Speaker 1: He just cannot kill the guy and nobody in those stairs.
• 14:13
  Speaker 1: So I said, okay, what if you go and you
• 14:18
  Speaker 1: just make a, you know, be comfortable to go straight
• 14:22
  Speaker 1: in those steps. So this is why sometimes you have
• 14:24
  Speaker 1: the camera goes to the stairs, take feeling that it
• 14:27
  Speaker 1: takes a step, just like a beat, And after that,
• 14:31
  Speaker 1: he moved. Yeah, because they have the guy behind his
• 14:33
  Speaker 1: back saying, okay, just be careful because you're going to fall. Okay,
• 14:36
  Speaker 1: let's go.
• 14:36
  Speaker 4: And you move.
• 14:37
  Speaker 3: Wow. That's the reason why.
• 14:38
  Speaker 1: Okay. Even on the wall, there's a one, I call
• 14:41
  Speaker 1: it the escape wall for the edit if I need it. Right.
• 14:45
  Speaker 1: It happened one time toward the ends only. Then I
• 14:47
  Speaker 1: used it, that escape, just because I had a problem.
• 14:50
  Speaker 1: But most of the time, no, it's just because the
• 14:52
  Speaker 1: camera cannot fit in the doorway.
• 14:54
  Speaker 3: I love that so much. That's genuinely impressive because that's
• 14:58
  Speaker 3: when I figured most of them would happen. But the
• 14:59
  Speaker 3: fact that they didn't, means that you had cuts even
• 15:02
  Speaker 3: more clever than, wow. So you have the camera guy
• 15:07
  Speaker 3: and I'm assuming obviously there is one person behind the
• 15:09
  Speaker 3: camera guy kind of guiding him. Were they also running
• 15:12
  Speaker 3: sound or how was that working exactly?
• 15:14
  Speaker 1: Okay. So this is why you have a bunch of
• 15:16
  Speaker 1: people basically just like going with the camera and everybody around.
• 15:20
  Speaker 1: So one issue we had is the creaking of the sound.
• 15:24
  Speaker 1: So the floor creaking all the time.
• 15:26
  Speaker 3: I was going to ask, how did you get away
• 15:28
  Speaker 3: with not?
• 15:29
  Speaker 1: With carpets. ah this is why you have a bunch
• 15:32
  Speaker 1: of carpet there are two reasons for the carpets okay
• 15:34
  Speaker 1: carpets are there for the sound so we put a
• 15:36
  Speaker 1: bunch of carpet that were not there and after that
• 15:38
  Speaker 1: what we did is okay we have that blood stuff
• 15:41
  Speaker 1: that we want to do but we can actually set
• 15:44
  Speaker 1: the way we want to do so i'm like okay
• 15:46
  Speaker 1: we're gonna put carpets because i'm like okay we don't
• 15:49
  Speaker 1: have money to just like scrubbing this thing and just
• 15:52
  Speaker 1: like scrap the floor again it's a whole house it's
• 15:54
  Speaker 1: not our house yeah so it's like be careful for
• 15:56
  Speaker 1: those things so it's just like Thinking always about problem
• 16:00
  Speaker 1: up front with low budget to do it.
• 16:05
  Speaker 4: As 1917 will do.
• 16:06
  Speaker 1: 1917 is just a bunch of cuts they put all together.
• 16:10
  Speaker 1: They shot for a month or a month and a
• 16:12
  Speaker 1: half and they make it seamless just to follow those
• 16:15
  Speaker 1: two war people. What makes the movie good is the
• 16:19
  Speaker 1: spectacles of it, because the story is very simple. But
• 16:21
  Speaker 1: it's the spectacles of it, okay? And they're not hiding that,
• 16:24
  Speaker 1: and it's fun. It's like, okay, two hours and 15
• 16:26
  Speaker 1: minutes going through that thing. Same thing with Birdman. Birdman
• 16:30
  Speaker 1: is shot in LA, New York, and Pennsylvania, if I recall.
• 16:34
  Speaker 3: Oh, yeah! Birdman, that's right. Yeah, yeah, yeah. That is
• 16:37
  Speaker 3: a one-shot.
• 16:38
  Speaker 1: Yeah. No, it's like three acts of 40 minutes. They
• 16:43
  Speaker 1: built it like a play. A play is always like... Oh, yeah.
• 16:48
  Speaker 1: It's 40 minutes, 40 minutes, 40 minutes, three different days.
• 16:51
  Speaker 1: And they did the passage of time, just the day
• 16:53
  Speaker 1: with the... The first one is in the sky and
• 16:55
  Speaker 1: goes down after that on the roof.
• 16:58
  Speaker 3: Okay.
• 16:58
  Speaker 4: And they continue.
• 16:59
  Speaker 1: But the thing is, everything that's happening behind the stage,
• 17:02
  Speaker 1: it's a set built in Los Angeles.
• 17:04
  Speaker 3: Whoa, okay.
• 17:05
  Speaker 4: It's all a set.
• 17:06
  Speaker 1: Yeah.
• 17:07
  Speaker 4: And you can see that in the documentary and how
• 17:08
  Speaker 4: they move around. So I'm like, okay.
• 17:11
  Speaker 1: We cannot do that, obviously, to build a set for
• 17:13
  Speaker 1: that house. I wish that I could. So the camera
• 17:16
  Speaker 1: would be so different. I can do stunts more. I
• 17:18
  Speaker 1: can give way more stuff.
• 17:20
  Speaker 4: But I can't.
• 17:23
  Speaker 1: So you do what you can with the problems and
• 17:26
  Speaker 1: the stuff you have in front of you.
• 17:27
  Speaker 4: So that was cool.
• 17:29
  Speaker 1: The reason why we did stitches, just to tell you this,
• 17:31
  Speaker 1: because we're talking about how we stitch and why the
• 17:33
  Speaker 1: first time is like that. It's not because I was attempting.
• 17:36
  Speaker 4: To do stitch.
• 17:37
  Speaker 1: It's because when you do 15 minutes... You cannot say,
• 17:42
  Speaker 1: you know, you cannot having your actors and say, Hey,
• 17:44
  Speaker 1: that thing, it's not really working or that works super well.
• 17:48
  Speaker 1: Can you do an alternate of that? And in the edit,
• 17:50
  Speaker 1: you just choose what is going to be the best
• 17:52
  Speaker 1: and they're back timing. So we did 15 minutes, three, four,
• 17:56
  Speaker 1: five times. And in the edit, I'm like, okay, that
• 17:59
  Speaker 1: part is really, really good. And that part is really good.
• 18:02
  Speaker 1: How I can put them together without this, without doing,
• 18:06
  Speaker 1: without seeing it. Yeah. So that wasn't planned like that.
• 18:09
  Speaker 1: Because I have a visual effects background as a VFX supervisor,
• 18:13
  Speaker 1: I knew how to maybe play with that. It's the
• 18:16
  Speaker 1: only reason why we cut. It's not to cheat the
• 18:19
  Speaker 1: fact that it's not 15 minutes. It's just to try
• 18:23
  Speaker 1: to elevate the rhythm, elevate the performance, help the actor.
• 18:26
  Speaker 1: Or just because the camera suddenly just bump into something
• 18:28
  Speaker 1: and doing this. And the shot is great, but just
• 18:31
  Speaker 1: not that little moment.
• 18:32
  Speaker 3: Yeah, I mean... doing an entire like full one take
• 18:37
  Speaker 3: one shot, no cuts. I mean, as it's, it's, it
• 18:40
  Speaker 3: would be so, so hard to do, especially, especially since
• 18:43
  Speaker 3: you're in a house and you're in a very kind
• 18:46
  Speaker 3: of confined space that that's very hard, very hard to do.
• 18:50
  Speaker 3: So I wouldn't call it cheating at all. You, you
• 18:53
  Speaker 3: did it in a way where it looks exactly like
• 18:56
  Speaker 3: a one long take.
• 18:59
  Speaker 4: And it's a really, it's really significant five minutes, by
• 19:01
  Speaker 4: the way.
• 19:01
  Speaker 3: It's what's that?
• 19:02
  Speaker 4: It's really, it's really 75 minutes.
• 19:04
  Speaker 1: When we cut and say 75 minutes earlier, it's literally 75.
• 19:09
  Speaker 1: I think almost 76 because we're not coming frames, but
• 19:12
  Speaker 1: it's literally in real time. Yeah.
• 19:14
  Speaker 3: That's what I think. So that's what I, so there
• 19:18
  Speaker 3: was some compliments I wanted to throw your way just
• 19:20
  Speaker 3: because I, uh, like just the opening of the movie, right?
• 19:24
  Speaker 3: So you have that panning up shot of, I assume
• 19:27
  Speaker 3: it's a drone shot, drone shot over the water panning
• 19:30
  Speaker 3: up to the house on fire. And I was like,
• 19:33
  Speaker 3: I love this. And then it's like, it has the text, uh,
• 19:36
  Speaker 3: the passage from the book of attrition. You know, she
• 19:39
  Speaker 3: forgot herself in the glow. Elim remembered what he cannot destroy.
• 19:42
  Speaker 3: He wears down until it becomes him. And then it
• 19:44
  Speaker 3: says 75 minutes ago. And I'm like, and I like
• 19:47
  Speaker 3: pause it. And I'm like, there's like 75 minutes left.
• 19:49
  Speaker 3: of this movie i'm assuming with credit so like right
• 19:52
  Speaker 3: off the bat it was like check check check i
• 19:54
  Speaker 3: was like i am already into this movie so much
• 19:58
  Speaker 3: um and the fact that it's a one shot like
• 20:00
  Speaker 3: it there had there were so many things that i
• 20:02
  Speaker 3: loved already in the first few minutes And you end
• 20:06
  Speaker 3: with the same, well, I say the same shot, but
• 20:08
  Speaker 3: it's a reversal of the opening shot. You're at the house,
• 20:11
  Speaker 3: the camera's pulling back, and then it pans down. So
• 20:14
  Speaker 3: it's kind of a cyclical plot. It's just, I can't
• 20:18
  Speaker 3: tell you how much I love that. But I would
• 20:21
  Speaker 3: love to talk about the Book of Attrition because I
• 20:24
  Speaker 3: do a lot of research when I interview people. I
• 20:28
  Speaker 3: could not find anything on the Book of Attrition. So
• 20:31
  Speaker 3: is this something that was made for this movie? Because
• 20:36
  Speaker 3: it immediately gives me the feeling that we're entering a
• 20:39
  Speaker 3: much larger mythology. So is that something made up for
• 20:44
  Speaker 3: this movie?
• 20:45
  Speaker 4: No, it's a real book. The Book of Retribution really exists.
• 20:48
  Speaker 3: Okay.
• 20:49
  Speaker 1: But it's not for exactly that quote. That quote would
• 20:53
  Speaker 1: just modify a little bit because that demon, Elim, exists
• 20:57
  Speaker 1: for real. For real.
• 20:59
  Speaker 3: You know what I mean.
• 20:59
  Speaker 1: So in the mythology, you can find it.
• 21:02
  Speaker 4: No, it's not existing for real.
• 21:03
  Speaker 1: But the mythology behind exists. So behind Elim. And we knew... Because, okay,
• 21:12
  Speaker 1: because you do a movie in one shot, because that
• 21:14
  Speaker 1: was planned like that, the script.
• 21:16
  Speaker 4: Itself needed something, okay?
• 21:20
  Speaker 1: But we cannot explain everything like a regular film, like
• 21:23
  Speaker 1: cut to and, you know, and getting big backstory, then, okay,
• 21:28
  Speaker 1: what can you do usually in movies? Well, okay, cut
• 21:30
  Speaker 1: to this person, explain what it is, and go to
• 21:32
  Speaker 1: that third person or another place, and now something you
• 21:35
  Speaker 1: can discover a little bit more in the mythology, getting
• 21:37
  Speaker 1: a character's arc, a story arc, and In one shot,
• 21:40
  Speaker 1: it's so fucking hard. Even the best one, they're not
• 21:44
  Speaker 1: doing this. They have little story plot in there. Bowling Point.
• 21:48
  Speaker 1: Bowling Point is like a very good example of that,
• 21:50
  Speaker 1: but it's happening in the kitchen.
• 21:52
  Speaker 4: And the story is super simple.
• 21:54
  Speaker 1: It's just a guy getting the critics at his restaurant
• 21:56
  Speaker 1: and how the fire around that. It's super easy. The
• 22:00
  Speaker 1: Russian art is.
• 22:01
  Speaker 4: The same thing.
• 22:01
  Speaker 1: It's like, oh, no, it's the guy going to a museum,
• 22:04
  Speaker 1: you know, and seeing the passage of time with everybody.
• 22:07
  Speaker 1: It's beautiful movies. but it's all simple story. 1917, two
• 22:11
  Speaker 1: guys going, bring a message to the other enemy lines
• 22:15
  Speaker 1: that the war is over.
• 22:15
  Speaker 3: Okay, great.
• 22:17
  Speaker 4: Super easy, super simple, you know?
• 22:19
  Speaker 1: So we need to find something simple, but we struggle
• 22:23
  Speaker 1: a lot because I know I want to give more.
• 22:27
  Speaker 4: I want to do more.
• 22:30
  Speaker 1: So I'm like, okay, let's do a quote at the
• 22:32
  Speaker 1: beginning just to give like the, the, the sense of
• 22:35
  Speaker 1: there's something a little bit bigger. Right. Um, So after that,
• 22:38
  Speaker 1: in the writing with the writers and with my producers,
• 22:41
  Speaker 1: I said, guys, we need to expand the mythology larger
• 22:43
  Speaker 1: than the only one movie. We need to explain what
• 22:45
  Speaker 1: the hell is going on with that. We need to
• 22:47
  Speaker 1: explain why this movie looked like a dream. Why are
• 22:50
  Speaker 1: we focusing a lot on the grief on this one?
• 22:53
  Speaker 1: Can we go see what happened before? This is where
• 22:55
  Speaker 1: the tapes are, what Sarah and everything happened. So we're like, okay,
• 23:00
  Speaker 1: we can expand the mythology there a little bit. And
• 23:04
  Speaker 1: also with the symbols. So what can happen after that?
• 23:07
  Speaker 1: with the father of Julia. So I'm giving you a
• 23:11
  Speaker 1: hint here right now what can happen before and after.
