An Exclusive Interview With Scott Derrickson
THE EXORCISM OF EMILY ROSE
—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Soundtrack
—7. Posters
—8. Production Notes
—9. Spiritual Connections
Scott Derrickson co-wrote (with Paul Harris Boardman) and directed The Exorcism of Emily Rose. During the course of his career, Scott has also developed projects for Jerry Bruckheimer, Wim Wenders, Mike Ovitz, and Martin Scorsese. This is the second film Scott has co-written and directed, the first being Hellraiser: Inferno. He is also attached to direct Darkness Falling, based on another script he co-wrote with Boardman. Scott is a graduate of Biola University and the University of Southern California’s School of Cinema and Television, where he received his master’s degree in film production.
Kevin Miller: How did you first hear about the story of Emily Rose? What attracted you to it?
Scott Derrickson: I first learned about the true story while doing research for a screenplay I was writing for Jerry Bruckheimer. I immediately saw that there was a movie there, because the story was both horrific and meaningful, and it combined horror and courtroom drama. The more I looked at it, the more I felt like it was also a story that needed to be told. Not only that, but a real girl had tragically lost her life, and I wanted to give that event more meaning by telling a story that prompted people to think about spiritual things.
Kevin: What’s the “big idea� that drives this film? That is, on a thematic level, what is this film really about? Justice/injustice? Truth/lies? Good/evil?
Scott: It’s about questioning the nature of reality—specifically, whether or not the spiritual realm really exists. I didn’t want to make a film that propagates my own point of view or tries to provide metaphysical answers; instead I wanted to make a film that provoked the audience to ask spiritually significant questions. My hope is that no matter what an audience member’s point of view may be, they will see that point of view represented somehow in the film, but I also hope that everyone’s point of view will somehow be challenged by the film. The goal is to frighten and entertain the audience, but then leave them thinking about spiritual and religious questions that they may not otherwise think about.
Kevin: How would you describe this film’s place within the horror genre? How about within your own body of work?
Scott: Within the horror genre, it’s definitely in the tradition of the classier films of the 70’s—Rosemary’s Baby, The Exorcist, The Omen, etc. It’s certainly less graphic than The Exorcist, but audiences do find it terrifying. It’s also a courtroom movie, which separates it from any horror film I’ve ever seen. It’s a hybrid, and that’s what makes it unique. It also relies much more on great performances than on make-up or visual effects for its impact. Within my own body of work, I would say that this is the film I’ve been working toward my whole career. When I got involved in the horror genre, I did so because I saw a potential in that genre to do something very unique both aesthetically and thematically. This film is exactly the kind of film I hoped to make in this genre, and now that I’ve done it, I expect to be moving on to other genres. I feel the same way about science fiction as I do about horror—they both have untapped potential regarding spiritual content, and both are in need of reinvention.
Kevin: So far this is your third produced horror film. What keeps bringing you back to this genre?
Scott: No other genre allows for more direct involvement of spiritual material. In fact, this genre not only allows but also often demands a religious or spiritual point of view. It’s also the genre that deals most directly and most effectively with good and evil. Moral inquiry is very important to me, and you can’t make a good horror film without it. And I love how cinematic the horror genre is—you really make use of light, color, contrast, camera movement, and sound. It allows you to be aggressive as a director, and I enjoy that very much.
Kevin: Why do you think horror films are so popular today?
Scott: Audiences need a way to face their fears, and culturally, we are as afraid as ever. Horror films are like nightmares that release our fear. They subtly inoculate us from evil by giving us a vicarious confrontation of the evil that is in the world and in ourselves. I think that by feeling fear in a theater, we force ourselves to confront that which we fear and can end up better equipped to deal with it in the real world. I think teenagers love horror films because they provide some kind of release for pent-up fear and aggression. I think that audiences are also appreciating the fact that the genre is evolving. It’s getting more innovative, and in some cases, more meaningful. We must look at the dark and frightening side of life—to not do this at all is to live in fear-based denial. I think that the thrill of the horror film experience is the thrill of facing the fear and surviving. It’s similar to being on a roller coaster, and when it is over, you can feel relieved and purged, and a little less afraid. For some people, scary films leave them more afraid, and that’s why they don’t like them. That’s why it’s not a genre for everyone—it affects everyone differently. For some it’s a purely negative experience, and therefore one they should probably avoid. But for the rest of us, it’s the genre of non-denial—the one that reminds us that we are not in control, that things are not “all right,� and that there is evil both out in the world and in ourselves. The genre also reinforces proper definitions of good and evil, and that’s something the culture needs right now.
