Zach Gilford returns to the horror style with the chilling psychological horror movie There’s Something Wrong With The Children. The movie facilities on a bunch of longtime pals who journey to the woods for a weekend getaway, solely to seek out their idyllic trip upended when one couple’s youngsters encounter a mysterious gap in an deserted fort and start behaving unusually. Ben (performed by Gildford), witnesses them soar into the pit and shortly descends right into a spiral of his personal.
Alongside Gilford, the solid for There’s Something Wrong With The Children contains Alisha Wainwright, Amanda Crew, Carlos Santos, Briella Guiza, and David Mattle. Helmed by V/H/S producer Roxanne Benjamin, the movie marks a haunting new addition to the creepy child horror subgenre filled with loads of thriller relating to the supernatural scenario at hand that may preserve audiences guessing till the very finish.
In honor of the movie’s digital launch, Screen Rant spoke completely with Gilford to debate There’s Something Wrong With The Children, exploring themes of parenthood after turning into a father himself, the horror film’s ultimate twist, and his varied collaborations with Mike Flanagan.
Screen Rant: There’s Something Wrong With The Children was such a fantastic trip from begin to end. You, after all, aren’t any stranger to the horror style, however what about this movie actually sparked your curiosity to need to be part of it?
Zach Gilford: There are some things: A) Roxanne [Benjamin], who I’ve been conscious of as a filmmaker, and she or he’s simply wonderful. She did the V/H/S factor, and I’ve labored with Radio Silence, who did it along with her. I really talked to them, they usually’re like, “She’s awesome, you’d love working with her.” They really acquired me the job. [Laughs] They referred to as her they usually have been like, “Zach wants to do your movie,” and she or he was like, “Sweet, let’s do it.” Number two, I like creepy youngsters, I believe there’s nothing creepier. I do not love creepy youngsters, I like watching them on TV, creepy youngsters in actual life are tremendous creepy, I need nothing to do with them. [Chuckles]
But I believe it is a system that works so nicely, particularly when it is carried out proper. The different factor that I liked in regards to the script, and I talked to Roxanne about it, is that you do not know what’s going on, and also you by no means know, which to me is scarier, as a result of you aren’t getting any like, “Oh, there were aliens and blah, blah, blah, and I know there’s no aliens in the world, cool, I can move on.” You go away the movie being like, “What was going on, because there’s some weird parts that I need to be worried about, because I don’t understand what was happening, but I know it was creepy, and everybody turned into” — I do not know what we become. We weren’t zombies, however we have been possessed ultimately.
We get to see little bits of the transformation in a while within the movie. I’m curious should you acquired to see that firsthand on set, and what your response was like seeing what you and the others would rework into?
Zach Gilford: The final scene of the film was really the primary day of capturing. Which is all the time enjoyable, since you’re sort of like, “Huh? Okay, I guess we’re gonna establish right now what happens and as we’re shooting be like, ‘Oh, maybe I should have done something a little bit differently.'”
But Roxanne was simply so nice and arms on with that sort of stuff, the place it is so summary, and you do not know what you are doing, since you’re simply making it up. Like, who is aware of what a possessed individual is like? She had such a imaginative and prescient that she was actually useful and could be like, “I want it kind of like this mode, and your movements would be kind of in this fashion.” So that is all actually credit score to her, and she or he knew the one approach we might shoot the tip of the film first is her clearly figuring out the place she wished it to get.
Now one other factor I like about this movie is its exploration of parenthood and the struggles of figuring out to be a mum or dad in addition to really being one. Given that you’re a mum or dad, what’s it like exploring these themes by means of this movie?
Zach Gilford: The final scene of the film was really the primary day of capturing. Which is all the time enjoyable, since you’re sort of like, “Huh? Okay, I guess we’re gonna establish right now what happens and as we’re shooting be like, ‘Oh, maybe I should have done something a little bit differently.'”
But Roxanne was simply so nice and arms on with that sort of stuff, the place it is so summary, and you do not know what you are doing, since you’re simply making it up. Like, who is aware of what a possessed individual is like? She had such a imaginative and prescient that she was actually useful and could be like, “I want it kind of like this mode, and your movements would be kind of in this fashion.” So that is all actually credit score to her, and she or he knew the one approach we might shoot the tip of the film first is her clearly figuring out the place she wished it to get.
Since you talked about the dynamic between the 4 grownup characters, I do love the rapport and chemistry that you simply all have with each other. It felt such as you had been longtime pals in actual life coming into the movie. What was it like creating that with each other previous to filming?
That’s superior, that is all the time what you need to hear, particularly in a smaller solid.
In case you may’t inform behind me, I’m a fan of yours and Mike Flanagan’s. It’s loopy to suppose that you’ve got been concerned with three productions of his, all that occurred through the pandemic, with Midnight Mass then Midnight Club, and now The Fall of the House of Usher. What has it been like for you attending to work with him on so many unbelievable productions on this fast time-frame?