Technology has just been the major progression of the last 15 years - instant communication. That stuff has gone so global. That's what's interesting about it. When someone sits down in front of a computer, it's the same everywhere in the world, and it's the same screen looking back at you with the same Google, and there's no individuality to it. So I decided it would be kind of visually uninteresting to have in my films.
Movies aren't "slow burn," and aren't serious, aren't interesting, because everything from the movie to the promotional materials is telling you that you have to see it between Friday and Sunday, and then you can forget about it. It's not an important movie, it's just a lowest-common-denominator thrill-ride for three days when you've got nothing to do. That does a major disservice to the quality of the films
It's funny, because I don't think of my films as "slow-burn." I don't even know if I was familiar with the phrase until people started labeling me with it.
It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.
I've done it with all my films. I always keep an eye on the first time I show it because... I don't know. Neurosis.
You have to. But I generally try - I'll creep in the back. I'll be outside. I'll pace around. I don't really get that nervous about whether people like [my films].
If people don't like [my film], the ship's sailed. There's nothing I can do about that.
I don't think you want to preach to people. I don't think In A Valley Of Violence, and the same with The Sacrament, there's a social commentary and a political element to both the films, but it's not like, "Think this because I think this."
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