Editorials
Why We Need More Found-Footage Like ‘Creep 2’
A couple of years ago I wrote an editorial defending the much-maligned found-footage sub-genre, making the argument that these movies are conceptually similar to epistolary story-telling in literature, and that this filmmaking technique would eventually find its footing, possibly through some future cinematic achievement that could only have been reached through the conventions of found-footage. After all, film is still a young medium, and we still have a millennia to go before we’ve explored every possible way of making a good movie.
Since that article, we’ve seen everything from a surprise sequel to the king of found-footage, Blair Witch, to Found Footage 3D, a loving parody of the sub-genre. While I definitely enjoyed several of these movies, I think it’s fair to say that none of them were innovative enough to truly change the way that we perceive this kind of film, even though they don’t necessarily have to be in order to be entertaining.
Nevertheless, a few weeks ago I watched Patrick Brice and Mark Duplass’s Creep 2, and after letting the film sink in for a bit, I’m now convinced that the cinematic holy grail of found-footage is much closer than I thought, and here’s why…
Worthy of its name.
The first Creep was released back in 2014 to surprisingly positive reviews, and I’d rank it as one of the best found-footage flicks to come out of the past few years. The film’s simple yet fascinating take on boundaries and interpersonal relationships resonated with viewers, and since then Mr. PeachFuzz the supposedly “friendly” wolf has become something of a celebrity in the horror community. Although the movie has its fair share of flaws (with some segments dragging on a bit too long), the clever script and Duplass’ now-iconic performance reminded us that talent and creativity can overcome nearly any limitations when telling a compelling story.
Through several interviews with both Brice and Duplass, it was revealed that the simplicity of found-footage was what allowed them to take risks and experiment while crafting the movie that eventually became Creep. From improvised dialogue, alternate scenes and even different endings, the duo was able to pick and choose the best material to tell the story at hand, and resulting in a captivating thriller with only two characters and a single camera.
When Creep 2 was announced, I, like many others, was extremely skeptical. A lot of what made the first movie work depended on that surprise ending, and it seemed like the sequel was just going to rehash the first film’s premise minus the rising tension. However, when it finally came out, I was blown away by an incredibly self-aware story, mesmerizing characters and the overall creativity behind nearly every aspect of this simple yet elegant production.
Not only is Creep 2 one of my favorite movies of 2017, but if we’re lucky, it might also be the start of a shift in the way that filmmakers use found-footage to tell a story. This is one of those elusive cases where a movie simply would not be as interesting or as impactful had it been shot and edited like a traditional cinematic thriller, as the found-footage aesthetic is absolutely vital in conveying this story’s message.
The film is a groundbreaking achievement in minimalist filmmaking, and part of that is due to Brice’s understanding of how telling a good story with fewer tools and resources than usual should inherently require more effort in other departments to compensate, not less. By stripping away most modern filmmaking conventions and focusing on the two amazing leads, Creep 2 has more in common with a live stage show than a traditional horror movie, and that’s a good thing. This is one particular story that only benefits from the less-is-more approach, showing us only the most essential elements of the story, and stripping away the rest.
Who doesn’t want a Mr. PeachFuzz mask?
Of course, the found-footage aspect also lends the film a kind of intimacy with these characters, not to mention a heightened sense of believability. Despite what many moviegoers claim, realism isn’t necessarily as important to maintain the illusion of found-footage flicks as consistency. Most films in the genre falter by trying to make the footage as realistic as possible, with little regard to how much story is actually being told, and then later resort to “cheating,” by artificially telling us parts of the story that couldn’t be conveyed organically earlier. This is what turns the found-footage aesthetic into an obstacle rather than a tool for telling more unique stories.
This pre-occupation with realism only really ever worked with The Blair Witch Project, but that was before general audiences became aware of the trickery going on behind the scenes. There’s also the fact that the Blair Witch phenomena was more of a multi-media event, featuring complementary experiences and mythology that went way beyond the movie itself, resulting in a much broader and more sustainable suspension of disbelief.
Luckily for us, much like the first film, Creep 2 does things differently by being one of the rare Blair Witch Project successors that relishes in the home-movie aesthetic without being utterly consumed by it. The movie even incorporates the eventual compiling, editing and presentation of this footage into the plot itself. The story’s real strength lies in its compelling character interaction and disturbing subtext, with the found-footage aspect being a narrative tool instead of the film’s focus, which is really the direction that newer productions in this genre should be heading towards.
Genius.
Surprisingly enough, my point here isn’t to just gush about how much I loved Creep 2 (though it’s likely that I’ll only ever stop when the third film in this planned trilogy finally comes out), but to state that the bar for found-footage movies has been raised, and it seems that us fans of the genre are at a cinematic crossroads. We can either continue on a path of mostly shallow and overtly familiar films, or be inspired by masters of the craft like Brice and Duplass. If other genre filmmakers are taking notes (and I certainly hope that they are), it’s only a matter of time before we see more creative and entertaining gems pop up in this vastly underestimated sub-genre.
