I might as well say it right at the top: SINISTER – the new film from PARANORMAL ACTIVITY producer Jason Blum – is not very…well…sinister. If we define the word as meaning, “ominous, forbidding, portending of doom,” the film starts well enough, with suggestions of dark and sinister events to come; but soon other words creep into mind: stolid, sluggish, tedious. Unfortunately, the word that will seldom if enter occur to you is scary. From opening titles to closing credits, SINISTER turns out to be a long, dull trek, with shudders that are few and far between.
It is not as if the screenwriters did not try. The opening scenes set up the story very well, cleverly using a confrontation with a local sheriff to lay out necessary exposition without resorting to any obviously expository dialogue. The sheriff (Fred Dalton Thompson) is unhappy that true-crime author Ellison Oswalt (Ethan Hawke) is moving into town, with plans to dig up details on an unsolved murder that the local population would rather forget. Oswalt, we soon learn, had his fifteen minutes of fame ten years ago, with a book titled Kentucky Blood, and in a desprate bid to recreate that success, he has moved his family into the actual house where a mass murder of a family took place. (Three guesses on how well this will turn out!)
In a novel twist on the “found footage” genre, Oswalt actually finds some footage – old Super 8 millimeter films in the attic, portraying not only the murder of the family but other, earlier murders. With the help of a local deputy, Oswalt traces the connections, which eventually lead to suggestions of the supernatural: a child-like drawing indicates the presence of “Mr. Boogie” at the scenes of the crimes, and Oswalt sees a shadowy figure in the background of the home movies. This eventually leads to a Skype conversation with a college professor (an unbilled Vincent D’Onofrio) who serves as the traditional “Johnny Explainer,” elaborating on the mythology of an obscure diety known as Bughuul – known for spiriting children off to another realm and devouring their souls.
Unfortunately, the script of SINISTER trips over its own honesty. In laying out the clues, it provides a virtual roadmap for the conclusion; anyone paying attention knows exactly where the story is headed. Which might not be so bad, except that Oswalt for some reason cannot see what is obvious to us.
Seriously: each murder is distinguished by the fact that one family member, a child, went missing. Add that with the childish drawing of the murder, and the fact that Bughuul is known for corrupting children – and what conclusion does that lead you to? Similarly, Oswalt early on realizes that the victims in his current home had lived in a house where the previous set of murders took place. So is there any reason to be worried when Oswalt finally decides he’s had enough, and moves his family out of the haunted residence? Because, you know, if PARANORMAL ACTIVITY taught us nothing else, it’s that ghost are not restricted to specific locations; they target people, wherever they may go.
I’m sorry if all this seems spoiler-ish, but in fact this is just the way SINISTER is laid out. Morever, we have ample reason to see that Oswalt is setting himself up for a fall. Despite much talk about wanting to provide a good life for his family, and also about wanting to see justice being done, it is abundantly clear that the author’s real motivation is greed – a point underlined when he decides not to share his found footage with the police. You just know that kind of moral transgression cannot go unpaid. (And if you think there might be some sort of dramatic arc in which Oswalt learns his lesson, then you probably have not watched any horror films for the past fifteen years.)
Even with a running time stretched to interminable legnth, SINISTER never manages to tie all its elements together. Why Super 8? you ask. But you will not find out. Presumably we’re supposed to assume it relates to the time when the first murders took place, but why did the murders begin then? (One keeps supposing that the timeline will be pushed even further back, suggesting that these killings have been going on for centuries, but nothing every materializes.)
SINISTER is also plagued by the usual inconsistencies seen in the horror genre, in which things happen just because we need them to. So after learning that Bughuul is little known today because most images of him were destroyed by early Christians, we see Oswalt burn Bughuul’s home movies, only – you guessed it – to have them miraculously reappear. Guess Super 8 celluloid is more resilient than ancient frescoes and canvases!
All of this might have been at least partially forgiven if SINISTER had at least offered a few memorable scares, or at least a shiver or two. Instead, the 110-minute running time is padded with endless scenes of Oswalt wandering through the dark corridors of his suburban home, while the audience waits for something – anything – to happen. More often than not, the pay-off is the sight of the Super 8 projector running by itself, suggesting that Baghuul really really likes to watch his old movies again and again. The only truly disturbing scare is not directly associated with Mr. Boogie: Oswalt’s son Trevor (Michael Hall D’Addario) is genuinely unnerving during a sequence in which, suffering from night terrors, he emerges unexpectedly from a box, as if undergoing an epileptic seizure. This one moment easily upstages everything else in the film.
