Witchboard Director Chuck Russell Talks His Triumphant Return to Terror

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Nowadays, it appears that horror movies are typically either remakes of established franchises or sequels in a series that’s starting to feel repetitive. Few successful attempts can be found in these areas, but filmmaker Chuck Russell excels in this genre with his previous works. In 1987, he gave audiences the beloved third installment in the Freddy Krueger franchise, A Nightmare on Elm Street 3: Dream Warriors, and followed it up in 1988 with a remake of The Blob, which many believe outshines the original film. After a hiatus from genre storytelling, Russell is back with Witchboard, a fresh take on the 1986 movie, set to hit theaters on August 15th.

Witchboard reawakens the ’80s horror legend with a spine-tingling modern twist. In contemporary New Orleans, a haunted object summons an avenging sorceress, ensnaring a young duo in a lethal dance of possession, seduction, and supernatural dread.

I recently had a chat with Russell where we discussed his methods for handling the content, upcoming ventures, and other interesting topics.

MovieTalk: Speaking of ComicBook, I recall that the initial release of The Witchboard coincided with my rising fame within the horror genre. Could you explain your involvement in that first film and what drew you to it? Was there something particularly captivating about it right from the start?

Chuck Russell: The initial movie was quite impactful; as far as I’m aware, it was the first one based on an Ouija board. It featured Tawny Kitaen, a popular star from MTV. I found the idea appealing, but some films just linger in your mind. I can’t pinpoint why exactly. There was a love triangle in the story. We took inspiration from certain aspects of it, but I aimed to be quite flexible when reinterpreting the film. My goal was to expand upon its themes and ideas.

Kevin Tenney, the film’s creator, was thrilled with it. I wasn’t sure about his reaction since, from my perspective, remaking a film doesn’t make sense unless you add something unique to it. That’s why I remade “The Blob”. That’s also why I felt secure in taking a new approach for “Elm Street 3”, being a big fan of the “Elm Street” series.

I’ve had a strong desire to delve back into the realm of horror. My fascination with ouija boards, the historical truth behind witchcraft, and my affection for New Orleans have converged, potentially offering a unique opportunity.

As a devoted film enthusiast, I’d like to share my thoughts on the unique appeal of “Witchboard,” a title closely associated with the mysterious world of Ouija boards. Unlike the plethora of movies that have since emerged centering around these mystical devices, “Witchboard” stands out distinctly. When comparing it to the common fare of Ouija board films, I believe its originality lies in the depth and complexity of its narrative, as well as its chilling portrayal of the supernatural. The intricate storyline and authentic fear it evokes make “Witchboard” a must-watch for any true aficionado of horror cinema.

To begin with, let me clarify that using pendulum boards as an art form is perfectly acceptable. For quite some time, I’ve been puzzled by the fact that they haven’t been utilized more frequently, especially in the horror genre. Although I can’t definitively say there isn’t a scene somewhere, we decided to base our movie around this intriguing concept. Pendulum boards are remarkably powerful; they existed before Ouija boards, and it was actually Ouija boards that evolved from pendulum boards.

In the movie, the wild folklore isn’t fabricated. The French Pope prohibited pendulum boards in the 1700s due to people being burnt at the stake for merely possessing them, branding them as witches. Consequently, pendulums were eliminated, leading to the invention of Ouija boards afterwards. Hence, it maintains accuracy and boasts a rich history dating back to ancient Egypt.

I made it clear to everyone that I wouldn’t be using an Ouija board, as I created a pendulum board instead, striking a balance between light and dark. I hold firm beliefs in the spiritual realm, acknowledging both good and evil, and wanted to explore the history of pendulum boards, spells, communicating with spirits, and divining one’s destiny on screen. My intention is to bring all that to life in a horror movie—something I haven’t had the chance to do before.

To those unfamiliar with my work on “The Blob,” and only know of it as a remake or reboot, I would say this: “Even if you’ve heard about ‘Ouija board,’ which may conjure up thoughts of remakes being subpar, I invite you to give our version of ‘The Blob’ a chance. It stands as an example of how a well-crafted reboot or remake can surpass the original and offer a fresh, exciting take on a classic story.