After all, Sara loves her Juicy-Fruit, and we love our found-footage movies.
The great Ernest Dickerson turns seventy-five years old this month, so we’re looking back at his most memorable contribution to the horror genre – 1995’s Tales from the Crypt: Demon Knight!
The film hit screens while the Tales from the Crypt series was winding down its run on television, and it stands apart with a story that feels a step or two removed from the franchise norm. That was the smart play, though, as the show’s stories – and those from the original EC comics – work best in short bites. The result is a film that holds up beautifully as a gory good time.
Now keep reading to see what I heard on the commentary for…
Tales from the Crypt: Demon Knight (1995)
Commentator: Ernest Dickerson (director), Michael Felsher (moderator)
1. Dickerson was in post-production on Surviving the Game when he got a call from his agent saying that producer Gil Adler wanted to meet about a Tales from the Crypt feature film. It went well, so Dickerson met with Joel Silver next and secured the job.
2. The original screenplay for the film came to the producers as a spec script wholly detached from the Tales from the Crypt brand. They added the Crypt Keeper (voiced by John Kassir) bookends to make it fit.
3. Dickerson was more familiar with the original EC comic books having read them as a kid, but he had watched a few episodes of the HBO series, so he knew what the current vibe was for the project.
4. Adler directed the film’s wraparound segments, meaning Dickerson never actually got to work with the creepy puppet. “Gil and the Crypt Keeper had a great relationship,” he adds, “they worked together for years.”
5. While he was new to the Tales from the Crypt family, Dickerson had previously worked as a director of photography on the Tales from the Darkside anthology series. That show is underappreciated in my humble opinion, and I will go to bat for both it and the equally underloved Monsters.
6. A big appeal of the horror genre for Dickerson is the idea of dark mysteries that challenge our imagination. For this film, that came down to the mythology being created between the characters.
7. Five executive producers are listed in the opening credits, but Dickerson says the only two he had dealings with were Silver and Richard Donner. The other three were Walter Hill, Robert Zemeckis, and David Giler.
8. Dickerson had only ever seen Billy Zane in movies with a full head of hair, so he was surprised when Zane showed up on the first day with a bald head. “He had this case, and he opened up the case that he had all these hair pieces in, and he says, ‘So which one of these do you think I should use?’” Dickerson looked at him and suggested he just go bald for the character.
9. While the bulk of the opening exteriors were filmed in a desert just outside Los Angeles, the shot of the old church at 11:26 was created on a warehouse hangar soundstage where the film’s interiors were shot.
10. When he had read the script, Dickerson pictured the character of Jeryline (Jada Pinkett Smith) “as a little, tough lady.” He had recently seen Smith in Menace II Society, and while the producers had someone else in mind for the role, he fought to get her instead.
11. Just as Zane surprised Dickerson with his hair (or lack thereof), Smith arrived on the first day with her hair dyed platinum white. He “liked the idea” but asked her to please get it tweaked so it looked more yellowish blond. “It’s definitely a statement.”
12. He had seen Brenda Bakke in the 1989 sci-fi/action film from Japan, Gunhed, and thought she’d be great here as Cordelia. The rest of us might recognize her from Death Spa or Trucks.
13. Felsher comments that the film’s setup does a good job not telegraphing who’s going to live or die, and he uses the “nice guy” (Charles Fleischer) and “the kid” (Ryan O’Donohue) as examples. “You don’t play by those rules here,” he says, and Dickerson replies that he wanted to subvert those rules. That extends to Smith as well because she’s Black, “and usually in movies like this they’re the first folks to die.”
14. Dickerson says they had forty days of filming, “which, the way I’m used to working, was a very generous schedule.” It was budgeted at around $10 million.
15. This probably won’t surprise you, but Zane improvised the bit at 26:25 after he jumps out the window and says, “Fuck this cowboy shit! You fuckin’, hodunk Podunk, well, then, motherfuckers!”
16. In the original script, the demons that The Collector (Zane) raises from the dirt actually looked more like the people they used to be. “They were more human,” but the very smart decision was made in pre-production to make them look far more unique instead.
17. The demons are killed by shooting their eyes, but Dickerson felt there should be one more element to it. “Shoot out their eyes, you gotta duck because the souls come shooting out, and if it hits ya, boom, it can kill ya.” This is a fun touch.
18. He’s been asked more than once if these demons are where Peter Jackson got the idea for how the orcs would look in his Lord of the Rings movies. “They do look like orcs.”