Hawke manages to acquit himself as well as can be expected, in the largely unsympathetic role. Especially in the early scenes, he captures the desperation of a man deliberately exposing himself to abominable horrors – hoping that he can make a buck without losing his soul (or at least his mind) in the process. Also noteworth is James Ransone as the helpful deputy, known only as “Deputy So-and-So” because he offers to be the guy whose name you always see on the acknowledgements page at the beginning of Oswalt’s books, the “Deputy So-and-So, without whom this book could not have been written.”
The rest of the cast are professional enough, and Dalton does a good job of looking disgruntled but legitimately so – not just a one-note antagonist. Unfortunately, much of the action the characters perform is hard to believe, and many of them drop out of the action for so long it is impossible to guild credible character arcs; Oswalt’s wife Tracy (Juliet Rylance) is particularly hampered by inconsistencies.
In the end, all SINISTER has to offer are a few standard-issue scare techniques: shadowy figures in darkness; a freeze-frame image of Bughuul that comes to life when Oswalt is not looking, etc. But when director Scott Derrickson (THE EXORCISM OF EMILY ROSE) tries to pull out all the stops, he plays a bum note: the souls of the children pursuing Oswalt (during his umpteenth trip down the dark corridors) just are not terribly terrifying, and their closeups only emphasis the lack of shivers. (They all look like kids dressed up for Halloween, and you want to say, “Oh, how cute! Now go have fun trick-or-treating.”)
As if sensing the dearth of horror, SINISTER offers one final “shock” shot of Bughuul’s face lunging into frame before the closing credits. It’s almost funny: in its desperate attempt to deliver a good scare before sending the audience home, the scene virtually defines the cliche: “too little, too late.”
SINISTER (2012). Produced by Jason Blum. Directed by Scott Derrickson. Written by C. Robert Cargill, Scott Derrickson. Cast: Ethan Hawke, Julie Rylance, Fred Dalton Thompson, James Ransone, Michael Hall D’Addario, Clare Foley, Rob Rile, Tavis Smiley, Janet Zappala, Victoria Leigh, and Nicholas King as Bughuul.
Summit Entertainment releases this “frightening new thriller from the producer of the PARANORMAL ACTIVITY films and the writer-director of THE EXORCISM OF EMILY ROSE.” Ethan Hawke stars as a true crime novelist who discovers some disturbing home movies that plunge his family into a nightmarish experience of supernatural horror.
Director: Scott Derrickson. Script: C. Robert Cargill, Scott Derrickson. Cast: Ethan Hawke, Vincent D’Onofrio, James Ransone, Clare Foley, Fred Dalton Thompson, Michael Hall D’Addario, Juliet Rylance.
Release Date: October 12 (pushed back from October 5)
As part of an American Film Institute series at the ArcLight Cinemas, the screenwriting team of Scott Derrickson and Paul Harris Boardman answered questions after a preview screening of their film THE EXORCISM OF EMILY ROSE, before it opened in theatres on September 9, 2005. The film had garnered attention because it claims to be based on a true story; but in fact, Derrickson and Boardman admitted that they used the bare outlines of an actual case as a structure to create a RASHAMON-like courtroom drama in which different characters present their interpretations while leaving the conclusion open enough for viewers to draw their own conclusions.
Boardman, who also produced the film, began by explaining that he and Derrickson got the idea while researching another project, when a New York police officer (who also styled himself as a paranormal investigator) played them an audio tape of an exorcism.
PAUL HARRIS BOARDMAN: It was very scary, and told us a little bit about the story related to that. When we got back from the trip, we started researching and found some public domain things, articles and eventually a book that was out of print. That was our jumping off point for this. After we got into it, we ended up fictionalizing it and turning the story into something [else]. We took certain dramatic license with it, but we took the basic events and the basic structure of that case as our inspiration.
SCOTT DERRICKSON: Once we decided to tell the story, in the real case I think it was the idea of a girl having died and a trial following an exorcism that presented obviously what we tried to do in the movie, which was to combine two genres of film. That was what excited us about doing it initially—to see if we could make it work, to blend two genres that we love into one film.
