Interview with Alistair Legrand director and co-writer of The Diabolical

maxresdefaultThe Diabolical was one of my favorite films from this years FrightFest, a movie that once seen will stay with the viewer long after its done along with many questions that may plague your mind as they did mine. Luckily I met the man behind the movie, director and co-writer Alistair Legrand who told me everything I need to know and more.

With tons of passion for horror and stories from the set Legrand spoke about making The Diabolical from original idea to final cut and more giving me an amazing insight into the whole process during our interview. That also means that the below is best read after you have seen the movie as it contains plenty of spoilers so be warned!

Love Horror: I really liked the film I saw it at the FrightFest screening the other day. It was really good because I didn’t really know anything about it.

Alistair Legrand: Thanks man that’s the best way to see it.

Love Horror: I guess this is going to make this interview pretty hard if we have to talk about the film without talking about it which is sort of impossible. Would you prefer people not to really know anything about the plot of the movie generally?

Alistair Legrand: I would prefer people to walk in cold but when it comes to interviews I feel people read them after seeing the movie anyway so it’s okay to talk about it. I guess we can say “And now we’re going to discuss the ending!”

Love Horror: I guess we can just put in there are going to be massive spoilers.

Alistair Legrand: Which is great!

Love Horror: Starting at the beginning because The Diaboimgreslical is such a complex and clever movie how did you come up with the idea?

Alistair Legrand: There has been a glut of paranormal movies in the past 5 years. It’s insane as it seems every 2 movies is a haunted house film. I always try to reinvent or think of a new way to tell a story because I love taking something and making it something unexpected in a way like we all do. I mean there are no original stories we are all just constantly reinventing the wheel. I wanted to explain why rooms get cold and why pencils fly across desks and why windows open.

My favourite thing was I was trying to figure out why objects levitate in things like Paranormal Activity and other films and wondering why would that happen? and I must have been watching Back to the Future 2 or Fringe or something I forget but I was in time travel mode that day and I connected the two ideas and that was where the whole idea for The Diabolical sprouted.

I used to absolutely hate time travel movies except for the really great ones like Back to the Future but I started to love them. It’s such an interesting place to play.

Love Horror: Is that because anything’s possible?

Alistair Legrand: Yeah. You can either do it the really creative way and not care about the science or you can do it the very scientific way like Primer which is a brilliant film and totally saying this is how it could actually happen. We (Legrand and co-writer Luke Harvis) wanted to do the more fun way and come up with our own way of doing it.

Love Horror: On a personal level do you believe there is a scientific explanation for supernatural phenomenon people experience in real life or was it just a good idea for a film?

Alistair Legrand: I feel if you look deep enough you will find an explanation. I love trying to find the hidden code in everything. I’m a constant conspiracy theorist and information hound and I devour information so once we started the process of the script it was really fun to look into how to explain certain things and why they would actually happen. We actually found connections like when you launch protons from different sections when they are actually attempting teleportation which is impossible but they are doing it now with protons.vcvcv

Love Horror: The opening of the movie is brilliant because it contains so many familiar haunted house elements almost tricking you into thinking you know what you’re in for and then the film later on suddenly goes sideways into something completely different. Was it important to start out with that supernatural horror feel before you moved into more original areas?

Alistair Legrand: It was important for us not to disrespect either genre that we were melding because I personally love haunted house stuff. I love horror and I love ghost and I love monsters and I wanted to make sure that we were as entertaining and as fun as possible but at the same time while doing then ending of the film which is insane.

Love Horror: That blending works so well in The Diabolical unlike in other films where the jump seems artificial or totally incongruous.

Alistair Legrand: Yeah or that your making fun of it like in Cabin on the Woods where it feels like a parody of it and a little too sarcastic. We just wanted to tell a good story in both genres essentially.

Love Horror: It’s a very interesting and original element to The Diabolical that this has been going on for some time for the family and at the start we see paranormal investigators attempting to find out what’s wrong. Most films would just be about that investigation or the start of the hauntings rather than yours which almost comes in at the end.

Alistair Legrand: That was a challenge writing the script because we wanted a much longer sequence at the beginning where she had, in a fun way, a series of people in sort of taking on all these movies that do that. So she sees a priest and a psychic and like a ghost buster but not really a Ghostbuster. It’s because we know at this point there is sort of a lot of stuff the audience is making up in their heads like she has probably called 911 a billion times and the police have come over and couldn’t find anything you know you don’t need to show that.
It’s a fun idea that a person has exasperated every effort to stop a problem like I don’t know what to do now. Because of time and scheduling we only had the investigators and it worked out for the best. At first they were a little bit more trying to rip her off because I am also fascinated by that idea of paranormal investigators being griffters, just trying to steal a buck from someone. But it was better to show them as real people who were actually scared of what they were encountering.

