{"id":835,"date":"2014-05-01T10:36:26","date_gmt":"2014-05-01T17:36:26","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=835"},"modified":"2014-10-11T10:39:58","modified_gmt":"2014-10-11T17:39:58","slug":"john-pogue-a-not-so-quiet-11-interview-talking-the-quiet-ones","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/john-pogue-a-not-so-quiet-11-interview-talking-the-quiet-ones\/","title":{"rendered":"John Pogue: A Not So Quiet 1:1 Interview Talking THE QUIET ONES"},"content":{"rendered":"

By:\u00a0debbie lynn elias<\/strong><\/p>\n

With a script by Oren Moverman, Craig Robinson and veteran screenwriter John Pogue, the latter of whom also directs, THE QUIET ONES is inspired by a true story and true events that happened during the 70’s when great social science experiments became \u201cthe thing\u201d, so much so as to result in Departments of Parapsychology being created at colleges like Princeton and UVA and all over the United States.\u00a0 For John Pogue, the excitement of bringing THE QUIET ONES to life stemmed from the fact that it is based on something that was real, most notably, the \u201cPhilips Experiment\u201d of 1972 in which a group of Toronto based researchers attempted to prove that ghosts, demons and evil are all manufactured within the human mind.\u00a0 For moviegoers, Pogue\u2019s excitement translates into an intriguing, all consuming, psychological thriller that pits science against the paranormal, evoking discussion and thought, some real jump out of your skin frights, as well as giving Hammer and cinema as a whole, the 21st Century Christopher Lee and Peter Cushing in Jared Harris.<\/p>\n

As I sat down with writer\/director John Pogue for this exclusive not so quiet 1:1 interview, I was immediately struck not only by how proud he is of the film, but his genuineness, humility and graciousness, giving credit to every member of the production team in front of and behind the camera.\u00a0 His passion and excitement over THE QUIET ONES is palpable, articulated with a disarming charm and joy.<\/p>\n

\"quiet<\/p>\n

John, THE QUIET ONES is beyond intriguing to me.\u00a0 The fact that it\u2019s inspired by a true story and true events that happened in the 70’s fuels the concept and intrigue.\u00a0\u00a0 I remember when all those initial paranormal investigations were starting throughout the country.\u00a0 Colleges were actually adding classes in the subject.\u00a0 What you\u2019ve done to bring this to life cinematically is wonderful.\u00a0 You steep us in the 70’s thanks to that gorgeous 16mm verite styling blended with a present day 35mm, and then texture the film with a period grain, all while presenting uniquely terrifying events and emotion.\u00a0 If I didn\u2019t know this a film under the Hammer banner, one look and I would know this is a Hammer.<\/strong><\/p>\n

Really?\u00a0 Thank you.<\/p>\n

How did this story come to you?\u00a0 For most of the average horror filmmakers and fans now –\u00a0 this type of story with the basis of inherent evil, inherent energy and capturing and manipulating it – it\u2019s not something that people explore on film.\u00a0 So, I find this really interesting as to what led you to this and the idea that you could bring it to visual life?<\/strong><\/p>\n

It\u2019s a great question and thank you.\u00a0 What led me it, honestly, was that I had developed a relationship with Hammer and Exclusive prior to getting this script.\u00a0 They had seen a movie that I had done for Sony; I\u2019ve been a writer for many years.\u00a0 So, it\u2019s very simple.\u00a0 I read a lot of scripts.\u00a0 This one came across my desk.\u00a0 Oren Moverman, whose such an accomplished writer, had done the prior draft and I read this and I was like, \u2018Wow!\u00a0 This is really interesting to me.\u2019\u00a0 So, it was really just reading the script.\u00a0 That was really it.\u00a0 Then when I started to do research prior to talking to them about the script and realized there were connections to all these great social science experiments and to this movement to create departments of parapsychology at Princeton and UVA and all over the United States, I became more and more excited because it was based on something that was real<\/strong>.\u00a0 What I brought to the project was trying to elevate the genre elements as much as possible so that it didn\u2019t feel like we had this great premise and these interesting characters and then sort of standard spook horror scares.\u00a0 I tried to make the scary elements as psychological and minimalistic as possible to kind of reflect what the story was about.<\/strong><\/p>\n