PAUL HARRIS BOARDMAN: We both thought right away that the courtroom was a great arena for debate. We like the film RASHAMON. People talk about ‘RASHAMON this and that,’ for all these movies, whenever there’s multiple points of view. In this case it’s actually much closer to that structure, where you present evidence. By doing that, you get to look at something in several different ways. That was something we wanted to do from the beginning. We decided pretty early to start with her dead and go backwards—sort of the SUNSET BOULEVARD approach. It’s an interesting challenge for a film, because you can have a character who’s already dead but you have to be interested. [helped make film different from EXORCIST]
SCOTT DERRICKSON: We tried to put at the center of the movie the question of why did she die, and what is the truth behind this phenomenon? And ultimately to not answer it.
PAUL HARRIS BOARDMAN: We have a Scully-Mulder approach to this material, with me being a little more the skeptic and Scott the believer. We approach it and try to be very fair and even-handed to both points of view, to our points of view. That’s how we approach it analytically.
In order to get up to speed on their subject matter, Boardman and Derrickson found it was necessary to delve deeply into research.
SCOTT DERRICKSON: It wasn’t until the initial excitement had passed that we realized we didn’t know a lot about exorcism and possession; we didn’t know a lot about courtroom procedure either. So there was a tremendous amount of research. I read maybe two dozen books on possession and exorcism, from a variety of perspectives, from skeptical psychiatric perspectives, Catholic perspectives, Protestant perspectives. It didn’t matter what the perspective was; the material was incredibly dark and deeply disturbing. To read so many of those books in a row, that was the only time I felt a little weirded out.”
PAUL HARRIS BOARDMAN: He actually took all the material, brought it to me, and said, ‘Look, this doesn’t bother you quite as much as it bothers me. I don’t want it in my house.’
SCOTT DERRICKSON: All my exorcism tapes are in his garage!
PAUL HARRIS BOARDMAN: I’m Hell Central now!
SCOTT DERRICKSON: It was interesting. I was surprised at how many documented cases are out there, how much information is available about this subject. We viewed videotapes of real exorcisms. The whole 3:00am thing—there was a number of books that talked about this idea that 3:00am was the demonic witching hour. After I read that, I kept waking up at 3:00am—exactly! It started to freak me out a little bit; that’s why it ended up in the script. For me, that was the only strange thing that happened, and that was during the research phase. Once we got into the writing, then it became creative and fun. Making the movie was real positive. We don’t have great mythological stories about the “Curse of The Exorcism.”
PAUL HARRIS BOARDMAN: That 3:00am thing is a perfect example: Is that the power of the Devil or the power of suggestion? Or is it both? It was working on him, on some level.
SCOTT DERRICKSON: There was one guy in New York who has this vault of stuff. Of all the things he showed us, the one Paul and I found most compelling was not a videotape of an actual exorcism or had any paranormal phenomena. It was a tape this cop had made, interviewing an Italian family in New York who were having all this demonic activity in their house. He interviews them separately, like a police officer, to see if their stories match up. It was probably the most disturbing. The level of fear that these people had, all of them—you could feel how terrified they were. By the time it was over, all you could think was, ‘They’re not lying.’
PAUL HARRIS BOARDMAN: It was actually very striking for me. My angle is, even if I don’t believe necessarily in demonic forces, I think it’s cavalier to dismiss people’s beliefs when they have real credibility about what they feel and what they believe. It’s a character study: What makes someone that afraid? You see this girl who’s terrified, and she didn’t seem coached to me. I thought, ‘That terror is very real.’ So however you examine that, our character is going through that kind of terror. That’s an incredibly empathetic character for me.
Structuring the story as a courtroom drama was one way to avoid the inevitable comparisons to THE EXORCIST — and also to avoid any semblance to the coutless terrible movies that followed in its wake (which includes everything from BEYOND THE DOOR to THE EXORCIST II).
SCOTT DERRICKSON: In cinema, you have to be crazy [to make an exorcism film] after THE EXORCIST. It’s my favorite horror film; I think it’s the best horror film ever made. You’re not going to make a better movie than that. People who tried to imitate that movie have pretty notoriously failed. It’s daunting. Why it’s not more a topic of discussion in popular culture, I don’t really know, because it happens more often than you think, in both Catholic and Protestant churches.