Shooting that sequence was a lot of fun because I got to do something that was a little bit like an Insidious film so it was a sort of wink to those movies. I had to in some ways because a lot of the original idea for The Diabolical came from watching really bad paranormal shows.cxcvxv

My favourite part of those shows is when they are playing the audio back from what they recorded in the room and they hear (whispering creepily) “get out of this house!” or something. I love that and I’m always thinking how did they get those voices on there if it’s actually real which it’s probably not it’s just a pipe creaking. That’s where the idea came that maybe it’s a person stuck in a loop.

Love Horror: Unlike a lot of movies the film seems to be running at the same speed as the viewer and certain revels happen just after the audience cottons on which is great as its treating us all as intelligent adults rather than spoon feeding us the story.

Alistair Legrand: We put in a lot of visual clues and I am sure there will be a lot of stuff people miss. In editing it was sort of like that picking which street to go down and thinking how fast do we provide the information and how can we do it in a succinct, clear way. At the same time these are characters that are encountering something that’s from so far away how would they know that information and how would they figure it out.

It’s like a character in a movie about a tornado can figure out when that tornado hits but in this movie they don’t know who’s creating that tornado, they don’t know the mad scientist and what his plan is. Its more about how our characters are reacting to what they are doing rather than totally figuring it out.

I think audiences are really smart and you can’t talk down to them so it’s more fun to do something that is a little bit faster than they may be used to in figuring the story out. We’re still a B-movie and we have corny and fun stupid dialogue but at the same time we are trying to do something intelligent in the background. It’s a weird mix.

Love Horror: You said in the Q&A after the film you didn’t want to have loads of exposition in the film.

Alistair Legrand: In a way we couldn’t because the only expert is the scientist our male lead Arjun (Gupta who plays Nikolai) but since he was working on such an early form of the experiment he wouldn’t know every answer.

assdsdLove Horror: Did that make the script harder to write, not having that person who tells the characters and audience “here is what’s happening”

Alistair Legrand: Totally, there was a version of the story I was reviewing with my writing partner where the experiments started in the past, in the 1960’s, it was more like Lost where they try this experiment on these prisoners in 1962. That would have been easy because you could go to the site where it started and figure everything out but we decided no let’s do the harder story lets have it all coming from 2075 or whatever.

Love Horror: It was your first film wasn’t it? Was it a hard process to get The Diabolical made?

Alistair Legrand: It was a hard process to convince people that I could do it in a way but luckily I had done a ton of music videos. I have always loved horror and science fiction so even if I was writing a music video for a folk artist I would still try and incorporate that like “Okay you’re going to be in a really spooky looking house” because I would always try and make whatever I was doing have a horror bent. That’s how I grew up and that’s the most fun I have.

It was helpful to have those visual guides for people. I have a great relationship with my cinematographer so they knew that when I was starting to film it I could make it look like a feature film and work well with crew. It helped to have that foundation.

Love Horror: Would you advise anyone who wants to get into feature film directing that music videos are a good place to start?

Alistair Legrand: Yeah its wonderful its loads better than shorts in a way because you will have a lot more people see what you’re working on and you have to be super creative because the budgets are so small.

Love Horror: Also I guess you have a restriction because you have the song but that means you have something to break out of and be really original.

Alistair Legrand: Exactly. You might have a terrible song but you still need to pay your rent that month so it’s a great way of learning to deal with producers and the industry and figuring out really creative ways to tell a cool story even though the thing your doing doesn’t sound that cool at all. It really makes you think on your toes which is so helpful once you get to film making because you’re not going to have 20 hours to film a scene, you’re going to have 5 minutes and you’ve got to figure out a way to do that in 2 shots. Music videos really helps with that.xzcxc

It’s really fun because you have to be fast. It’s also really good because you get to meet a lot of people. My cinematographer and I met at film school but through music videos we really learned to work as a partnership together. You need a dialogue with your DP (Director of Photography), if you don’t get along with them, if you guys aren’t on the same page that’s going to be trouble for you once you start filming your movie.

Love Horror: Going back to the film I really liked the vagueness of the future scenes and the fact they didn’t spell it out for the audience.

