Interviews
[Interview] Unlocking New Potential In ‘Insidious: The Last Key’ with Lin Shaye
Anyone who is proud to call his or herself has undoubtedly heard of Lin Shaye – she’s one of our queens. My earliest memory of her is as Nancy’s school teacher in Wes Craven’s A Nightmare on Elm Street, during what is arguably the most haunting scene in the film. She also pops up in Critters, Critters 2, Amityville: A New Generation, Alone in the Dark, New Nightmare, and even the 1987 sci-fi thriller The Running Man. To say she knows the genre well would be putting it lightly, which is exactly why it’s so exciting to see her shift into the star of James Wan’s Insidious franchise as demonologist Elise Rainier, a place she has more than earned, and a role she adorns with endearment.
I was lucky enough to sit down and chat with Lin Shaye about the latest installment in the beloved series, Insidious: The Last Key, and she was a true joy. In the interview, we discuss how she became the face of the franchise, becoming BFFs with writer Leigh Whannell, and her fondest memory of Wes Craven.
Bloody Disgusting: One thing I think is interesting about this film is how at the beginning we’re lead to believe that Elise’s father is a monster, but over the course of the film we learn that he’s being controlled by this other force. Was there ever a monster in your life that you thought was evil in the beginning, but then came to realize was actually okay?
Lin Shaye: That’s a very good question. Sometimes it’s the other way around, (laughs) I would say I’ve had more experiences with that, with people who you think are okay and then have turned on you or you find treat other people in way that you don’t expect, that um…if there’s some signal that somebody’s a monster, gratefully my family, I have a fabulous family, there was no malevolence anywhere, I mean I’m really grateful, and more and more I realize how unusual that can be, that people have very odd families and there’s a lot of secrets that people don’t discuss. I’m wondering if this movie might unearth stuff for people who don’t talk about what’s happened to them as children. It’s a very powerful subject and I think as you grow older, people tend to not discuss that kind of thing, or even think about it, you tend to bury it so I did not, like I said, I was very grateful my family was very loving. You know, there was bad stuff that happened or as a kid you think it’s bad stuff, you’re like ‘Well why’d you make me do that?’ you know? (laughs) and it’s usually because you needed to do it or you’re supposed to do it, that’s why. But it was always filled with love and appreciation for family and for each other but I have had people who I’ve kind of trusted or liked and not personally been betrayed so much, I have pretty good instincts I guess. I steer away from bad people and I think just on instinct, I always have on some level. And some people are attracted to bad people, and I don’t know what that is to be honest, but we’re all made of different cellular makeup and there’s some need people have to kind of punish themselves on some level. I have hurt myself probably emotionally at times, out of just personal pain, but I don’t consciously try to harm myself, so I steer away from people who are harmful.
BD: That’s good. And although you’ve always been a well-known actor and a well-regarded actor, but especially for like horror nerds like me who just soak up every horror movie they can.
Lin Shaye: There’s nothing nerdy about you in any direction whatsoever, I might add. Put that on there!
BD: Well thank you. But these Insidious films have really kind of launched you to superstardom, and really made you a household name, especially for some of these young up-and-comers. What kind of an impact have these movies had, in your opinion, on your career?
Lin Shaye: Incredible. And unexpected, it leaves me really bewildered. I never really thought about being an actress, there was just something about me as a kid even, I spent a lot of time alone, and I would make up stories, I’d tell them out loud to my dolls, I mean literally when I was a little girl. I used to take all of the clothes out of my closet and I’d put on plays in my room by myself with my dolls and my bears, and so I’ve always kind of been a storyteller of some kind, but it wasn’t until I finished college, I was an art history major at the University of Michigan, I got my first job at the Metropolitan Museum of Art in New York at the Registrar’s Office in the basement, filing, and I remember thinking, because in school I was never a theater major or anything, but I was always in plays, I was always in the theater lab thing or reading the thing, because that was kind of what my interest was. I did like Art History but it was also looking at pictures in a classroom for an hour and a half instead of reading, so I really liked that! It was looking at slides of beautiful paintings. Um, and I remember I started thinking, ‘When am I gonna get to be in a play!?’ Literally had this sort of a weird little brainstorm, I thought, there’s a profession which you could pursue which would allow that to happen and get paid for it maybe! So I applied to graduate school in theater and I applied to Colombia, NYU and Brandice, I did not get into Brandice, I got into NYU and Columbia and I chose Columbia. So I never was like, ‘Oh, I’m going go to Hollywood and I’m going be an actor and I’m going to be in movies’, that never was my goal, so the fact that this has happened, it just is a real lesson in pursuing what you love, and you never know what’s around the corner – in terms of success. Because if you don’t pursue success, but you pursue the thing, that will lead you to success. I think people overstep, they forget the part about doing the work that will lead to the success. You don’t just get successful. It’s a very slow, I think, I mean I’m sure some people do, but for me it was very step-by-step, doing something I was passionate about and I got better at as I went. You know I studied, I went to the Actors’ Studio, I studied Lees Habsburg and Uda Haagen and Stella Adler, I’m a studied actress. I didn’t just say ‘Oh let’s do this’. I really worked hard, so people say, ‘Well, you deserve it’, well I don’t know if I deserve it, but I know I’m enjoying every second of this part of my life. It’s the best part of my life, right now, for real. I’ve never had so much fun.