• 23:14
  Speaker 1: So it's like how we can extend more and that
• 23:17
  Speaker 1: book of attrition, I'm like, oh, that would be interesting
• 23:19
  Speaker 1: to just having a sense that Elim is a little
• 23:21
  Speaker 1: bit more deeper, there's something else and just the, I
• 23:26
  Speaker 1: don't recall what is the demons for, but there's a
• 23:28
  Speaker 1: demon for, I think killing children, something like that, just
• 23:31
  Speaker 1: like a sacrifice thing they did. This is why the
• 23:34
  Speaker 1: picture is like that. This is what a picture at
• 23:36
  Speaker 1: the end. The basement is basically based on that.
• 23:40
  Speaker 3: Oh, yeah, yeah, yeah. Okay, gotcha.
• 23:43
  Speaker 1: You know, so a fun fact, you can see me
• 23:45
  Speaker 1: in the pictures on the walls. Really?
• 23:48
  Speaker 4: Yeah, I'm holding a baby like.
• 23:50
  Speaker 1: That, sacrificing my daughter.
• 23:52
  Speaker 4: So that's awesome. That's amazing.
• 23:56
  Speaker 1: But at the end, it's like, okay, so we extend
• 23:59
  Speaker 1: more the mythology with that. So we create that quote
• 24:01
  Speaker 1: that is a little bit like a ripoff of like
• 24:03
  Speaker 1: three things together that sounds cool and give us a
• 24:06
  Speaker 1: little bit more.
• 24:07
  Speaker 4: But with the, yeah, I will say it.
• 24:11
  Speaker 1: So basically we're doing a trilogy of that movie just
• 24:14
  Speaker 1: to extend more to stories. And to explain why this
• 24:19
  Speaker 1: movie is exactly that way, why it's shot in one shot,
• 24:23
  Speaker 1: because the camera is more kind of a witness. If
• 24:25
  Speaker 1: you look at it a little bit the way that
• 24:27
  Speaker 1: it works, sometimes it's behind the wall, sometimes it's following Julia.
• 24:30
  Speaker 1: It's like someone is looking for a prey, basically, you know?
• 24:33
  Speaker 1: So it's when you're floating like that. So we're going
• 24:36
  Speaker 1: to do a prequel. just explaining where this has come from.
• 24:41
  Speaker 1: And we do a sequel just explaining where this is
• 24:43
  Speaker 1: going five years later, basically. Man.
• 24:46
  Speaker 3: Okay, that's really cool.
• 24:47
  Speaker 4: And in the prequel, we have the real demon.
• 24:50
  Speaker 1: It's the demon called Belai. So that's a real demon
• 24:53
  Speaker 1: that is all in mythology, in Middle East mythology. So
• 24:57
  Speaker 1: you can find that. And how, where, after that, it
• 25:00
  Speaker 1: bleeds to Elim. Because the whole thing was like, how
• 25:03
  Speaker 1: we can fuck up the demons because people are forgetting
• 25:05
  Speaker 1: all the ways. So, and it's, it, and how Evelyn
• 25:09
  Speaker 1: become that Evelyn. And we see where this has come from.
• 25:12
  Speaker 1: And we're starting in 1982 and going through and where
• 25:16
  Speaker 1: those tapes come from. And, you know, and we take
• 25:19
  Speaker 1: it and don't forget, we're going to do it like
• 25:21
  Speaker 1: not all in one shot in the, in the, in
• 25:24
  Speaker 1: the prequel, but it's going to be a long, long shot, long,
• 25:27
  Speaker 1: long take. So we can edit it, but long take
• 25:30
  Speaker 1: like Unbreakable. Unbreakable have those long, long, long, long take
• 25:33
  Speaker 1: of five minutes. Sometimes just like having something. And I
• 25:38
  Speaker 1: want to do it in that way, but total different format,
• 25:41
  Speaker 1: total different tone, just to attach more what's going on
• 25:46
  Speaker 1: after as a dream. Like, you know, like X, Pearl,
• 25:50
  Speaker 1: and Maxine, three different movies that can be standalone, you know?
• 25:52
  Speaker 1: So it's like, but having all things, but we have
• 25:55
  Speaker 1: that character just jumping around, you know, in the past. Oh, yeah.
• 25:59
  Speaker 3: That's exactly how they did it, too, because X is
• 26:01
  Speaker 3: the movie in the middle, Pearl is the prequel, and
• 26:04
  Speaker 3: then Maxine is the sequel. So that's kind of... Exactly.
• 26:07
  Speaker 1: Okay.
• 26:07
  Speaker 3: So that's kind of what you're pulling. So the text itself,
• 26:13
  Speaker 3: I think it's wonderfully cryptic because she forgot herself in
• 26:16
  Speaker 3: the glow. Elim remembered what he cannot destroy, he wears down.
• 26:20
  Speaker 1: Now.
• 26:21
  Speaker 3: To me, I mean, you can interpret that a lot
• 26:23
  Speaker 3: of ways. Is there any way that you are trying
• 26:26
  Speaker 3: to get that message across to people? Because for me,
• 26:28
  Speaker 3: I'm thinking that it's Evelyn who lost herself in the glow.
• 26:32
  Speaker 3: And the glow, not necessarily, I'm thinking the glow is
• 26:36
  Speaker 3: more of the fascination of whatever they found before this film.
• 26:39
  Speaker 3: Something happened before this film. Randall and Evelyn found something,
• 26:44
  Speaker 3: and she kind of lost herself in the fascination of that.
• 26:46
  Speaker 3: I'm assuming it had to do with Elim. Or whatever
• 26:50
  Speaker 3: is going on with that demon. And I don't know
• 26:53
  Speaker 3: if that's what led to her dementia exactly. But I
• 26:56
  Speaker 3: feel like she's a very weak target now because of
• 26:58
  Speaker 3: the dementia. And that's why Elim was able to wear
• 27:01
  Speaker 3: her down very easily because she's completely kind of out
• 27:04
  Speaker 3: of her mind. So is there something that message you're
• 27:07
  Speaker 3: trying to get across? Or maybe what does it mean
• 27:09
  Speaker 3: to you?
• 27:11
  Speaker 1: No, you're 100% right. You got it. You got it. Yeah, no,
• 27:15
  Speaker 1: you got it, man.
• 27:16
  Speaker 3: All right. You got it.
• 27:17
  Speaker 1: Sweet. And the other part also is about more transferring vessels. Yes. So, yeah,
• 27:22
  Speaker 1: the first part of the glowing in the dark, you
• 27:25
  Speaker 1: have that. And also refer to all while you have
• 27:27
  Speaker 1: those glow things around the house. You know, when she
• 27:31
  Speaker 1: goes with the UV light.
• 27:33
  Speaker 3: Yes.
• 27:34
  Speaker 1: Oh, shit.
• 27:35
  Speaker 3: Yes, yes, yes.
• 27:37
  Speaker 1: So they all have those things. And this is the
• 27:39
  Speaker 1: real thing, by the way. Okay, this has come from
• 27:41
  Speaker 1: a real place. This is why the prequel is super interesting.
• 27:43
  Speaker 1: It's because we found a place in the world where
• 27:45
  Speaker 1: potassium is like the biggest thing, biggest source where you
• 27:48
  Speaker 1: can pull out like a mine, basically. And that potassium
• 27:54
  Speaker 1: glow in the dark, basically. And what they call it
• 27:56
  Speaker 1: in that country, they call it the devil's... I'm calling
• 28:03
  Speaker 1: it the devil's... The devil's something. I'm sorry, I just.
• 28:10
  Speaker 3: You're fine. It happens to me all the time.
• 28:12
  Speaker 4: It's happening all the time.
• 28:13
  Speaker 1: I'm so sorry. That will come back to me, okay?
• 28:17
  Speaker 1: But it's a real thing, and the villagers take that
• 28:21
  Speaker 1: glow thing around. So even in the prequel, we put
• 28:24
  Speaker 1: the statue and what... It's going to glow, basically. So
• 28:28
  Speaker 1: we're all having that little thing that we have. But
• 28:31
  Speaker 1: we don't want to explain too much. When you explain
• 28:32
  Speaker 1: too much and doing expositions, like you said, it's like,
• 28:36
  Speaker 1: doesn't give you a lot of imagination just to figure
• 28:38
  Speaker 1: it out or, you know, working a little bit for that.
• 28:41
  Speaker 1: And I love, I love that those movies where, Oh,
• 28:44
  Speaker 1: you give me just enough to think and okay, leave
• 28:47
  Speaker 1: my imagination go. But what you said about the quote
• 28:50
  Speaker 1: is it's literally that. And the fact that there's a
• 28:54
  Speaker 1: transfer of body, that is the most, that's the second
• 28:58
  Speaker 1: part of the quote.
• 28:59
  Speaker 4: It's about the transferring of body.
• 29:01
  Speaker 1: Yeah. Yeah.
• 29:02
  Speaker 3: He wears it down until it becomes him because I
• 29:04
  Speaker 3: noticed too, When, let's see, I have so many notes
• 29:08
  Speaker 3: here that I have to scroll through because you get the, um,
• 29:13
  Speaker 3: tape recording of Sarah and Evelyn mentions, like she mentioned something. Oh, here,
• 29:19
  Speaker 3: here it is. Here it is. She said, Sarah, if
• 29:21
  Speaker 3: you ever get to hear this, your suffering is because
• 29:23
  Speaker 3: of us. We risk too much contact with the other side. Sorry,
• 29:27
  Speaker 3: we put all of this ahead of you. I'll never
• 29:29
  Speaker 3: expose this to you again. And then Randall says we
• 29:31
  Speaker 3: have to bury it while he's shoveling in the background.
• 29:34
  Speaker 3: And even Evelyn tells Julia directly that she brought this
• 29:38
  Speaker 3: evil to Sarah and it's all her fault. fault. And
• 29:40
  Speaker 3: they have that connection, Evelyn and Julia of doing something like,
• 29:45
  Speaker 3: you know, Evelyn or sorry, Julia felt bad because she
• 29:48
  Speaker 3: wasn't there for her mom. And now Evelyn felt bad
• 29:52
  Speaker 3: because she brought this evil onto Julia. So there's that really,
• 29:55
  Speaker 3: really good connection that they have. I mean, I guess
• 29:59
  Speaker 3: not a good connection. It's a negative connection when you
• 30:01
  Speaker 3: think about it, but there's that layer there of like,
• 30:04
  Speaker 3: we both feel guilt for something that we've done. And
• 30:08
  Speaker 3: I find that they do have some sort of a
• 30:10
  Speaker 3: connection there, even though obviously Evelyn is not in her
• 30:13
  Speaker 3: right mind with the dementia, but you give us just enough.
• 30:16
  Speaker 3: And that's what I like about this movie because sometimes
• 30:19
  Speaker 3: movies are too ambiguous and I can't make heads or
• 30:22
  Speaker 3: tails of it. But with this one, I started asking questions.
• 30:25
  Speaker 3: You know, I started researching. I'm like, what is this?
• 30:27
  Speaker 3: And I started coming up with my own hypothesis and
• 30:30
  Speaker 3: a movie like this that makes me want to figure
• 30:34
  Speaker 3: it out. Maybe not, you know, I'm not going to
• 30:35
  Speaker 3: figure it out a hundred percent and that's okay. But
• 30:38
  Speaker 3: if I can just kind of put some of the
• 30:39
  Speaker 3: pieces together to where it makes sense to me, I
• 30:42
  Speaker 3: really enjoy that aspect of filmmaking and film criticism because
• 30:46
  Speaker 3: you did it very well. Like you give us just
• 30:48
  Speaker 3: enough to where everything makes sense. But to, uh, you know,
• 30:51
  Speaker 3: the average person who watches this movie, they might say, well,
• 30:54
  Speaker 3: none of this is this, you know, this doesn't make
• 30:56
  Speaker 3: sense at all, but sometimes you have to do a
• 30:58
  Speaker 3: little work with putting things together, but I don't think
• 31:00
  Speaker 3: you make it difficult to make those connections. Um, it's a,
• 31:04
  Speaker 3: like I said, it's a very fascinating movie and kind
• 31:07
  Speaker 3: of going back to, um, the questions about Elim and
• 31:11
  Speaker 3: stuff like that. Was there an initial, did you, did you,
• 31:15
  Speaker 3: outside of kind of like the thing in the basement,
• 31:17
  Speaker 3: the painting, did you ever have like conceptual art for
• 31:21
  Speaker 3: what this demon could look like? Did you, was there?
• 31:27
  Speaker 4: At the beginning?
• 31:29
  Speaker 1: Yes, I had an idea of what I would like.
• 31:33
  Speaker 1: For me, it's a very black, dark entity, more than
• 31:36
  Speaker 1: anything else. So I had a few pictures. And even
• 31:40
  Speaker 1: the painting, basically, when she looked, when Randall looked at
• 31:43
  Speaker 1: the painting, well, it's about where my inspiration came from.
• 31:47
  Speaker 1: And we modified a little bit of that. And we
• 31:51
  Speaker 1: just went through with that concept of the demons. But
• 31:57
  Speaker 1: at the same time, I'm like, okay, we saw demons 100%,
• 32:01
  Speaker 1: you know, all the time in every, you know, every movie.
• 32:05
  Speaker 1: And sometimes what we do is you have two choices.
• 32:07
  Speaker 1: You make the movie, the demon looking like a professional
• 32:10
  Speaker 1: demon with eyes and, you.
• 32:12
  Speaker 4: Know, red and whatever it is.
• 32:14
  Speaker 1: Yeah.
• 32:14
  Speaker 4: Okay, we know where it is. Or you have the
• 32:16
  Speaker 4: other version that's like a human with a makeup.
• 32:19
  Speaker 1: Yeah. So it's always like that and degradation of the makeup.
• 32:22
  Speaker 1: And I'm like, okay, it would be cool to just
• 32:23
  Speaker 1: bring back, you know, old school... demon way yeah fun
• 32:30
  Speaker 1: and just like okay look we had fun to doing
• 32:34
  Speaker 1: it like at the end it's a freaking puppet for
• 32:37
  Speaker 1: god's sake this is what we have you know so
• 32:39
  Speaker 1: it's a so let's bring that back how we can
• 32:41
  Speaker 1: bring that demon thing and just having that shape and
• 32:44
  Speaker 1: so we went to different archaeologist stuff and just see
• 32:49
  Speaker 1: okay what what ingenious people think about demons and yeah
• 32:53
  Speaker 1: this time is like just obvious what they look like
• 32:55
  Speaker 1: but i'm like okay i would like to have something
• 32:57
  Speaker 1: doesn't can can be just dark figure, rather to be
• 33:01
  Speaker 1: like demon-like figure.
