PATRICK: well I was ignored as a child and he was over stimulated.
Actually we had some pretty funny stories about that.
When [Marcus] was a kid.
CL
MARCUS: It would be called, ‘Dr.
Seuss’s Well Intentioned Disasters’ in three volumes of my father’s teachings.
You want to hear em?
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MARCUS: Okay, the first one is pretty short.
‘son we’re going ice fishing today!
And that’s exactly where I went.
And I went down.
And he ran into the icehouse and his glasses fogged up.
And I’m screaming ‘ohmigawd!’
Were you under the ice?
But luckily he pulled me up before I went under.
So that was my first day ice fishing.
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Today I have to feed the raptors.
Have you ever seen a hawk up close?’
So he’s like “okay, now look over here.
It’s time to feed the bird.
So we have to feel them rats because they eat rodents and things like that.
This rat’s been in the freezer so it’s going to take me a second to chop it.
but don’t worry, it’s going to be okay.'
And as soon as the hawk sees the rat, he’s like, ‘Oh yeah!’
and my dad is like, ‘here we go, 1, 2, 3’ and chop!
And I look at my dad and yell, ‘What do I do!’
So is there where the scene of the cat getting cut in half comes from?
MARCUS: kind of.
But then, that brings us to story number three…Do you remember Ranger Rick?
So, one night, ‘Son, I want you to come with your dad.
You want to see how your dad reclaims the traps?’
‘sure, okay.’
So I go, “what!”
and my dad says, ‘Son you may not want to see this.”
But it was already too late, I was like, “oh no!
you caught Ranger Rick!
There’s this raccoon just enmeshed in this trap like ‘aragggaharrrgah!”
and I’m like, ‘Help dad!
Ranger Rick looks bad!’
and my dad’s like, ‘that’s why I brought the pistol.
And he shot off the raccoon’s nose.
And I’m like, ‘aaaghh!’
and this noise came out of the raccoon, and my dad went ‘aw fuck!’
and he pulls out the gun and goes bam!
And starts shooting the raccoon.
And he’s like ‘Get back in the car!
Get back in the car!’
I really wish this were a video interview.
MARCUS: and so those are the three stories of my father.
So, that’s what’s wrong with me.
But PATRICK is the one playing The Collector in one scene in the movie.
PATRICK: well, it’s more than one actually.
And when you’re doing it like that it’s hard to get the actor back.
You know, Tom, John’s [Director of Feast 1-3] brother.
And you know, me other times.
And it was fun.
You know, you put on the mask, and run around a bit.
MARCUS: and he was great!
Aren’t you taller than [the actor] by a lot?
MARCUS: well it doesn’t matter if you’re shooting from above.
Everyone’s sort of the same height when you’re looking from bird’s eye view.
So we could mix and match a lot with, you know, me and Tom Gulager in there.
I thought it was sort of scary and unique.
With the character of The Collector there’s sort of a, it’s extremely mysterious.
We never get any idea what his plans are.
Who were the traps for?
MARCUS: He was supposed to be the human version of a spider.
And all a spider does is set up a trap for its prey and then eat it its leisure.
So all the idea is that he was sort of going to do this with the family.
in some cases literally setting up a web of wire.
In some cases setting up something more from the cockroach world, making a roach motel.
Just all things that are meant to capitalize on the sort of struggling and suffering of the prey.
And, his whole mystique is that he is kind of very complacent about the whole thing.
he’s kind of fascinated by the whole thing.
And now its just showtime.
And was the character always called the Collector?
Because the movie used to be called “The Midnight Man.”
PATRICK: like in the description he was called, ‘The Man.’
So it sort of explains that a little bit.
you really never explain the killer, which I sort of admire.
PATRICK: what we were trying to do was, sort of twist the genre to a certain extent.
So this is that, but we see it through a different pair of eyes.
Or he’s going to try and help the family within.
And we attempt to do that with all of our original work.
We take a stab at do something a little bit different.
And that doesn’t mean reinventing the wheel.
MARCUS: and we have a go at react to the landscape.
We see a lot of sequels, we see a lot of remakes…what’s wrong?
What can be improved upon?
What can we pervert them, just a little bit.
Plus, today, a lot of villains are sort of…over-explained.
If you narrow their target, you narrow the audience you’re free to sort of scare.
It doesn’t matter who you are, if you’re in water, they’ll eat you.
So, with this land-based shark.
This land-based threat…if you’re human you’re screwed.
If you’re human, and you own a home, you’re screwed.
I think I’m gonna go buy a cave.
The family did something so this is the payback.
MARCUS: They’re a bunch of molesters!
And this cat, he doesn’t like that.
But that seemed sort of cheap and contrived.
So with this one, it was supposed to be that everyone can be affected by it.
There’s this really, um, disturbing thing, I remember from a few years ago.
I remember this guy…
So he went into the home and killed the family and took the girl.
And I just remember being really disturbed by that.
And I think that is what real horror is.
Something can effect everyone and sort of get under everyone’s skin.
And we were in the same school of the more realistic the motivation, the more effective it is.
and those came out of giant race riots in France.
Do you think that America is ready for this?
Or is so fucked up in America that we are ready for that?
But the French just raised the bar, you know?
Those movies are just GORE-geous.
And se it’s like, okay.
We’d like to try that, and we lucked out.
There’s anger and it manifest to these horror movies which are more metaphors for how people are feeling.
So, in this one, it’s a reaction to that.
This is an original horror movie.
And it goes back to the movies we grew up on.
and I like those movies, and they have their place, but this is definitely not that.
This is supposed to be a hard-R, original American horror movie.
A friend gave me a bootleg of it before it was available in the US.
you might’t cut to ‘3 days later’ in the middle of the chase scene.
It’s all about being in the chase scene.
and that allowed us to play and really, really ratchet up the tension.
So that was very, very mental.
It’s, you know, hushed tones and if anything, we wanted to exploit that.
Don’t do the sort of tricky camera editing tricks that are very popular right now.
Lets go back to how John Carpenter used to scare you.
Lets go back to how Tobe Hooper used to scare you.
There is less than one shot a second, so that helps.
MARCUS: Well, we wrote this before we ever did a Saw movie.
So this pile was already over there and sort of protected.
There are some taboos even in the Saw universe that you’re free to’t touch.
So that make the Collector pile all the more fertile.
so when the throat slashing does happen, it happens off screen heard through a vent.
you know exactly what’s going on over there and then you see the results of it later.
But it’s the little things that really get you like the pin into the eardrum.
It’s like “OOH!”
we’re not interested in gore for gore’s sake.
We wanted to make it all seem very organic and very really and just build.
“Piranha” looks like it might beat that.
PATRICK: well Piranha is a different beast, it’s of the Feast school.
Piranha is gonna go for it.
it’s gonna go so far.
But it’s of a different school.
It’s Alex [Aja] recognizing that this kind of movie, and trumping everybody.
MARCUS: I think it just might be horror nirvana.
PATRICK: He might because he is just fully embracing that movie.
Yeah, I saw that last night.
So, you think you’ll lose your citizenship?
MARCUS: well, there’s always Canada or Mexico.
And that 3 million you had to make the movie, does that include the soundtrack?
MARCUS: yeah, it’s nuts, but it all worked out.
And then proper color correction and a proper sound mix.
When he shows up and that Korn song starts playing.
PATRICK: I was thinking, did you see the poster?
It’s not vague.
MARCUS: Because we’re up against robots.
Rapping robots and gerbils that are on special ops.
Freestyle Releasing opens The Collector in 1500 screens Friday.
For more on the film go towww.healwaystakesone.comandthecollector-movie.com