19. He recalls having seen Ronny Yu’s The Bride with White Hair shortly before going to work on Demon Knight, and he hoped to bring some of that staged style into his own film. An example of that in practice is Brayker’s (William Sadler) brief flashbacks to Christ on the cross.
20. Character deaths were mostly based on the idea that “each person’s downfall was going to be predicated by their weakness.” The Collector discovers someone’s weakness and then uses it against them. Cordelia wants to be loved, Jeryline wants to travel, Uncle Willy (Dick Miller) is a horndog for both liquor and ladies, Danny loves horror comics, etc.
21. Dickerson says that plenty of genre classics were in the back of his head while making the film, including Assault on Precinct 13, Alien, Aliens, and more.
22. Cordelia is possessed into a demonic form, and Dickerson’s idea for how she’d look was originally a bit different. “Since Cordelia was a prostitute, I thought that her mouth should actually be a vertical slit that was in her stomach… which would open up with teeth and a tongue.” It was nixed, he says, when “the wife of one of the producers read that and said ‘no way you’re putting that in the movie.’”
23. The key makes an appearance in the followup, Tales from the Crypt: Bordello of Blood, but it wasn’t originally meant to. Apparently, early test audiences expected it to be a more connected sequel to Demon Knight, so the filmmakers added it in to appease them. This is where I go on record saying that Bordello of Blood is a fun time. Can’t touch Demon Knight, obviously, but it’s more entertaining than its reputation suggests.
24. They had to film Uncle Willy’s bar scene “dream” twice, once with the women topless and once with them in bikinis, to have versions for both theaters and television broadcast. “Dick’s a pro.” (To be fair, Dickerson says this in regard to Miller having to endure the makeup application, but the sentiment fits both situations, so…)
25. Dickerson says he’s “always amazed at the love that people show this film,” and adds that fans bring it up to him incredibly often. This is great to hear, as we should always be telling artists how much their work means to us while they’re still alive and able to hear it.
26. Zane also suggested the gag at 1:08:21 with the sponge coming out of his mouth. The beat reminds Dickerson to praise the actor even more, adding that he was an “ally” to the director when “bad ideas” came down from the studio suits.
27. He didn’t get any pushback on killing little Danny. He did insist on one added element, though, as he wanted to immediately follow the boy exploding in the air with a shot of his bloody and torn sneaker hitting the ground below. “And the sneaker had to be a hightop.”
28. Dickerson says there’s “something kinky sexy about” Smith being covered in blood, and then the two commentators go quiet for almost two minutes out of respect for the scene. It’s a good opportunity to reflect on how Dickerson had previously mentioned Alien and Aliens as films being in the back of his head during filming, and how two scenes here reflect that – Jeryline stripping down to her underwear for the final confrontation feels like a nod to Ridley Scott’s film, while an earlier scene with Irene (CCH Pounder) and Dep. Bob (Gary Farmer) realizing they’re surrounded and choosing to blow themselves up alongside some of the demons is something of a callback to the air vent sacrifice in James Cameron’s film.
29. Asked about the film’s critical reception at the time of release, Dickerson says it received good reviews from horror-loving critics and then talks about the importance of horror in general. “Horror has always been a great way of putting out ideas, of talking about some of the things that affect us as people. Some of the best horror, like the best science fiction, talks about what it’s like to be human. Some of the best horror gets very political.”
30. The original ending would have featured The Collector showing “his true self, which is a demon made of fire.” They spent a lot of time trying to make it work, but it was “extremely difficult… back in the day of analog effects.” It was rewritten into the faceoff between him and Jeryline featuring the dancing, the crotch fire, Zane’s attempts at saying “love,” and his eventual demise from her bloody spit.
31. They both agree that a direct sequel to Demon Knight could be a lot of fun, but Dickerson says he’s unaware of any talk on the possibility.
32. Dickerson was super excited about this new Scream Factory Blu-ray in 2015, and he mentions that before its release, he had imported a Blu-ray from Germany presumably to enjoy the film in HD. He’s just like us! (Or am I the only one here who’s imported a German Blu-ray of the much maligned werewolf flick Big Bad Wolf…)
Quotes Without Context
“I was so happy to get Dick Miller for this movie.”
“There was a time when guys used to put ketchup on everything.”
“I’m a big student of Hitchcock, and the best way to make a moment of horror work is to lull the audience into a false sense of security.”
“A villain should always be the most interesting person in a movie.”
“They were a really great bunch of performers who were performing on these little leg-extension stilts wearing a diaper that had a radio-controlled tail that was being manipulated by a special effects tech right out of the frame.”
“It’s hard to direct air; it doesn’t do what you want.”
“The only censorship problem came from the producer’s wife, who didn’t want the vagina dentalis [sic] in the movie.”
“One of the executives wanted to know why the devil didn’t try to have sex with Jada.”
“It always starts with the script.”
Keep up with more horror commentary breakdowns here.
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