Movies
Mark Smith Talks Untitled Paramount/Platinum Dunes Feature
A few weeks back it was announced that Paramount had set up an untitled horror project penned by Mark L. Smith (Vacancy, The Hole 3D) with Platinum Dunes partners Michael Bay, Brad Fuller and Andrew Form along with Room 101’s Steven Schneider (Paranormal Activity, Area 51). The project was kept under wraps, so we caught up with Smith to see if we could get any nuggets of info out of him.
Bloody Disgusting: The Variety article announcing this project states that Paramount is keeping the logline “under wraps”, but that it’s in the vein of “I Am Legend”, “Aliens”, and “The Descent”. Doesn’t get much cooler than that! What else can you tell us about the story and how you became involved in writing it?
Mark L. Smith: “I was playing around with something post-apocalyptic, and Steven Schneider gave me a nugget of an idea involving some genetic work gone terribly wrong. So I took part of his idea and combined it with the world I wanted to explore… and we ended up with this story.”
Bloody Disgusting: How has the experience been working with BOTH Platinum Dunes and Room 101 on the project? Both companies are known for high caliber horror films, how are the creative juices flowing?
“They’ve all been great to work with. Platinum Dunes knows exactly what audiences want, and how to deliver it. And Steven and I have been developing the story together for well over a year, so we’re pretty much always on the same page creatively. He and I are actually doing several projects together right now that are all over the spectrum genre-wise.”
Bloody Disgusting: Have you guys been talking to any directors about this yet, and if so which ones? Do you personally have a “dream” director in mind for it?
“They haven’t officially gone out yet, but I know several directors that have approached the producers… don’t think I’m supposed to say who though. And yes, I’ve got someone I think would be perfect… and he’s interested, so we’ll see if I get lucky.”
Bloody Disgusting: You’re quickly becoming a name in horror, what attracts you to the genre? What are some of your favorite films?
“I love the visceral reaction you can create with horror films… nothing beats being able to really scare someone. I do it to my kids all the time… they hate me. As far as favorite films… is JAWS considered a horror film? I’ve heard that debated, but for me, that set the bar… I love a slow build in horror/thrillers, where you have time to really get invested in the characters, rather than have them just be “victims in waiting”.”
Bloody Disgusting: You’ve written the thriller Vacancy and the children’s horror film The Hole, what makes this very different from those?
“It’s a little more sci-fi and thought provoking. There are also a lot of twists and turns in this story as opposed to a Vacancy, where a couple is trapped in a motel room, or The Hole where a pair of brothers find a bottomless pit in their basement that holds their darkest fears. Those were a little more straight-forward. This new one taps into some different emotions.”
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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