The key to making a period ghost story that's genuinely scary is attention to detail. Here, the team behind The Woman in Black explain how they created the film's air of menace
The aesthetic of a horror film is the most important thing about it. If you get that wrong, everything is ruined. "In any film, the colour palette and the overall look are such important elements," explains Chris Moore, location manager for The Woman in Black. "But even more so in a period horror film, because you have to believe that you're in that period every step of the way. If there are any errors and the audience "sees" something they shouldn't, then they're back in the 21st century, it breaks the illusion and suddenly the "Woman in Black" is just a woman in makeup."
There was no danger of that on this set, where every nuance was scrutinised.
The aesthetic of a horror film is the most important thing about it. If you get that wrong, everything is ruined. "In any film, the colour palette and the overall look are such important elements," explains Chris Moore, location manager for The Woman in Black. "But even more so in a period horror film, because you have to believe that you're in that period every step of the way. If there are any errors and the audience "sees" something they shouldn't, then they're back in the 21st century, it breaks the illusion and suddenly the "Woman in Black" is just a woman in makeup."
There was no danger of that on this set, where every nuance was scrutinised.
- 2/5/2012
- by Viv Groskop
- The Guardian - Film News
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