{"id":1406,"date":"2013-10-25T18:12:28","date_gmt":"2013-10-26T01:12:28","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=1406"},"modified":"2014-10-11T18:19:13","modified_gmt":"2014-10-12T01:19:13","slug":"vincenzo-natali-a-hauntingly-delightful-director-exclusive-11","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/vincenzo-natali-a-hauntingly-delightful-director-exclusive-11\/","title":{"rendered":"VINCENZO NATALI: A Hauntingly Delightful Director – Exclusive 1:1"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

With HAUNTER, director Vincenzo Natali brings us an honest to goodness, goosebump inducing, arm & neck hairs standing on end, thrills & chills fright that even had me jumping a bit with those noises and sudden haunting whispers.\u00a0 A good old fashioned haunted house ghost story with a twist, HAUNTER is hauntingly chilling.\u00a0\u00a0 Toying with the idea of life after death and eternal suffering a la Groundhog Day, with HAUNTER, Natali plays with the mind and turns the typical ghost\/haunted house story on its ear, creating nothing short of an enthralling emotional and visceral experience.<\/p>\n

Not someone you might expect to deliver such grand fright with things that go bump in the night, and beyond, Natali\u2019s background is that of animation.\u00a0 Yes, animating for Nelvana Animation Studios and doing storyboards for favorite children\u2019s animated series like Babar, Rupert, Beetlejuice<\/em> and Fievel\u2019s American Tails<\/em>. But along the way, Natali stepped away from the fantasy and color of a child\u2019s world and stepped into the adult world of horror, writing and directing films like Cube, Splice, Cypher<\/em> and now, HAUNTER.<\/p>\n

I had a chance to speak with Vincenzo Natali in this exclusive interview, discussing these very different worlds, but particularly the world of HAUNTER.<\/p>\n

\"haunter<\/p>\n

First thing I must do is compliment, commend and thank you for HAUNTER.\u00a0 This was a wonderfully emotional and visceral experience watching this film.\u00a0 Everyone has this preconceived notion that scares and frights come with hacking and slashing but that\u2019s not the case and that is more than evident with HAUNTER.\u00a0 You play with the mind.\u00a0 You turn a ghost story on its end.\u00a0 It\u2019s so wonderfully done<\/strong>.<\/p>\n

Thank you so much, debbie. I really appreciate that.\u00a0 You nailed it! That\u2019s what we wanted to do.<\/p>\n

I left the screening room and I was nuts over the film.\u00a0 We don\u2019t see much today that really plays on the imagination.\u00a0 Directors want to force-feed and spoon-feed us with everything but you create this great ambiguity and leave so much for our own imaginations to latch on to and run with.<\/strong><\/p>\n

Thank you.\u00a0 That was a goal of mine.<\/p>\n

What was the appeal of this particular story when it came to you?\u00a0 I know you had previously worked with Brian King on Cypher<\/em>.\u00a0 I also find it very entertaining that you come out of animation background where you were storyboarding cute little Babar the Elephant<\/em> and now we\u2019re seeing you directing a film like HAUNTER.<\/strong><\/p>\n

[laughing] I know.\u00a0 It\u2019s disturbing to think that someone like me would be allowed to work in children\u2019s television but, it\u2019s true!<\/p>\n

\"haunter<\/p>\n

So, how did this come to you with Brian and what was the appeal of this particular script?<\/strong><\/p>\n

It appealed to me on many levels.\u00a0 First and foremost, it\u2019s a very emotional, thoughtfully constructed puzzle of a movie.\u00a0 I was entirely engrossed by it when I read it the first time.\u00a0 It deals with a lot of themes that I have been obsessed with over the years.\u00a0 On one level it\u2019s about adolescence.\u00a0 It\u2019s about how when we\u2019re teenagers we see the world one way and we know the truth about the world but our parents are entirely blind to it.\u00a0 That\u2019s exactly who Lisa is; somebody who, in her case, knows that she\u2019s dead, knows that her family is dead, but as far as they are concerned, they are just enjoying a happy rainy Sunday afternoon together; nothing is at all wrong.\u00a0 It is that duality that really fascinated me.\u00a0 Then it\u2019s also a film that is very much about family.\u00a0 I really responded to the connection that Lisa makes both with her family and then with Olivia\u2019s family.\u00a0 There\u2019s this kind of, I don\u2019t want to call it a love affair, but there\u2019s this very emotional connection between this girl who\u2019s alive and this girl who\u2019s dead.\u00a0 The movie is kind of an onion-layered film.\u00a0 Everytime I read it I would peel away another layer and see something else.<\/p>\n

