As a film critic with a deep appreciation for horror movies, I’ve had the pleasure of witnessing some truly chilling and innovative productions throughout my career. Among them, Oz Perkins’ “Longlegs” stands out as an exceptional work that leaves a lasting impression.
As a big fan of this year’s most intriguing and enigmatic films, I can’t help but be drawn to Osgood Perkins’ chilling horror creation, “Longlegs.” The marketing team did an excellent job of generating buzz by merely hinting at the terror hidden within the film, leaving us eagerly anticipating what was to come without giving away too much.
FBI agent Lee Harker, played by Maika Monroe, is a talented rookie who joins the team investigating an elusive serial killer, portrayed by Nicolas Cage. As the case unfolds with intricate twists and turns, they uncover clues suggesting involvement of the supernatural. Shockingly, Harker uncovers a chilling connection to this ruthless murderer. With time running out, she must act swiftly to prevent him from taking more innocent lives.
I had the opportunity to sit down with Ng and Fortin recently, two talented individuals behind the scenes of my favorite game. They shared insights into bringing Perkins’ vision to life and meticulously piecing together clips of Cage’s ruthless adversary.
WARNING: Minor spoilers below for Longlegs
Did the filmmakers exclude a significant amount of Longlegs’ footage or scenes from the final version due to revealing too much about his backstory, potentially spoiling the intrigue, or because of the extensive portrayal of Nick Cage’s remarkable and terrifying performance as Longlegs?
As someone who has spent years immersed in the world of film production, I can relate to Graham Fortin‘s nostalgic recollection of lost scenes from a particular project. The mention of “Crimson and Clover” instantly transported me back to my early days in the industry when I too have experienced the bittersweet feeling of losing precious footage. The repetition of Cage’s song in that scene was a defining moment, etched deep in my memory. It’s disheartening to think that such rich material has been lost over time. The house scene is another piece of the puzzle that adds depth and complexity to the narrative, and its absence leaves a gaping hole in the final product. I can only imagine the frustration and disappointment Graham must feel as he reflects on what once was, and the potential impact it could have had on the finished project.
Greg Ng expresses his belief that the production team effectively utilized most of the content. Although some scenes were shortened, there was minimal excess material. Given Nick Cage’s charisma and the abundance of available footage, it wasn’t a question of discarding material but rather managing the amount to ensure the audience receives an appropriate experience. Overloading viewers with excessive Nick Cage content might appeal to some, but this film aims for a balanced presentation.
Based on my understanding of John Cage’s interviews and the analogy used by Fortin, I believe that Cage saw himself as a mysterious and elusive figure, much like the shark in the movie “Jaws.” He understood that revealing too much about himself would dilute the intrigue and fear that surrounded him. As someone who has always been fascinated by enigmatic personalities, I can relate to this idea of keeping certain aspects of oneself hidden. It adds an element of mystery and allure, which can be captivating and intriguing for others. From what I’ve learned about Cage, it seems that he was a master of using his elusiveness as a tool to fuel the imagination of those around him, allowing them to fill in the blanks with their own interpretations and ideas. It’s a fascinating approach to life and art that I admire deeply.
Which scene was it most enjoyable to remove from the final edit, and which scene presented the greatest difficulty during the cutting process?
As a gamer, I found the interrogation room scene to be the most thrilling part of the game. The tension was palpable and I couldn’t help but feel on edge, thinking “Here we go” as Cage came into the picture. It felt surreal to have access to all that raw footage and examine it closely – a true gaming dream.
As a dedicated moviegoer, I find the moments that spark the greatest emotion in me to be the most enjoyable. When the tension builds and finally explodes with a collective gasp or roar of laughter from the audience, those scenes leave a lasting impact.
One of the scenes I enjoy most is when Lee is at home, receiving a surprise. We added suspense by keeping audiences guessing, as it was clear that everyone was invested and the atmosphere was tense, with the old house making ominous creaks. The question on everyone’s mind was “What’s happening? Is something going to occur?” Something definitely did happen. An uncalled-for pop sound added to the excitement when Lee slammed her hand on the desk, even though it was an unnecessary addition. Yet, it provided a thrill as people reacted with “Oh, come on, it’s nothing.” Moments like these offer an opportunity for a harmless scare, and that particular instance delivered just that. I always look forward to reliving this moment.
It’s the ending of the movie that I find the most difficult to write, as I aim to conclude the background stories and align them with the current events, bringing Longlegs into the mix. At the same time, I need to fill in the blanks without overwhelming the audience with too many details.
