![]() ![]() We were heading into our first preview, we had animatics in place of our creature because our creature’s full CGI, and I was just sure that it was going to tank. Everything else I’d done, I had final cut on because we made it for pennies. SAVAGE: I think it was the test screening process, which I was terrified of originally because this was my first studio movie. You were originally intended as a streamer, and then what changed? How did you break out and convince the great, grand 20th Century Fox to release your film as a theatrical? I bet that’s really the way to see this movie, because I could feel the nonexistent people around me really loving this. I found out there was one happening just five minutes from my house at the AMC in Burbank, so I snuck in with the big trench coat and sat at the back and watched everyone jump and scream and throw their popcorn. SAVAGE: No, in fact, I found out the other day they were doing one of those screenings where they filmed the audience in night vision to get jump reactions. RAIMI: Have you seen the movie now in large audiences in the theater? ![]() I like the audience to feel unsafe, even if it was a scene in the daytime, which is normally code in horror movies for, “You’re safe, you can check your phone, you can make a cup of tea.” I also had movies playing constantly in the background of my office when we were prepping, movies that I wanted to try and emulate. Just before we started shooting, I got a bunch of different color cards and I put up all the different scares on the wall, and I had them in different colors for the different kind of scare, one that was coming out in the blue, one that was more of a jump scare, scares that were more about building tension and more of a kind of hide-and-seek dynamic. SAVAGE: I wanted to make sure that we weren’t just playing the same scare over and over. RAIMI: I thought that beyond your other films, you were playing with the rhythms that a director uses to manipulate an audience. I could feel that if I was in that crowd, they would all kind of relax a bit and then sometimes you hit us with a scare without any setup. I saw it on a home screen, but I could imagine that being in the crowd, there would’ve been people on the edge of their seat, brought to the peak of titillation. I saw the movie last night and it was really a great theatrical experience. I’m going to shut off the camera, so I can really focus on my notes and not be worrying about being on the show. I’m not a great interviewer, but I’ve got some questions. Brilliant camera work, great technique, fantastic performances from the actors. I saw it one and a half times to get ready. ![]() To talk about that sometimes scary process, Savage connected with one of his heroes, the horror maestro Sam Raimi. The movie marks Savage’s first with a major studio, which means bigger budgets and bigger scrutiny. After following that up with another found footage-style indie Dashcam, Savage is back with The Boogeyman, a Stephen King adaptation about a grieving family who may or may not have a demonic entity terrorizing them. In 2020, Rob Savage announced himself as a horror director to watch with Host, a low-budget shocker that was shot entirely on Zoom, and is still one of the only truly good movies about our pandemic lives. Director Rob Savage on the set of 20th Century Studios’ BOOGEYMAN. ![]()
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