Last Podcast On The Left
Last Podcast On The Left
"Kids are wild, but those ones are too obvious. It's the quiet ones who I know hear everything and, you know, I mean, I knew when I was a kid, you know, we are our strongest memories of things like movies are well before 10." — Henry Zebrowski
"You know, I always know what the intentions were. Or I know the behind the scenes or the politics. So, so I look at a movie that I've done. Sometimes with rose colored glasses, um, because I might not see it just the way a normal public viewing audience would see it." — William Brent Bell
"The innocent on its head. It's one of the, you know, what it's such a it's good to say part of horror forever but like when you want to go to design the boy yeah like." — William Brent Bell
Director William Brent Bell joins Henry Zebrowski to discuss his latest film, "Orphan: First Kill," a prequel to the 2009 horror film "Orphan." Bell shares his perspective on why he is drawn to horror, highlighting his roots in Kentucky and how the genre is deeply ingrained in his creative DNA. He discusses the broad spectrum of stories horror can encompass, moving beyond typical genre associations to include elements of drama and historical accuracy, as seen in films like "The Witch" and "The Northman."
The conversation delves into the challenges and complexities of filmmaking, particularly the unpredictable nature of studio involvement and the potential for a film's direction to be altered during post-production. Bell recounts experiences with films like "Brahms" and "The Devil Inside," illustrating how last-minute decisions can significantly impact the final cut and audience reception. He emphasizes the importance of the ending as the audience's lasting memory of a film, making any changes to it a delicate and often fraught process.
A significant portion of the discussion focuses on the subversion of innocence as a core element in many horror narratives, using "Orphan" and "The Boy" film series as primary examples. Bell explores the psychological impact of characters who appear innocent but harbor darker intentions, and the design choices made for the character of Brahms in "The Boy" films, aiming for a creepy yet innocent aesthetic. He also touches upon the societal fascination with "con man" narratives and the psychological profiles of individuals who might resort to deception, drawing parallels to real-life stories and the film's thematic explorations.