Paranormal 3 answers a lot of questions and raises a lot more, so should we be lucky enough to go back a fourth time, that would be great. That has to do with the fact that the movies are very unusual when it comes to studio genre releases.ĭo you think there’s more territory to explore in a fourth film?įor sure. They’re atypical studio movies, and as a result of that, the fans are not only important to their success, but as we’ve listened to them, they have become a bigger part of the creative process. These movies have definitely had more fan involvement than most horror franchises… That helps guide the process of what will be next.
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And when the next one comes up, it doesn’t just play off the content of the movie but also what people said about it. It’s hard enough to come up with stuff that’s fresh for the new installment, but to try and think two down the road… We really just try to create one story at a time. When you and the rest of the Paranormal team were developing the second and third films, did you intentionally plant clues in them that would lead audiences to want to see another film, and have those questions answered? You always have to answer the question, “Why are they shooting this? Why would they be filming?” And Oren answered that very well in the first movie. Although the found-footage approach certainly makes some parts of production easier, it adds a lot of challenges creatively. He paid a lot of attention to making it feel authentic. I think it was what Oren brought to the first movie, which is that it’s a very simple idea, and doesn’t try to cover too much ground. With so many found-footage horror movies coming out in the wake of Blair Witch, what do you think made Paranormal Activity stand out from the crowd? So instead of hiring Oren to direct something else, I said, “Let me team up with you and see if I can get this into a theater.” It was a 26-month journey from that point to Paramount releasing it, and they did a terrific job. When I was in acquisitions, one of the movies I managed was The Blair Witch Project, and when I watched Paranormal Activity, while I never imagined it could be as successful as it was, I certainly thought it had an amount of theatrical life in it. The first movie was sent to me in rough-cut form as a director’s sample by CAA. How did you initially get involved with Paranormal Activity ? Luckily, our directors were good at getting the kids and everybody around them comfortable with that. And we had to be sure the parents were really on board and understood exactly the situations the kids were going to be in, because it was important that they were never really scared. When you’re shooting with kids, it’s always harder because your days are shorter. Were there any particular challenges given that two young children have prominent roles? So we can cover a lot of ground with not a lot of days. It definitely put pressure on us, but happily, we had a lot of tools, and these movies are not, production-wise, very complicated. How much pressure was involved with such a short schedule? You shot Paranormal Activity 3 this past summer and had to have it out by Halloween. They brought a lot of authenticity to the movie. And part of the experience as an audience member of a Paranormal Activity movie is letting yourself be allowed to at least think what you’re seeing is real for 75 minutes, and they did a great job with that. Given the debate around whether Catfish was real or not, they were obviously very adept at shooting things like that. What led you to choose Catfish ’s Henry Joost and Ariel Schulman as your directors? We also asked ourselves what questions the fans asked most and were left with after seeing the second movie, and guided the third movie in a direction that would answer those questions. We asked ourselves that exact question before we started, and Christopher Landon was really the driving force behind the new story. How did you go about developing a new story for Paranormal Activity 3 that would give the fans something new, while staying true to what was established in the previous films? He spoke to Fango about the making of Paranormal 3 and what’s up with his other horror projects, including original Paranormal director Oren Peli’s Area 51, Rob Zombie’s Lords of Salem and The Amityville Horror: The Lost Tapes.
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But producer Jason Blum, who’s been with the series from the first movie, has little time to celebrate he’s busy on a full slate of genre features.
Paranormal Activity 3 crossed the $100-million box-office milestone over the weekend, and has a shot at becoming the highest-grossing film in the found-footage franchise. Editor's Note: This was originally published for FANGORIA on November 14, 2011, and we're proud to share it as part of The Gingold Files.
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