![]() ![]() It had to have a lot of improv acting, which is a slightly different style of acting than normal script reading. And through the casting process, both Ed and I were very cognizant of the skillset required for the kind of shooting we were going to do. And we needed to make sure that all three characters had their own arcs to track. We didn't have the dialogue in the script, but everything else was there, beat for beat, about what was going to happen almost from one hour to the next. Myrick: Well, certainly the script was very important. NFS: How did the technique affect the way that you directed the actors? And in turn, when you say you worked hard to make it seem the way it was, how did that affect the way you developed the characters in the film? And then also the way you directed them? And it's kind of a shame when you see when the technique is done poorly, but I'm also very excited when I see it recreated really well. And that's, I think, what a lot of people forget, that a lot of work went into making Blair, which looked like it was just three filmmakers who went out in the woods. We spent a long time on Blair Witch, making sure we had everything mapped out and making it look like none of that was done. So, I think that style of filmmaking was inevitable, but, just like any storytelling device, whatever style you choose to shoot it in, there's still no shortcut to the writing of the story and executing professionally and doing a good job with characters and whatnot. #BLAIR WITCH PROJECT ENDING EXPLAINED TV#I do believe that it would have been a matter of time anyway, since we're all carrying around cameras in our pockets now, and we've all become pretty accustomed to 24/7 news and reality TV and whatnot. I'm wondering if, in years following the release of the movie, if you ever had mixed feelings about other films that were using this technique?ĭaniel Myrick: Well, I'm certainly very flattered that a lot of people saw the style we did Blair Witch in and were mimicking that style. No Film School: I was considering the effect of the Blair Witch Project on a lot of horror films that followed it and the way found footage has become a genre in and of itself. He believes firmly that the human elements of a horror film are what gives it meaning, and the scary parts are way less scary without them. As it turns out, this mixture, this hodgepodge of the things we see and the things we don't see, interests Myrick very much. ![]() Was the young director dependable? Were her crew members smart enough for the job? The story began to seem less like a scare-fest and more like a story about work, and about trust.Īnd an equally thrilling story, as such! Why? Because human, ordinary concerns (like the fear of death and concerns over scope of work) are intermingled with supernatural ones. ![]() Suddenly, the major questions were about who these filmmakers were, going into the woods on such a strange mission. It had been a spell since first seeing the film, and while of course it was scary ( come on), all kinds of other elements surfaced. This is the kind of thought this writer was having while rewatching The Blair Witch Project in preparation for interviewing co-director Daniel Myrick for a conversation about the state and the future of horror. ![]() The worst possible outcome of a freelance assignment? You die at the end. We speak with pioneering horror director Daniel Myrick about the future of the genre. ![]()
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