As a fan, I can say that the ending beautifully reveals both the mom’s story and Longlegs’ true intentions, yet getting there wasn’t an easy task. It felt reminiscent of the prologue in “The Lord of the Rings,” with its narrative and storytelling, but these moments were scarce towards the movie’s climax. I personally found this part particularly challenging, but the payoff was well worth it as the pieces came together.
Fortin: Beginnings and endings are always hard.
Have you discovered anything particular that you shared with Oz or tried out for him during production, which left him impressed and feeling like, “You truly unlocked the secret,” bringing a new perspective to the project that he hadn’t initially recognized?
As a gamer, I can relate to the thrill of hitting a roadblock during the editing process. It’s like reaching a level in a game where you feel stuck and unsure of what to do next. “I’ve hit a wall. This isn’t working. I need a break.” And sometimes, taking a break means stepping away from the edit suite and doing something as simple as going to the bathroom. But little did we know, this seemingly mundane activity would serve as a source of inspiration. “In the bathroom, my mind would wander and suddenly, an idea would pop into my head. ‘What if there were demons everywhere in the scene?’ I’d come back to the edit suite, excited to try out this new idea.” And before I knew it, those joky bathroom inspirations became integral parts of our film.
Claiming ownership over numerous aspects of a project can be challenging, yet we’ve certainly added some creative suggestions along the way. It’s almost inevitable that during brainstorming sessions, some ideas will take hold. Among my favorites is Harker’s mother suddenly appearing behind the car – an unexpected editorial addition that adds significant impact to the film. This moment stands out as one of the most memorable for me.
In simpler terms, Fortin believes that filmmaking is a collaborative process where each team contributes to the final product. The various departments influence one another, and the difference between an unfinished and completed film is significant. His friends in the sound department provided suggestions, while improvements in other areas, like art, transformed the viewing experience at the theater. At some point, raw files from the art department were scanned, including ciphers and crime scene photos.
Ng: Death certificates, and that sort of thing.
Fortin: Thanks to Brendan Meganetty, we obtained the death certificates for our film. The production design by Danny Vermette contributed significantly to the movie’s overall atmosphere. By combining these elements, we asked our post team to scan each one meticulously. Oz then acted as our investigator, assessing each piece like a crime scene detective. He sorted through them on the floor, deciding which ones would fit best in the film. Once selected, they were scanned and inserted into the production for a satisfying outcome.
“Ng: A significant portion of the movie involves dealing with that and the additional equipment or tools, specifically the microfiche machine.”
Instead of a traditional linear film with continuous moving footage, it’s more like creating a multimedia project with various elements. For instance, you may include photos, which have different aspect ratios, as well as other non-moving media such as microfiche.
Fortin: The phone calls.
Paraphrasing: During the phone calls for the film, there was an exciting secondary phase. They filmed all the visual elements such as snakes, milk, and blood which enriched the movie with depth. It was an exhilarating experience where we could ask, “Where can we fit this in? This is going to be fantastic!”
Fortin: It was enjoyable working with Oz on that as well, as we carefully examined each frame and he would say, “No, not that one,” or “Try this instead.” We began with the snakes, focusing on good ones versus bad ones. “Is this not good?” he’d ask, to which I’d respond, “No, let’s try flipping it or turning it.” Overall, it was an enjoyable process.
Have you two discussed any potential projects or plans for collaborating with Oz again in the near future?
Based on the information provided by Fortin, I can tell that he is involved in two upcoming projects. One of them is an adaptation of Stephen King’s novel “The Monkey,” and the other one goes by the name of “Keeper.” From his casual tone and the way he mentions these projects as if they are already well-known, it seems that Fortin has a wealth of experience in the entertainment industry. He may be a producer or someone involved in the production process, as he speaks about “two projects coming” in a confident and matter-of-fact manner. Overall, his statement gives off an air of professionalism and expertise.
I’ve been deeply engaged in developing two projects lately, and I must admit, the experience has been thrilling! Unfortunately, I can’t share too many details at the moment, but rest assured that progress is being made and the process is incredibly enjoyable.
Fortin: It’s intriguing that Neon has developed in both of these areas. This means that there is existing knowledge on the subject, but it has all undergone some form of review or approval.
Longlegs is in theaters now.
I’ve had the pleasure of listening to this engaging interview, but please note that some parts have been shortened for brevity and to ensure clear communication. Feel free to reach out to Patrick Cavanaugh personally on Twitter for further insights or discussions.
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2024-07-17 21:41