• 33:03
  Speaker 4: Does this make sense?
• 33:05
  Speaker 3: Yeah, yeah, yeah.
• 33:06
  Speaker 1: So this is how we basically conceive a little bit
• 33:08
  Speaker 1: of the demon. And I needed to have an idea
• 33:12
  Speaker 1: about what it's going to look like because in the
• 33:14
  Speaker 1: third movie, we want to show it for the first time.
• 33:17
  Speaker 4: But we're not going to see it in the first
• 33:19
  Speaker 4: and then the prequel. In this one, we'll just see
• 33:21
  Speaker 4: a glimpse.
• 33:22
  Speaker 1: And the other one, we're going to see a little
• 33:24
  Speaker 1: bit more of the interaction with the demon. Because, you know,
• 33:27
  Speaker 1: I'm a fan of those movies where, you know, using
• 33:31
  Speaker 1: big makeup and fun, like Evil Dead and stuff. The
• 33:33
  Speaker 1: first Evil Dead is like, come on, it's so fun,
• 33:35
  Speaker 1: you know?
• 33:36
  Speaker 3: Right.
• 33:38
  Speaker 1: And for me, it's like this movie is an homage
• 33:40
  Speaker 1: to all those things. It's like just having fun. Fun
• 33:43
  Speaker 1: in the movies, you know? So it's fun.
• 33:44
  Speaker 3: Yeah, and that's also what I enjoy about this movie
• 33:47
  Speaker 3: is you don't show the demon outright because at the
• 33:50
  Speaker 3: end of the day, it's 2026.
• 33:50
  Speaker 4: We've seen.
• 33:53
  Speaker 3: All forms of demons in the conjuring universe and insidious
• 33:56
  Speaker 3: and not to downplay those movies at all. They're all
• 33:58
  Speaker 3: great in their own respect, but to not see the
• 34:01
  Speaker 3: demon and to have it already, uh, basically, you know, like, like,
• 34:04
  Speaker 3: like the demon says, I'm wearing her as a coat,
• 34:07
  Speaker 3: that line, when that line hit, I was like, Oh,
• 34:10
  Speaker 3: it just made me feel so icky because they don't usually,
• 34:13
  Speaker 3: it's like, you know, you're there, this body or this
• 34:15
  Speaker 3: vessels burning in hell. And they're like, no, I wear
• 34:17
  Speaker 3: her like a coat. And I was like, Oh, So
• 34:20
  Speaker 3: I love the fact that you don't see the demon.
• 34:22
  Speaker 3: It's already inside of Evelyn. It's already assumed to have
• 34:25
  Speaker 3: been kind of, you know, involved with Sarah, but you
• 34:28
  Speaker 3: don't actually see it. The only thing that you do see,
• 34:31
  Speaker 3: which I really loved, and I think it's practical, but
• 34:34
  Speaker 3: I do want to ask, is when the arm comes
• 34:37
  Speaker 3: out of Evelyn's mouth and starts choking Julia. That looked
• 34:41
  Speaker 3: practical to me. Was that a practical effect?
• 34:43
  Speaker 1: Oh, yeah, yeah.
• 34:44
  Speaker 4: It's a puppeteer.
• 34:45
  Speaker 3: I love it. I love it. Because you were able
• 34:48
  Speaker 3: to do it in a way where you kind of
• 34:50
  Speaker 3: went down to Julia, and then I feel like that's
• 34:52
  Speaker 3: when Evelyn swapped out with kind of like the puppeteer
• 34:55
  Speaker 3: and then came down in. I was like, oh, that
• 34:56
  Speaker 3: was so good. So I love that. Because I was like,
• 34:59
  Speaker 3: I feel like that's practical. Like, that's a real effect.
• 35:02
  Speaker 1: It is.
• 35:02
  Speaker 3: I was like, I know the arm is 100% real,
• 35:04
  Speaker 3: but I was wondering if Evelyn's... So that's amazing.
• 35:07
  Speaker 1: It's a huge puppet. It's a huge puppet on the
• 35:09
  Speaker 1: big armature. Yes. And... The only thing we add in
• 35:12
  Speaker 1: CG is just the eye, the effect of the eye,
• 35:15
  Speaker 1: just to give a little bit of life for a
• 35:17
  Speaker 1: few frames. But everything else is like a guy just
• 35:21
  Speaker 1: holding that thing and that huge thing and just like...
• 35:25
  Speaker 1: It's strange because I'm bringing the puppet actually with me
• 35:27
  Speaker 1: on the premiere in Toronto. So the puppet's going to
• 35:32
  Speaker 1: be there. So that's going to flow everywhere. Everybody's going
• 35:35
  Speaker 1: to see what it looks like, the puppet and armature.
• 35:37
  Speaker 1: So I'm bringing it with me. So the puppet's going
• 35:40
  Speaker 1: to make a tour.
• 35:41
  Speaker 3: I love that. So I think one more thing on
• 35:45
  Speaker 3: Elim here, because I think this movie plays the idea
• 35:48
  Speaker 3: that he doesn't need to, or it, whatever you want,
• 35:51
  Speaker 3: it doesn't need to destroy you outright. It can kind
• 35:53
  Speaker 3: of just wear you down until all that's left is him.
• 35:57
  Speaker 3: So was that kind of the... Was that the concept
• 36:00
  Speaker 3: of the thematic foundation of the film? You know, is
• 36:03
  Speaker 3: that kind of where you start? Like, I guess what
• 36:05
  Speaker 3: I'm trying to ask is like, where did you start
• 36:07
  Speaker 3: with this movie in regards to the demon itself?
• 36:11
  Speaker 1: The demon itself? No, it came later. That quote, all
• 36:15
  Speaker 1: this came after then I put the movie together and
• 36:17
  Speaker 1: I show it to a few friends. Oh, wow. And
• 36:21
  Speaker 1: they said, well, you missed something at the beginning just
• 36:23
  Speaker 1: to help us to get the mythology a little bit more,
• 36:27
  Speaker 1: something just to think a little bit. So I was like, okay,
• 36:30
  Speaker 1: what can we do? And I tried so many alterations
• 36:32
  Speaker 1: of that. At some point, it was no quote. It
• 36:34
  Speaker 1: was a voiceover from Evelyn. And at some point, it
• 36:37
  Speaker 1: was kind of cards, like five cards, just explaining a
• 36:44
  Speaker 1: little bit what's going on in that house, what happened before.
• 36:49
  Speaker 1: And always felt like, eh, it's not really working. It's
• 36:51
  Speaker 1: not really working. Until we were like, well, we're not
• 36:54
  Speaker 1: talking about the demon. And those research about that basically
• 37:00
  Speaker 1: we had and this is where it come up basically
• 37:03
  Speaker 1: so this is how we came up with the quote
• 37:05
  Speaker 1: and it's just right after and the other conception of
• 37:07
  Speaker 1: the demon it was along the way because the movie
• 37:10
  Speaker 1: originally the movie was not supposed to be a possession
• 37:12
  Speaker 1: horror real was supposed to be no it was it
• 37:14
  Speaker 1: was conceived as um home invasion.
• 37:20
  Speaker 3: Wow it i see and this is why i love
• 37:23
  Speaker 3: talking to kind of the process of some of these
• 37:25
  Speaker 3: movies is is where you kind of started from to
• 37:28
  Speaker 3: where you ended up. So let's talk about that home invasion.
• 37:31
  Speaker 3: That's where the initial idea kind of sprung from. So
• 37:34
  Speaker 3: what was kind of the story there?
• 37:37
  Speaker 1: Well, Fast is my DP who came to me with the,
• 37:41
  Speaker 1: you know, he was working on a big TV show
• 37:43
  Speaker 1: and he did one episode on, you know, all these
• 37:46
  Speaker 1: TV shows had one episode, one long shot or whatever
• 37:50
  Speaker 1: it is until they break forth.
• 37:52
  Speaker 4: TV commercials or whatever.
• 37:52
  Speaker 1: And it was like, oh, man, you should do a
• 37:54
  Speaker 1: movie like that. And I said, are you fucking nuts?
• 37:57
  Speaker 1: And for real, I really said that to him. And
• 37:59
  Speaker 1: I said that to every Q & A that I'm
• 38:01
  Speaker 1: doing and everybody to talk about. It's like, my DP
• 38:03
  Speaker 1: was nuts. And I say, you're fucking crazy, man. You
• 38:07
  Speaker 1: know how hard it is to put off a movie
• 38:08
  Speaker 1: like that, a movie with characters arc and everything? He's like, no.
• 38:12
  Speaker 1: And I hang up. And, oh, yeah, literally.
• 38:17
  Speaker 3: Are you fucking crazy? Click.
• 38:19
  Speaker 1: Literally is what I said. For real.
• 38:22
  Speaker 4: And I stick to that story.
• 38:23
  Speaker 1: And if he was with me, we'll laugh. It's like, yeah, yeah, yeah.
• 38:26
  Speaker 1: But no, you did it, man. So like, yeah. But
• 38:30
  Speaker 1: at the end, I took two days to think about
• 38:32
  Speaker 1: the story. And I'm like, okay, what if it's a
• 38:34
  Speaker 1: home invasion? It could be interesting tension to make something
• 38:37
  Speaker 1: like that, you know, with one shot. It would be interesting.
• 38:41
  Speaker 4: We've never seen that before.
• 38:43
  Speaker 1: You know, because I always try to do something different,
• 38:46
  Speaker 1: even if it's a big risk to do that. Even
• 38:49
  Speaker 1: if sometimes I can make mistakes. I've made mistakes in
• 38:52
  Speaker 1: that movie. I mean, I know what it is. But
• 38:55
  Speaker 1: at least I tried something, you know? It is the
• 38:57
  Speaker 1: same thing when I started the story. I was like,
• 39:00
  Speaker 1: let me try to do a home invasion like that.
• 39:02
  Speaker 1: And I think the first five drafts are only home invasion.
• 39:06
  Speaker 1: It was a couple inside the house. And basically, the
• 39:11
  Speaker 1: camera started inside the house on a clock.
• 39:15
  Speaker 4: And you can see where it started the clock.
• 39:17
  Speaker 1: And we end up, once in a while, I was
• 39:19
  Speaker 1: going to clock just to see that it's in real time, basically.
• 39:23
  Speaker 1: And I was like, OK, let's turn this on its head.
• 39:25
  Speaker 1: It's a home invasion. What it is, always a group
• 39:28
  Speaker 1: of people coming in the house. hostage to people, whatever,
• 39:32
  Speaker 1: looking for something. It's always the same thing. I'm like, okay,
• 39:34
  Speaker 1: what if it's the reverse? What if it's the people
• 39:36
  Speaker 1: outside who don't want to come in? They want you
• 39:39
  Speaker 1: to get out because of what's happening inside.
• 39:41
  Speaker 3: Ooh, yeah, okay.
• 39:43
  Speaker 1: So that's the twist. And so we wrote things like that.
• 39:46
  Speaker 1: And it was working. It was fine. But it was
• 39:48
  Speaker 1: very complex to do a full story beat with that notion.
• 39:55
  Speaker 1: Because it was always missing something. That is not supernatural.
• 39:59
  Speaker 1: So you cannot have fear with ghosts or demons or
• 40:04
  Speaker 1: monsters or whatever it is. So you need to go
• 40:07
  Speaker 1: with real human thing. And I'm like, okay, but we
• 40:11
  Speaker 1: need to add what this inside the house. Why? So
• 40:15
  Speaker 1: we end up with, with that big thing hiding in
• 40:19
  Speaker 1: the basement. And it was super interesting, but I'm like, yeah,
• 40:23
  Speaker 1: but it's going to be so hard to pull off.
• 40:25
  Speaker 1: It's like, after that you asking more questions like, well, okay,
• 40:27
  Speaker 1: why is there? Why? So you need to more explain.
• 40:30
  Speaker 1: So you turn out the script more as a original
• 40:32
  Speaker 1: script that is yeah. Very cool.
• 40:35
  Speaker 3: Right.
• 40:35
  Speaker 4: But way complicated to do in one shot.
• 40:38
  Speaker 3: Okay.
• 40:38
  Speaker 1: So at some point is by talking with a few people,
• 40:40
  Speaker 1: it's like, well, why are you not turning that as
• 40:43
  Speaker 1: a possession horror instead?
• 40:46
  Speaker 4: Like, oh, okay.
• 40:47
  Speaker 1: Let's go bring back that old lady. Then leave that
• 40:50
  Speaker 1: thing to those people. those young people, let's turn the
• 40:54
  Speaker 1: character as hospice nurse, and let's get the beginning like, yes,
• 41:00
  Speaker 1: feeling like a kind of a home invasion-ish, like a
• 41:03
  Speaker 1: group of gang, a little bit over the top group
• 41:07
  Speaker 1: of gang people, tug, you know, getting inside, try to
• 41:11
  Speaker 1: get inside. But we twist that, in the middle of
• 41:13
  Speaker 1: the movie, we twist it and say, no, no, no,
• 41:15
  Speaker 1: it's more about the possession. But I said, yeah, but
• 41:18
  Speaker 1: now because we don't have cuts or whatever, what's interesting
• 41:21
  Speaker 1: about that?
• 41:22
  Speaker 4: Because once we know, we know.
• 41:23
  Speaker 3: Right.
• 41:23
  Speaker 1: You know? So yeah, but what if at the end
• 41:26
  Speaker 1: of it, we're adding a level again with that demon
• 41:29
  Speaker 1: and we're putting a twist also at the end, at
• 41:32
  Speaker 1: the end of it. So I'm like, okay, that can
• 41:34
  Speaker 1: be interesting and this is how we build the script.
• 41:36
  Speaker 1: So we just reverse the engineering, the thing, and we
• 41:39
  Speaker 1: build the script. So in that way. And I said,
• 41:42
  Speaker 1: and the message that I said to everybody about that
• 41:44
  Speaker 1: was like, we need just to having fun to doing it.
• 41:48
  Speaker 4: It needs to be simple.
• 41:49
  Speaker 1: Yeah. And I want to feel it like a rollercoaster ride.
• 41:53
  Speaker 1: And every rollercoaster ride, it's calm, goes up, and at
• 41:58
  Speaker 1: some point, it just goes. So I'm like, we need
• 42:00
  Speaker 1: to build it in that way. So, and, you know,
• 42:05
  Speaker 1: having fun with the monster, having fun with the code
• 42:08
  Speaker 1: and homage that we have. And yeah, it's just, and
• 42:12
  Speaker 1: the script was a bit like that, but this is
• 42:14
  Speaker 1: where we knew, okay, the story needs to be bigger.