Alistair Legrand: Yeah we got that THX 1138 feel. The Fly was such a big influence, that scene where the baboon gets ripped in half in the pod, remember that? That scene has affected me for so long. I saw that movie when I was probably 10 years old and that really messed me up. I have always wanted to explore the idea of “what if that baboon half way through that journey dipped in time?”

Love Horror: Where there any other major influences in making The Diabolical?

Alistair Legrand: The Entity with Barbara Hershey was a big influence and Poltergeist and Robert Zemeckis Contact with Jody Foster which I think is a really underrated fantastic film and it sort of had a lot of the same ideas as Interstellar which I also loved did. The filming style of Contact was a big influence on this movie.

Love Horror: Mentioning Poltergeist you have a close family unit of two kids and a single mum in your film was that always the idea from the start?

Alistair Legrand: I don’t want to say the word throwback because I think a lot of people try and do that these days but I love ET I love that sort of Spielberg –ian, Amblin family dynamic which really makes you care about the characters before they get in to trouble which is easy to say but it makes the scares a lot better when you really want the person to get out of the problem.

rtrtrtLove Horror: I can definitely see that influence but The Diabolical has a much darker undercurrent with the aggressive behaviour of the young boy and the mention of his father’s violent outbursts in the past which forms a sort of sins of the father cyclical idea.

Alistair Legrand: That part of the script is inspired by my fascination with how much we absorb from our parents.

Love Horror: The nature/nurture argument?

Alistair Legrand: Exactly and how much is part of our genetic code. Whether its alcoholism or anger or drug addiction there are these things we are sort of born with in a way and we have to manage it as we go through our lives. It’s not totally our fault but there’s got to be some sort of way to concur the demon inside of us.

Love Horror: Which way do you lean then? Is our DNA or our upbringing more important or are both equally as powerful?

Alistair Legrand: Both definitely its 100% 50/50. We take a lot from our parents but we are also created by our environment. I’m fascinated by the older you get the more you realise you are becoming your dad or your mum. I’m also fascinated with anger and the darker side of human nature and especially characters like Jacob (the little boy in the film played by Max Rose). He doesn’t want to be how he is. I love that struggle in life where you are a certain way but you have to control it or hurt the ones you love around you.fdgdfg

Love Horror: There where two linked scenes early on where both kids seem to zone out and we hear a noise taking over the environment around them. It happens most importantly before Jacob’s violent attack of another child. It’s really clever as at first I almost assumed something supernatural was possessing them and making them do it but it also links to the idea of the devil inside us or Edgar Allan Poe’s Imp of the Perverse all making us do things we don’t want to.

Alistair Legrand: Exactly, that’s the real horror, life horror, its Alien coming out of us when we don’t want it.

Love Horror: Where the two kids good to work with?

Alistair Legrand: I hadn’t directed kids before but I am a counsellor at a kid’s camp every year where we teach kids how to make movies. We teach them from about age 8 to 14 and I’ve been doing it for about 4 years now and I love working with kids so it was easier for me to direct the kids than I was expecting.

It was really about the search for the children that’s the long part. We had 3 months of seeing kids and auditioning and making sure we found the right ones that were really naturalistic. For Jacob we wanted him to walk out of Joe Dante’s Explorers, we wanted a 12 year old Ethan Hawke, to have a real face and be stuttery and talk like a real kid. For the girl we wanted someone who slightly resembled Ali (Larter) but at the same time was cute but not too cute.

The only hard part was you only get like 4 minutes to film with kids per day which is not a problem but I can’t imagine them making a Harry Potter movie. There is a reason why those movies take 8 months because you only get this certain amount every day with children. We had our work cut out for us mixing kids and special effects.

Love Horror: How do you go about directing the kids especially with it being a horror film or is it all just about them reacting to the situations you put in front of them?

ertertAlistair Legrand: It’s more about making them really comfortable because no matter how trained they are in acting they are still really nervous. You want them to get to the point where they are just having fun and forgetting the world around them. I had Max keep a little diary as his character and he wrote his thoughts as the person so that when he was in a scene it was sort of like make believe but still coming from a real place.

With Chloe (Perrin who plays Jacob’s little sister Haley) who was about 4 and a half or 5 when we were filming she wasn’t too scared but we would bring her over to the monsters and have the person say hello. With the monster that comes out of the dryer, the scariest creature, we had her take off the mask and introduce herself. When you bring them into the scene you just want to bend down and talk to them and make sure that they are cool with whatever they are doing.