BD: I love the fact that you’ve become the star of the franchise. I mean, I love these movies, but you look at the Mad Max series and it’s Mel Gibson as the star, and the Evil Dead franchise has Ash, it’s always this guy coming in to save the day –
Lin Shaye: And they’re young too.
BD: (Laughs)
Lin Shaye: I am! You know I’m an older woman, although I don’t act like it, I don’t even know what that means. Sometimes I feel genderless and ageless, because it’s not about that, it’s about people, it’s about dynamics of relationships, it’s about ethics, it’s about being a good storyteller in regard to supporting the whole film. In the film, you can’t just do what you want to do as the character, you’ve got to support the whole story and what the story is that you’re telling, so I really, the fact that I am older and I’m not that cute on camera (Laughs) I mean I am, but I don’t think about that either! I really don’t! I think the first time I looked at it I thought ‘Oh my god look at all those lines I never knew I had’ but it is what it is and I’m grateful to have my energy and my good health, and sometimes I think that’s all it’s about, for all of us, whether you’re young or you’re old, whether you’re male or you’re female, animal, vegetable, mineral, but to do something you love, to have good energy and good health, and you will be a success if you keep doing what you love.
BD: Yeah, and I think it’s super cool that you are the main star of this film.
Lin Shaye: Me too! I mean I still, I swear to you, I haven’t totally processed it but I know I’m enjoying everything and people have been so nice and supportive, and that’s a real treat.
PR: You have time for one more question after this.
Lin Shaye: She’s wonderful! We should let her talk forever.
BD: I love that you and Leigh Whannell have become this like power couple, at least business-wise, you two have become this really awesome pair to see onscreen and I’m wondering what he’s like professionally and what’s your favorite thing about working with him?
Lin Shaye: Leigh is amazing, really amazing. His brain never shuts down ever, it never quiets down hardly, he’s just always thinking, he’s got a phenomenal sense of detail in the way he lives his life and the way he creates his writing, I think is extraordinarily detailed, I love him as a friend, we’re like Mutt and Jeff together, we’re like this funny duo, of course he and Angus Sampson are really the funny couple in the movie, and they have a relationship that’s gone on for a long time, and they’re just repoirte, it’s just (snaps fingers) constant, they just keep one-upping each other. They have their own show, whether they like or not, whenever they’re going they just don’t stop. Leigh and I have a touch of that, and Leigh actually confessed, he loves to make people laugh. And so do I. So there’s some element to that in our relationship too, we’re always making each other laugh and I trust his judgment implicitly. He’s a very moral guy, loves what he does, loves his family, the people around him, is as genuine as the day is long, there’s not a false move in his body. He’s a real seer, I looked in his eyes the other day and I’ve never even told him this, his pupils are bigger than most people. Because I thought there’s something different about his eyes and I was trying to see what it is, and he’s got his big eyes, they’re a beautiful kind of gray-blue, but the pupil is bigger which means it lets in more light, and I wonder, I mean who knows, he doesn’t know he’s had it all his life, but I wonder, I mean I have tiny little dots in my eyes, maybe I don’t let in enough light, but I let Leigh’s light up my life. Or we light up each others’ lives! I guess you might say! That’s funny.
BD: I know I’m out of time but I just wanted to say how much I miss Wes Craven, and I’m sure you do too, and I was just wondering, is there a particular memory from working with him that you hold dear to your heart?
Lin Shaye: He was like a cherub, he was like an angel, and he looked like an angel, too. He was always rosy, he was quiet in demeanor, also a real seer and a real listener, very soft spoken and uh (laughs) I actually had one experience, I was auditioning for The Twilight Zone, I did an episode of Twilight Zone with him, and the casting director, I won’t say what his name was, but I did the scene and it was quite emotional, and it actually is on camera, too, when you see what we did, and the casting director, I won’t tell you his name, but he looked at me and he says, ‘Can you do it without being so cry-y?’ and I gave him the finger. (Laughs) It was just a reaction, believe me, if I thought about it I wouldn’t have done it, but I just remember Wes, because Wes was there, and Wes gave me the thumbs up. (Laughs) So I love Wes Craven.
BD: The Last Key feels very Nightmare on Elm Street to me, which is cool.
Lin Shaye: I think it’s a terrific story, I always go back to story and I’m really proud of it and proud to be in it.
Insidious: The Last Key is now in theaters everywhere.
Nothing is the same when two crewmates return to shore in Rose of Nevada, the latest by Enys Men filmmaker Mark Jenkin.