One of the things that you do expose and address in HAUNTER is the fragmenting of the father figure.\u00a0 We are so ingrained through books and films and television that the father figure is still the head of the household, all powerful, kids run to daddy, daddy will have answer.\u00a0 Here, that myth gets torn down<\/strong>.<\/p>\n

There\u2019s definitely some Freudian stuff going on!\u00a0 The moments that I really enjoyed in the script were frequently the ones where on its face everything seems perfectly normal and the family is having this kind of perfect suburban day together, the most wholesome kind of meal together, yet you know under the surface something truly disturbing is lurking.\u00a0 That, of course, is connected directly to the father.\u00a0 It evolves over time.\u00a0 I think it\u2019s unusual for a horror film to be as emotional as this movie is.<\/p>\n

There\u2019s so many layers and such emotional complexities here.<\/strong><\/p>\n

There really are.\u00a0 It\u2019s funny because the film becomes surprisingly sweet and that\u2019s not something I\u2019m accustomed to in my own films but I thought that was a surprisingly rewarding turn.\u00a0 Lisa as a character starts off as somebody who feels hard-done by and disconnected from her family and then gradually as this puzzle begins to reveal itself, she puts the pieces together, she becomes more connected to them.\u00a0\u00a0 Having just had a little boy myself, I really felt for them.<\/p>\n

\"haunter<\/p>\n

HAUNTER is contained, self-contained, within what is the Johnson house; be it through the various eras on the temporal plane, but it\u2019s still that one house.\u00a0 Is that more challenging or freeing to you as a director when you\u2019re developing your tonal and physical construct?<\/strong><\/p>\n

It\u2019s a funny thing because nothing would frighten me more than a blank page or a blank check.\u00a0 As much as I would like to have more resources to make my movies, invariably I\u2019m grateful for the restrictions I have to work with because they make me more creative.\u00a0 It\u2019s that kind of friction between trying to do a lot with a movie and having very little to do it with that often gives you the best result.\u00a0 One of the things that was so brilliant about Brian\u2019s script is that he set it entirely in this house and yet as we gradually discover, this house is unto itself, a kind of universe and there are all kinds of strata of reality that coexist in this one space.\u00a0 That\u2019s just an exciting thing conceptually.\u00a0 From the point of view of visually portraying that, it\u2019s exciting because you get to explore that environment with a kind of fine tooth comb and in a way that you wouldn\u2019t if you were blazing from one location to another.\u00a0 It\u2019s like a symphony where you have one theme and you\u2019re endlessly creating variations on it and therefore, in some ways, you can become more baroque and outrageous and creative in the way that you show it.\u00a0 I\u2019ve done a number of things that are like this.\u00a0 In some ways I feel like it\u2019s more inspiring that working with a really big canvas.<\/p>\n

You bring in Jon Joffin as your cinematographer.\u00a0 I love his work.\u00a0 He tackled one of the seminal time tesseract children\u2019s books of all time, A Wrinkle In Time<\/em>, and did a beautiful job with that so I was very excited when I saw that he was working HAUNTER with you.\u00a0 I was waiting for decades for that book to be turned into a film and although it ended up as a tv movie, I was so pleased with what Jon did – they go through the temporal plane transport with different locations, same locations –\u00a0 and to see him do that here on a smaller scale, I was thrilled because I knew what he could do with it.<\/strong><\/p>\n

That\u2019s so neat!\u00a0 I\u2019m gonna tell Jon that.\u00a0 It will make him very happy.\u00a0 That\u2019s so great.\u00a0 Jon did magnificent work and it was very important to us that we make the film beautiful, aesthetically beautiful.\u00a0 I always feel that way with horror.\u00a0 I want to see something that\u2019s unnerving and disturbing played out in a very beatific setting and light.\u00a0 He really created an atmosphere.\u00a0 If you make a haunted house film which HAUNTER is, it\u2019s all about atmosphere; everything lives and dies by that.\u00a0 And it\u2019s a very intimate kind of horror film. The other thing that Jon did beautifully, I felt, was light the faces as if they were a landscape.\u00a0 A lot of the movie is about faces.<\/p>\n

The lighting of the faces is so important here because it\u2019s the expressiveness or the lack thereof to convey tone and emotion, especially with Stephen McHattie.\u00a0 That lighting on his face in the different scenes is brilliant, simply brilliant.<\/strong><\/p>\n

I\u2019m so glad you pointed that out.\u00a0 I think that far too often the contribution of somebody like Jon is overlooked and I think it\u2019s paramount to the success of the movie.\u00a0 We worked very hard to always put the faces in a half-light.\u00a0 There\u2019s always this sense that we\u2019re only seeing part of what\u2019s there. He\u2019s very precise, very meticulous DP.<\/p>\n