• 42:17
  Speaker 1: And just go, okay, that's one, part one, part two,
• 42:20
  Speaker 1: part three. We're going to expand more. And when you
• 42:23
  Speaker 1: watch the whole thing, you will say, oh, now I
• 42:25
  Speaker 1: understand why this and that and what are the little details.
• 42:28
  Speaker 1: So the scripts are already written, the other scripts.
• 42:30
  Speaker 3: Oh, that's incredible. And I think that's important for anybody
• 42:35
  Speaker 3: listening to this too, to know that, you know, if
• 42:37
  Speaker 3: you obviously watch the movie before, You listen to this
• 42:40
  Speaker 3: because we have gone into spoilers. It's almost kind of
• 42:43
  Speaker 3: hard not to talk about spoilers with this movie because
• 42:46
  Speaker 3: there's so many elements that you have to touch on
• 42:50
  Speaker 3: because I'm so interested in.
• 42:51
  Speaker 1: Yeah, I don't want to spoil too much. It still
• 42:54
  Speaker 1: surprises right now. We're not spoiling too much because it's
• 42:56
  Speaker 1: part of....
• 42:58
  Speaker 4: The poster, but come on.
• 43:02
  Speaker 1: And the beginning of the house burning. Well, I think
• 43:04
  Speaker 1: we know how it's going to happen.
• 43:04
  Speaker 3: So it was like, yeah, we just don't know who
• 43:07
  Speaker 3: it's there.
• 43:08
  Speaker 1: So it's enough. It's the who and how, you know?
• 43:10
  Speaker 1: So that's, that's what is different.
• 43:12
  Speaker 3: And that's what I love about it. It's like, we
• 43:13
  Speaker 3: already know at the end of this movie, or at
• 43:15
  Speaker 3: least I assume the house is going to be on fire.
• 43:18
  Speaker 3: So it's like, how did we get here? And I
• 43:20
  Speaker 3: love the figuring that out. I think it's so great.
• 43:24
  Speaker 3: And I'm touching kind of like on the psychological aspect
• 43:27
  Speaker 3: of this. They're, you know, trauma horror, I swear, hereditary,
• 43:32
  Speaker 3: like set off a chain of just trauma movies. And
• 43:36
  Speaker 3: while there is some trauma in here, I don't feel
• 43:38
  Speaker 3: like it's going over the same tropes that we commonly
• 43:41
  Speaker 3: see with trauma because there is trauma that they both have.
• 43:46
  Speaker 3: And it's something that has kind of defined them for
• 43:48
  Speaker 3: who they are. But I think it's so much more.
• 43:51
  Speaker 3: of the supernatural horror feeling like an external manifestation of
• 43:55
  Speaker 3: something much more psychological and intimate. So it's not like, oh,
• 43:59
  Speaker 3: I have trauma, let's get through this trauma. No, we
• 44:01
  Speaker 3: both have our traumas in our respective ways, but it's
• 44:05
  Speaker 3: so much more about the possession and the demon itself.
• 44:07
  Speaker 3: So it's kind of like you use the trauma as
• 44:10
  Speaker 3: kind of a foundation for these characters, and then we
• 44:13
  Speaker 3: just watch them go, like you said, a rollercoaster up
• 44:16
  Speaker 3: and down. And I think that was a very, very,
• 44:19
  Speaker 3: very smart move. And I guess I won't reveal the very,
• 44:23
  Speaker 3: very ending, but was there an alternate ending that you
• 44:26
  Speaker 3: kicked around that didn't involve? Because I was shocked with
• 44:31
  Speaker 3: how it ended. And like I said, I don't want
• 44:32
  Speaker 3: to give it away. But was there an alternate one
• 44:35
  Speaker 3: that you had before this one? Or was that pretty
• 44:38
  Speaker 3: much the ending that you were like, this is what
• 44:41
  Speaker 3: we're going with?
• 44:42
  Speaker 1: That was the ending.
• 44:43
  Speaker 4: That was the ending.
• 44:44
  Speaker 1: The only thing that was different is the way that
• 44:47
  Speaker 1: it was shot.
• 44:47
  Speaker 3: Okay, gotcha.
• 44:48
  Speaker 1: It was just a problem that we had on set. Basically,
• 44:54
  Speaker 1: the camera for me, because when you do a one
• 44:58
  Speaker 1: long take like that and try to make it continuous,
• 45:00
  Speaker 1: you need to understand, you need to say, okay, what
• 45:02
  Speaker 1: is my camera about? Is it a character? Every filmmaker
• 45:06
  Speaker 1: will have a camera and say, okay, there's a perspective
• 45:08
  Speaker 1: of what and who. You need to have something to
• 45:11
  Speaker 1: say about the camera. That's the whole point.
• 45:13
  Speaker 4: It's the window. It's a window basically to those lives.
• 45:17
  Speaker 3: Right.
• 45:17
  Speaker 1: So I'm like, okay, if we do a one shot,
• 45:18
  Speaker 1: we need to have a reason to make a one shot.
• 45:20
  Speaker 1: It's not just a one shot for one shot, you know?
• 45:22
  Speaker 1: So I'm like, at the beginning, the origin of that was,
• 45:26
  Speaker 1: it's a witness like an angel or a demon going
• 45:30
  Speaker 1: through the lake, going into the house, doing all that
• 45:34
  Speaker 1: dance and getting out from that and going back to
• 45:38
  Speaker 1: the lake. Okay. But there were no cut. It was
• 45:41
  Speaker 1: not supposed to have a cut. So the house was
• 45:44
  Speaker 1: not supposed to burn at the beginning.
• 45:46
  Speaker 3: Oh, okay.
• 45:47
  Speaker 1: Okay? So we were on the lake, and we just
• 45:50
  Speaker 1: get into through the window and circling around. And the
• 45:55
  Speaker 1: shot exists, by the way.
• 45:56
  Speaker 4: We did it. I had a full edit of that.
• 45:58
  Speaker 4: It exists for real.
• 46:02
  Speaker 1: So we did that, and at the end of it,
• 46:03
  Speaker 1: the problem we had on set for the ending while
• 46:05
  Speaker 1: we were doing the one shot, it was... Very, very early, early,
• 46:09
  Speaker 1: early in the morning. And it was like, oh, shit,
• 46:12
  Speaker 1: we need to wrap that movie like now, now. It
• 46:14
  Speaker 1: was my last day. And this is why suddenly the
• 46:17
  Speaker 1: sun comes up.
• 46:18
  Speaker 4: A little bit. It was not supposed to. So in
• 46:20
  Speaker 4: color grade, I changed it a little bit. There's snow everywhere.
• 46:23
  Speaker 1: It was not supposed to snow. So I need to
• 46:25
  Speaker 1: add snow. No, no, that was day one. There was
• 46:28
  Speaker 1: no snow when I did my drone shot. But after that,
• 46:31
  Speaker 1: it snowed for all the week. Oh, wow. So I
• 46:35
  Speaker 1: was like, shit, my one shot doesn't work anymore. So
• 46:37
  Speaker 1: I add CG snow just.
• 46:41
  Speaker 4: To match a little bit.
• 46:43
  Speaker 1: And because of that, poor Dawn, she walked in the
• 46:45
  Speaker 1: snow when she got up bare feet.
• 46:48
  Speaker 3: Oh, God.
• 46:49
  Speaker 1: Yeah, yeah, that was awful. And it was cold, it
• 46:53
  Speaker 1: was in the morning. Look, we shot all night, so
• 46:55
  Speaker 1: everybody's tired. And it's a one shot, so it's still
• 46:58
  Speaker 1: one thing. So we're like, okay, we're going to go
• 47:01
  Speaker 1: and move through and do the shot and going, but
• 47:03
  Speaker 1: the camera was supposed, yes, it was supposed to finish
• 47:06
  Speaker 1: on her face like it is. There's no surprise with
• 47:10
  Speaker 1: that with the house burning, but we were supposed to
• 47:13
  Speaker 1: do a kind of going to her back. Right. Okay?
• 47:17
  Speaker 4: And from their back, going.
• 47:18
  Speaker 1: After that and match it with the drone shot coming
• 47:23
  Speaker 1: out and just like going back to the lake. Right.
• 47:26
  Speaker 4: So it was supposed to be that big dance.
• 47:29
  Speaker 1: Wow. But the ending, because the guy, the camera guy,
• 47:33
  Speaker 1: forgot just to go in the back.
• 47:34
  Speaker 4: So it just went behind her head.
• 47:36
  Speaker 3: Okay. I mean, it still works, but like, yeah.
• 47:40
  Speaker 1: Oh, it still works, but I need to figure it out.
• 47:42
  Speaker 1: So I'm like, oh, okay. So, okay, the ending will
• 47:44
  Speaker 1: cut like that. So we said, okay, now she's forgetting. Okay,
• 47:47
  Speaker 1: at the moment, she's forgot. Here, the sound is different.
• 47:50
  Speaker 1: Now you're not hearing the fire, not hearing anything. You're
• 47:52
  Speaker 1: just hearing the song.
• 47:53
  Speaker 3: Right.
• 47:54
  Speaker 1: Because this is what she thinks all the time, you know,
• 47:56
  Speaker 1: for the whole movie, that song. So we said, okay,
• 47:59
  Speaker 1: we're going to cut there. So I'm like, okay, now
• 48:00
  Speaker 1: the beginning doesn't make any sense. I'm like, okay, so
• 48:05
  Speaker 1: let's start with the house on fire. So we're going
• 48:07
  Speaker 1: to save and put it in mystery, cut to 75 minutes,
• 48:10
  Speaker 1: let's go. Wow.
• 48:13
  Speaker 4: So this is where it's been conceived.
• 48:16
  Speaker 3: That's crazy how you... And that's filmmaking. You can plan
• 48:20
  Speaker 3: out so much, and then all of a sudden you're like, well,
• 48:24
  Speaker 3: now I have to pivot. Now I have to work this.
• 48:27
  Speaker 3: And it seems like you had... It seems like a
• 48:30
  Speaker 3: lot of this was a struggle, but you still managed
• 48:33
  Speaker 3: to put it together in a way that looks like
• 48:35
  Speaker 3: that's the way it was intended to be the entire time.
• 48:38
  Speaker 3: That's like that many props to you for that. That's
• 48:41
  Speaker 3: absolutely incredible.
• 48:42
  Speaker 1: That was hard. That was hard.
• 48:43
  Speaker 3: I bet.
• 48:45
  Speaker 1: Really, really hard. And I said, I'm never going to
• 48:47
  Speaker 1: do a one shot movie like that. I was like,
• 48:49
  Speaker 1: it's done. Check. You know, so I was like, I
• 48:52
  Speaker 1: did it, you know. So I'm part of that group,
• 48:54
  Speaker 1: you know, that maybe 500 people who really did it
• 48:57
  Speaker 1: in professional ways. Yeah. Yeah.
• 48:58
  Speaker 3: Thank you very much.
• 48:59
  Speaker 1: Okay. I did it. Thank you. Okay.
• 49:01
  Speaker 3: Well, that kind of answers that question there about one
• 49:05
  Speaker 3: of the scenes that it was hard to get right.
• 49:08
  Speaker 3: Is there now, this is one of my favorite questions
• 49:10
  Speaker 3: to ask directors. Is there a scene you thought would
• 49:12
  Speaker 3: be very simple that turned into just this excruciating like hour,
• 49:19
  Speaker 3: two hour long? thing like i i had a short
• 49:21
  Speaker 3: film where i was like this is the easiest thing
• 49:23
  Speaker 3: we're gonna do it's it's a very low shot aiming
• 49:26
  Speaker 3: up and that's it it took us two hours to
• 49:27
  Speaker 3: get the damn shot and i was like this is
• 49:29
  Speaker 3: this was supposed to be the easiest shot so was
• 49:31
  Speaker 3: there something like that for you we're like we should
• 49:33
  Speaker 3: be this should be a real quick easy thing that
• 49:36
  Speaker 3: just turned out to be way longer than it should
• 49:37
  Speaker 3: have been The.
• 49:39
  Speaker 1: Whole movie like that.
• 49:40
  Speaker 3: Oh, no.
• 49:43
  Speaker 1: Don't forget, it's all one take. Right, right. It's all hard,
• 49:46
  Speaker 1: you know?
• 49:47
  Speaker 3: That's fair.
• 49:48
  Speaker 4: The whole fucking movie is like that.
• 49:49
  Speaker 1: Oh, jeez.
• 49:53
  Speaker 4: But I will tell you the thing, though, okay?
• 49:55
  Speaker 1: What we did.
• 49:57
  Speaker 4: Because we were so remote in the up north Montreal.
• 50:00
  Speaker 3: Okay.
• 50:01
  Speaker 1: And the city called Gore, by the way.
• 50:02
  Speaker 3: Okay.
• 50:03
  Speaker 1: So it's really cool. City of Gore. So it's like
• 50:06
  Speaker 1: we went there and... We slept in the Airbnb like
• 50:10
  Speaker 1: too far from the set. And I had the editing
• 50:14
  Speaker 1: suite there. So I can put very fast together the
• 50:19
  Speaker 1: 15 minutes that we had. So I can just watch
• 50:22
  Speaker 1: it in the morning. Look, we're finishing like at 8
• 50:25
  Speaker 1: in the morning, something like that. Take my shot of
• 50:26
  Speaker 1: whiskey with my friends and like, okay, let's go to bed.
• 50:30
  Speaker 1: And okay, wake up around noon and it's like, okay,
• 50:33
  Speaker 1: let's go to set two at four. So basically that
• 50:35
  Speaker 1: was kind of my diet for those days for six
• 50:38
  Speaker 1: days in a row. But because I put the movie
• 50:42
  Speaker 1: together and we shot in continuity, I could see how
• 50:48
  Speaker 1: it was going and where the problems will be. So
• 50:50
  Speaker 1: I'm like, Oh, maybe I can figure it out. Something there. Oh,
• 50:53
  Speaker 1: maybe it's not, it's not strong enough here, but maybe
• 50:55
  Speaker 1: I have a better shot just to have a feeling.
• 50:58
  Speaker 1: And one thing that happened is, you know, that the
• 51:02
  Speaker 1: scene where she praying. Yes.
• 51:05
  Speaker 3: Evelyn.
• 51:05
  Speaker 4: That wasn't there.
