“When Jessica moves back into her childhood home with her family, her youngest stepdaughter Alice develops an eerie attachment to a stuffed bear named Chauncey she finds in the basement,” reads the movie’s synopsis. “Alice starts playing games with Chauncey that begin playful and become increasingly sinister. As Alice’s behavior becomes more and more concerning, Jessica intervenes only to realize Chauncey is much more than the stuffed toy bear she believed him to be.
This is a really fun psychological horror movie. In the last act, it definitely gets wild, but it starts out very grounded. You really get to see the family dynamic. Can you speak to just taking the time to establish their lives and making sure the audience connects with these characters? We’re all waiting for that horror to pop off, but there’s a reason for the wait.
Another example, it’s not a horror movie, but I was rewatching Taken, the Liam Neeson movie the other day, and there’s 30 minutes before she gets grabbed, right? But the reason why Pierre Morel did that, Luc Besson did that, is because they wanted to give the audience time to connect to the characters, to invest in the relationships. So when it does start to pop off, there’s emotional stakes.
Honestly, the first test screening didn’t . There was too much information. I shot a lot of footage of the bear not being there. Like almost every moment when someone else was in the room and Alice had the bear, I would do a quick take of her mining holding the bear. So we had a lot more material and it was almost a little bit more like the end of the sixth sense. Like we had all these images of the bear not being there and it was just too much. You didn’t need it.
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