Our content is currently dispersed across various internet platforms, and we’re receiving fantastic feedback. Trust me, it’s a fresh, groundbreaking development! Although we respect the initial version, we’re certainly not confined to it. To be honest, this approach mirrors my work with “The Blob”. In a similar vein, John Carpenter’s reimagining of “The Thing” also follows this pattern. Surprisingly, some people aren’t even aware there was an original before John’s creation, and since then, “The Thing” has been reborn.

As a cinephile, let me share my excitement about this upcoming project: we’re breathing new life into a popular cultural artifact by reimagining its essence. The ensemble we’ve assembled is nothing short of extraordinary. In the original Witchboard, there were no witches, but for me, it presents an incredible opportunity to expand the storyline even more. I’m overjoyed because Kevin Tenney, the director of the original, gave us a fantastic review, praising Chuck’s unique approach and expressing his appreciation for our fresh take. This knowledge certainly adds to my sense of satisfaction.

In simpler terms, when the original director praises your work, it’s about as good an endorsement as you could hope for.

I truly care about them, and here’s a fantastic cast for you – Jamie Campbell Bower, Madison Iseman, and Aaron Dominguez. These actors are simply outstanding!

In your new, dynamic cast filled with promising talents, what were some unexpected contributions they made to this production that uniquely enhanced the script as written?

I’ve found immense joy in nurturing fresh acting talents for the big screen, which some might attribute to good fortune. However, my background in theater has given me a unique perspective – when I cast a movie, it’s like setting up a mini-chemistry lab. I can’t predict the exact outcome, and that element of surprise is what excites me. I was already aware that Jamie from “Stranger Things” would be exceptional, but I hadn’t worked with Madison or Aaron before. This project also features several promising new talents on the rise.

In other words, when you ask “What do they add?”, it’s clear that they contributed something extraordinary, like magic. As I work with them, I try to adapt and highlight their unique abilities as they reveal them. That’s the excitement I find in it, and I believe that special dynamic among this specific group is evident to you too.

It’s evident that this project is something you’ve deeply cared about and have worked on for an extended period. Rumors about its development date back several years. From the initial concept to its current form, has your take on Witchboard undergone significant changes or has it remained fairly consistent in terms of your approach?

The movie underwent a transformation, yet it can be said that it stands alone uniquely as an independent production. To make it happen, the timing needed to be perfect, and there had to be a substantial budget available – a generous amount for an indie film. I wouldn’t have started this project without ensuring the production values met my expectations. In my view, we’ve done exceptionally well in creating a visually stunning, engaging movie with impressive practical effects. I aimed to enhance those effects and really push their limits. I had a great time doing so.

Today, it’s uncommon to find films with such captivating, realistic special effects as the ones you created for Elm Street and The Blob. Indeed, your effect work has raised the bar significantly in that area.

I appreciate your attention. I put in extra effort for this project, and I’m looking forward to hearing what you think about it. By the way, did you know that I played a significant role in the early development of CGI with “The Mask”? Since then, I’ve grown fond of technology, but for this project, I only use CGI minimally – just to touch up, remove wires, and the like. I prefer practical effects for two reasons: they create a more intense fear, not just for the audience, but also for the cast. You can see that they’re a bit uneasy.

In Madison Iseman’s case, she patiently watched as more than five hands appeared unexpectedly with their eyes closed. The set was strategically constructed eight feet above ground level to allow us to execute this live, giving her multiple opportunities to perform the scene correctly, which effectively conveys the message to the audience.

In simpler terms, fear can be seen as an instinct that kicks in when we’re part of a group (herd behavior). When my character is strolling down a corridor anticipating something, I want them to know they can rely on me for safety. However, the situation changes drastically when the lights dim, the bell rings, it’s silent on set, and only one person is moving – that’s when something unexpected might pop out. This creates a more authentic performance compared to a green screen event.

In your question, you’re asking if, upon creating the original Witchboard movie, there was hope that it would spark a new wave of Witchboard series, or if the creative effort had been exhausted.

When you initially made the first Witchboard film and later brought it to life on screen, did you envision it as a catalyst for a contemporary Witchboard series, or do you believe that all potential ideas have already been explored?

Absolutely for both! Here’s the reason: Firstly, I was keen on exploring every aspect of horror filmmaking that I hadn’t tackled before. The resulting movie is quite adventurous and packed with diverse elements.

