The work of directors Matt Bettinelli-Olpin and Tyler Gillett of Radio Silence in the horror genre makes for some of the most creative projects. The Daily Texan sat down with the directors to talk about their work on “Abigail” and advice for future filmmakers.
The Daily Texan: What about Guy Busick and Stephen Shields’ script made you two want to direct “Abigail”?
Radio Silence: It was the collision of the two dominant genres: the crime movie that gets hijacked by a monster movie. … We really loved the idea of chasing that, (but we) also loved that there was a big ensemble element in this movie. And, at the end of the day, it’s a super fun, raucous horror movie, but there was an opportunity to create a dynamic between a group of characters and an evolution within that group of characters that is full of interesting moments (of) humor and heart. For us, (if that) flavor had not been present in the script, we wouldn’t have been interested. (It’s) the thing that ultimately makes you care and makes all of the fun shit that happens after that big reveal really matter.
DT: Did you two find it difficult to balance crafting your own vampire “rules” while also maintaining what audiences already know about vampires?
RS: It’s a really fun tightrope to walk. … In some ways, we’re bringing a bit of that “Scream” meta-ness to this movie. Our characters are aware that vampire movies exist, and they’re talking about the lore and the rules and all of that. We think in a lot of ways, that’s the Rosetta Stone of the tone. We have a bunch of characters that would speak about it the way (everyone) would speak about it if we learned that there was a vampire hunting (people). … It was up to us to pick and choose the ones that we loved (and ones) that would break the logic of the movie. We loved taking a swing at designing some new rules as well that allowed us to have some pretty wacky sequences. … What we love about the vampire sub-genre is the bucket is so big and carries so many movies and rules, (yet) there was room for us to explore and experiment, get a little bit wacky and a little bit weird and have some good, bloody fun.
DT: Your film career started with a low-budget short film in the “V/H/S” franchise and now you’ve directed “Scream” and “Abigail” with huge budgets. What advice would you give filmmakers starting from the ground up with their film career?
RS: To speak to “V/H/S” specifically, when we got involved with that, we didn’t set our sights on anything beyond them asking us (to bring) some ideas and (the producers) will pick one they love. We thought, “Sounds like a great way to spend a couple of weeks,” and we didn’t put the pressure on ourselves to be like, “It’s gotta get into Sundance.” It was chasing our own sensibilities and taking the swings that entertain and excite us, just staying true to each other. … It’s really valuable to trust yourself and the people you’re working with and to fall in love with the process. The outcome is always really unpredictable. At every level, it doesn’t get easier, the machine gets bigger and there’s more of an investment. At the end of the day, you just have to really learn to love the process. … Don’t worry about failure.