PAUL HARRIS BOARDMAN: For better or worse, that is the shadow of THE EXORCIST. It was actually a very good film. A lot of people remember the state of art of shock special effects at that time, like pea soup or the spinning head. That’s what people relate to, and they relate to this slew of films that came since then that try to out-exorcist THE EXORCIST. In some ways, what we’re trying to do is show more respect to the people who do look at this more critically. When you look at all these true-life cases, whether you believe in possession or not, there are very valid, credible cases. We found that to be very frightening. We try to go back to cases we’ve read about and stay close to what has been documented.
SCOTT DERRICKSON: For me the singular challenge wasn’t the creative element of moving back and forth between courtroom drama and horror; that was hard, but I think the biggest challenge was how to take the subject matter seriously and somehow give it some kind of even-handedness, knowing that people would want to see that scary, crazy stuff happen. So part of the challenge was trying to give all of that and make that interesting and realistic, but also try to be even-handed with the ideas. Paul and I really do have different views of the world, and we wanted to pay respect to both of those ways of looking at the world. The goal was to make something entertaining and scary, and also give people something to dialogue about when the movie was over…to just get some questions on the table without popping in an answer or trying to persuade an audience how to think about these things. It’s not easy to get into a conversations possession—at least no intelligent ones.
PAUL HARRIS BOARDMAN: We’re both disturbed by the fact that religion has become very polarized and politicized in this country. Religious ideas and the examined life and this questioning what life is all about, are very personal. We wanted this film to cast a wide net, so that people could come at it from all sorts of points of view: mine, his, and various others. It has been gratifying in preview screenings that different people find the film stimulating and challenging.
Although THE EXORCISM OF EMILY ROSE eschews projectile vomiting, levitation, and rotating heads, it does work up a good head of steam as a horror film. In fact, according to Derrickson, the film narrowly avoided an R-rating just on the grounds of its disturbing intensity.
SCOTT DERRICKSON: Watching Jennifer Carpenter work herself up into hysteria [as Emily], I think everybody got very energized. We actually got an R-rating on the film when we first submitted it to the MPAA. I think we cut less than, maybe, ten seconds out to get a PG-13: little things here and there, like the autopsy photos were in color; we had to make them black-and-white. They were all relatively painless. One of the things we had to cut was in the barn exorcism. When she first sits down on her knees and growls at Father Moore with hatred — when we shot that, her face contorted so severely, it was the strangest thing I’ve ever seen. I was sitting next to Tom Stern, our director of photography, next to the monitor, and he kept saying, ‘Oh my god! Oh my god!’ It kept getting worse, until she looked like an alien. Finally, the scene was over and I yelled cut. Steve Campanelli, the camera operator, put the camera down—it was a hand-held shot—and walked over to the monitor. He was white. He said, ‘Did you see that? Did you see that? Do you know what was going through my head? I thought, she just became possessed—we got to get out of here!’ It was so great; that was one of my favorites. That was hard to cut. The MPPA was like ‘It’s too disturbing.’ I remember arguing with them: ‘So, if I had a worse actress, I wouldn’t have to cut this. That’s what you’re telling me.’ No make-up effects, no special effects. It will be on the DVD, I’m sure.
The fact that THE EXORCISM OF EMILY ROSE takes a serious approach to its subject matter is not an indication that Derrickson is afraid of the horror genre label; in fact, he is quite a horror fan.
SCOTT DERRICKSON: I think the horror genre needs fresh air. Luckily, Asian cinema has given it a boost that’s kept it going.
PAUL HARRIS BOARDMAN: Scott was really fascinated with Dario Argento’s films, in terms of the cinematic qualities, particularly SUSPIRIA.
SCOTT DERRICKSON: I actually showed SUSPIRIA to Tom Stern. His response was ‘Well, it’s total crap, but he had a really good idea.’ Which kind of made him excited. I don’t think SUSPRIA is total crap, but I thought [Stern’s reaction] was interesting. What he thought was a good idea was the idea of trying to combine bright saturated colors with beautiful art design and untypical aesthetic beauty in a horror film. That inspired him to do something that was interesting and scary, rather than going the typical Gothic route. It’s very funny. The studio really wanted a campus that was Gothic. We’ve seen that in every horror film ever made! We ended up fighting that; we went for a very modern [approach]. It did my heart good on the set when Tom said, ‘Why don’t we Argento this window over here?’ It made me so happy!
