As a film enthusiast with an inclination towards psychological horror, I must admit that Jennifer Kent‘s masterpiece, The Babadook, stands out as one of the most compelling films I’ve encountered in recent years. Compared to other projects at the time, The Babadook felt different and unique, not just for its chilling narrative but also for the sense of personal fulfillment it brought to Kent as a first-time filmmaker.
In the 2000s, horror movies featuring found footage and “torture porn” subgenres were highly popular, with films like Paranormal Activity and Saw leading the way. However, in 2014, Australian writer/director Jennifer Kent introduced a completely new kind of terror with The Babadook. This film combined classic expressionist monster depictions with the eerie atmospheres of ’60s and ’70s horror, creating an experience that felt both original and reminiscent of traditional fear.
Six years following her husband’s tragic demise, Amelia (Essie Davis) finds herself in a state of confusion. She grapples with disciplining her seemingly uncontrollable six-year-old son, Samuel (Noah Wiseman), whom she finds hard to love. Nightmares torment Samuel, and he believes a monster is after them both. A mysterious book titled ‘The Babadook’ mysteriously appears at their home, leading Samuel to believe this creature is the one haunting his dreams. As Samuel’s hallucinations intensify, so does his erratic and aggressive behavior. Alarmed by her son’s conduct, Amelia feels compelled to medicate him. However, when Amelia starts noticing dark presences lurking everywhere, she realizes that the entity Samuel has been warning her about might be genuine.
I chatted with Kent about the cultural influence of “The Babadook”, observing how the monster has transformed into a symbol, and discussing if there’s any chance she might delve back into that universe for another chapter.
Interviewer: I’ve been researching the history of Australian horror films lately. Titles like Wake in Fright, Razorback, Wolf Creek, and Lake Mungo often come up. Lake Mungo seems to stand out due to its unique nature amidst the common theme of arid, brutal Aussie horror flicks. Your movie is a refreshing change from the usual Australian horror films. When you were creating this film, how did the cultural legacy of Australian genre cinema affect your creative process? Were you trying to break away from the trend while still staying true to those sensibilities?
Jennifer Kent finds it intriguing that you mention this, as many Australian films are filmed outdoors, aren’t they? For instance, Lake Mungo, in my opinion, is one of our top horror movies. I absolutely love that film and hope the director makes more. However, I was more influenced by interior, psychological films such as Jack Clayton’s The Innocents or Roman Polanski’s horror, especially Italian horror. Much of it was expressionistic, chaotic, internal, and mental. This is likely what I aimed for, rather than sticking to my own country and the movies that have come before.
Regarding films set in the open air, I can’t help but bring up “The Royal Hotel” from last year as another standout. It’s captivating and thought-provoking, with strong performances at its core, and a significant portion of it was filmed outdoors.
The sight of open spaces stirs within me a longing to venture outside. Living in a country with vast, sprawling landscapes that, paradoxically, can instill fear, is something I’ve experienced. I recall watching “Wake in Fright” during the Sydney Film Festival, a film lost for years and then rediscovered. The experience was intense; it felt unbearable at times, yet it mirrored an aspect of the Australian spirit, particularly during that era. I believe this explains our fascination with those open spaces, which can offer liberation but also evoke fear in people.
Were the roots of The Babadook’s story, character concept, and distinctive appearance derived from London After Midnight? As you were working on it, did the name “Babadook” and the design for The Babadook come to mind early in the process, or can you share some insights into how you arrived at that unique name and design, which have since become so recognizable?
It seems to me that the creation was largely instinctive. As thoughts crossed my mind, I couldn’t help but be influenced by Georges Mélies and the silent cinema era, along with those early special effects which, in retrospect, appear endearingly quaint and a bit comical. Lon Chaney’s makeup is no exception. There’s an antiquated charm to it all that truly captivates me. I felt this blend of simplicity and childlike imagination was ideal because it evoked the sense of a creation birthed by a child, and indeed, The Babadook enters the story through Sam, as he is the one who discusses it, making its entrance via a children’s book.
These characteristics seemed logical. Regarding their execution, I believe it’s similar to any creation process – an initial thought emerges, followed by others, and quite frankly, it’s hard to pinpoint where these thoughts originate. As the project began to take shape, they simply contributed as the storyline unfolded during development.
As a gamer, when I chat with filmmakers who’ve crafted movies that have left an enduring imprint on cinema, it’s always fascinating to hear they didn’t foresee the magnitude of impact their work would have on horror enthusiasts. However, when comparing The Babadook to other projects you were working on at the time, was there a sense of satisfaction or a feeling that this production stood out in some way? Was there something distinctive about the process – be it in writing, filming, editing, or even the release itself – that made you think, “I’ve truly created something special here”?
Absolutely, it’s important to note that before writing “The Babadook” script, I had penned approximately six or seven other scripts. At the time, I was quite inexperienced, underestimating the financial requirements. I thought, “I’ll earn money to make this film, then that one,” and of course, they were all overly expensive due to their ambition. Simultaneously, I was learning how to write a script effectively. After several scripts reached a certain stage with Screen Australia but didn’t get produced, I decided, “I will write a film set in a house with only two characters.” This self-imposed limitation seemed feasible because it could be made for around $2 million, or even as low as $1 million or $330,000. My primary goal was simply to create this film. We kept our commitment and managed to secure support from Screen Australia. I believe the budget was approximately $1.6 million, which we were fortunate to have available to us.
As a first-time movie maker stepping into uncharted territory, each day brought a fresh wave of gut-wrenching fear. The terror was so intense it felt like I might vomit at any moment. But then, after countless sleepless nights and relentless work, the film was finally made. It filled me with immense pride, knowing that I had complete creative control over this project – a privilege I fiercely guarded as a filmmaker. If someone else tried to take it away from me, I believe the end product would have been devastated, for the film faced severe criticism in the late stages of editing. Even those who had invested in our project didn’t appreciate the movie. However, with final cut on our side, my producer and I were able to shield our vision and bring it to life as intended.
Regarding the enduring impact of the film, can you recall your first response and the specific location and moment when you discovered that “The Babadook” was recognized as a symbol within the LGBTQ+ community?
To tell you the truth, I was at my residence, and for some reason, I can’t quite pinpoint. You see, one of my most cherished TV programs is “RuPaul’s Drag Race,” or Drag Race, as it’s also known. When I found out about that, I must admit, I was quite pleased. As the show began and memes started circulating, seeing two drag queens discussing The Babadook felt like a dream come true to me. In fact, I’m quite an enthusiast. I even purchased a collection of rainbow pins, though I need to find them now. So, yes, I absolutely loved it!
Is there any curiosity or external influence encouraging you to revisit the hauntingly beautiful story of Mr. Babadook, or are you eager to distance yourself from it due to its exceptional filmmaking?
Kristina Ceyton and I had the opportunity to generate significant profits from sequels, there’s no question about it. However, she understood that I wasn’t interested in creating a sequel, something that was clear when we initially signed our contracts. We were fortunate enough to secure the rights, which is a rarity for filmmakers these days. Typically, surrendering the rights is a common requirement to get the first film made. However, I chose to focus on expressing my own ideas rather than pursuing sequels. Frankly, I believe the world might be tired of Mr. Babadook by now.
On September 19th, The Babadook makes its comeback in cinemas, and following each showing, there will be an on-screen discussion between director Jennifer Kent and two-time Oscar winner Alfonso Cuarón.
This interview has been edited for length and clarity. You can contact Patrick Cavanaugh directly on Twitter.
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2024-09-14 00:41