THE CUT­TING ROOM

Starburst Magazine - - Horror Obscura -

With so lit­tle money avail­able, the ac­tual film­ing sched­ule must have been ex­tremely tight? We shot over ten days with one cam­era, which is in­cred­i­bly quick. The light­ing in the tun­nels was a torch! But that made life eas­ier be­cause we could shoot and shoot be­cause we had no set-ups and be­cause the fort is buried into the cliffs we could shoot night scenes in the day, so we shot plenty of stuff. If we’d shot it tra­di­tion­ally with two cam­eras and light­ing set-ups we’d have been there for a month and it would have been out of our range. There’s one star­tling gory ‘money shot’ to­wards the end of the film – pre­sum­ably again for bud­getary rea­sons. What do you think of the trend to­wards more ex­treme hor­ror movies? I think the first Hos­tel and the first Saw were re­ally in­ter­est­ing movies. The later Saw films were just dis­gust­ing. I was watch­ing num­ber 4 or 5 re­cently, and there was a scene where a guy was try­ing to get a key out from be­hind his eye with a scalpel in the first minute, and I thought ‘I can’t watch it, it’s too much.’ I’m much hap­pier with ten­sion, you shouldn’t need blood and guts. When the blood and guts does come in ours, I think it’s a lit­tle bit shock­ing. Did you make a con­scious ef­fort to try to avoid some of the chaotic clichés which tend to be­devil ‘found footage’ movies? It’s very dif­fi­cult to avoid all of them, ob­vi­ously. I think in the first hour you start to for­get that it’s ‘found footage’ be­cause I kept the cam­era quite still and you start to feel a lit­tle bit like you’re watch­ing a documentary be­cause the shaky cam­era stuff can get a bit wear­ing. In the end, when we get down into the tun­nels, we needed to get the en­ergy up a bit so you do end up with lots of girls scream­ing ‘ Let’s get out of here’ be­cause that’s part of the genre and you need it re­ally, but I think the fact we didn’t go su­per­nat­u­ral was prob­a­bly the big­gest thing we did right. Are you in­tend­ing to stay in the hor­ror/ found footage genre for your next ef­fort? I’ll def­i­nitely do more hor­ror be­cause it’s such a big mar­ket and there are so many peo­ple who are will­ing to watch, write re­views, and blog so you can make a hor­ror movie and it can be out there with 50 or 100 re­views very quickly whereas if you make a rom­com it’s not that easy, be­cause peo­ple aren’t that in­ter­ested. If peo­ple trust that you can make movies for hardly any money, that’s a real bonus! If we’d gone into this with £250,000 debt we’d never make any money and we’d be in debt to our in­vestors for the rest of our lives. Some film­mak­ers bor­row quar­ter of a mil­lion from a fam­ily mem­ber and they can never ever pay it back. We got £12,000 and once that’s paid back, it’s all gravy. So the next movie will again be a hor­ror movie but not ‘found footage’, it’ll be tra­di­tion­ally shot this time, but be­cause of that it has to be kept quite small. If you try to make a big story with fifty or sev­enty thou­sand you’re in trou­ble, but if you’re mak­ing a one or two-per­son hor­ror movie you have to make some­thing that makes peo­ple think ‘ Wow, that’s a bit nuts!’ You’ve got to try and do some­thing which will shock. It’s a ter­ri­ble ex­am­ple be­cause it’s such a bizarre film, but The Hu­man Cen­tipede is a grim movie, but I bet it’s sold a mil­lion copies be­cause it’s had so much pub­lic­ity. I don’t want to make just a run-of-the-mill ‘noth­ing’ hor­ror movie, I want to try and think of some­thing that leaves au­di­ences go­ing ‘ blimey’ - which is tough be­cause ev­ery­one’s try­ing to do that! THE CUT­TING ROOM is avail­able now on DVD and VOD.

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