How did you go about approaching this film with your cinematographer Matyas Erdely to give this visual life and then decide on this tonal bandwidth, incorporating your 16mm verite found footage and the rest of it being steeped in the 70’s film grain so that \u201cwe are there\u201d?<\/strong><\/p>\n

I\u2019m glad you feel that way.\u00a0 We worked very hard on that.\u00a0 My biggest fear as a filmmaker was how we were going to do that because this is a strange movie in that it\u2019s a found footage omniscient camera hybrid but the found footage is real time.\u00a0 So you\u2019re watching a movie but you\u2019re also watching real time found footage.\u00a0 How can you make a movie with that core mechanism that doesn\u2019t throw the audience out and have them go, \u2018Oh.\u00a0 I\u2019m in found footage mode.\u2019?\u00a0\u00a0 I didn\u2019t want that to happen.\u00a0 I wanted it to be all sort of subconscious and psychological.<\/p>\n

Matyas and I and our team spent all of our time in pre-production trying to create a visual grammar for the audience so that they would identify with Sam Claflin\u2019s character\u2019s point of view, so that the audience is \u2018making this film\u2019.<\/strong>\u00a0 That\u2019s what I wanted.\u00a0 I wanted the audience to feel like they were making it so that every time we were behind the camera with Sam it was the audience.\u00a0 What we did was, we created moments where we were in 16mm and then we would go back to Olivia, for example, in omniscient footage – 35mm – for which we put lots of layers of grain on<\/strong>, as you said.\u00a0 Then we go back to the 16mm just so they would have a comfortability with this back and forth so that it would become unconscious and it wouldn\u2019t become something [the audience] would start to think about.\u00a0 I didn\u2019t want [the audience] to think about it.\u00a0 I was working with a cinematographer who I think is amazing so every step of the way we created these moments so that the audience by the end of Act One would be fully immersed and thus scared, so when that camera is knocked over we\u2019re feeling the same fear that you hear in Sam Claflin\u2019s voice<\/strong>.\u00a0 Then as the movie progresses you start to feel that even more and more until you get into the attic sequence so that you\u2019re one of the experimenters in the attic as opposed to objectively watching.\u00a0 I was trying to create a sort of subjective feeling.<\/strong><\/p>\n

\"quiet<\/p>\n

One of the elements that stands out to me is that you have all the horror tropes in THE QUIET ONES that are mandated by the genre, but what is most engrossing, at least for myself,\u00a0 was that I felt like a student watching a lecture series with the vintage footage and I was part of the experiment.<\/strong><\/p>\n

Good.\u00a0 I\u2019m glad you felt that way.\u00a0 I wasn\u2019t even feeling this as a horror film but more scientifically analytical which I found a quite interesting emotion and reaction to have with the film<\/strong>.<\/p>\n

So much of that goes to your editing.\u00a0 Glenn Garland did an amazing job. How did you collaborate with him?\u00a0 Did you guys storyboard to establish pacing so you knew where to cut or did you get all your footage and then worry about it afterwards?\u00a0 How cohesive was this?<\/strong><\/p>\n