• 51:06
  Speaker 1: Really? Now, so we had that moment where she put
• 51:11
  Speaker 1: her in bed and that's it. And she was, and
• 51:14
  Speaker 1: the camera was in the corridor and stay there. So
• 51:17
  Speaker 1: we have conversation a little bit about the necklace. It
• 51:20
  Speaker 1: was there, but the real prayer was not there. She
• 51:22
  Speaker 1: just turned up there. I'm going to pray. And yes,
• 51:25
  Speaker 1: she prayed, but we're not hearing really what it is.
• 51:27
  Speaker 1: And Julia was getting out and getting back in the room.
• 51:31
  Speaker 1: And in her room, what's supposed to happen is like
• 51:34
  Speaker 1: still unpacking a suitcase and finding stuff about her mom. And,
• 51:39
  Speaker 1: you know, a bunch of, for me, it was nonsense.
• 51:41
  Speaker 1: Because when you see the movements, it was odd. It
• 51:45
  Speaker 1: was just like not feeling natural. It was interesting on
• 51:48
  Speaker 1: the writing to give backstory, but it was not feeling natural.
• 51:52
  Speaker 1: And she went to the bathroom, but she go pee
• 51:54
  Speaker 1: in the bathroom instead. And I started getting up. a
• 51:59
  Speaker 1: light outside was supposed to open, and after that she'd
• 52:01
  Speaker 1: go down the stairs, see what's going on, and that
• 52:05
  Speaker 1: was basically it. And there was no real exploration of
• 52:09
  Speaker 1: the house. So we're like, okay, we need to figure
• 52:12
  Speaker 1: out something, because when I put that together, I'm like,
• 52:14
  Speaker 1: we're missing something in that movie. And what we're missing, basically,
• 52:18
  Speaker 1: was a creepy moment with Evelyn and her, where they
• 52:24
  Speaker 1: can have a real connection, And we needed to have
• 52:28
  Speaker 1: moments where Julia explore the house. Right. We need to
• 52:34
  Speaker 1: have that moment that takes maybe a long time, but
• 52:37
  Speaker 1: like anybody who've been in the full, for the first
• 52:40
  Speaker 1: time in the new house, you want to explore and
• 52:43
  Speaker 1: hearing the sound of the house, feeling where it goes.
• 52:48
  Speaker 1: And you're going to live there with the old person.
• 52:50
  Speaker 4: You're going to be curious, you know, he's going to
• 52:54
  Speaker 4: check it out stuff.
• 52:55
  Speaker 1: Yes, maybe not going to touch everything in the house,
• 52:57
  Speaker 1: but still going to be curious about what is that room?
• 53:00
  Speaker 1: What is happening? What is that noise? What is this?
• 53:02
  Speaker 1: So I said, okay, we're going to take our time there.
• 53:07
  Speaker 1: So I said, that scene, we had it. But we
• 53:10
  Speaker 1: didn't have the whole part to get down in the
• 53:13
  Speaker 1: way that it is in the movie. So day five,
• 53:17
  Speaker 1: we watched the whole thing.
• 53:18
  Speaker 4: I said, we have a problem.
• 53:21
  Speaker 1: I said to my producer, Phil, Kalen, dude, we need
• 53:27
  Speaker 1: to reshoot. And it was like, how the hell are
• 53:31
  Speaker 1: we going to do that? It's just like, it's impossible.
• 53:34
  Speaker 1: I said, well, I figured maybe I can do a
• 53:37
  Speaker 1: CG cut at one place here and another one about here,
• 53:42
  Speaker 1: something like that. But we can fill up the thing
• 53:45
  Speaker 1: with something more interesting in that moment and take it
• 53:48
  Speaker 1: out all that shitty movement that she did that doesn't
• 53:51
  Speaker 1: make any sense, doesn't bring anything. And getting something more
• 53:54
  Speaker 1: substantial with the characters in the room. And this water
• 53:57
  Speaker 1: camera goes inside the room and just following Evelyn. And
• 54:03
  Speaker 1: we had that creepy prayer. So what we did is,
• 54:08
  Speaker 1: on the next day, we wrote the whole scene with
• 54:14
  Speaker 1: the dialogues and everything.
• 54:15
  Speaker 4: Like, frantic. Go see back everybody.
• 54:17
  Speaker 1: Guys, we need to reset that place.
• 54:21
  Speaker 4: Because it was all destroyed.
• 54:22
  Speaker 1: Right. It's continuity.
• 54:24
  Speaker 4: So it's all destroyed. It's not the same.
• 54:26
  Speaker 1: So you need to reset everything back. And it was
• 54:30
  Speaker 1: the last day. So basically it was supposed to be
• 54:31
  Speaker 1: the puppet day. So all the effects day. So the
• 54:35
  Speaker 1: effects guy are there. It's like, okay, that's going to
• 54:37
  Speaker 1: be a simple days and just only a 12 minute shots. Oh,
• 54:41
  Speaker 1: we understand it's a one shot. No problem. Okay. We
• 54:43
  Speaker 1: can rehearse, rehearse, rehearse, figure it out. What, what's working
• 54:46
  Speaker 1: and you know, the black blood, how are we going
• 54:48
  Speaker 1: to hide where, So I said, okay, guys, we're not
• 54:51
  Speaker 1: going to do that now. We need to redo this.
• 54:55
  Speaker 3: Goodness.
• 54:57
  Speaker 4: And the actors need to learn all those lines, like
• 54:59
  Speaker 4: on the day.
• 55:00
  Speaker 1: And it's hard.
• 55:01
  Speaker 4: It's hard to remember that. And at night, you're tired.
• 55:06
  Speaker 1: It's cold. It's like, that was hard. And we redid
• 55:11
  Speaker 1: that whole part on the last day. And after that,
• 55:14
  Speaker 1: we went to do... the puppet way and all the
• 55:19
  Speaker 1: ending in one shot. And this is why the sun
• 55:21
  Speaker 1: was going out outside at the end.
• 55:23
  Speaker 3: Okay.
• 55:24
  Speaker 1: Because otherwise we were fine on timing. We're, we're on
• 55:27
  Speaker 1: schedule and advanced boom, boom. We're fine.
• 55:30
  Speaker 4: You know, we're all good. But that gave me the
• 55:32
  Speaker 4: liberty to.
• 55:33
  Speaker 1: Just change something in the, in the movie. And it's
• 55:37
  Speaker 1: a very creepy moment and a good change for the character. Well,
• 55:41
  Speaker 1: I was going.
• 55:42
  Speaker 3: To say, I guess that is the, One benefit of
• 55:45
  Speaker 3: doing a one-shot is, I mean, I would assume you're
• 55:48
  Speaker 3: going to go chronologically. And if you're doing kind of
• 55:51
  Speaker 3: the dailies, then you can see where everything's at. So
• 55:54
  Speaker 3: I guess that would be one benefit. And I love
• 55:56
  Speaker 3: that prayer. But so I usually use subtitles because I'm
• 56:00
  Speaker 3: kind of hard of hearing and I just like to
• 56:02
  Speaker 3: be able to read things. So there was a couple
• 56:05
  Speaker 3: moments in the movie where I couldn't fully understand where
• 56:08
  Speaker 3: they were saying. One of those was the prayer. I
• 56:10
  Speaker 3: know it's now I lay me down to sleep. I
• 56:13
  Speaker 3: pray for all the souls I keep. If I should
• 56:17
  Speaker 3: die before I wake, I pray the souls another body
• 56:19
  Speaker 3: will take. Now, if I should live for many days,
• 56:25
  Speaker 3: is that what it was?
• 56:26
  Speaker 1: Yeah, many days, yes.
• 56:27
  Speaker 3: Many days I pray my keeper to guide my ways.
• 56:29
  Speaker 3: In my name I pray. And I was like, ooh,
• 56:32
  Speaker 3: in my name. Ooh, that's creepy. And then I love
• 56:36
  Speaker 3: when Julia hears that. She's like, I'm going to turn
• 56:38
  Speaker 3: around and go now. And getting out of here.
• 56:41
  Speaker 1: Yeah.
• 56:41
  Speaker 3: I'm getting out of here. The other one was when.
• 56:46
  Speaker 3: Elim is mentioned by Julia outside when she's talking to Randall, um,
• 56:51
  Speaker 3: and they go back inside and he, does he say
• 56:54
  Speaker 3: it wasn't a Christian ritual? It was satanic. Is that
• 56:57
  Speaker 3: what he says? Okay. Okay. But if Elim seals the cage,
• 57:00
  Speaker 3: then Satan's power. Okay. And then the last one was
• 57:04
  Speaker 3: when they were in the basement where the demon, you know,
• 57:07
  Speaker 3: Evelyn or demon asks Julia, would you trade your soul
• 57:11
  Speaker 3: for hers? Is she referring to Evelyn's soul in that moment?
• 57:18
  Speaker 1: Yeah, yeah, exactly.
• 57:21
  Speaker 4: This is why there's a transfer.
• 57:23
  Speaker 1: Elin wants to make a transfer to a new vessel.
• 57:27
  Speaker 3: Right, okay.
• 57:27
  Speaker 4: Because it's a whole vessel.
• 57:29
  Speaker 3: Yeah, it's a whole vessel. And then Julia responds, I'm
• 57:32
  Speaker 3: not cutting any deals with you. And the demon responds,
• 57:35
  Speaker 3: and this is another one, it said, then you've abandoned her,
• 57:38
  Speaker 3: like your father? Or is it her father?
• 57:40
  Speaker 1: Her father.
• 57:41
  Speaker 3: Mother oh you've invented her like your mother okay there
• 57:45
  Speaker 3: we go okay so okay gotcha gotcha gotcha yeah because
• 57:47
  Speaker 3: I was like I'm rewinding it I can't understand it
• 57:50
  Speaker 3: I need subtitles okay so then okay everything so then
• 57:53
  Speaker 3: that makes everything make more sense because I was like
• 57:56
  Speaker 3: your father I was like I because she mentioned how
• 57:58
  Speaker 3: like outside with Randall she's like I need to get
• 58:00
  Speaker 3: back to my to my father so okay okay gotcha
• 58:04
  Speaker 3: so all that makes sense now back down to my
• 58:08
  Speaker 3: questions I had a couple more here there we go Um,
• 58:13
  Speaker 3: let's see. I'd say, what, what is like the proudest
• 58:17
  Speaker 3: moment for you? Like one of the things you're most
• 58:19
  Speaker 3: proud of, uh, shot wise and in the film itself outside,
• 58:24
  Speaker 3: outside of it being an entire one take, you know, like,
• 58:26
  Speaker 3: was there one specific shot or one specific movement that
• 58:30
  Speaker 3: you just, you really, really are proud of?
• 58:36
  Speaker 1: Without falling anything, because we need to be careful with that,
• 58:39
  Speaker 1: it's the moment where.
• 58:43
  Speaker 4: We're coming back when she's screaming.
• 58:46
  Speaker 1: It's in the trailer, basically, when she screams, like in terror,
• 58:49
  Speaker 1: and when we're coming back and we see what's happening
• 58:53
  Speaker 1: all around. That was really cool, and it was tough
• 58:57
  Speaker 1: to do, because it's always effect. When you have effect
• 59:00
  Speaker 1: on set, it's It takes time than we want it
• 59:03
  Speaker 1: or not. No, it's going to take an hour. No,
• 59:06
  Speaker 1: it's going to take two or three hours just to
• 59:07
  Speaker 1: set us up. This is just normal. It's just normal.
• 59:10
  Speaker 1: stuff and it worked very well all those moments where
• 59:13
  Speaker 1: i use practicals there were all stuff that were like
• 59:17
  Speaker 1: okay the shot works and we all stress because you're
• 59:20
  Speaker 1: like hey we're doing in one shot i cannot do
• 59:22
  Speaker 1: a cut so what what i'm gonna do right so
• 59:26
  Speaker 1: if it's not working what i'm doing So when, uh,
• 59:29
  Speaker 1: and you know, when she appeared in the corner of
• 59:31
  Speaker 1: that shot and the light and you know, and the
• 59:36
  Speaker 1: lightning works at that precise moment, it was not planned.
• 59:40
  Speaker 1: They tried and it's like, okay, let's see if it works.
• 59:43
  Speaker 1: And it happens. Okay. We have it done. Yeah.
• 59:47
  Speaker 3: That gave me, that gave me some PTSD to hereditary.
• 59:52
  Speaker 3: When Tony Collette was in the corner, I was like, Oh,
• 59:57
  Speaker 3: that was a really good shot. And I love the
• 59:59
  Speaker 3: fact that it's taking place throughout the, I'd say the
• 1:00:02
  Speaker 3: whole movie is like a thunderstorm happening and it gives
• 1:00:05
  Speaker 3: you just that added layer of that, of that dread.
• 1:00:09
  Speaker 3: And especially when, especially with the one shot to the,
• 1:00:13
  Speaker 3: that's another thing I like about one shots is it
• 1:00:15
  Speaker 3: gives you the kind of feeling of it being found
• 1:00:19
  Speaker 3: footage or, or POV in a way. And I love
• 1:00:23
  Speaker 3: POV found footage. It's like my favorite sub genre. So
• 1:00:25
  Speaker 3: it makes you feel like you're experiencing everything with the characters,
• 1:00:28
  Speaker 3: but not only that in real time too, like I
• 1:00:32
  Speaker 3: love that so much. And to make a cohesive story
• 1:00:35
  Speaker 3: and to make me want to go like, Ooh, what's
• 1:00:37
  Speaker 3: this about? I need to figure it out. It's, it's just,
• 1:00:41
  Speaker 3: like I said, I really enjoy this movie. And another
• 1:00:43
  Speaker 3: thing I love when you have a bottle film, especially
• 1:00:47
  Speaker 3: when it's in a house, I love to know where
• 1:00:50
  Speaker 3: I'm at in the house. And this movie does that perfectly.
• 1:00:53
  Speaker 3: Like I feel like I can, I can visualize the
• 1:00:56
  Speaker 3: entire blueprint of the house in my head, which I appreciate.
• 1:01:00
  Speaker 3: Cause there's another movie called Satan slaves that takes place
• 1:01:03
  Speaker 3: primarily at one house and they do the same thing.
• 1:01:06
  Speaker 3: It's like, I know exactly where I'm at in this house.
• 1:01:09
  Speaker 3: Because you don't reveal everything at once. You kind of
• 1:01:11
  Speaker 3: go upstairs. Then you kind of go to that office area.