Kevin: What inspired this film’s aesthetic? What sort of look and feel were you going for?
Scott: I wanted to make a film that was both beautiful and terrifying. I think that the cross of Christ is just that -- the merging of terror and beauty. The two things I showed to Tom Stern (my director of photography) and David Brisbon (my production designer) were a few films by Dario Argento, and few paintings by Francis Bacon. Both Argento’s and Bacon’s work use bold and beautiful color to create very nightmarish imagery. I didn’t want the film to have the usual dark, de-saturated look you get with most horror films. I wanted it to be bright and beautiful, with lots of contrasting shadows instead of overall low-contrast darkness. The result is very compelling—the movie is relentlessly scary, but it never stops being beautiful to look at.Kevin: Spiritually speaking, what do you think viewers will take away from this film?Scott: I think they will leave asking themselves and others what they really believe about the existence of the demonic, the devil, and God. I also think they will feel like they got their money’s worth, having paid to see a scary movie. If I scare the audience and makethem think about something as important as the existence of the metaphysical realm, I will have done my job.
Kevin: What other projects can we look forward to seeing from you?
Scott: Right now I’m about to start rewriting a movie for Universal, and after that I’ll start planning on the next film. Like I said, I’d love to make a spiritual science-fiction film. I think we’ve had enough of monstrous aliens and laser blasters. There’s got to be a breakthrough in that genre, and I think it should be a spiritual one.
THE EXORCISM OF EMILY ROSE
—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Soundtrack
—7. Posters
—8. Production Notes
—9. Spiritual Connections
—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Soundtrack
—7. Posters
—8. Production Notes
—9. Spiritual Connections
Scott Derrickson co-wrote (with Paul Harris Boardman) and directed The Exorcism of Emily Rose. During the course of his career, Scott has also developed projects for Jerry Bruckheimer, Wim Wenders, Mike Ovitz, and Martin Scorsese. This is the second film Scott has co-written and directed, the first being Hellraiser: Inferno. He is also attached to direct Darkness Falling, based on another script he co-wrote with Boardman. Scott is a graduate of Biola University and the University of Southern California’s School of Cinema and Television, where he received his master’s degree in film production.Kevin Miller: How did you first hear about the story of Emily Rose? What attracted you to it?
Scott Derrickson: I first learned about the true story while doing research for a screenplay I was writing for Jerry Bruckheimer. I immediately saw that there was a movie there, because the story was both horrific and meaningful, and it combined horror and courtroom drama. The more I looked at it, the more I felt like it was also a story that needed to be told. Not only that, but a real girl had tragically lost her life, and I wanted to give that event more meaning by telling a story that prompted people to think about spiritual things.
Kevin: What’s the “big idea� that drives this film? That is, on a thematic level, what is this film really about? Justice/injustice? Truth/lies? Good/evil?
Scott: It’s about questioning the nature of reality—specifically, whether or not the spiritual realm really exists. I didn’t want to make a film that propagates my own point of view or tries to provide metaphysical answers; instead I wanted to make a film that provoked the audience to ask spiritually significant questions. My hope is that no matter what an audience member’s point of view may be, they will see that point of view represented somehow in the film, but I also hope that everyone’s point of view will somehow be challenged by the film. The goal is to frighten and entertain the audience, but then leave them thinking about spiritual and religious questions that they may not otherwise think about.
Kevin: How would you describe this film’s place within the horror genre? How about within your own body of work?
