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Writer and director Ari Aster is very good at making people feel uncomfortable.
(And its actually even more fucked-up than it sounds!)
To sayHereditaryhas several visually shocking scenes is an understatement.
Its the bittersweet American exceptionalist ending, and its not that theres something inherently false about that.
We need hope to get through, but sometimes it doesnt happen that way.
Sometimes something horrible happens and a person is taken, and sometimes that person doesnt get back up.
So I guess I just wanted to make a film about that.
So how did you come together with A24?
I know thats certainly how it was for me and for my peers coming out of school.
What kind of horror film do I want to make?
Because Im not somebody who sees every horror film that comes out.
I used to be obsessed with the genre when I was 12 or 13.
I avoid a lot of horror films because so many of them are produced so cynically.
There are always exceptions to that.
And what Lee Chang-dong is doing is so fascinating.
I actually sometimes feel strange saying that, because the film changed in post.
The original cut was three hours long.
And how did you secure the cast, especially Toni and Gabriel and Ann Dowd?
She responded to it and she and I met for lunch and got along well.
Until then it was all speculative and it was something that we were trying to get going.
Its very hard to get anybody to read, let alone to meet with you.
So that was huge.
And then Ann Dowd was the first person we approached for her part.
When we secured him I couldnt believe it.
But as far as the kids were concerned, that was something that was very scary for us.
I was not convinced that we were going to be able to find these kids.
It can be so embarrassing to watch.
A lot of these wonderful young actresses came in and gave interesting performances.
Theres so much interiority to that part.
Shes just such an extraordinary actress.
Shes an amazing singer and an amazingly disciplined young actress, and such a joy to be around.
Shes nothing like Charlie.
Shes incredible, such a delight.
I typically get really involved with camera movement.
Hes brilliant with lighting and hes an incredibly versatile artist.
Hes really able to stretch in any and all necessary directions.
The way I work is that I start by composing a shot list, and that takes several months.
This is the first time Ive worked with her, but shes wonderful.
What was the furniture?
Logistically it was a nightmare, but Im very proud of how everything came out.
We arent the omniscient audience.
So yes, we know what they know.
We learn what they learn, and I kind of wanted to make a conspiracy film without exposition.
Of course, there are scenes that betray that.
I really hope thats in the score.
The music does give you the feeling, basically, that the killer is already in the house.Great.
Thats what we wanted.
Its meant to be felt in your stomach, a pulsing sub-drone that we called the contra-pulse.
I was excited about that.
A certain movie has been established.
And of course, youre anticipating a payoff.
Its like you come in, these things are being established.
This is the kind of movie Im here for.
And that means its going to take me here.
If anything, Ive been surprised thats its not been quite as alienating as I thought.
When I was first writing this thing I was thinking, What scares me?
The fear of death, there is no remedy for that.
Its something we have to either make peace with or not.
So I wanted to make a film that preyed on those themes.
And Paimon just struck me as the right guy.
There was research involved and ultimately I sort of landed on him being the best candidate.
I think it would be disingenuous for me to give any sort of intellectual answer.
But I do like all the things that they might provoke in somebody.
My bet was on the cult.There is an answer and you are right.
This interview has been edited and condensed for clarity.