I completely agree.\u00a0 Glenn is amazing.\u00a0 I try to work with the editor as much as possible in pre-production.\u00a0 Not only so they can catch anything that you\u2019ve missed, but so that you can start to figure out your editing aesthetic as far in advance as possible.\u00a0<\/strong> Things evolved.\u00a0 We originally thought that the 16mm sequences would be much more continuous than they actually are.\u00a0 What happened was, even though we did a good job of making them continuous, we were a little bit slow and it wasn\u2019t quite as exciting<\/strong>.\u00a0 So Glenn, who has worked on movies like \u201cHalloween\u201d, he\u2019s just got so much experience, helped us figure out that, \u2018Look John.\u00a0 Intellectually it\u2019s great that they\u2019re continuous.\u00a0 But from a pure enjoyment, from a horror perspective, it\u2019s not gonna work like that.\u2019\u00a0 Once we made the decision that we would be cutting up this footage, and we did this in advance, that lent to certain aesthetic as to how we ended up editing the entire movie.\u00a0 It actually made it much more of a roller coaster as opposed to a slow burn, up and down.\u00a0<\/strong> I felt the story dictated more of a roller coaster feel to it.\u00a0 We had a very honest relationship getting to the process of it where I didn\u2019t have to mince words like, \u2018I don\u2019t like this\u2019 and he can say \u2018Well, I don\u2019t like your idea\u2019 and we can go back and forth and have a real dialogue.\u00a0 Every frame of this movie we fought with each other over, to try to make it as lean, economical but also as scary as possible.<\/strong>\u00a0 Glenn is an amazing person to work with.<\/p>\n

Hand in hand with that goes our sound design.\u00a0 So often people think that just slamming doors and whatnot in a horror film is going to create the \u201cOooh!\u201d jump in the seat moment.\u00a0 These are very calculated sounds that we hear in THE QUIET ONES.\u00a0 They are also a very eclectic blend.\u00a0 If an oscilloscope was reading these sounds we\u2019d be seeing a lot of peaks and valleys and a lot of static.\u00a0 It is so well designed.\u00a0 It\u2019s another entire layer of emotion that comes into the film as a whole.<\/strong><\/p>\n

Thank you.\u00a0 I\u2019m glad that you feel that way.\u00a0 Lucas Vidal is a Spanish composer.\u00a0 I said, \u2018I don\u2019t want any music in the movie other than practical music.\u00a0 I want to create sound design from the machines that we use in the movie and let that be the music and let that be the sound.\u2019\u00a0<\/strong> What we did was we recorded the oscilloscope, the brain scanning machine, all the amplifiers, the feedback from the microphones, the little clicking sound that the EEG and the EMF make, we took all of that and we created music out of it, Lucas did<\/strong>.\u00a0 He avoided, and this was a process because naturally you try to create sound to sort of up your scares, we tried to avoid genre horror as much as possible and just have it be about these sounds are sort of creeping in to create a sense of terror and that the sounds were practically sourced from the environment so that you felt that era, you felt those sounds<\/strong>.\u00a0 I felt like that was much creepier with the subtle approach.\u00a0 I hate being manipulated in a horror movie where the violins go up and you\u2019re like, \u2018Okay.\u00a0 Something scary is gonna happen.\u2019\u00a0 I hate that.\u00a0 For me, a lot of audiences don\u2019t like that either so we tried to be very very subtle in our approach.<\/p>\n

At the end of the day and at the end of this process, what did you learn about yourself in the making of this movie?<\/strong><\/p>\n

Wow.\u00a0 Nobody\u2019s asked me that question!\u00a0 That\u2019s a very interesting question.\u00a0 I\u2019ve learned that I was the only US citizen on the set.\u00a0 It was very interesting being a fish out of water in that respect.\u00a0 I\u2019ve learned that, even more than I thought, anything is possible if you just fight for it<\/strong>.\u00a0 There were a lot of moments where I was unsure that things were gonna happen but I felt in my gut that they could if I push for them, so trust your gut is what I learned<\/strong>.<\/p>\n

#<\/p>\n

4\/22\/2014<\/p>\n","protected":false},"excerpt":{"rendered":"

By:\u00a0debbie lynn elias With a script by Oren Moverman, Craig Robinson and veteran screenwriter John Pogue, the latter of whom also directs, THE QUIET ONES is inspired by a true story and true events that happened during the 70’s when great social science experiments became \u201cthe thing\u201d, so much so as to result in Departments […]<\/p>\n","protected":false},"author":2,"featured_media":836,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[157],"class_list":["post-835","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-john-pogue-a-not-so-quiet-11-interview-talking-the-quiet-ones"],"yoast_head":"\nJohn Pogue: A Not So Quiet 1:1 Interview Talking THE QUIET ONES - 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 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