Scott: Within the horror genre, it’s definitely in the tradition of the classier films of the 70’s—Rosemary’s Baby, The Exorcist, The Omen, etc. It’s certainly less graphic than The Exorcist, but audiences do find it terrifying. It’s also a courtroom movie, which separates it from any horror film I’ve ever seen. It’s a hybrid, and that’s what makes it unique. It also relies much more on great performances than on make-up or visual effects for its impact. Within my own body of work, I would say that this is the film I’ve been working toward my whole career. When I got involved in the horror genre, I did so because I saw a potential in that genre to do something very unique both aesthetically and thematically. This film is exactly the kind of film I hoped to make in this genre, and now that I’ve done it, I expect to be moving on to other genres. I feel the same way about science fiction as I do about horror—they both have untapped potential regarding spiritual content, and both are in need of reinvention.Kevin: So far this is your third produced horror film. What keeps bringing you back to this genre?
Scott: No other genre allows for more direct involvement of spiritual material. In fact, this genre not only allows but also often demands a religious or spiritual point of view. It’s also the genre that deals most directly and most effectively with good and evil. Moral inquiry is very important to me, and you can’t make a good horror film without it. And I love how cinematic the horror genre is—you really make use of light, color, contrast, camera movement, and sound. It allows you to be aggressive as a director, and I enjoy that very much.
Kevin: Why do you think horror films are so popular today?
Scott: Audiences need a way to face their fears, and culturally, we are as afraid as ever. Horror films are like nightmares that release our fear. They subtly inoculate us from evil by giving us a vicarious confrontation of the evil that is in the world and in ourselves. I think that by feeling fear in a theater, we force ourselves to confront that which we fear and can end up better equipped to deal with it in the real world. I think teenagers love horror films because they provide some kind of release for pent-up fear and aggression. I think that audiences are also appreciating the fact that the genre is evolving. It’s getting more innovative, and in some cases, more meaningful. We must look at the dark and frightening side of life—to not do this at all is to live in fear-based denial. I think that the thrill of the horror film experience is the thrill of facing the fear and surviving. It’s similar to being on a roller coaster, and when it is over, you can feel relieved and purged, and a little less afraid. For some people, scary films leave them more afraid, and that’s why they don’t like them. That’s why it’s not a genre for everyone—it affects everyone differently. For some it’s a purely negative experience, and therefore one they should probably avoid. But for the rest of us, it’s the genre of non-denial—the one that reminds us that we are not in control, that things are not “all right,� and that there is evil both out in the world and in ourselves. The genre also reinforces proper definitions of good and evil, and that’s something the culture needs right now.
Kevin: What inspired this film’s aesthetic? What sort of look and feel were you going for?
Scott: I wanted to make a film that was both beautiful and terrifying. I think that the cross of Christ is just that -- the merging of terror and beauty. The two things I showed to Tom Stern (my director of photography) and David Brisbon (my production designer) were a few films by Dario Argento, and few paintings by Francis Bacon. Both Argento’s and Bacon’s work use bold and beautiful color to create very nightmarish imagery. I didn’t want the film to have the usual dark, de-saturated look you get with most horror films. I wanted it to be bright and beautiful, with lots of contrasting shadows instead of overall low-contrast darkness. The result is very compelling—the movie is relentlessly scary, but it never stops being beautiful to look at.Kevin: Spiritually speaking, what do you think viewers will take away from this film?Scott: I think they will leave asking themselves and others what they really believe about the existence of the demonic, the devil, and God. I also think they will feel like they got their money’s worth, having paid to see a scary movie. If I scare the audience and makethem think about something as important as the existence of the metaphysical realm, I will have done my job.
Kevin: What other projects can we look forward to seeing from you?
Scott: Right now I’m about to start rewriting a movie for Universal, and after that I’ll start planning on the next film. Like I said, I’d love to make a spiritual science-fiction film. I think we’ve had enough of monstrous aliens and laser blasters. There’s got to be a breakthrough in that genre, and I think it should be a spiritual one.
THE EXORCISM OF EMILY ROSE
—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Soundtrack
—7. Posters
—8. Production Notes
—9. Spiritual Connections
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