• 1:01:14
  Speaker 3: Then you go to the kitchen. Eventually, you go to
• 1:01:16
  Speaker 3: the basement. Eventually, you go up to what I assume
• 1:01:18
  Speaker 3: is Sarah's room. So it's just like... And that was
• 1:01:21
  Speaker 3: a real house, right? That you said?
• 1:01:23
  Speaker 1: Yes, it is.
• 1:01:24
  Speaker 3: Man, what year was that house built?
• 1:01:27
  Speaker 1: About 100 years old.
• 1:01:29
  Speaker 3: Nailed it. Nailed it. That's what I told my.
• 1:01:31
  Speaker 4: And here's the thing. It's two houses, basically.
• 1:01:35
  Speaker 1: Really? Yeah, it's two houses... And on the side, this
• 1:01:38
  Speaker 1: is where the kitchen is and where the other bedrooms are. Yeah.
• 1:01:41
  Speaker 1: And this is why it's a little bit odd way.
• 1:01:43
  Speaker 1: Then it's built in the middle of it, then built
• 1:01:45
  Speaker 1: between them. Yeah.
• 1:01:49
  Speaker 3: Cause there was two fireplaces that I noticed and I
• 1:01:52
  Speaker 3: was like.
• 1:01:52
  Speaker 4: Why exactly two fire?
• 1:01:53
  Speaker 3: I mean, it's cool, but I was like, why is
• 1:01:55
  Speaker 3: there two fireplaces?
• 1:01:57
  Speaker 4: So then there was two, two houses basically.
• 1:01:59
  Speaker 1: Then just a big thing.
• 1:02:01
  Speaker 4: And it's a very, very old place.
• 1:02:03
  Speaker 1: And, uh, like I said, up north in Montreal, then
• 1:02:05
  Speaker 1: it's a few hours from there. And it was, it was,
• 1:02:08
  Speaker 1: it was just dangerous to get there. So like, uh, because,
• 1:02:12
  Speaker 1: because when it's snow there, uh, you get stuck, you
• 1:02:16
  Speaker 1: get stuck.
• 1:02:17
  Speaker 4: There's nothing around, you know?
• 1:02:18
  Speaker 1: So there's more cabins, you know, so where people go
• 1:02:20
  Speaker 1: for vacation and stuff like that. So we didn't expect that.
• 1:02:24
  Speaker 1: And then it was snow. So it was like, okay, that,
• 1:02:26
  Speaker 1: that is pure shit. We need to call a big
• 1:02:28
  Speaker 1: truck to help to, um, put sand everywhere. So it's
• 1:02:31
  Speaker 1: not slippery. So that was hard. That was, that was
• 1:02:34
  Speaker 1: stuff that we didn't expect at all.
• 1:02:37
  Speaker 3: You know, I bet.
• 1:02:38
  Speaker 1: Yeah. But it was, no, that was, that was, no, that,
• 1:02:41
  Speaker 1: that location is, is make it. And you said perfectly
• 1:02:43
  Speaker 1: the reason why it looked okay. The reason why we
• 1:02:46
  Speaker 1: did it like more slow moments is so, you know,
• 1:02:50
  Speaker 1: where you are, you know, and you are with Julia
• 1:02:54
  Speaker 1: discovering the house at the same time. So if you
• 1:02:58
  Speaker 1: go in one side, you're discovering at the same time
• 1:03:01
  Speaker 1: take your time no rush so you know so at
• 1:03:04
  Speaker 1: the end when shit at the fan well at least
• 1:03:08
  Speaker 1: you know where to go you know right you know
• 1:03:10
  Speaker 1: that okay we're not okay i know where the office
• 1:03:12
  Speaker 1: is and and you know then julia will know where
• 1:03:14
  Speaker 1: the office is it's not like why are you why
• 1:03:16
  Speaker 1: you're appearing in that place suddenly you know.
• 1:03:18
  Speaker 4: Right so it's all those little things um yeah.
• 1:03:21
  Speaker 1: That makes the movie a little bit uh feel a
• 1:03:24
  Speaker 1: little bit like a slow run at the beginning but
• 1:03:26
  Speaker 1: it was made like that it was thinking like that
• 1:03:28
  Speaker 1: it was thought like that and get the ramp but
• 1:03:32
  Speaker 1: at least you know where things are and the sound
• 1:03:34
  Speaker 1: where they come from and yeah we're peered you know
• 1:03:37
  Speaker 1: there's stuff that appearing here and there so and there's
• 1:03:39
  Speaker 1: stuff hiding the stuff we hide so many things count
• 1:03:43
  Speaker 1: the hearts everywhere hiding in the house what was it
• 1:03:47
  Speaker 1: the hearts so basically you.
• 1:03:48
  Speaker 4: Have arts hiding everywhere.
• 1:03:51
  Speaker 3: Oh okay tons of those tons i did notice uh
• 1:03:55
  Speaker 3: It's on one of the mantles, I think, next to
• 1:03:57
  Speaker 3: the fireplace, next to the staircase on the den. And
• 1:04:01
  Speaker 3: it was something that spelled, it was a book that
• 1:04:03
  Speaker 3: like multiple books that spelled out cultural or something. Does
• 1:04:06
  Speaker 3: that have any significance at all?
• 1:04:09
  Speaker 1: Not at all.
• 1:04:09
  Speaker 3: Okay.
• 1:04:10
  Speaker 1: We didn't touch anything there. Most of the, actually, the house,
• 1:04:14
  Speaker 1: what you see, 90% is what this.
• 1:04:17
  Speaker 4: Looks like in real life.
• 1:04:18
  Speaker 1: Wow.
• 1:04:18
  Speaker 3: Okay.
• 1:04:19
  Speaker 1: That's really cool. We add a few things.
• 1:04:20
  Speaker 4: We move a little bit the furniture.
• 1:04:22
  Speaker 1: Yeah. And we add, like I said, we need to
• 1:04:27
  Speaker 1: take out the real arts, the real paintings, and put
• 1:04:31
  Speaker 1: our own paintings, just rights, and also at the same time,
• 1:04:36
  Speaker 1: because we have a specific purpose for the thing uh
• 1:04:40
  Speaker 1: but otherwise it's basically what you see is that's the
• 1:04:43
  Speaker 1: house it's like this exact we enter and okay.
• 1:04:46
  Speaker 3: This is what it looks like and i mean i
• 1:04:48
  Speaker 3: i love how the the house itself to me is
• 1:04:50
  Speaker 3: kind of a character uh just just by how it
• 1:04:53
  Speaker 3: looks and it just kind of becomes this you're like
• 1:04:57
  Speaker 3: oh this is interesting i i've never think this house
• 1:04:59
  Speaker 3: is just has a different layout and i like it
• 1:05:01
  Speaker 3: but then over time it just kind of becomes its
• 1:05:03
  Speaker 3: own character it's very creepy it And there's one shot, too,
• 1:05:07
  Speaker 3: where you kind of pan up to the ceiling, and
• 1:05:08
  Speaker 3: it's just creaking and cracking. And you're like, yeah, this
• 1:05:11
  Speaker 3: is an old house. I'm getting a little unnerved by
• 1:05:15
  Speaker 3: being in here.
• 1:05:16
  Speaker 4: And it's scary.
• 1:05:17
  Speaker 1: Honestly, it's very scary also to stay there, for real.
• 1:05:20
  Speaker 3: I bet.
• 1:05:21
  Speaker 1: When you are with people, it's okay. And I went
• 1:05:25
  Speaker 1: one night, okay, just because I wanted to see what
• 1:05:27
  Speaker 1: this looked like at night by myself. Because this is
• 1:05:30
  Speaker 1: one of my friends' house, so I could go basically
• 1:05:33
  Speaker 1: any time, almost any time when I wanted. So I
• 1:05:35
  Speaker 1: can take the key and just like going around. And
• 1:05:38
  Speaker 1: I could not stay there. Around 10, I'm like, okay,
• 1:05:44
  Speaker 1: it's too creepy for me. It's like, what the hell?
• 1:05:46
  Speaker 1: And what is going to happen? And they have no
• 1:05:48
  Speaker 1: cable there. The reception for the phone is really bad.
• 1:05:52
  Speaker 1: So I'm like, okay, no, I'm not going to stay there.
• 1:05:55
  Speaker 1: So I took my car, go back to my home,
• 1:05:57
  Speaker 1: two hours drive, and I'm going to stay there. So yeah,
• 1:06:02
  Speaker 1: I'm chicken shit like that. And I'm making horror movies.
• 1:06:03
  Speaker 1: That's great.
• 1:06:04
  Speaker 3: Oh, same.
• 1:06:05
  Speaker 1: No, no, same.
• 1:06:06
  Speaker 3: I love horror movies. Me and my wife are kind
• 1:06:09
  Speaker 3: of working on some screenplays and stuff like that. Like we,
• 1:06:12
  Speaker 3: we love horror, but when it comes to real life shit, no, nope, nope.
• 1:06:16
  Speaker 3: I'll be, I'll be the first one to leave.
• 1:06:18
  Speaker 4: You know, it's part of the book, you know?
• 1:06:20
  Speaker 1: So the book of, okay, when something happens, get the
• 1:06:22
  Speaker 1: fuck out.
• 1:06:22
  Speaker 3: Yeah, get the fuck out. I've seen the horror movies
• 1:06:25
  Speaker 3: where people see the things and don't get out, and
• 1:06:27
  Speaker 3: then it always ends terribly for them. So get the
• 1:06:29
  Speaker 3: fuck out. A couple more things.
• 1:06:34
  Speaker 1: And people can ask why Julia doesn't get the fuck out.
• 1:06:36
  Speaker 4: Well, because she's a take care.
• 1:06:38
  Speaker 3: Right. And that's what I love about that is, is I,
• 1:06:41
  Speaker 3: cause like, I didn't even ask that question. Some people might,
• 1:06:44
  Speaker 3: you know, but I didn't because I'm like, she's a
• 1:06:47
  Speaker 3: lady taking care of an older lady with dementia. You
• 1:06:50
  Speaker 3: don't necessarily just leave her. You got to kind of
• 1:06:53
  Speaker 3: hang around and make sure. And that's the thing I
• 1:06:55
  Speaker 3: loved about this movie too, is the fact that possession is,
• 1:06:59
  Speaker 3: and kind of dementia, it's such an interesting parallel that
• 1:07:04
  Speaker 3: you use because on the outside, in this world where
• 1:07:08
  Speaker 3: there is possession, those can kind of look similar. You
• 1:07:11
  Speaker 3: know what I mean? Like, does she actually have dementia?
• 1:07:14
  Speaker 3: Is something else going on here? Of course, over time,
• 1:07:16
  Speaker 3: you know that something's going on. But at the beginning,
• 1:07:19
  Speaker 3: you really don't know. You just think she's got dementia
• 1:07:21
  Speaker 3: and she's having a hard time remembering where she's at.
• 1:07:24
  Speaker 3: And then it's slowly revealed that... She's got the possession.
• 1:07:28
  Speaker 3: So I love that kind of that, how you, how
• 1:07:31
  Speaker 3: you mash those together. I think that was, I think
• 1:07:33
  Speaker 3: that was very well done. Um, and even the continuity
• 1:07:36
  Speaker 3: to between shots, I remember at one point she opens
• 1:07:39
  Speaker 3: a trash can in the, in the kitchen and that
• 1:07:43
  Speaker 3: was open for the rest of the movie. She throws
• 1:07:45
  Speaker 3: up at one point and that throw up was there
• 1:07:47
  Speaker 3: on the floor for the rest of the movie. I
• 1:07:48
  Speaker 3: was like, yeah, this is a pretty, this is a
• 1:07:49
  Speaker 3: pretty damn good continuity. Uh, I really liked that.
• 1:07:53
  Speaker 4: Oh, well, because we shot in order, basically.
• 1:07:56
  Speaker 3: So once the damage is done, we leave it there.
• 1:07:58
  Speaker 1: Once the damage is done, we leave it there.
• 1:08:00
  Speaker 3: So what was the, how many days did you shoot
• 1:08:04
  Speaker 3: this on?
• 1:08:05
  Speaker 1: Six.
• 1:08:06
  Speaker 3: Six days.
• 1:08:09
  Speaker 1: Wow.
• 1:08:10
  Speaker 3: Okay. That's very impressive. Six days. Well, I mean, I
• 1:08:13
  Speaker 3: guess that makes sense. It's about, you know, 70, 80 minutes,
• 1:08:16
  Speaker 3: 15 minutes you're trying to do. Five days. Yeah, yeah,
• 1:08:20
  Speaker 3: that makes sense. It's just still very impressive to do
• 1:08:22
  Speaker 3: an entire movie in six days.
• 1:08:25
  Speaker 4: Yeah, that was hard.
• 1:08:27
  Speaker 3: That's crazy.
• 1:08:28
  Speaker 1: The other one, we'll do it in 12 days, 12,
• 1:08:31
  Speaker 1: 13 days.
• 1:08:32
  Speaker 3: Okay.
• 1:08:33
  Speaker 1: This is the prequel because we have those long shots,
• 1:08:35
  Speaker 1: so basically it takes less time.
• 1:08:39
  Speaker 4: To shoot.
• 1:08:40
  Speaker 1: But still, I want to have variation and that's going
• 1:08:42
  Speaker 1: to be a little bit different. And we're going to
• 1:08:46
  Speaker 1: give like something a little bit different also. So I'm like, okay, let's,
• 1:08:48
  Speaker 1: I need more days, obviously, but, and I don't turn
• 1:08:51
  Speaker 1: around to make the full movies. People are more geeky
• 1:08:54
  Speaker 1: and filmmakers. And it took me from the day of
• 1:08:58
  Speaker 1: shoot till the day of delivery.
• 1:09:00
  Speaker 3: Seven months total wow that's impressive.
• 1:09:03
  Speaker 4: The full movie the full full things.
• 1:09:05
  Speaker 1: Ready ready to go yeah wow But it took so
• 1:09:08
  Speaker 1: long basically to show it because we want to do
• 1:09:10
  Speaker 1: a premiere somewhere. So it was Glasgow and it was
• 1:09:12
  Speaker 1: six months later.
• 1:09:14
  Speaker 4: That's the reason why it took so long.
• 1:09:16
  Speaker 1: So like, Oh, okay. So I took, I could have
• 1:09:18
  Speaker 1: took my time a little bit more in there and
• 1:09:20
  Speaker 1: modify a few things and I want it, you know?
• 1:09:23
  Speaker 1: So that was a, that was a stretch, but it's, uh, yeah.
• 1:09:26
  Speaker 4: So seven months door to door.
