Tom Harper di­rec­tor

SFX - - 2015 movie preview - Stephen Kelly

See­ing as the first Woman In Black movie was such a suc­cess, is there a cer­tain sense of pres­sure here?

Big ques­tion. One of the things I like about film­ing is you take the pres­sure off your­self slightly be­cause you don’t have time to an­a­lyse things or worry. I’m sure by the time Jan­uary rolls around, though, it will be dif­fer­ent…

See­ing as the screen­play is co- writ­ten by Susan Hill, the film pre­sum­ably doesn’t have much of a hard time con­jur­ing scares?

Def­i­nitely! We talked about cre­at­ing a mood all the way through, so that peo­ple are on the edge of the seat al­ready when the scare comes. If you’re go­ing to achieve that at­mos­phere where peo­ple have dread, where they fear for char­ac­ters, then you give your­self a much bet­ter chance of some­thing be­ing re­ally scary.

So, is that a con­tin­u­a­tion of the first Woman In Black’s in­ti­mate feel, or is it grander?

First and fore­most, I wanted to have char­ac­ters that you em­pathise with and fear for. And be­cause of the na­ture of the story, you’re scared, and you have the jumps and all the rest of it. But for me, you can’t have one with­out the other – it al­ways comes back to character and story. And that’s true of all my favourite hor­ror films, from Let The Right

One In to The Shin­ing.

You work with a lot of chil­dren on this. Is it chal­leng­ing to get good scares out of them?

Some­times it’s help­ful to put all the lights out and do a re­hearsal in the dark – that’s proven quite use­ful. I also did a bril­liant prac­ti­cal joke too. I took the boy who plays Ed­ward up the stairs and put a cloak over my head be­fore leap­ing out. I ex­pect a come­up­pance...

Some­one for­got to put 50p in the me­ter.


1 Jan­uary DI­REC­TOR

Tom Harper He­len McCrory, Phoebe Fox, Jeremy

Irvine, Adrian Rawl­ins, Oak­lee Pen­der­gast, Ned Den­nehy, Leanne Best

THE PITCH The Woman in Black is back in this se­quel to the hit hor­ror adap­ta­tion of Susan Hill’s book, which sees the ghost tor­ment a group of chil­dren

flee­ing the blitz.

It’s all a bit Bed­knobs And Broom­sticks Goes Dark.

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