Copyright 2005 Steve Biodrowski
Last month, we ran a list of the American Film Institute’s nominees for the best Fantasy and Science-Fiction Films of all time. Many readers were angry over the exclusion of horror from the genres under consideration; some were unhappy about certain titles that made or did not make it onto the A.F.I.’s lists; a few were offended by our caustic comments about the more dubious inclusions. Well, we all have our favorites. Neither the A.F.I. nor Cinefantastique Online is the sole arbiter of what constitutes the best of the best in movie magic. Therefore, we thought it would be a good idea to present a gallery of expert opinions from people working behind the scenes. What films rank as favorites among industry insiders who made your favorite films? What films frightened or amazed the directors, writers, actors, and authors who make a living in the genres of science-fiction, fantasy, and horror? What films stirred their sense of wonder or made them want to make movies? You’ll find a sample of their answers below…
WILLIAM FRIEDKIN (Director of THE EXORCIST)
The horror films that I admire are ROSEMARY’S BABY, ALIEN, DIABOLIQUE, PSYCHO – that’s about it. I would say those are horror films, but they totally transcend the genre. They’re every bit as good as stories as horror films: the stories are believable; the characters are believable; the situations they’re put in, the style of performance, is believable. There’s also a Japanese film that I love called Onibaba, another wonderful film of fantasy and imagination, worked very carefully into a fairly realistic story. Whereas in something like Nightmare on Elm Street or Jason, it isn’t believable. There’s an automatic distance there—between what’s on the screen and the audience’s perception of real people in real situations.
I like THE BLAIR WITCH PROJECT. I applaud its ingenuity. It was something different, and it was pure to what it was—it did not break the focus. It was a documentary. When people set the camera down, all it showed you was shoes or sometimes nothing. I have to tell you, I sat there with my then fourteen-year-old son, and it scared the hell out of us. That picture scared me. I thought it was really good, because I love documentaries. I love that somebody took the horror genre, and did almost a pure documentary with it. I think Blair Witch is a helluva a film, a good film.
RIDLEY SCOTT (Director of ALIEN)
The thing I always worried about doing a monster movie—I was frightened that the monster wouldn’t be good, because they very rarely are. Probably the last great monster before that was the little girl in the bed in The Exorcist. But all you had to put on her was the voice—of Mercedes McCambridge—and that one trick was chilling. I decided to see THE CREATURE FROM THE BLACK LAGOON, THEM and IT [THE TERROR FROM BEYOND SPACE]—which actually were good fun at the time, used to scare the living daylights out of me as a kid, and now are kind of collector’s items. Funnily enough, as a child, I was always brought up not to see horror movies, because my parents classified them along with sex movies, so I wasn’t allowed to see them. I saw this poster in Piccadilly of this guy standing there with the face-mask on and the buzz saw, and I just decided not to see the film—that [The Texas Chainsaw Massacre ] was pretty tough stuff.
DIRECTOR GEORGE A ROMERO (Director of NIGHT OF THE LIVING DEAD and MARTIN)
Martin is my all-time favorite. When you make films, it’s hard to decide which among them is your favorite. When and if you make a choice, there are many factors that go into it—the experience, memories of the people working with you. On that film I had my first chance to work with Tom Savini, John Amplas. The crew numbered fifteen, including the cast. We had no money. A handful of people made it possible for me to make the movie. We made it on spit and a prayer. I think it’s my most successful effort, in that it comes closer than anything I’ve done to what I intended when I wrote the script. It turned out almost exactly the way I originally envisioned it.
I read my share of Poe. I collected EC Comics, and I’m old enough to have seen FRANKENSTEIN and DRACULA on the big screen—when they were re-released. I’m not that old! I saw THE THING FROM ANOTHER WORLD in its first run, also on the big screen The movie that made me want to make movies is—you’ll probably be surprised by this—is The Tales of Hoffman, an adaptation of Orfenbach’s opera. It’s sung in English, but the words don’t matter much; it’s the imagery that grabs you, and it never lets go. I was one of the few who saw this particular film when it played in a theatre on a big screen and in color. The film has action and adventure, and it was way serious to an eleven year old. It was released in the same year as The Thing from Another World—big competition—but this film made more of an impression than James Arness ever could. I love some of Dario Argento’s early ones, Deep Red and The Bird with the Crystal Plumage. Those were probably my favorites, and Suspiria—it’s operatic and beautiful—like The Tales of Hoffman. Repulsion is the most frightening film that I’ve ever seen. Lapsed Catholics—not practicing Catholics, but those who have strayed—like me—stained our jockeys when we first saw The Exorcist. As far as I’m concerned, that is the only film that dealt with Pure Evil and managed to pull it off.
