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The Irish Times - Friday - The Ticket - - Cover Story -

were par­tic­u­larly in­flu­enced by Ham­mer hor­ror and by older ghostly films such as The

and The Haunt­ing. If he had his way they would have made the film in black and white. “But to­day’s kids aren’t into that. It’s weird.”

He has a point. Too many younger hor­ror fans – too many younger movie fans, for that mat­ter – seem to be­lieve that cin­ema be­gan in 1970. The cause, as Wan agrees, is, per­haps, that there are now too many ways to avoid watch­ing old films. A few decades ago, if a hor­ror clas­sic screened on ITV, you might only have two other chan­nels avail­able. If Call My Bluff didn’t take your fancy, then you al­most felt forced to watch Bride of Franken­stein.

“To­day’s kids have so much to watch,” he says. “And if there is noth­ing to watch on TV they go to YouTube. If you are mak­ing films in to­day’s world you have to be ed­u­cated as to where the film-view­ing cli­mate is at. Look, I want to make com­mer­cial films. I am not mak­ing art­house films.”

Still, it seems as if the lat­est young tyro is in con­tact with his in­ner old fo­gey. Prompted to name in­flu­ences, he is as happy to men­tion Dead of Night, the 1945 Bri­tish shocker, as more re­cent, more blood-drenched en­ter­tain­ments. Where did this taste come from? Wan, born in the late 1970s, is a child of the video gen­er­a­tion. At one point, rather poignantly, he says he wished he had been around to ex­pe­ri­ence the un­veil­ing of such an­cient clas­sics as Jaws and The Ex­or­cist.

“I can very eas­ily pin­point the time that I re­alised I might be­come a film-maker. I was 11 years old. I came across my cousin’s col­lege guide­book. She was about to move on to univer­sity. I picked it up one day and there

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