Interview: The Filmmakers Behind 'Goodnight Mommy' on Working with Children, the Horror Genre as a Mirror, and Hopes of Oscar

Jose here. In the terrifying Goodnight Mommy, two angelic twin brothers named Elias and Luke (played by Elias and Luke Schwarz respectively) become convinced that their mother has been replaced by someone else after returning home from a stay at the hospital. And who can blame them? Their mother (Susanne Wuest) returns wrapped in Franju-esque bandages that only show her eyes, and she seems to have lost her good temper, patience and tenderness. Terrified of this unknown person, the twins proceed to torture her in order to get to the bottom of things. Directed and written by the team of Veronika Franz and Severin Fiala, Goodnight Mommy is the kind of horror film that creeps under your skin because of how committed it is to its aesthetics and points of view.

There is not a single body-horror line Franz and Fiala are unafraid to cross, and the film features torture involving everything from superglued eyes to bondage by bandage; however, there is not a single moment in the film that feels gratuitous, and just like a song would serve a musical, the torture we see onscreen serves the story because it makes sense that these children would be terrified of someone they believe to be a total stranger, and if anything Goodnight Mommy has more in common with Home Alone than with Saw, if not in tone, at least in its intentions. The film has been selected to represent Austria at the Academy Awards and opens in the States on September 11. I had the chance to sit down with the filmmakers to discuss their techniques and tips for working with children, their favorite horror movies and what AMPAS members they wish to scare the most! Read the interview after the jump. 

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Goodbye to the Master of Horror, Wes Craven

Glenn Dunks, our resident "Scream" fanatic says goodbye to Wes Craven...

It’s not easy writing about the passing of Wes Craven. The director who was synonymous with the horror genre, and in particular the slasher franchises A Nightmare on Elm Street and Scream, died on Sunday at age 76 from brain cancer after having battled ill health for several years and the news hit like a stab to the chest. His three-year illness likely explains why he hadn’t directed a film since 2011’s Scream 4, but it hadn’t stopped him from working altogether. He was completing a horror comic with Steve Niles called Coming of Rage, was developing a remake of his 1991 film The People Under the Stairs, and continued to executive produce MTV’s long-form TV adaptation of Scream.

There are few older celebrities whose death could hit as hard as Craven. He wasn’t just a great filmmaker, or a filmmaker with a lot of films that people liked. No, Wes Craven was quite literally a filmmaker that changed lives. A lot of ‘em – and that’s not an exaggeration. It’s genuinely hard to make even one, let alone two, generation-defining movies and it’s been wonderful to hear so many people, friends and strangers alike, share their stories on social media of how A Nightmare on Elm Street was the first horror film they ever saw and how it turned them into scare-seeking horror fiends. Or how Scream made them want to write about film. I’m one of those people, and there are a few extra Film Experience writers who share the same sentiments, but the numbers I've seen cite that seemingly inocuous 1996 slasher as a life inspiration has been surprising and actually comforting.

So when I went to write about his passing, I actually couldn’t. Not immediately, anyway. How do you describe the man who made the movies that defined our life? I hope he knew the effect his films had on people beyond simply scaring them.

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The Creature From the Black Lagoon (1954)

A couple of weeks ago news spread around the internet that Universal might revive The Creature From the Black Lagoon as part of their planned Classic Monsters universe (every studio wants their own connected franchises now post Marvel Studios). It didn't seem like much of a news story at the time, full of "mights" and "possibly" and "they're interested in Scarlett Johannson." Scarlett for the buxom conquest, not the amphibious creature of course!

You know the type of "news" I'm talking about. The type we get when there's no story at all yet. But since we're celebrating 1954 next week with the Smackdown, why not travel back in time to the original to see if it's worth reviving at all?

I may or may not have seen this old horror flick as a child on TV but if so I had no recall whatsover so this would be like a first screening. I imagined from the posters that it would be like a watery King Kong, a tragic beauty & beast story. This was quite wrong. 

Thoughts I had while screening... 

• Rather unexpectedly the film begins with a brief "Creation of the Earth" myth complete with Biblical narration and visuals of explosions, clouds, and an earth-like sphere, followed eventually by more nature footage of stormy oceans and sand.

It's surprisingly easy to picture Terrence Malick at 10 years of age agog at a drive-in in the Midwest when the movie arrived in early 1954. (10 might be the ideal age for this.)

More after the jump...