GUILLERMO DEL TORO (Director of PAN’S LABYRINTH)
My favorites of my own films are PAN’S LABYRINTH, THE DEVIL’S BACKBONE, and HELLBOY.
I started watching horror films without caring much about their origin. We got some Mario Bava films. Of course, we have the Mexican wrestler/masked avengers type of horror film. Then every Sunday there was a local channel that showed all the Universal monster movies: everything from the classics Frankenstein to Bride of Frankenstein and so forth. Then at the matinee, my mother took me to see the Hammer films: DRACULA, HORROR OF FRANKENSTEIN, all of them. So I really got every single thing on the spectrum fed into my brain at this very tender age.
TAKASHI SHIMIZU (Director of THE GRUDGE)
I am influenced by lots of filmmakers and movies, so it’s hard to name everything. I like art films like Decalogue and big-budget Hollywood movies like SPIDER-MAN 2, but I fell asleep in SPIDER-MAN. Sorry, Sam! (referring to SPIDER-MAN director Sam Raimi, who produced THE GRUDGE)
SCOTT DERRICKSON (Director of THE EXORCISM OF EMILY ROSE)
In cinema, you have to be crazy [to make an exorcism film] after THE EXORCIST. It’s my favorite horror film; I think it’s the best horror film ever made. You’re not going to make a better movie than that. People who tried to imitate that movie have pretty notoriously failed. It’s daunting.
ADAM GREEN (Writer-director of HATCHET, whose festival tag-line was: “It’s not a remake; it’s not a sequel; and it’s not based on a Japanese one.’)
In fact I like Japanese horror films, and some of my favorite films are remakes. John Carpenter’s THE THING is my Top Five of all time, and I love THE TEXAS CHAINSAW MASSACRE [remake] – as much as a lot of people would want to kill me for saying that. I wanted to hate that when I saw it, and I really liked it. Even the second time – because I thought, ‘Maybe it’s just Jessica Biel’s boobs,’ but it wasn’t; it was really that good.
HALLOWEEN to me is still [great] – nothing will ever touch that one. [Slasher films] created villains with great mythologies behind them that were very simple stories that you could easily explain to your friend while you’re lying on the floor in sleeping bags at night, having a sleepover. That was the real joy of these films for me. The villains were these anti-superheroes; they were just these total bad-asses. As much as you were afraid of them, you were kind of rooting for them because they were so cool.
WILLIAM MALONE (Director of THE HOUSE ON HAUNTED HILL)
Of recent ilk, one of my favorites was ALIEN, which is just a brilliant movie. I still love CREATURE FROM THE BLACK LAGOON: there’s something evocative about it that really works. I love things like THE CABINET OF DR. CALIGARI and FRANKENSTEIN, which is a wonderful picture; the original still really holds up. MAD LOVE is a really cool movie, with Peter Lorre. And some other stuff has been overlooked like PLANET OF THE VAMPIRES, the Mario Bava picture, which I think is a wonderful film. I was heavily influenced by THE BLACK CAT , which is one of my favorite films. I love that movie. When I first met Geoffrey [Rush, whom Malone directed in House], he’d just gone to see THE BLACK CAT, and he talked about how much he loved it. It’s got this perversity, this weird, dark undertone. What’s great about it is that you can’t put your finger on it, except if you actually look at the plot of that movie, you could never do that today. It’s too twisted: the fact that Karloff kills Lugosi’s wife and then keeps her body preserved in the basement, and then marries her daughter! I’m a big fan of [director Edgar G.] Ulmer’s work.