Chloe was like “whatever Alistair” she’s going to be Julia Robert’s in the future she would always just do her own thing and it would be amazing. Her improve skills where insane. There’s a part where she pours cereal out of the box and too much comes out and Ali say’s “Enough?” she did that and reacted to it and then ran off and started playing with her dolls just after I called cut it was brilliant.

Love Horror: You must have been conflicted because to actually scare them would be terrible however it would have given you an amazing reaction.

Alistair Legrand: I only had to do it in one scene where she is staring out a window because she’s so affected by what’s going on and getting traumatised. I was there and I like hit the table and she gasped and it worked out perfectly. Luckily she laughed. It’s fun, it’s just like Halloween every day for them after a while. They get to come to set and walk around a spooky house all day.

Love Horror: I would have loved to do that as a kid!

Alistair Legrand: Me too! I think that’s why Max emails me all the time and he’s like “when’s the movie coming out? Are we coming out in what 5000 screens?” and I’m like “okay Max.” He thinks he’s in Avengers 2, which is great.

Love Horror: You talked about the kids but how did Ali Larter get on board?sdsad

Alistair Legrand: Ali and I met, we had a lunch, she had read the script as my manager had sent it to her people and she agreed graciously to meet me. I was terrified because I have always loved House on the Haunted Hill and especially Final Destination 1 and 2. I love her as an actress, she has a really interesting and strong presence and that’s why she is always given these bad-ass roles.

So I was really nervous to meet her and when I met her she basically wanted to hear me defend the script in a way as she had tons of questions and she just wanted to make sure I knew everything I was talking about which I guess can be a problem with some of the people that she meets. I was able to give her a bible for movie and guide her through every single thing we would be doing. She wanted to make sure her character was coming from a real place and she identified with that the most. She was so sweet and she came to set every day as a professional and she was really easy to handle and work with.

With her character there is a mixture between the strength and the fear because you can’t just have a bad-ass. I think that’s why Furiosa works so well in Mad Max because you can still see that she’s scared but she’s handling it. That’s always the best character, the Ripley from Alien’s character, there not just screaming “fuck you!” and shooting you in the head with a gun they are doing it because they want to save someone, there’s a thought behind it. That’s what Ali is best at, you can see the gears turning behind her eyes.

Love Horror: I love that bit when she just says “well we’ll just kill them!” it’s cool but it makes sense because she is defending her family.

Alistair Legrand: I think at that point she’s just sick of it. She’s like “I’ve been dealing with this for a month now and my kids are strung out and I’m freaking out.” She says “them” and she doesn’t know if it will be one or two or three there could be tons of them at that point but she is saying I will kill whatever comes through. That’s why she starts trying to beat it to death with a baseball bat.

Love Horror: How did you come up with the monster designs? Was it as you said like The Fly by thinking about what would really happen to these people sent through the experiment?

Alistair Legrand: Totally. We wanted to show them as just pulpy messes, your atoms have been ripped apart and reassembled and what would that look like. We had a really talented creature effects artist named Jason Collins who’s just a genius and he’s done everything from House MD to the pumpkins in Tales of Halloween. He’s just amazing at coming up with designs and we are really good friends and both obsessed with coming up with new monsters.

c cvcvcvIt’s always the goal and I think a lot of horror directors share the same feeling that practice effects are the best because it’s something tangible. Especially for actors on set when they see the thing slithering towards them there not reacting to a tennis ball there actually reacting to something real. We are both obsessed with Rob Bottin’s work on The Thing and the work on The Fly and making sure that it’s disgusting but also sort of fantastic at the same time. If you pause the film when you watch it on the one that emerges from the dryer it has the worst black eye I have seen in my entire life, it’s not doing very well. They need to look like they’re in pain.

With older Jacob we needed to make sure that it looked like he had been experimented on. We really had to tell a story with his scars. He has this huge horrible scar from this operation where they are implanting a microchip in his head and all this other stuff. Why is his ear ripped off? That was a totally different experiment they were using him for and why is there this scar? And then we needed to make sure the reveal of the scar on his cheek because that’s such an important part of the story.

He (Jason Collins) had a lot of fun with reading the script and analysing it and we would talk for a long time about it and how much damage we are going to do to these poor guys. My favourite monster is the one in the first scene where he rips his face off. We only had one of those for that effect so it was one take only so I was sweating bullets. The poor actor came to set and he was totally blind as he has this skin over his face and he’s shuffling through and running into tables and stuff and our PA’s are guiding him to set. We only had one and he grabbed it and ripped it off and we filmed it in slow motion just in case but it worked out really well. I read a review and someone thought it was a computer effect but it’s not at all. I was very excited that day.