Even in the attic scenes with Abigail Breslin in character as Lisa, you\u2019ve got the light overhead and she tilts her head up – the face is still in a half-light with the mouth and chin area.\u00a0 We just get the eyes really lit showing us the fear in her eyes.\u00a0 Very nuanced and very beautifully executed.<\/strong><\/p>\n

Thank you.\u00a0 Thank you.\u00a0 I wanted to focus on the subtleties of this movie.\u00a0 I know when Brian wrote the script it was very much in response to the kind of torture-porn horror that was being down about five years ago and he wanted to do something that was very lyrical and elegant.\u00a0 A lot of the fun of it was just getting those nuances right.<\/p>\n

\"haunter<\/p>\n

Another nuance that you have in here that jumped out at me is when Lisa goes back in time to the read period of the house in the 1920’s.\u00a0 You\u2019ve got the visuals lensed like an old 16mm film and as she\u2019s going back in time, your sound design is so meticulous and specific that we can actually hear the clicking of the frames as the sprockets are going through the projector.<\/strong><\/p>\n

It was really fun to do that.\u00a0 It was important that each era be portrayed in a very distinct and unique way.\u00a0 The primary time period we\u2019re in is the mid-1980’s which is when Lisa and her family were killed.\u00a0 That was painted in very warm tones.\u00a0 When we go into the present, we actually wanted to treat it sort of from Lisa\u2019s point of view so it\u2019s almost like going into a science fiction film and the lighting becomes much harsher and cool, somewhere between sci-fi and reality tv – much more immediate.\u00a0 Whereas when we go back into the 1920’s, there\u2019s this kind of\u00a0 patina of an almost George Melies or a silent movie.\u00a0 That\u2019s what I mean by variations on a theme.\u00a0 It was really fun to re-examine that same space through these different lenses.<\/p>\n

Going back to the 1920’s sequence, felt like I was watching the Sunday Night Silents on TCM.\u00a0 So glorious and immersive.<\/strong><\/p>\n

[laughing] Oh, thank you.\u00a0 It was fun because when you have opportunities like that we can get quite experimental.\u00a0 I\u2019m glad you pointed out the sound design, too.\u00a0 We put a lot of work into creating an aural architecture to the movie that evolved in tandem with everything else. The guy who cut the sound for that really did some very interesting, avant-garde<\/em> things.<\/p>\n

Between the ethereal sounds of Olivia or somebody from the past, you get high-pitched subtlety; nothing is banging you over the head but for loud thumps.\u00a0 Then the sound of the car engines changes from era to era and the walkie-talkie that Robbie has.\u00a0 It\u2019s all very intricate and very distinctive.<\/strong><\/p>\n

I\u2019m pleased you picked up on that.<\/p>\n

One last question for you Vincenzo.\u00a0 What did you personally take away from the experience of making HAUNTER?<\/strong><\/p>\n

That\u2019s a hard question to answer because I never know the answer until years later.\u00a0 It still feels fairly recent to me but I think I learned a lot about, oddly enough, relationships.\u00a0 I would say that of all the films that I\u2019ve made, it\u2019s the most overtly emotional one.\u00a0 If the film is a success it\u2019s because of the emotional journey that Lisa has.\u00a0 I like to think that I\u2019m in control of my destiny, but it\u2019s becoming very apparent to me that I have zero control.<\/p>\n

Are you working on anything else right now?<\/strong><\/p>\n

I\u2019m doing some television work right now and I produced my own tv series this summer, a thing called Dark Net<\/em> which is cable-internet hybrid which is going online on Halloween day!<\/p>\n

Thank you so much and thank you for HAUNTER.\u00a0 A haunting delight.<\/strong><\/p>\n

You made my day, debbie!<\/p>\n

#<\/p>\n

10\/9\/2013<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias With HAUNTER, director Vincenzo Natali brings us an honest to goodness, goosebump inducing, arm & neck hairs standing on end, thrills & chills fright that even had me jumping a bit with those noises and sudden haunting whispers.\u00a0 A good old fashioned haunted house ghost story with a twist, HAUNTER is […]<\/p>\n","protected":false},"author":2,"featured_media":1411,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[224],"class_list":["post-1406","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-vincenzo-natali-a-hauntingly-delightful-director-exclusive-11"],"yoast_head":"\nVINCENZO NATALI: A Hauntingly Delightful Director - Exclusive 1:1 - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, 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