Latest Updates



Photos
005.jpg
006.jpg
003.jpg
004.jpg
001.jpg
005.jpg
002.jpg
001.jpg
002.jpg
003.jpg
004.jpg
001.jpg
THOBM1x09_011.jpg
THOBM1x09_012.jpg
THOBM1x09_013.jpg
THOBM1x09_014.jpg
THOBM1x09_006.jpg

The brain and the muse behind HUSH speak to SHOCK.

One of the best and brightest (if not the very best and brightest) hopes for contemporary cinematic horror is filmmaker Mike Flanagan, whose films ABSENTIA and OCCULUS (read our interview here) shook the genre to attention with their radically unique approach to the genre. His long-shelved film SOMNIA (which was renamed BEFORE I WAKE, following test screenings) is finally set to be released by Relativity later this year following the release of Flanagan’s latest feature HUSH, which debuts on Netflix on Friday, April 8th. HUSH, starring Kate Siegel as a deaf mute novelist named Maddie, is an intense home invasion thriller that veers away from Flanagan’s usual supernatural genre sensibilities, but the shift suits him well. Later this year, Flanagan has a third movie set to be released – the sequel to Universal’s hit OUIJA – and though the first film (which he did not direct or have any involvement with) was a creative disappointment, Flanagan promises that his film will surprise a lot of people.

In this interview with both Flanagan and actress Kate Siegel from HUSH, they discuss the horror genre and the challenges of making a film mostly without dialogue, and Flanagan addresses the themes of his filmography and making movies in the horror genre.

SHOCK: This question is for the both of you: You both collaborated on the script for HUSH, and I know you both worked together on OCCULUS, so talk a little bit about working together on this one from the ground up.

SIEGEL: Well, we went to dinner together and we started talking about high concept thrillers. Wait Until Dark had come up. We thought how interesting it was when they put their main character in a vulnerable place with her blindness before the movie even started. We always wanted to do a movie without any dialogue, and I had a recurring anxiety of walking past my sliding glass doors and seeing a face out there at nighttime. So all of a sudden we put all these pieces on the table and put them together, and before we knew it we had the germ of our movie. We pitched it and took it to Jason Blum and Trevor Macy, and Jason bought it before the second sentence was finished. He bounced around the room and turned around and said, “Wait! Does she win?” We went “Yep!” Spoiler alert!

FLANAGAN: Then the writing process was really good. We lived together in a house in Glendale, and we came back and I would just walk around the house outside, trying to find ways to break in, and Kate would stay inside, trying to defend herself. We would just play out various scenarios. Once it felt authentic to both of us – this is what she would really do, and this is what I would really do – we would write it down and keep going. The process of writing it … the first draft was very experiential. It was completely unlike any other writing experience I’ve ever had before.

SIEGEL: Yeah, it was wonderful. We hacked it out, and we could see if things were grounded, if things made sense.

SHOCK: Kate, this is a very physical performance in so many different ways. You’re climbing on rooftops, you’re pulling arrows out of your leg, you’re getting your hand smashed up, but you’re also doing sign language, which is also very physical. Talk about that aspect of taking on this role.

SIEGEL: As we were writing it, I would think, Maddie gets shot in the leg, or various other things that happen to her, and Mike was wide-eyed and would say, “Really? Really? You’re going to want to do all that?” “I got it! It’s cool!” Then we would show up on set and do all those stunts; it was actually really fun because in the choice to take away Maddie’s ability to hear or speak, I’ve lost most of what you use as an actor. The ability to listen or talk, I could do neither. So when I lean into the physicality, I had a lot more room to maneuver. I worked with a coach for about two months before we started shooting, and aside from drilling into me those signs over and over again – which I think is a beautiful language; it’s such a beautiful and pure way of communicating … You need to be in charge of your hand position and your body language, where your eyes are, all of that has to do with subtext and communication, and I tried to bring all of that into Maddie. This is what she’s lived with, her body language, her physicality, how she communicates with the world. Then, we take those things away from her and make her less able to communicate, less able to express with her body because she’s getting messed up. Every time I could lean into the physicality, I felt freer as an actress and I think that’s why it comes across as such a physical performance.

SHOCK: I would have loved to see HUSH in a theater, but Netflix is premiering it, and most people will be watching it at home for the first time. Why don’t you address the format of the way this film will be universally seen?

FLANAGAN: Oh we always knew this was going to be a challenge for a studio marketing department for a wide release. Just because its lack of dialogue and how experimental the soundscape and structure of it was. We were always hoping for the widest release possible. When we showed the movie to buyers last Fall in Toronto we had interest from studios that wanted to do a traditional theatrical release. We either bumped into issues where they didn’t know how to market it properly or they wanted to change what the picture was, or they simply couldn’t compete with what Netflix wanted to do. Netflix was so supportive of the movie. The landscape of how movies are going to be released is changing and is changed. Netflix and Amazon are aggressively leading the shift in that paradigm. It occurred to us as we were weighing our options for this movie that more people would see it the first weekend of it being available globally on Netflix than ever would if we got a theatrical release. That was a really startling thing to come to understand.

SIEGEL: It’s also why you make movies, to show it to the most people.

FLANAGAN: Yeah, and we had secured a wide release for SOMNIA that has been mired in delays and problems and marketing challenges and junk that has nothing to do with the movie. It has been mired for years. The idea of HUSH going down a similar path was heartbreaking to me. So, Netflix is going to outbid and out perform pretty much every other major player at the table, so let’s try this new release platform and see how it feels, even though I love the movie theater, and I wish more people could have seen this in a movie theater, but there’s something kind of neat about watching a true home invasion movie in the privacy of your home.

SIEGEL: We should say, however, that you should turn the lights off and turn the sound way up.

FLANAGAN: Yeah, that’s the only bummer for me. Our sound mix is so dynamic in a movie theater. I’m sad that people might not get to experience the full scope of the incredible sound design because they’ll be watching this at home. Home theater systems are pretty advanced, so hopefully people will get a good eperience out of it.


April 7, 2016
Source
by David J. Moore