![]() JE: Simon, how did you find the fight choreography? So me and Simon practiced in some kung fu classes, we did a bunch together. they were actually really brutal, these girls. not polished but actually shocking, very violent. SW: Simon wanted it to feel really scrappy. JE: What was the fight choreography like? it doesn't like take itself too seriously. I actually do find it quite funny, the movie. I was quite attracted to making something that sort of felt like a teen slasher movie with a sense of humor to it. SW: At the time, the films I was seeing felt quite heavy, and they sort of always have to be making poignant points. ![]() JE: What clicked with you on this project, Suki? And so as soon as I saw the thoughts and creative leaning that she was having, I basically just texted the financiers and was like, ‘we need to lock Suki Waterhouse in as our lead right now’, and they were thrilled to hear me say that because, you know, she's the kind of famous person that helps get movies made and I think this film wouldn't exist if Suki Waterhouse hadn’t randomly decided she liked it and she wanted to work with me on it. ![]() I think she just really did respond to that character in a really unique way. And I think she herself is very intelligent, introspective. She also had a really, I would say, instinctive understanding of the kind of humor and strangeness that the film was going for. she's a strange person, in all the ways I myself can relate to, and we were going to get along great. And when I thought about Suki at first, when I heard she was interested, I was kind of like ‘well, how does that work? How is she going to be the underdog, when she was like, you know, a famous model?’ It took me about an hour of talking to Suki to realize. SB: was a bit of a process honestly, I just wasn't sure what I wanted from that lead role. This was really more my thing, so I was just like, ‘well, I'll write something small and I'll try to raise money for it.’ And that took me about five years to get financing. between the two of us we're kind of better than the sum of our parts. that's part of, I think, what makes us great creative partners. We just have different sensibilities in certain ways. I kind of had an idea for Seance and I knew it was a story I really wanted to tell, but I knew it also wasn't the kind of story that would like really excite Adam in the same way that it excited me. So I was like, perfect, I’ll write a small little horror movie, how hard will that be to get financed? And I wanted to do one of those anyway. I kind of realized as a writer and producer I've kind of gotten my career back to the point where I want to direct again, I knew Adam was going to do Death Note after Blair Witch. but I was still pretty bored compared to You’re Next where I was just working 20 hour days alongside Adam. The studio obviously wanted a more established director, Alex Turner, who did a great job, and that was my career!īlair Witch was very similar, I worked a bit more with just hanging out with the cast and talking to the actors and working with them on things like blocking on Blair Witch, because a lot of that was kind of spontaneously done. That was a low budget movie that I'd written planning to shoot myself, but a friend got it made. ![]() I'm referring to Dead Birds, which premiered at the Toronto International Film Festival back in 2004. My career didn't initially go that way, honestly, because I wrote a couple of low budget horror scripts for myself to direct and instead of raising money to finance them I accidentally sold them to the studio. SB: This is the cliche, but I've always planned to direct from when I was a young child. JE: With this being your feature directorial debut, why the shift into directing? I kind of wanted to do something that felt contained and in the wheelhouse of what like I wanted to see as a modern horror fan, but which returned to those classical stories that I studied as a kid. I think my goal with SEANCE was to kind of return to that in-between genre, that bridge between classical locked-house murder mysteries and single location slasher films, which share a lot of narrative DNA that was really explored in Italian cinema, mainly in the early 70s. SB: I'm just a fan of old fashioned mysteries and what I call giallos (but I'm increasingly being informed is pronounced gialli). ![]()
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