Jim: Yeah, it’s funny because that drive, I always had this idea in my head — because he throws the camcorder out the window — I always imagined another movie sort of branching off, like a spin-off movie of somebody finding the video cassette tape and it’s not completely destroyed, and they take it home and they watch it, and then — you know, it’s like I imagine a whole other movie branching out just from that split second decision to throw the camcorder out the window.
John: Well, it could have been. That could have been how they brought the cops into the thing.
Jim: That’s true. That would have been conventional.
John: We were often criticized for not having the cops in the movie. That I couldn’t do that. I was like, sorry, yes we can.
Jim: Right. I’ve got to ask, though, because it’s something that will forever stay with me. A lot of people say images from a lot of classic horror films, but that home invasions sequence is something that I will never forget, and every time I rewatch it I get the exact same feeling that I get when I first watched it when I was twelve. I just completely freaked out. I think it’s just — it puts you in a very voyeuristic situation, and that alone is chilling.
John: Well, the initial intent was violence is entertainment. We sort of compare and contrast. And so in comes Henry, and you know who they are. You know they’re murdering bastards, not people to toy with, and this guy Ray is big and nasty looking, and unsavory, rude, and starts giving them a hard time, and you know what’s coming. And because he’s such a sleazy character, you are given a pass to wish him dead and to root for what happens. “Go get ‘em, Henry. This guy’s got it coming.” It happens and it was fun and funny. And it’s violent entertainment. It’s like, this is what you’re used to. Rambo — oh, shoot the hell out of him, blow him to bits, kill ‘em all. And while that was fun, it’s like, okay. And maybe this is what it looks like to murder a real, innocent family. How fun was that? And the initial idea was for us as filmmakers to implicate all of us for entertaining you to violence, to gratify with you murdering mayhem and blood. But in the real world it probably looks more like this, and how do you like that? But the way we chose to cut it was to reveal the footage. You think you’re seeing it as it’s happening, but then the camera starts pulling back from the footage and you realize you’re not seeing the viewfinder. You’re seeing the TV, and you’re sitting right there with Henry and Otis watching it as your entertainment. And then it’s one of those moments — it’s like then you realize Henry is the good guy It’s very uncomfortable to realize this is what I do. I sit here and entertain myself with this horror. We shot two takes of that scene, and there was literally no crew. There was one guy and the cinematographer, but Michael shot the first half of it until the camera dropped, and after we cut the second take it was clear that that was one, and I looked at everyone in the room and I said, “None of us are going to heaven after shooting this movie.”
Jim: Yeah, it will forever be one of those moments in film history that cemented itself into my subconscious, for better or for worse. But no, I actually mean that as a compliment, because it’s truly one of the more effective sequences, and the whole movie, it really holds up beautifully. So are there any products coming up that you can talk about. I know you’ve worked with the great Bill Murray twice now.
John: Three times.
Jim: Oh, three times, that’s right. I loved all the films you made with him, of course. Is there something you might be working with him on in the future, I’ve read?
John: Yeah, we’ve been working on a project for eight years together. That’s how easy it is to get into films made today. You’ve got Bill Murray — usually Bill won’t come into a project until it’s been funded and cast so that you can’t use him as bait for money and actors, but this was a script he got a hold of through the actress Linda Cardellini, and he liked it. He wanted to produce it, so he called me to direct it. I read it and I said yeah, I like it, and I still like it, and we’ve been working on it for eight years. Bill is set to play one role that was specifically written for Bill, a lawyer, a criminal lawyer.
Jim: Another lawyer, that’s great!
John: Yeah, so it’ll be the third lawyer he’s played, hopefully. You know, it’s not easy. You’ve got Bill Murray, you’ve got Linda Cardellini. She started more as a TV actress because she’s a damn good actor.
Jim: Oh, yeah. She’s very underrated. I’ve liked her since Freaks and Geeks.
John: Yeah, she’s a really good actor. Anyway, it’s interesting. There’s two young kids and they become counterfeiters. They start the movie at about age 17 and then there’s a time jump where they come up at the age 25, 26 years old, so the actors have to play both ages. And Linda, when we started this project — it’ll be nine years in February — Linda was gonna play the girl. Now she’s playing the mother. So it’s hard, but yeah, I’d love to work with her again, and hopefully will.
Jim: Yeah, that would be great. I’d certainly — and I know our time is limited here, but I’m just a huge fan. Mad Dog and Glory. Normal Life. Wild Things. And even The Harvest.
John: Yeah, Luke Perry just turned 50. He was on the cover of the AARP magazine.
Jim: I know, that’s crazy. Yeah. Well, John, I can’t thank you enough for spending time with me to talk about your incredible work. I’ve rewatched a lot of your films, always finding something new to cherish about each of them, and you’ve made one of the more deeply disturbing films that I’m surprised I didn’t immediately go into therapy when I was twelve. But I mean that, of course, as a compliment.
John: You know, again, when we had the OFCAA, I was the first one to say I don’t think people under 13 should see this movie. I don’t know about 14 year olds or 15 year olds either, but adults, yes.
Jim: Yeah, well, thank you Cable for allowing me to see that at probably too young of an age. I truly feel you’re one of the best directors to emerge from Chicago, John, and please continue to work.
John: Alright, thank you.
Jim: Thank you, sir. Take care.
