But you know, it's become increasingly difficult with haunted house movies to justify why people don't get on their cell phones or WhatsApp their friends or why they don’t get out of the house and call an Uber. The isolation of space, which in itself is already very scary. What makes space the perfect setting for a horror film? And I learned that that’s what they mean when they say "less is more." Because up until that point, I was operating under the idea that more is more, and those were definitely the important lessons I took away from Event Horizon. So when Jason Isaacs turned up, no one jumped, because they weren’t in the moment anymore. People went, "Ugh," and looked away from the screen. Originally that scene had a couple of other edits in it where, when you went back to Kathleen’s son, he now had maggots crawling all over his legs – which was a pretty horrific image, but it was too horrific, and it kind of made the audience disengage. If you do it too late, people have got to the joke already, and it's the same with horror. If you do it too early, it's not quite as funny. I think, interestingly, that horror and comedy have a lot in common in terms of editing and because there's a right time to deliver the punchline for a joke. I definitely learned the power of restraint – we just talked about it with the visions of hell, but also specifically within the editorial process. Is there anything that you learned while making Event Horizon that you've taken with you throughout your career? You’ve gone on to make some pretty incredible sci-fi horror films, like Resident Evil and Alien Vs.
We were very inspired by classic painters like Bosch and Salvador Dali and then photographers like Joel-Peter Witkin, who, although it's photographic work, is very, very painterly. I think the overlay of that and those influences gave the imagery even more power. I think that was all in Phillip original screenplay: "Where we are going, we won't need eyes to see." That's great stuff! But we gave it more of an operatic and painterly feel, with the kind of visual palette that I brought to the movie. The scene that has always stuck with me is when Sam Neil turns around and his eyes are completely clawed out. they kind of brought their own imagination to the table, which is great because as we all know, nothing scares people more than their own imagination.
#EVENT HORIZON MOVIE#
It really allows the audience to bring their own imagination to the movie and kind of imagine what they've seen, and I can't tell you how many people have come up to me over the years and said, 'oh, that movie of yours, that one image.'Īnd then they go on to describe something that I never shot, you know, but they've imagined it. I think if there was more of them, they wouldn't be as powerful. Looking back on it, the fact that those visions of hell are so brief and so fastly cut – it gives them their power. So the end result was, instead of 30 seconds of, you ended up with five seconds of it, but with these really fast cuts, which kind of that satisfied the studio's notes.But I think not in the way that they'd imagined. So the pressure was very much to reduce the visions of hell.īut rather than cut them out wholesale, I just compacted them. One studio executive came to me and said, 'We're the studio that makes Star Trek!' As though somehow I was somehow sullying the good name of Star Trek by making this despicable movie in outer space. They were just horrified by them – it was so extreme. And I think no one from the studio ever saw any of that until the first cut of the film. You know what, there was a lot more gore. Was there anything you wish you could have kept in the film that is now lost forever?
There ended up being a few deleted scenes.
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