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Miscellania: Tarantino's Quotes, Horror's ROI, and Crown's Actors

Dan Callahan interviews Ingrid Bergman's daughters for her centennial
Vulture Quentin Tarantino interviewed. He likes the films of the Duplass Brothers, loves The Newsroom (um, okay?) and disses on Cate Blanchett and Oscar Bait. 
Salon is Daniel (Ralph Macchio) the real bully in The Karate Kid? A contrarian reading
Planet Money Horror films continue to be the best return on investments for producers 
AV Club rumor has it that George Miller is being courted for Man of Steel 2. Danger! There's no way Warner Bros would let him go as expectation averse wild with that franchise as he allowed himself to go with his own franchise for Fury Road 
Grantland rising screenwriter Max Landis (yes, son of John) talks American Ultra, studio franchises versus original material and admits he "despised" Jurassic World

Salon talks to Gaby Hoffman (Transparent, Girls) about her unique roles of late
Mashable now superheroes are even entering the beauty industry with face mask treatments
Variety names ten actors to watch but some of them have been with us a long time like mumbling Emory Cohen (he's got a huge role in Brooklyn later this year, and thankfully he's dumped the mumbling and excessive tics for that one) or are couple of years into it like Short Term 12's Keith Stanfield. Glad to see Tessa Thompson (Dear White People) and Bel Powley (Diary of a Teenage Girl) on the list
Empire the great Alfre Woodard joins the cast of Luke Cage for Netflix in a very big role 
Film School Rejects on the best shows of the summer coming from the most unlikely places (like USA's Mr Robot or Lifetime's UnReal). But maybe they kill their own argument with MTV's "Scream" which I keep hearing is truly terrible. 

About Male Privilege and Hollywood's Resistance to Female Directors
/Film good essay with very solid points on the lack of female directors being offered big studio jobs and Colin Trevorrow's recent responses about the problem. He clearly means well but his response is naive - suggested that women have too much integrity is a bit too flatteringly sexist -- like a 'but women are sugar and spice and too noble to lower themselves thusly!'

Off Cinema
The Hugo Awards this year's sci-fi literary awards had all sorts of drama with shady ballot stuffing and conscientious objecting to said ballot stuffing and so on so they've elected "no awards" in several categories. But big winners were Marvel's "Ms. Marvel" for graphic story "Guardians of the Galaxy" & "Orphan Black" for the drama prizes. The top prize for Best Novel went to "The Three Body Problem".
Boy Culture "Beat it, I'm Madonna" a great video mashup of Michael Jackson & Madonna
Vimeo Penis painting the Queen and Princess Diana. No really. And obviously NSFW 

Actors in The Regular News
Variety turns out one of the all time best French actors was on that Amsterdam to Paris train that was attacked. He sounded the alarm. Well done, Jean-Hugues Anglade.
The Wrap sad about this - Rosie O'Donnell's 17 year old mixed up with drugs, a 25 year old alleged heroin dealer arrested for endangerment of minor. And Rosie just played a sad mom with a troubled teen daughter onThe Fosters.

Finally
Netflix is making a series The Crown about the early reign of Queen Elizabeth. Helen Mirren had to step down from her signature role this time since the series takes place when she was but 21 years of age and inherited the thrown. Claire Foy, who played Anne Boleyn in Wolf Hall, plays the royal. People magazine has photos but they don't share this one so I thank Kevin Daly for providing. It's John Lithgow as Winston Churchill and the wondrous screen bitch Harriet Walter as someone... not sure who.

Love her. And she doesn't get enough credit. She's so terrifically callous in Sense & Sensibility (1995) and we've seen her several times in other costume dramas: Young Victoria, Downton Abbey, Cheri, A Royal Affair.

Interview: James Ransone on Leading Man Duties in 'Sinister 2' and 'Tangerine'

Jose here. James Ransone had me at Haneke. As we sat down to talk about Sinister 2 I explained my hierarchy of scariest things, clowns come first, followed by children, ghosts, and snakes... He responded “I don’t get scared by that stuff, I get scared by Michael Haneke movies...Amour scares me”. It was one of many responses that caught me completely off guard, because unlike most interviewees at junkets for studio movies, Mr. Ransone seemed completely unscripted, he was just saying what he thought, which made for a truly refreshing conversation.

James Ransone photographed in NYC. Credit: Jose Solis

It’s this very same irreverent quality that makes Ransone so compelling to watch onscreen. Whether he’s in a miniseries like Generation Kill or an indie hit like Tangerine, which he made with frequent collaborator Sean Baker, Ransone’s characters always seem to be coming up with their dialogue on the spot (no offense to the truly great screenwriters he’s worked with). The actor’s presence is so natural that he makes for a hybrid of Brando and John Cazale, who both seemed to effortlessly conjure the essence of their characters.

Mostly seen in supporting parts, this weekend Ransone gets promoted to leading man in Sinister 2, in which he plays Ex-Deputy So & So, the self-deprecating, do gooder who sets off to protect a mother (Shannyn Sossamon) and her two kids who are being terrorized by demonic beings. I talked to the eloquent Ransone about his opening weekend expectations, his own experiences with the "supernatural", and what he thinks is missing in modern American cinema.

JOSE: This room’s setting made me rearrange the order of my questions, because it looks like a shrink’s office and I read that you read Lacan and Zizek…

JAMES RANSONE: Yeah...I mean listen, I’m not gonna pretend that I just sit around and read a lot of philosophy and masturbate to myself intellectually, because that’s really fucking dangerous, but they’re really influential on my thinking. Basically I’m always trying to figure out why society works the way it does, and a lot of these guys helped make sense and shape some of the things that never made sense to me before. Foucault too, big time.

Sinister 2 and Tangerine after the jump...

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