Love Horror: You said in the Q&A you where infatuated with evil corporations like the one in The Diabolical. Why do you think they are such a staple as the villain’s in so many movie genres?

Alistair Legrand: 1950’s sci-fi movies where afraid of the government and what they were doing and I think it’s much more scary to imagine a corporation getting out of control like what if Google went completely dark and combined with Lockheed Martin and created this incredible evil thing that’s doing experiments that we don’t even want to know about, that would be terrifying if we actually found out.

imagesIt’s one of my favourite staples of horror. Whether it’s something really bad like Return of the Living Dead 3, which I love but is also not a great movie, and that idea that you find an area where they are doing these horrible experiments with like zombies and monsters I think it’s a part of the unknown aspect of horror. What’s scary is people doing something without us knowing and then becoming a problem latter on.

Love Horror: Another element to it is the banality of evil which you show brilliantly in The Diabolical in the future scenes with the guards taking Jacob in for another experiment going about it like it’s just another day at work.

Alistair Legrand: That performance that you’ve picked up on is great it is Tom Wright he was in Creepshow 2 he’s an incredibly underutilised character actor. In my first meeting with him he was like ”How do you wanna do this kinda like their construction workers right?” and I was like “Yeah!” I saw it sort of like the crew on the Nostromo in Alien like it was just their job and he really picked up on that and did it.

Going back a little bit the big thing with evil corporations and the most fun is that its technology that is totally running out of our control and I think that’s a big part of society now, like how far are we going to go with everything we are developing now and is it ever going to take over our lives? The AI conversations we are having as in if we are inventing something right now is that going to spiral out of our control later on. I think if we ever sort of started doing these experiments it would become a problem latter on because we would be destroying the space time continuum and creating a lot of issues for things in the past.

Love Horror: There is also the moral issue that you raise in The Diabolical, that conflict between wanting to break through boundaries and barriers but knowing what you’re doing is wrong. I guess there is a line that everyone will go to but the next person might step over that.

Alistair Legrand: Exactly that’s why Nikolai ends up quitting his job because he doesn’t want to start working on something that’s just going to become a much bigger problem in the future. It’s like Doctor Frankenstein shouldn’t start putting together that body because that’s just going to create problems. It’s a classic trope but it works so well.

Love Horror: Would you want to return to the evil corporation idea in future films possibly even continuing this story?

Alistair Legrand: Definitely. I mean I want to make a Diabolical sequel that’s just about CamSet (the company in The Diabolical) I want to show Maddison’s story (Ali Larter’s character) and what’s happening to her in the future and how she ends up coming back. If you notice at the end of the movie she looks quite different and we made sure she was made up perfectly and there’s something off about her eyes. We have a treatment for what actually happens to her prepared. How she actually ends up befriending the guard we see towards the end and more so that would be a dream, to keep playing in that world.

dfgdfgWe also wrote a much smaller version of the film which is just about Jacob when he’s 19 and actually getting revenge against this corporation and how he ends up becoming the prisoner which would be really awesome to do. We are hoping to make that. Its dependent on interest so if they ever say “Can you do a sequel?” I would say yes in an heartbeat no problem.

Love Horror: That would be great although I didn’t feel like I needed all my questions answered at the end of the film when you say that it does make me want to know more.

Alistair Legrand: You only have 90 minutes to tell a whole story so it’s sort of fun to set it up, especially as it’s a world that I want to keep working in, its fun to leave trails so that if you do get a chance to keep working on it you can keep expanding that universe. It’s tough to make a good horror sequel I’d like to figure out a way that it keeps going.

Love Horror: Your right I think of any genre horror has the worst reputation for sequels by far.
Alistair Legrand: Exactly it does because they would just over think it and make a sort of Michael Myers controlled by an evil witch organisation.

Love Horror: Like the one in Halloween 3?images

Alistair Legrand: Yeah I love Halloween 3 I’m sure that was a secret influence as I am so obsessed with that movie. That’s an evil toy corporation.

Love Horror: That’s the worst.

Alistair Legrand: Yeah that’s the worst kind! That movie is so dark in a way, putting masks on your kids to rip them apart.

Love Horror: Its funny though with sequels because it seems with any film if you made enough of them you end up making them comedies because…

Alistair Legrand: Because it gets insane!