• 1:09:28
  Speaker 3: Wow. Impressive. Okay. So one more compliment here that I
• 1:09:32
  Speaker 3: have to give you is, uh, There were two, so
• 1:09:36
  Speaker 3: you included like two non-jump scare jump scares, right? There's
• 1:09:42
  Speaker 3: one where Julie is looking in the basement. And Evelyn's
• 1:09:47
  Speaker 3: face just comes out of nowhere and there's no dramatic sting.
• 1:09:50
  Speaker 3: There's no loud music. I was, it just, it fucked
• 1:09:53
  Speaker 3: me up. I was like, oh my God. And then
• 1:09:55
  Speaker 3: there's another scene in the same spot, but it's Randall
• 1:09:58
  Speaker 3: this time. And I won't give away what happens, but
• 1:10:00
  Speaker 3: she also comes out again. And I was like, how
• 1:10:03
  Speaker 3: did you manage to get the same scare basically in
• 1:10:07
  Speaker 3: the same spot? Like I reacted the same way both times.
• 1:10:10
  Speaker 3: And I love when, because you're not expecting it to
• 1:10:12
  Speaker 3: happen again in the same spot, right?
• 1:10:16
  Speaker 4: That was a little bit the idea.
• 1:10:18
  Speaker 1: But here's the thing, what's funny is because the first
• 1:10:20
  Speaker 1: time in the cut, we had sound and music on
• 1:10:25
  Speaker 1: the first scare that happened. But we felt like it's
• 1:10:29
  Speaker 1: a cheat. Let's just do nothing. Let's put nothing.
• 1:10:32
  Speaker 3: It's more effective.
• 1:10:34
  Speaker 1: It's way more effective. And it was something I'm like, nah,
• 1:10:37
  Speaker 1: let's remove stuff. Yeah. You know, sometimes we have a
• 1:10:39
  Speaker 1: tendency to put more because we think that nobody's going
• 1:10:41
  Speaker 1: to understand. It's not really working, but at the end
• 1:10:44
  Speaker 1: of the day, less is more sometimes. Yep. Whereas that's
• 1:10:46
  Speaker 1: a good case of less is more.
• 1:10:47
  Speaker 3: Yeah.
• 1:10:48
  Speaker 1: And the other one was a mistake.
• 1:10:50
  Speaker 3: What do you mean?
• 1:10:51
  Speaker 4: So basically, yeah, the one with Randall.
• 1:10:53
  Speaker 3: Oh, yeah.
• 1:10:55
  Speaker 1: Because we're supposed to see her.
• 1:11:00
  Speaker 3: Oh, okay.
• 1:11:02
  Speaker 1: But didn't work out exactly just because the height of
• 1:11:05
  Speaker 1: the actors and the way that he fell and the way, anyway,
• 1:11:08
  Speaker 1: all that dynamic there. And it just happened then when
• 1:11:14
  Speaker 1: it happened, the lightning happened at the same time. The
• 1:11:17
  Speaker 1: splash happened.
• 1:11:19
  Speaker 4: It was a coincidence.
• 1:11:21
  Speaker 3: Oh my God.
• 1:11:21
  Speaker 4: Oh, this was a huge coincidence.
• 1:11:23
  Speaker 1: Wow.
• 1:11:23
  Speaker 4: And I said, that goes in the movie no matter what.
• 1:11:26
  Speaker 1: Yeah, yeah. Only thing I did is in the edit
• 1:11:30
  Speaker 1: as I ramp up a little bit a few frames
• 1:11:32
  Speaker 1: just to help the, the, the, the stampiness of that shot,
• 1:11:36
  Speaker 1: you know, that's the only thing I did.
• 1:11:39
  Speaker 4: So that was, uh, yeah, that was.
• 1:11:42
  Speaker 3: Sometimes the, uh, the stars align and you get something
• 1:11:46
  Speaker 3: you weren't expecting and it has to go in the
• 1:11:47
  Speaker 3: movie and it seems the lightning was really working in
• 1:11:50
  Speaker 3: your favor that, you know, like the flashing was really
• 1:11:53
  Speaker 3: working in your favor with those two scenes involving Evelyn.
• 1:11:57
  Speaker 1: Oh yeah, definitely. And a little bit everywhere. It helps
• 1:12:00
  Speaker 1: a lot. Also the mood, the atmosphere.
• 1:12:03
  Speaker 3: Okay.
• 1:12:04
  Speaker 1: And also you look, if you look at the tone
• 1:12:06
  Speaker 1: of it, the tone of the movie, it's more, it's
• 1:12:08
  Speaker 1: not the regular tone and you can see in the
• 1:12:10
  Speaker 1: possession exorcism type of movie, you know, usually the tone
• 1:12:14
  Speaker 1: that you get is always the earthy a little bit
• 1:12:17
  Speaker 1: more gray as you will have orange, red, beige, black, grainy,
• 1:12:24
  Speaker 1: you know, uh, This is basically what you're going to get.
• 1:12:26
  Speaker 4: It's more earthy. It's more demon. It's more demon-like. Everything else,
• 1:12:31
  Speaker 4: the color that I use is more ghost-like.
• 1:12:33
  Speaker 1: It's blue, greens, white, that foggy thing because we're kind
• 1:12:39
  Speaker 1: of a dreamy time. So that was the bad code.
• 1:12:43
  Speaker 1: I'm like, okay, so if I put lightning there, it
• 1:12:46
  Speaker 1: looks like more a haunted house.
• 1:12:47
  Speaker 3: Yeah.
• 1:12:49
  Speaker 1: I agree.
• 1:12:49
  Speaker 4: That gives a different feeling to.
• 1:12:54
  Speaker 4: Possession horror type.
• 1:12:56
  Speaker 1: It's a risk itself. It's a risk itself because the
• 1:12:59
  Speaker 1: code basically of all the horror fans genre, then we
• 1:13:03
  Speaker 1: all know, and I know those, those movies too. And
• 1:13:05
  Speaker 1: I know the codes, but I'm like, let's try to
• 1:13:07
  Speaker 1: do it a little bit different. Try to shake the
• 1:13:11
  Speaker 1: tree a little bit. So that's, that's part of it.
• 1:13:14
  Speaker 1: And I find it very fun. And I, and I
• 1:13:16
  Speaker 1: took that effect from, uh, uh, hunting you from flagging.
• 1:13:20
  Speaker 1: And that's a result that he didn't want shot. It's
• 1:13:22
  Speaker 1: all lightning everywhere.
• 1:13:23
  Speaker 3: Yeah, okay.
• 1:13:26
  Speaker 1: So I'm like, oh, that could be interesting. That will
• 1:13:28
  Speaker 1: give a tone in the movie. And just like, he
• 1:13:32
  Speaker 1: put it in one shot, in an hour one shot.
• 1:13:34
  Speaker 1: And it's the same with the lighting storm. I'm like,
• 1:13:37
  Speaker 1: if it works for him, it will work for me.
• 1:13:39
  Speaker 1: So like, why not? You know, so it will give
• 1:13:41
  Speaker 1: that sense of, but what I wanted to do is like,
• 1:13:44
  Speaker 1: I just don't want to put a storm for putting
• 1:13:46
  Speaker 1: a storm. It's basically the evil's going to be there. Yeah.
• 1:13:51
  Speaker 4: So let's put more than.
• 1:13:53
  Speaker 3: Expected yeah I really appreciated that addition because it yeah
• 1:13:58
  Speaker 3: it just it works for me at least I'm only
• 1:14:01
  Speaker 3: one person but it did very much work for me
• 1:14:03
  Speaker 3: it worked for.
• 1:14:04
  Speaker 1: Me don't worry it worked for me too I love
• 1:14:07
  Speaker 1: it I really love it and most of the people
• 1:14:09
  Speaker 1: love it it's like the tone the atmosphere works very
• 1:14:11
  Speaker 1: well in that film hands up to my crew to
• 1:14:14
  Speaker 1: helping me out to achieve.
• 1:14:15
  Speaker 3: That yeah shout out to all of them yeah.
• 1:14:18
  Speaker 4: Yeah definitely alright that was something.
• 1:14:21
  Speaker 3: So there was one scene in particular that I don't
• 1:14:25
  Speaker 3: know if I was just reading too much into or
• 1:14:27
  Speaker 3: if it was intentional or not, but it was when
• 1:14:31
  Speaker 3: you're following Lydia, Julia, around for the first time, and
• 1:14:35
  Speaker 3: she sits down on that couch, and the camera kind
• 1:14:37
  Speaker 3: of sits down at her level, and she's kind of
• 1:14:41
  Speaker 3: falling asleep. And what I noticed is on the right
• 1:14:44
  Speaker 3: side of the screen, there was a very well-lit window,
• 1:14:47
  Speaker 3: and it was very bright, and it was very, it
• 1:14:49
  Speaker 3: just popped. And then on the opposite side of her
• 1:14:52
  Speaker 3: was a very dark, very just, I couldn't see anything staircase.
• 1:14:56
  Speaker 3: To me, and this is just my interpretation, kind of
• 1:14:59
  Speaker 3: represented like the balance of good and evil almost. And
• 1:15:03
  Speaker 3: when she was falling asleep, she was kind of tilting
• 1:15:06
  Speaker 3: towards the right, which was the darker side. And for
• 1:15:09
  Speaker 3: some reason, I got the sense that that was kind
• 1:15:11
  Speaker 3: of foreshadowing the darkness that she was about to experience.
• 1:15:15
  Speaker 3: kind of discover is, is that right in any way?
• 1:15:18
  Speaker 3: Or am I, am I looking too much into that?
• 1:15:21
  Speaker 1: Uh, you're a halfway, right? Oh, okay.
• 1:15:24
  Speaker 3: Halfway. I'll take halfway.
• 1:15:27
  Speaker 1: The DP and I said, because again, it's strange because
• 1:15:32
  Speaker 1: we'll just talk about tone and colors and stuff.
• 1:15:35
  Speaker 4: And I really wanted to have something different. Okay.
• 1:15:38
  Speaker 1: But again, light and darkness is always going to be
• 1:15:41
  Speaker 1: evil and angel and you can just like play like
• 1:15:44
  Speaker 1: that yeah and because we're living in this movie it's
• 1:15:47
  Speaker 1: it's a dream basically okay so i'm not giving away
• 1:15:50
  Speaker 1: anything it's like we it's it's it's evelyn universe so
• 1:15:54
  Speaker 1: this is what we have not in julia's universe we
• 1:15:56
  Speaker 1: are in evelyn universe julia is just more floating around that.
• 1:16:01
  Speaker 3: Universe she's more of a she's more of a passenger
• 1:16:04
  Speaker 3: if you will.
• 1:16:04
  Speaker 1: Passenger yeah it's a passenger This is why it's all
• 1:16:07
  Speaker 1: blurry and this is why you have those two contrasts.
• 1:16:11
  Speaker 1: And why I said you have right is because at
• 1:16:13
  Speaker 1: some point you're like, okay, how can we talk the
• 1:16:16
  Speaker 1: picture when we don't have enough money to do it?
• 1:16:19
  Speaker 1: So in one way, it's like we didn't move the
• 1:16:21
  Speaker 1: lights because we didn't have a chance to do that.
• 1:16:25
  Speaker 1: So it's 50 lights, light everywhere. Okay, one side is
• 1:16:28
  Speaker 1: going to be dark, the other side is going to
• 1:16:29
  Speaker 1: be light. That's it. So this is how we play
• 1:16:31
  Speaker 1: it basically all the time. And I said, okay, what if...
• 1:16:36
  Speaker 1: we play a little bit more on the dark side place.
• 1:16:39
  Speaker 1: There's more lightning in that side. This is why you, you,
• 1:16:43
  Speaker 1: you will, you see, you see a little bit where
• 1:16:45
  Speaker 1: the celery on is because I know what the shock
• 1:16:46
  Speaker 1: you're talking about. So it's, there's more lightning in that
• 1:16:49
  Speaker 1: side than the other side.
• 1:16:51
  Speaker 3: Okay.
• 1:16:51
  Speaker 4: Because it's the only way we can play them.
• 1:16:54
  Speaker 3: Oh, okay.
• 1:16:55
  Speaker 1: So we, so we play, so we said, okay, let's
• 1:16:58
  Speaker 1: give a reason, a visual reason to do that as
• 1:17:02
  Speaker 1: much as possible. But there's also a technical reason why
• 1:17:05
  Speaker 1: it happens. And the fact that she falls more on
• 1:17:07
  Speaker 1: the side, that is more on the spot. Emmanuel did
• 1:17:12
  Speaker 1: a fantastic job to read the room around her and
• 1:17:16
  Speaker 1: to help a lot the character to move, to place.
• 1:17:20
  Speaker 1: Because it's a physical dance between the camera, the actors,
• 1:17:23
  Speaker 1: and what's going on. And don't forget, it's 15 minutes
• 1:17:29
  Speaker 1: remembering dialogues, movement, what I need to do, what I
• 1:17:33
  Speaker 1: need to carry, why I need to carry it. getting
• 1:17:35
  Speaker 1: in play and doing that all the time. And we
• 1:17:38
  Speaker 1: rehearsed maybe three hours, four hours, and shot the thing
• 1:17:41
  Speaker 1: like five, six times, whatever. So, you know, the actors
• 1:17:47
  Speaker 1: need to all remember those things in a little spot
• 1:17:50
  Speaker 1: here and there. So I know that Emmanuelle, who played Julia,
• 1:17:55
  Speaker 1: was very in tune with what's surrounding in that movie.
• 1:17:58
  Speaker 1: And she, look, she helped me a lot. for many,
• 1:18:02
  Speaker 1: many blocking things because she's like, well, I cannot pick
• 1:18:05
  Speaker 1: up this. It's too much. Okay. So let's simplify that thing.
• 1:18:09
  Speaker 1: But I can do this and this. I'm like, okay,
• 1:18:11
  Speaker 1: are you going to remember that? So, and she did. Yeah.
• 1:18:15
  Speaker 1: Because it was her idea. And I let the actors
• 1:18:18
  Speaker 1: free to just play a little bit with their environment.
• 1:18:22
  Speaker 1: And I said that to everybody. If you're making mistakes,
• 1:18:24
  Speaker 1: it doesn't matter. Continue. Improv. Spin on it.
• 1:18:29
  Speaker 3: I love it.
• 1:18:29
  Speaker 1: We'll figure it out.
• 1:18:30
  Speaker 3: I love that. Okay.
