The biggest exception to this rule is the continuing series of V/H/S, an anthology of horror, which I gave rise to his own boom in terrible horror And he kept the dream of found legs alive in seven thematic elections. Eighth in the series, 2025 years V/H/S HalloweenIt shows five shorts that take place around Halloween, stretched together with the history of the wrapper (“Diet Phantasma”), in which a brutally detached scientist, the leading series of consumer goods tests that kills people awakening him in various dirty, excessive ways.
IN V/H/S HalloweenWorld Premiere on 2025 from the release of a fantastic film festival in Austin “All seven” V/H/S Halloween The directors gathered for questions and answers after watching, where director Anna Zlokovich described the horror of the “found footage” as “heavy as fucking to shoot”. Her co-directors welcomed in response. The landfill sat with all of them subsequently in order to unpack why they feel that shooting according to the project of the foot found is more difficult, in one case, easier! – How to make a regular horror movie.
This interview was edited for compilation and clarity.
Polygon: I Talking with horror directors with the victim About individual images or moments that were difficult to get correctly, but for the first time I heard someone just directly said that the genre is universally difficult. What do you see as the main problems in horror with the knife found?
Michelin Pitt, Co-Director of Home Persault: I think that the most difficult thing, as an artist, is limited to your creative ideas, because everything should be motivated by a person holding the camera. Therefore, I think that this is what is difficult for me – it is to separate myself from my work and my ideas and stay in the box.
Alex Ross Perry, director of Kidprint: I actually told her this last night – I agree with this, but I also do not agree with this very specifically, because I really love an open set, which is 360 degrees. I found that it frees it so because the lock and coating are the same. In traditional film production, blocking and lighting are diametrically opposite. [Chorus of “Ooh!” “Hmm!”]
If the character should look to the left, the coating should look right. And the fact that one day you block the scene [in a found-footage movie]You understood your lighting – it was so surprising to me. I saw 500 films about the found footage, but so far you have not taken your first project with a knife found … The first day, you like, you [realization] “Ooo!“
So, as soon as you find out where the character moves, this coating moves – the camera does not move to the left when the character moves to the right, the camera moves forward when the character moves forward. You shoot at the stage once, and that’s all – we do not need to get its line, our line, our line. It moves in one direction, reaches the end, and now we are moving in the next direction. As a disappointed narrative director who did not remove the scene of the traditional coating for many years, I said: “This is cool, this restriction actually frees, because you only need to understand the same thing once.”
Anna Zlokovich, Director of Coochie Coochie Coo: I think that a difficult part is a suspension of unbelief for the audience. Everything should feel real. The sound should feel that this is actually happening. Speech should feel grounded. If you have something like an adult in the diaper, how do you sell it as a realistic one? This is absurd, but you must make him feel that he exists in the world properly. I found that it is difficult – you can lose people at any time. It just requires one fucking.
Brian M. Ferguson, Director “Flaim Diet”: I agree with Alex – as soon as you get a lock, this is great. But when you have so many practical effects that occur at a time, and tries to make sure that you apply the boarding houses on it, and do not fuck, and then the settings accept – you have only a certain time so that all these things are correct.
There was a large wall on our set, and you have not heard anyone. Alex [shoot] It seems to be a great fun. Ours was very heavy. I had only three days to do it. This releases, because with the frames found you can take certain freedoms with you. Even if you feel this, it will still look like garbage, because you put filters on it or use a garbage chamber. So this is good and it is bad.
Rh Norman, Co-Director of Home Haunt: I would say that the search for rhythm is very difficult if you are removing mainly OnersOur approach was: “Okay, this is edited in the cell. There is this guy, dad, and he turns on and turns off the camera, and these are our abbreviations. ” This entailed a lot of fake installations. But you really have to live at the moment. You really should see exactly what your shot feels, because what is happening in the camera, and in some cases there is no harsh around it.
We knew that we had only two or three doubles per shot, because ours was very ambitious. We really tried to focus on finding various rhythms between doubles, because we did not know what we were going to get in editing. And the real problem with the frames found is that you have to hide these abbreviations on the movement of fog, on all kinds of things, and you really never know where these cuts will live, and whether they will betray your entire enterprise, trying to feel an unsurpassed camera with a point of view that moves through three -dimensional space.
Zlokovich: You want to not try to hide it with glitches as much as possible, but sometimes you need, because shit is hard.
Norman: In fact, she is right. It's easy. Just grab the shit out of this. [General laughter.]
Paco Plaza, Director of UT Supra Sic Infra: For me, the most difficult thing is to force the audience to believe that people working on the camera will continue, not run away. This is also the most important thing. There are some fields “Found legs”, where I simply do not believe that the characters will continue to record.
And I think that the camera should always be late, what happens because it happens in real life. For me, magic is destroyed if the camera is already there, expecting something to happen. If you are here, the record, and you hear the noise and the pan to it, this noise has already disappeared. And I think this gives a sense of truth, which is very important to preserve.
What is the single in your film in which you are proud of?
Perry: Our character sits on a four -monitor deck for editing software, with four different videos that play at the same time. This is all analogy. We shot these videos days earlier. Then the editor treated them, and then we placed them on four computers connected to four monitors.
This frame of the character, sitting there with four different video frames playing – I said: “This is the image that I wanted from this project.” If this was the only thing I saw in this film, I would now press the game: “It looks cool!” But it was more complicated than it looks, because it is like four different people, pressing space bars at the same time. It looks so simple, but it took three days of planning to get to this image.
Pitt: The witch flight is for us. It was my favorite scene – selfish, because I had to fulfill it, but it was also an impossible shot that we made. We needed to hit all these grades. We made two doubles, and that’s all that we had. And I was very proud of us at that moment, and that was my loved one.
Zlokovich: There is a shot in my shot where the girls run down the stairs, they try to open another door, they go to the game room, the chirler throws blocks, they go to the chirlider, they see mom outside the door, they go out on the street, they go down the stairs, they go to the pool room – that was all that we did not do a single cutout. And I am proud of it because it was hard, but it was great to see that it had gathered together. The first five are accepted SuuuuuckedAnd then it began to feel real, and it was cool.
Ferguson: Mine was when a little boy explodes on the glass. [General cheers and whoops] It was like the last, we created a gun with all the effects, and we had only five minutes to do it right. It didn't work. And then we had to quickly drop it, and we received a shot in the last part of the day. But we laughed what I was hoping for.
Kasper Kelly, Director of the Fun size: A shot at the end of the film, when they are on the conveyor of the duct, and it is offered, and it crawls back. It always makes me laugh.
Plaza: For me, when the boy begins to tear eye apples. It was very, very fun to shoot. We giggled all the time. It was really nice. He was very experienced by his language – it was not easy to pull out four eyeballs from his mouth, but he did. So I'm very proud of this.
V/H/S Halloween Now it is broadcast on trembling.