Love Horror: Yeah even the darkest film.

Alistair Legrand: First you gotta go to space and then you get goofy. It goes space, then you go to the old west…

Love Horror: Then the hood like Leprechaun.

Alistair Legrand: Yes. Tremors is just insane by now.

Love Horror: Then it turns into a TV series.

Alistair Legrand: And then you reboot.

cvcvcvLove Horror: Hahahah yes. So what is next for you if not a Diabolical 2?

Alistair Legrand: We’ve got 2 projects that I really want to make right now and we’re in the process of landing our investors and figuring out the next steps but one of them is really close and that’s more of a Cronenberg, I don’t want to say body horror because I thinks that’s over used but it’s a movie about face transplants which is a fascinating subject. It’s a lot gorier and scarier than The Diabolical is in a way because its more grounded. I really want to do something dark and beautiful at the same time that’s about psychiatry.

Love Horror: Interesting does it explore the same themes you did in The Diabolical with Jacob and his psychologically damaged character?

Alistair Legrand: It is. Our main character in the script is another person who is dealing with a lot of anger issues. It’s a revenge tale at the same time I’m really excited for that one. The other project is totally different. I dreamt for 10 years now to make a desert epic like The Hitcher, Duel and I love killer car movies and killer trucks like Maximum Overdrive and we have a script called Tow that we love, it’s my dream project! It’s about two twin brothers that operate a tow truck and use it for really bad means in the middle of the Nevada desert.

I love Alexandre Aja’s The Hill’s Have Eyes and I really want to make a scary movie where people are lost in the middle of nowhere. I know that again like The Diabolical it’s something that’s been done a lot but we have a lot of new ideas and the ending is just insane. It’s not going to be generic at all its not going to be a direct to video horror movie it’s going to have a very distinct take on whatever the material is.

That’s our hope for those two movies but we also have lots of other stuff. We wrote a television pilot which is a slasher movie strung out over 8 episodes. I have always loved how the BBC does TV series, how they just want to tell one story over a shorter amount of episodes than American television and its definitely influenced by that.

Love Horror: Have you seen Harper’s Island?images

Alistair Legrand: Yes which I think is successful in a certain way but this is a lot more intense. Its more about the slasher himself it’s like we took Friday the 13th and turned it into a TV show. We’re examining who Jason is but our guy isn’t Jason. Harper’s Island did the 10 Little Indians motif really well but ours is less about that and it’s more about the madman and what’s going on in his mind and why he’s doing this.

Love Horror: To investigate that killer character over a whole series is a very interesting idea.

Alistair Legrand: What is evil, what is it born out of that’s the stuff I love to write about. Like we were discussing earlier where do we come from and how does that become part of our consciousness, why do we want to kill. We’re always writing we just love telling stories, my favourite thing in the world is to put on a score to a horror film and just start writing.

Love Horror: Have you enjoyed FrightFest?

Alistair Legrand: Yeah I’ve loved it. This is my favourite festival experience so far it’s just been so cool. It’s so specific to horror in that the fans are so nice here. And the heads of FrightFest like Alan there just really, really cool people. You can tell everyone here really cares. It’s really interesting and a really nice way to run a festival. It’s really cool to hear feedback so instantly and you can talk to people just as a horror fan. You can talk to people about Critters and The Thing and stuff like that and there like yeah I get ya.
Horror fans understand just how the movies work so well it’s been a great testing ground to make sure we are successful in that realm. We are making sure they appreciate it because first and foremost we want to make a great movie for horror fans. Of course we want to appeal to normal people but we’re horror fans so we want to make sure that the community we are telling stories in still responds really well to the movie. Because if they didn’t that would be heart-breaking.

Love Horror: Well don’t worry about that because it’s a great horror movie and I am sure fans will love it.

Alistair Legrand: Thanks. I’m really excited for when it’s on Netflix or something and someone just happens upon it one night at like 1am and there juts bored and they see our poster and just click on it. Hopefully it’s just something totally unexpected for what they are planning to see.

Love Horror: It most definitely is! Thank you very much for talking to us Alistair.

Alistair Legrand: My pleasure thanks.


Alex Humphrey

Alex studied film at the University of Kent and went on to work for Universal Pictures in their Post Room gaining an inside look at the movie industry from the very bottom. Constantly writing reviews in everything from local magazines to Hip Hop sites Alex honed his critical skills even spending a brief period as a restaurant critic. Read more

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