• 1:18:32
  Speaker 1: So this is why. I think you're right. So yes,
• 1:18:34
  Speaker 1: there's a visual thing that it's been thought. But after that,
• 1:18:38
  Speaker 1: going a little bit more, it is more the actors
• 1:18:40
  Speaker 1: feeling the environment. And after that, it's like just a
• 1:18:45
  Speaker 1: little tweaks and yeah I love.
• 1:18:46
  Speaker 4: The reality but also the technical side and.
• 1:18:49
  Speaker 1: Yeah if we did have the technical aspect probably we
• 1:18:52
  Speaker 1: didn't think that far.
• 1:18:55
  Speaker 4: Just because well we can do it we can do
• 1:18:57
  Speaker 4: it let's find a story point.
• 1:18:58
  Speaker 1: Why this is happening.
• 1:19:05
  Speaker 3: Oh, now I don't know how many, how many interviews
• 1:19:07
  Speaker 3: you've done or how much you've talked about this, but
• 1:19:09
  Speaker 3: is there anything that you haven't got to share about
• 1:19:12
  Speaker 3: the movie that you'd like to, that you'd like to share?
• 1:19:14
  Speaker 3: Like a question that hasn't been asked that you've been
• 1:19:17
  Speaker 3: dying to, to talk about? I know it's, it's a
• 1:19:20
  Speaker 3: very open, open ended question.
• 1:19:22
  Speaker 4: I know.
• 1:19:22
  Speaker 3: Wow.
• 1:19:23
  Speaker 1: That's a very good question. It's like very open. It's like, wow. Yeah.
• 1:19:26
  Speaker 3: Like, is there something that you'd love to kind of
• 1:19:29
  Speaker 3: just mention about it?
• 1:19:31
  Speaker 1: No, it's, it's, Look, the questions are very, very fun,
• 1:19:35
  Speaker 1: and it's fun to have chat like that. So far,
• 1:19:37
  Speaker 1: it's kind of Q & A chat. I love that.
• 1:19:40
  Speaker 4: People asking questions. It's fun.
• 1:19:41
  Speaker 1: And that's so important. I'm someone who talks a lot,
• 1:19:44
  Speaker 1: you know, so sometimes the interviewers say, well, I don't
• 1:19:48
  Speaker 1: have to try to pull out anything. It's just like, yeah,
• 1:19:51
  Speaker 1: I see you, man. Yeah. No, no, it's more, you know,
• 1:19:55
  Speaker 1: those movies are made in the independent process. So I
• 1:19:59
  Speaker 1: try to remind that to everybody who are with us. And,
• 1:20:03
  Speaker 1: you know, encouraging independent film, it's very important. It doesn't
• 1:20:08
  Speaker 1: matter if it's in horror or sci-fi or whatever it is.
• 1:20:11
  Speaker 1: We're living right now in a moment where we try
• 1:20:13
  Speaker 1: to make different stories as much as possible, but also
• 1:20:15
  Speaker 1: at the same time try to get, like, references to
• 1:20:20
  Speaker 1: what we know in comfort. Otherwise, we just have a
• 1:20:22
  Speaker 1: bunch of, uh, sequel, prequel or whatever it is, uh,
• 1:20:27
  Speaker 1: all the time, which is fine. I'm a hundred percent fine. Look,
• 1:20:29
  Speaker 1: I'm going to make a trilogy of that fucking movie.
• 1:20:31
  Speaker 1: So like, that's great. But at the same time, I
• 1:20:33
  Speaker 1: tried to make it like different and try to take risks.
• 1:20:37
  Speaker 1: And I think this is what I would like to have, uh,
• 1:20:41
  Speaker 1: people to understand about that films. Like I said, this
• 1:20:43
  Speaker 1: movie is just a big risk and a big fun risk.
• 1:20:47
  Speaker 1: then I took in my career and I took with
• 1:20:49
  Speaker 1: my friends and I make movies with my friend. And
• 1:20:52
  Speaker 1: it does happen. I make a feature film with my
• 1:20:54
  Speaker 1: friend and it's fun, you know? And I hope this
• 1:20:57
  Speaker 1: is what people's going to understand about that film is like, yeah,
• 1:21:00
  Speaker 1: it's not the big budget film that everybody, you know,
• 1:21:03
  Speaker 1: expecting to see.
• 1:21:04
  Speaker 4: But it's not, it's have enough heart.
• 1:21:06
  Speaker 1: It's not enough, uh, fun in that film that.
• 1:21:11
  Speaker 4: No, we know what we're doing, you know? So it's
• 1:21:12
  Speaker 4: just like, nobody asked me that.
• 1:21:15
  Speaker 1: It's like, okay, what, what, what, what, A lot of
• 1:21:17
  Speaker 1: people ask me about more the, you know, how we
• 1:21:22
  Speaker 1: made it. But the one thing that nobody knows is
• 1:21:24
  Speaker 1: the business side of it. And when you're making independent film,
• 1:21:28
  Speaker 1: you need also to think about the business side of it.
• 1:21:31
  Speaker 1: And I do a big shout out to my investors
• 1:21:35
  Speaker 1: in that. I'm just like, hey, you're going to try something?
• 1:21:37
  Speaker 1: That's fun, you know? But yeah, people don't know, but
• 1:21:41
  Speaker 1: I built the companies. I built, you know, I'm doing
• 1:21:44
  Speaker 1: the accounting at the end of that. I'm doing basically everything.
• 1:21:47
  Speaker 1: You know, it's not only raising cash. It's like just like, hey,
• 1:21:50
  Speaker 1: you know, we want to build something that we can
• 1:21:53
  Speaker 1: make independent film and make it fun. And the best
• 1:21:59
  Speaker 1: way to support that is just like say, hey, look,
• 1:22:01
  Speaker 1: it's an independent movie. They try at least something. And
• 1:22:04
  Speaker 1: that's good. Let's celebrate that. You know, let's just celebrate
• 1:22:07
  Speaker 1: that part. And nobody really to answer your questions that
• 1:22:11
  Speaker 1: is like. Nobody asked me about that. It's like, oh, okay,
• 1:22:13
  Speaker 1: that's a done deal. I said, yeah, no, there's so
• 1:22:15
  Speaker 1: much around that. Then I pull off. I'm not just
• 1:22:18
  Speaker 1: like the director. I'm also the producer, the exec producer.
• 1:22:22
  Speaker 1: I'm the company.
• 1:22:22
  Speaker 4: Yes, I have people.
• 1:22:23
  Speaker 1: Don't get me wrong. Phil, Ben are my partners. We're
• 1:22:27
  Speaker 1: all together. My investors, John, Arun, and all those people
• 1:22:31
  Speaker 1: are with me for a long, long time since I've
• 1:22:34
  Speaker 1: been mom. Yeah. we just try to pull out movies
• 1:22:38
  Speaker 1: to make an entertainment because this is what I want
• 1:22:40
  Speaker 1: to do.
• 1:22:41
  Speaker 4: I just want to entertain people.
• 1:22:42
  Speaker 1: That's it. I have no, no other pretentious to do.
• 1:22:45
  Speaker 1: So it was like, just fun.
• 1:22:47
  Speaker 3: Just fun. I think filmmaking needs to be fun.
• 1:22:50
  Speaker 1: Yeah.
• 1:22:50
  Speaker 3: Film filmmaking and films themselves. I feel people these days,
• 1:22:54
  Speaker 3: these days just don't know how to shut their brain
• 1:22:56
  Speaker 3: off and enjoy a movie. They're trying to either critique
• 1:23:00
  Speaker 3: everything about it or pick out all the negatives and,
• 1:23:02
  Speaker 3: I'm always the one that's going to pick out the
• 1:23:04
  Speaker 3: positives before any of the negatives. I just, I look
• 1:23:07
  Speaker 3: for what the film is doing well. And there's a lot,
• 1:23:12
  Speaker 3: there's a lot of good stuff that's happening in this movie.
• 1:23:14
  Speaker 3: And that's exactly why I wanted to, to speak with
• 1:23:17
  Speaker 3: you about it. So I guess a final question here is,
• 1:23:21
  Speaker 3: is what do you want people to take away from
• 1:23:24
  Speaker 3: bury the devil?
• 1:23:26
  Speaker 4: The fun of it. It's just a fun ride.
• 1:23:30
  Speaker 1: And that's it. Look, the movie is about, what, 82 minutes,
• 1:23:34
  Speaker 1: 83 minutes when you think about that? So with end credits,
• 1:23:37
  Speaker 1: so roughly that. So it's just a fun, like, okay,
• 1:23:40
  Speaker 1: let's watch something that is different. Then it gives you
• 1:23:43
  Speaker 1: a rollercoaster ride. And if you abandon yourself in that movie,
• 1:23:46
  Speaker 1: you will feel like, wow, that's fun. It's tensioned. Because, yeah,
• 1:23:50
  Speaker 1: you're following one fucking character in real time. So that's, like,
• 1:23:54
  Speaker 1: that thing, you know? So what's taking away that? So
• 1:23:57
  Speaker 1: that's just the fun of it, you know? So it's,
• 1:23:59
  Speaker 1: there's no, you know, someone sent me at some point,
• 1:24:04
  Speaker 1: was like, yeah, but it's not pretty, this movie, it's made, like,
• 1:24:09
  Speaker 1: for kind of a streamer, okay?
• 1:24:11
  Speaker 4: We'll just say that.
• 1:24:12
  Speaker 1: He said, yeah, but when you watch it on big screen,
• 1:24:15
  Speaker 1: you feel like in the video game. Yeah. Because it's
• 1:24:18
  Speaker 1: the way the camera moves. And someone called it that
• 1:24:21
  Speaker 1: in one of the reviews. It's like, yeah, it feels
• 1:24:23
  Speaker 1: like you're watching a video game on a big screen.
• 1:24:25
  Speaker 1: It's amazing. I'm like, yeah, because it's fun.
• 1:24:28
  Speaker 3: Yeah.
• 1:24:29
  Speaker 4: It's just fun.
• 1:24:30
  Speaker 1: And I love that movie.
• 1:24:31
  Speaker 4: I love to make it.
• 1:24:33
  Speaker 1: I really loved making that movie. And I cannot wait
• 1:24:37
  Speaker 1: to do the prequel of it. We're supposed to shoot
• 1:24:40
  Speaker 1: sometimes in the first week of November.
• 1:24:42
  Speaker 3: Oh, wow. This November?
• 1:24:45
  Speaker 1: Yes, this November.
• 1:24:46
  Speaker 3: All right. very exciting stuff here. I love that. Yeah. So, um, yeah,
• 1:24:52
  Speaker 3: I mean, like I said, I, I quite enjoyed this movie.
• 1:24:54
  Speaker 3: It was, it was a nice surprise. I'm thankful to
• 1:24:57
  Speaker 3: pixel scene media for sending over the screener. I have
• 1:25:00
  Speaker 3: a review like a, cause you know, they, they asked
• 1:25:03
  Speaker 3: to do for you to do a review on it,
• 1:25:05
  Speaker 3: which I'll be recording here in a minute, um, after,
• 1:25:07
  Speaker 3: after this, but yeah, I'll be doing a review star rating,
• 1:25:10
  Speaker 3: all that stuff, recommending it to people because I do
• 1:25:13
  Speaker 3: think this is something that people need to see. Cause it's, it's,
• 1:25:16
  Speaker 3: it's familiar in some ways, but, but feels so different
• 1:25:20
  Speaker 3: than what is being done right now. Like there's a
• 1:25:23
  Speaker 3: lot of the same stuff happening right now. And this
• 1:25:26
  Speaker 3: just feels so different and it's either going to work
• 1:25:29
  Speaker 3: for you or it's not like, it's not going to
• 1:25:30
  Speaker 3: be for everybody. No film is for everybody. Uh, but
• 1:25:35
  Speaker 3: if you, if you can just turn your brain off
• 1:25:36
  Speaker 3: and have fun and, and, and, and just enjoy the
• 1:25:39
  Speaker 3: ride and not expect an answer for everything, uh, Cause
• 1:25:43
  Speaker 3: there is a level of ambiguity here. It's okay. Like
• 1:25:46
  Speaker 3: it's okay to be ambiguous, especially now that we're going
• 1:25:50
  Speaker 3: to kind of, you mentioned there's other movies coming that
• 1:25:53
  Speaker 3: there's going to be some kind of balance here. We're
• 1:25:55
  Speaker 3: going to get a little ending and a little beginning here.
• 1:25:58
  Speaker 3: So I love that so much. Um, now that you're
• 1:26:01
  Speaker 3: on social media, where can the, yeah, where, where can
• 1:26:04
  Speaker 3: the people find you on Instagram? What, what would your
• 1:26:06
  Speaker 3: handle be there?
• 1:26:08
  Speaker 1: Well, my handle is Adam Mayet O'Brien, so Mayet with
• 1:26:12
  Speaker 1: a Y, so it's all my full legal name, basically.
• 1:26:15
  Speaker 1: This is what it is, and you can find it
• 1:26:20
  Speaker 1: on TikTok, Instagram, Facebook, and basically it.
• 1:26:24
  Speaker 4: It's enough for my old-ass brain.
• 1:26:29
  Speaker 3: So by the time this releases, because this will be
• 1:26:31
  Speaker 3: releasing at the end of the month on the 31st,
• 1:26:34
  Speaker 3: kind of after it's had its debut everywhere. But be
• 1:26:37
  Speaker 3: sure to check it out. And then you said it'll
• 1:26:39
  Speaker 3: be on VOD sometime in September, like September 21st. Definitely
• 1:26:43
  Speaker 3: recommend renting it if you can't get to the theater
• 1:26:45
  Speaker 3: to check it out. I think that's all I have
• 1:26:48
  Speaker 3: for you. Adam, thank you so much for joining me today.
• 1:26:52
  Speaker 3: And we are looking very forward, at least I am,
• 1:26:56
  Speaker 3: to more in this universe. And anybody listening at home,
• 1:27:00
  Speaker 3: you know where to find us. It's Frighteners Podcast on
• 1:27:03
  Speaker 3: all forms of social media. And next month, let's see,
• 1:27:08
  Speaker 3: next month is September. We're going to be doing, the
• 1:27:10
  Speaker 3: topic for next month is going to be Spectember Frights.
• 1:27:13
  Speaker 3: We're going to be talking about ghosts all next month.
• 1:27:15
  Speaker 3: So until then, guys, stay tuned and stay spooky. Thank
• 1:27:55
  Speaker 3: you for listening.
• 1:27:56
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:28:00
  Speaker 1: please select the link in the description.