JEAN-PIERRE JEUNET (Director of ALIEN: RESURRECTION and AMALIE)
I love American Beauty, Memento, Happiness. I have two films in my life: A CLOCKWORK ORANGE from Stanley Kubrick and ONCE UPON A TIME IN THE WEST. I saw it when I was a teen, and I couldn’t eat or sleep for three days. My parents were, “What? What? Are you sick?” “No no, you can’t understand!”
MAZAAKI TEZUKA (Director of GODZILLA: TOKYO S.O.S.)
The first GODZILLA (1954) … [is] a masterpiece, but KING KONG VS. GODZILLA is my favorite.
ROLFE KANEFSKY (Writer-director of NIGHTMARE MAN)
I saw Frankenstein and all the monster movies when I was four years old, but I became a huge horror fan when I was fourteen, when I really started watching horror films and seeing all the conventions and the clichés. All the really good horror films were – except when the studios decided to stay out of it, like THE EXORCSIT – they were not studio films. They were independent films: HALLOWEEN, FRIDAY THE 13TH, A NIGHTMARE ON ELM STREET.
LEONARD WOLF (Author of Dracula: A Connoisseurs Guide)
I am very drawn, curiously enough, to the silent film, NOSFERATU (1922). When Count Orlock comes to—her name is either Nina or Ellen, depending on the subtitles—they exchange looks across the areaway. It is so charged with complex implications. Clearly, he is now going to be in the role of the demon lover, making love to a woman who sends her husband away—it’s got elements of French comedy in it. At the same time it’s a ghoulish moment, when this guy who’s not really living shows up in her bedroom and crouches at the side of her bed. You never know what they’re doing, but whatever they’re doing is so silent and so horrible and so Christian and so appalling—I’ve said somewhere in my book that the silence is intensified. We know we’re in a silent film, but somehow that scene takes on a terror because it’s so utterly still.
SUZY MCKEE CHARNAS (Author of The Vampire Tapestry)
I think that one thing that happens when you are raised as a reader rather than a visual consumer is that when you do go to films, they’re really pretty overwhelming. I remember being really impressed by silly things like ABBOTT AND COSTELLO MEET FRANKENSTEIN. It is wonderful, but it shouldn’t send you screaming! It did influence me, to put it mildly. For a very long time, the whole vampire thing was very tightly attached to the Hungarian actor whose name we all know. I still kind of balk when people get too far away from a basic sort of dignity. I don’t really go for BUFFY THE VAMPIRE SLAYER-type of vampires, and the punk rocker ones really turn me off.
BARBARA STEEL (Star of BLACK SUNDAY, a.k.a. Mask of the Demon)
Black Sunday is the best of the genre films I made—the final result was most perfected in terms of the whole film, but I don’t feel it was best for me as an actress. I never saw a completed script for BLACK SUNDAY. We were given the pages day to day. We had hardly any idea of what was ever going down on that film. We had no idea of the end or the beginning, either. I’m sure he [director Mario Bava] had, or maybe he hadn’t. He really geared it to play out all his cinematographic-visual fantasies, and I think that one of the strongest points of the movie is the look of it. It’s just fortuitous for an actress to find herself in something that well structured.
CHRISTINA RICCI (star of SLEEPY HOLLOW)
I’ve always loved [Tim Burton’s] movies. EDWARD SCISSORHANDS is one of my favorite movies of all time. His movies are so different. His movies are so beautiful and really elegant. They’re also told with such an innocence and a goodness. People say his movies are dark, but they’re really about Good and Evil, and the Good is always so good and so strong—they’re actually really sweet stories.
PATRICK MACNEE (Star of THE HOWLING)
You just can’t get a more stunning film. My darling wife and my friends sat there watching it like that [grips the armrest of his chair and forms his mouth into a silent scream to demonstrate]. It’s a wonderful, wonderful film. Now all my other films— THE CREATURE WASN’T NICE, LOBSTER MAN FROM MARS —I have been in more movies of that type. I’m not saying we weren’t good in them, but they were movies you never see again, hopefully. When Dennis Bartok [of American Cinematheque] said, ‘We’re going to do a retrospective of your movies,’ I said, ‘Which one? There’s only one worth seeing, and this is it!’
JOE DANTE (Director of THE HOWLING)
There are too many monster movies for me to pick. I spent a misspent youth watching monster movies, and then I spent a misspent adulthood making them. So I would refer you to any list of decent monster movies, and I’m sure my favorites will be on there.