Time and reality blur for stars George Mackay (Wolf, 1917) and Callum Turner (Green Room, “Neuromancer”) in the hallucinatory time travel mystery releasing in New York and Los Angeles theaters on June 19, 2026.
But this isn’t your standard time travel movie.
Rose of Nevada bends time and genre in its exploration of Cornish identity and community, upending the lives of Nick (MacKay) and Liam (Turner). There’s a listless, dreamy quality to the time travel, and for inspired reason: Jenkin approaches it like a haunting.
While time travel was on his mind early in the writing process, Jenkin’s partner and collaborator asked a question that unlocked Rose of Nevada and inspired the filmmaker.
Jenkin explains, “I remember saying to Mary [Woodvine], my partner, who’s in the film, I said to her, ‘God, it really seems like I’ve fallen into this thing of either making films about ghosts or films about time travel,’ and then she said to me, ‘Yeah, but aren’t all ghost stories just time travel films, and aren’t all time travel films just ghost stories?’ And then I thought, ‘Oh, great. So I’m not making two types of films. I’m actually always making one type of film.’ But that was ultimately liberating because I thought there’s a nice gap or a crossover in the perception of genres, there’s a lot of room to play and to be free within that.”
“Once I’d abandoned the idea that I was going to master quantum physics in any academic sense,” the filmmaker continues, “It was incredibly freeing because I thought, ‘Well, I can just set my own rules here,’ and it really doesn’t matter what the rules are as long as you stick to them. You can’t bend them for the sake of the plot or for the sake of a character arc or something. You have to establish those rules upfront and stick to them, which made me really think I’ve got to limit the time travel element. This film can’t be about time travel.“
Bearing the brunt of the time travel disruption is Mackay’s Nick, a man struggling to support his family before the ill-fated voyage upends his entire world. It’s the type of role that was an easy yes for the actor, simply because of the filmmaker behind it.
“I saw Bait at the cinema when it was first out a few years ago and was so struck by it,” Mackay tells BD. “I just hadn’t seen a film like it. I want to work with the best directors. I want to work with the best directors and people who have a singular vision. As an actor, the process of work is almost my biggest draw, as well as what a story’s saying, but I think you learn by doing, and if I can do my bit in as many different ways as possible. The physicality and the discipline of Mark’s filmmaking, how that is so entwined in the DNA of the film, and therefore in the way that I work within it, that was the biggest draw. I’m just a fan of Mark’s. I was just very pleased to be involved.”
That reflects in Rose of Nevada‘s unique casting; Mackay initially was eyed for Liam.
“When I first got the call to meet Mark at the audition stage,” Mackay said, “We didn’t wind up reading scenes, but they said, ‘There’s a project. There are two roles in it that you could be right for, and Mark is leaning towards you for Liam.’ So, I had a look at Liam, Callum’s role, and had my interpretation of the script ready to talk about it and what I thought that character was, who he was, and how I’m thinking about how I might inhabit that or what I saw in him. And when we met, we didn’t talk about the film at all. We spoke about everything else. But following that meeting, I got the message, said, ‘Mark would like you to be part of the film, but he thinks you’re definitely more of a Nick,’ which I think I just may be a complete sheep because I went, ‘Of course I’m Nick.’
Mackay continued, “But it’s funny, I do have in my own life, I just started a family, and so much of my last few years of being has been trying to figure that balance and what that means and how you navigate that. So with family being at its core and all the kind of conundrums that come with staying level with that, that rang true. So I felt like I understood objectively, I have my interpretations of what both men mean to each other and within the story, but then once I was playing Nick, I just became about a very present focus on who he was and what his situation was. What I liked about him is that he’s a very straightforward bloke. In the best possible way, he’s quite a simple man. It’s just he’s in an extraordinary situation.”
Jenkin wrote Rose of Nevada during the pandemic lockdown that had forced a halt in production on Enys Men. He’d return to rewrite once Enys Men had been completed, creating overlap between films. “They are even more in conversation than you’d think because the first draft of Rose of Nevada was before I’d made Enys Men, and then everything I learned through the making of Enys Men, I fed into Rose of Nevada. But also the reaction to Enys Men, all the critics and writers and audience members who are telling me what Enys Men was about. I’m always the last to realize what I’ve done, I think like most filmmakers. You don’t really know what you’ve made a film about until the audience tells you. I was able to feed that into Rose of Nevada and also scale it up a little bit. So, yeah, in some ways it predates Enys Men, and in some ways it follows on from it,” he said.
Jenkin’s latest caps what’s unofficially been dubbed his Cornish trilogy, a moniker that initially surprised the filmmaker, but he’s come to embrace it. A recent revisit of Bait made it even clearer. “I can now understand why people are linking the three films together. I’d forgotten how linked they are, which is amazing, really, considering the first draft of Bait was written in 1999. So, most of my adult life has been one way or another making this trilogy. I am quite looking forward to starting the next chapter.”
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