The Home Director Confirms Terror Never Dies in His New Thriller

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From my perspective, retirement communities are usually tranquil havens designed for residents to live comfortably and peacefully. However, in the chilling new movie titled “The Home“, a fresh staff member encounters quite the opposite emotions as he spends more time there, feeling increasingly anxious and uneasy. As the story unfolds, he begins to uncover terrifying secrets hidden within this seemingly innocent facility. This film, created by James DeMonaco, presents a stark contrast to the terror portrayed in his “The Purge” franchise, with Pete Davidson embracing a more serious role for this production. Catch “The Home” in theaters starting July 25th.

In the horror-thriller created by the mind behind “The Purge,” a defiant young adult is forced into community service at a tranquil nursing home. The inhabitants on the fourth floor are strictly forbidden, labeled as needing ‘special attention.’ As his suspicions escalate and he delves deeper, he unearths a shocking truth that jeopardizes not only their lives but also his own.

I recently had a chat with DeMonaco about his latest film, the unique aspects of working at the real filming spots, and other interesting topics.

FilmMaker: In many of my films, I often incorporate symbolic representations reflecting the anxieties, issues, and apprehensions prevalent in society. How do I strike a balance between creating an engaging, exciting, and enjoyable narrative while simultaneously integrating these themes without avoiding them altogether?

When it comes to my movies like The Home and others, I frequently embed allegories that mirror the concerns, worries, and fears in society. How do I manage to maintain a balance between crafting an entertaining, thrilling, and straightforward storyline while also weaving in those themes without shying away from them?

James DeMonaco emphasizes the importance of balance. It’s crucial not to lecture or evangelize the audience, as they might find it annoying, and rightly so. I, too, would feel annoyed if I were in their shoes. Growing up, I was inspired by filmmakers like John Carpenter and George Romero, who often embedded social and political commentary within their works. My producer, Sébastien K. Lemercier, shares this background, and we both appreciate the concept of “smuggler’s cinema,” where you discreetly insert ideas into a genre film. In our opinion, genre films are the most effective for this purpose because you can subtly convey the message without being too obvious or heavy-handed about it.

In this movie, we’re not only creating an engaging horror experience filled with suspense, chills, and blood-curdling twists. Simultaneously, we’ve subtly woven in a metaphor for climate change. While it’s essential to have the thrilling aspects that horror fans love, the deeper meaning is there for those who seek it. Even if some viewers miss it, that’s okay too. The hope is that this duality might stimulate conversations about various topics, and as a filmmaker, I enjoy creating layers of meaning in my work.

When creating these films, such as The Home, do you maintain that message in your thoughts throughout the process, only to question later if you may have overdone the social commentary, or do you simply express your ideas and let viewers interpret them as they see fit?

I appreciate your question and I aim to provide an answer that is neither overly forceful nor understated. To achieve this balance, I plan to integrate the main points subtly, leaving room for adjustments during the editing process. We’ve incorporated various TV screens to add some visual elements and messaging, which can be modified if they seem too intense or didactic. In other words, we can tweak them in post-production if necessary.

In the “Purge” movie series, I admit that at times, my commentary might have veered slightly into over-analysis. I understand there’s a delicate balance, as nobody wants to be lectured by James DeMonaco about what they should think. Instead, it’s about offering material for discussion and encouraging conversations, rather than coming across as too didactic or evangelical.

In the movie, Pete delivers an outstanding performance, and given his reputation for comedic roles, this film allows him to take on a more serious, intense, and action-packed character. Despite having known Pete for many years, what took you by surprise was the depth of what he brought to this role. You expected him to excel, but even so, you weren’t fully prepared for the emotional impact he delivered.

friend, I believe you’ve truly excelled! I always had faith that he would succeed, given our prior relationship. You see, I knew Pete before his fame, and I recognized the depth of his character. So when the opportunity arose, I felt confident that he could pull it off. Despite some skepticism from powerful circles, I was convinced he could do it. However, even I was taken aback by just how well he did!

I recall finding myself surprised on the set one time, telling his mother, “I wasn’t aware he was this talented.” It didn’t occur to me that he could collaborate with experienced, seasoned stage actors, some of whom had studied Shakespeare and won Tony awards – John Glover, Mary Beth Peil, Ethan Phillips, Stuart Rudin. I should mention that Stuart Rudin was part of Jonathan Demme’s Experimental Theater Company. These individuals are highly skilled and accomplished. Bruce Altman, in close proximity to him, would seamlessly integrate into this community of remarkable, experienced actors without missing a beat.

This youthful individual exhibits extraordinary courage, overcoming any apprehensions or anxieties. I aspire to emulate his bravery. His fearlessness is truly inspiring as he confidently interacts with more experienced performers, diving headfirst into each situation.

In contrast to several of my previous endeavors, where a portion of the cast and crew resided off-site during filming, this project saw us all living in the location itself. I ponder if this unique setup influenced the final product, considering we spent our evenings immersed in the very environment that was being captured on screen.

The place we lived in was certainly peculiar. It felt like our home, but there was an underlying strangeness about it that made me suspect it might be haunted. I know others may think I’m imagining things, but I truly believe that there are mysteries out there waiting to be uncovered. Odd occurrences took place within this dwelling. I strongly feel that our prolonged stays there at night had an impact on us. As a filmmaker, it’s essential to ensure everyone involved shares the same vision and emotions for the movie so that its purpose is clearly conveyed. I always keep in mind that I’m serving the movie above all else.

To ensure harmony and consistency, we should share the same emotions and agree on the appropriate mood. During filming, I often play music, and that day I played early Pink Floyd tunes as well as Darryl Busby’s score from ‘Three Women’. However, I feel it’s crucial to emphasize that beyond the music and my continuous dialogue, maintaining a palpable feeling of unease is just as important. This was due to the eerie atmosphere that enveloped the location, which had been open for over a century. It was not uncommon to find plaques and photographs commemorating those who lost their lives in each room.

The atmosphere carried an eerie, almost mystical quality, hinting at something unsettling. It seemed to permeate the entire team, lending itself perfectly to create the chilling, psychologically-tinged horror we aimed for.

I believe it’s clear that the way everyone tackled the project has been significantly influenced. Now, there’s a greater appreciation for the historical significance of the site, rather than merely treating it as a cheap haunted house attraction. After all, many people once called this place home.

Certainly, and after they demolished it, our movie truly serves as the final visual record of Green Meadows, or perhaps St. Anne’s as I recall it being called. Our film will be an enduring tribute to all who once dwelled in this place, with the hope that some of their spirits have found a home within its frames.

It’s been mentioned that you worked together with Pete on this project. I’ve heard he was proposing a humorous interpretation of The Purge. Given that we already have a TV show based on it, do you think The Purge could potentially evolve into something that delves deeper into satire?

Pete and his writing partner penned down an outstanding rendition of Purge that I continue to endorse as genuinely humorous. Their approach, cleverly executed, infused terror with humor, ensuring a sense of danger remained intact while integrating Pete and his colleagues into the film.

I made an effort to present my idea to the important people, but encountered some opposition, to put it mildly. I’m optimistic though, as I believe they might be considering a few more, so let’s move forward with that. However, what I truly want is for them to see Pete’s version, because it’s hilarious. Unfortunately, the higher-ups weren’t receptive to the humorous angle, but I’m confident we can change their minds eventually.

The Home hits theaters on July 25th.

*The conversation you see here has been shortened and made clearer for your convenience. Should you wish to reach out to Patrick Cavanaugh, feel free to do so via his Twitter or Instagram accounts.*

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2025-07-21 21:41