Concerning the prospect of starting fresh within the horror genre, I’ve been eager to explore experiences I missed out on during my previous endeavors. This project seems tailor-made for me to revisit horror with a focus on pendulum boards. These tools have an intriguing history, predating Ouija boards and representing their evolution in a specific sense. However, they were banned by the French Pope, who considered them as evidence of witchcraft and had people burned at the stake for owning them. Over time, they transformed into planchettes and eventually became known as Ouija boards.

Pendulum boards have been in use since ancient Egypt and are a potent tool for those who understand how to harness their power. While they can be beneficial, it’s crucial to exercise caution when using them, similar to Ouija boards. Indeed, I believe there exists a realm often referred to as the Witchboard universe, which is part of what sparked my enthusiasm in revamping this concept. Moreover, we have developed an entirely new supernatural device centered around pendulum boards that I find quite captivating.

In just the initial five minutes, I found myself saying, “This isn’t the Ouija Board I recall or the one I anticipated,” which means you effectively created a distinct and unique feel for your Ouija Board while maintaining the essential ideas.

To put it simply, an authentic historical account of witches plays a significant role here. The most extraordinary origin story for our game board is based on true events from history, which is part of the reason we chose this intriguing path.

As a devoted cinephile, I’ve always been intrigued by the possibility of stepping back into the world of The Mask. You know, given Jim Carrey’s earlier statement about potentially revisiting the character for a compelling narrative, have I ever pondered the idea of joining him in this iconic universe? Absolutely! In fact, it seems almost inevitable that such a return would be deeply contingent on having Jim involved, as his portrayal of The Mask is unparalleled.

I’d be thrilled if Jim could join us. With the original comics of The Mask, there are numerous directions we can take. The Loki mask is an intriguing magical artifact, and that’s another reason why I worked on Witchboard. That specific board is unique, being a historical piece in our narrative. I have always been fond of films that Alfred Hitchcock referred to as MacGuffins, focusing on captivating props.

Working as a director, I find visuals incredibly enjoyable, and if given the chance, I’d gladly direct another film like Mask. Absolutely, I’d be thrilled to have Jim Carrey in it. He was my initial muse for this project. Originally, The Mask was intended as a horror movie, but influenced by Jim’s unique work on In Living Color, I felt that the story needed to become a comedy instead. This is how the concept of the film has evolved over time.

In my perspective, I initially felt a tad skeptical about this specific narrative, confessing, “I’m quite fond of the source material, but I’ve had my fill of Ouija-themed films.” However, upon reflection, the idea of incorporating a pendulum board in the movie struck me as a brilliant twist, making perfect sense within the storyline.

Inquiring about a potential reboot of the classic film ‘The Blob’, I ponder if it could ever be recreated given Hollywood’s tendency towards CGI effects. With its remarkable combination of horror and practical effects, do you believe that The Blob could be revived in the future, or is it a movie so perfectly timed that it’s unlikely to be replicated?

For me, watching movies that present unique challenges is enjoyable. In my experience, when speaking at universities, they’ve asked if I should focus on topics I already know. However, I prefer to write about ideas that are fresh and innovative, as I value the intelligence of my audience and want to offer them something they haven’t seen before. As a filmmaker, the excitement lies in dreaming up an outrageous wishlist of ideas for a script, while still keeping budget constraints in mind.

At one point, I was clueless about handling “The Blob”. It turned out that achieving the physical effects were quite a struggle, but we managed to pull it off, didn’t we? I won’t burden you with all the gory details, but let me tell you, we would return home every day caked in authentic blob goo from our full-scale blob effect.

In this film, the cat was the main focus. My team believed it was impossible. They argued that what I had scripted for this cat, which was supposed to feel familiar, would have to be computer-generated imagery (CGI), and as you may know, cats don’t look great in CGI. Even in The Lion King or a recent Tom Hanks film, the CGI cats are noticeable. However, I managed to discover an exceptional cat actor named Tatiana, who was just one year old at the time. There wasn’t a cat stand-in. It’s much like the dog in The Mask – a similar challenge.

I have a strong affection for animals, and it’s all about understanding their preferences and consistently rewarding them to teach them a trick. In my case, I’m quite pleased with my witch’s companion, the cat. Keep your eyes open when you see it around, that’s how we designed this movie.

Witchboard lands in theaters on August 15th.

The conversation we had has been shortened and made clearer for your convenience. Feel free to reach out to Patrick Cavanaugh personally through his Twitter or Instagram accounts.

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2025-07-28 22:16