Heart Eyes Director Spills on Gore, Sequels, and Slaying Rom-Coms

Heart Eyes” – A Captivating Melding of Romantic Comedy and Slasher Genres, Seasoned with Plenty of Humor

In this unique amalgamation, Olivia Holt and Mason Gooding grace the screen as work colleagues unintentionally assumed to be lovers by a Valentine’s Day-bound serial killer. This film is under the guidance of director Josh Ruben, who gained experience in short-form content at CollegeHumor before directing two critically acclaimed comedy-horror indie films – “Scare Me” (2020) and “Werewolves Within” (2021).

In an interview with EbMaster, Ruben delved into striking the perfect balance between horror and comedy, unveiled insights on crafting a successful romantic comedy, and hinted at potential sequel concepts for “Heart Eyes.

This is the biggest film you’ve directed in terms of locations, scores of extras, etc. Did it feel like a completely different animal or did it have a lot of DNA In common with your indie films?

Every time feels like a repetition, only with an increased number of participants and accessories. It might become cumbersome due to its bulk: The more individuals involved, the larger the vessel, the trickier it is to maneuver. Since I began in Internet video, specializing in brief segments and commercials, and have been engaged in this line of work for quite some time, it seemed familiar. I’m grateful that they granted me a considerable degree of autonomy. I had a lot of leeway. No one ever instructed me to film something from a specific perspective. I was the one who decided on the coverage. I may have taken more angles than necessary at times, but I truly had the opportunity to do my work, which was remarkable. My producer, Greg Gilreath, part of Divide/Conquer, the team behind “M3GAN,” said, “Things aren’t always like this, so savor the moment.

What were some of the tricks you used to make the rom-com scenes feel authentic, before switching gears suddenly to slasher territory?

In your script, you need two actors who share a convincing on-screen connection, reminiscent of Tom Hanks and Meg Ryan’s chemistry. I was surprised by the strong bond between Mason and Olivia, and we were incredibly fortunate to find another equally significant chemistry between Gigi Zumbado and Olivia. These characters should not only have a deep friendship but also show genuine affection for one another, making their bond palpable even amidst the humor.

Begin with your cast selection. Ensure that they always portray fear as authentic and never attempt to force humor, as this could undermine the story’s emotional impact. This principle is crucial, serving as our compass throughout the production process. Ultimately, you want the audience to care deeply about these characters because they feel real, even when extraordinary events unfold.

After that, you’d discuss both your score and production design with your team. You might say something like, “Notice the blue moonlight in ‘Jaws,’ ‘Get Out,’ and ‘Sleepless in Seattle?’ Well, we’ve got the same shade of blue moonlight here too, which is a significant reference to classic horror films, like ‘Friday the 13th Part VI: Jason Lives.’ Since our story primarily unfolds at night, this color palette will help capture the mood. Plus, we’re incorporating the romantic aesthetics of a perfect Valentine’s Day film, with pink and red tones in the backdrop, as well as nodding to films that evoke nostalgia, such as ‘Defending Your Life’ and ‘Big,’ with their iconic pink-lit interiors.

How were you able to figure out how much you could push the humor without being distracting from the other genre moments you had?

When I’m deeply invested in my main character’s emotional journey, I can pull off almost anything in a story, just like “The Walking Dead” managed to stay on air for so long. It wasn’t just the zombies that kept us hooked; it was our attachment to those characters that made each episode gripping.

In movies like “Sleepless in Seattle,” there’s an intricate blend of tragedy, sweetness, heartbreak, and humor. Bill Pullman’s comical sniffling or Tom Hanks’ eccentric girlfriend, who was only around for a brief while but left an indelible mark with her cackle, were just some of the hysterically funny moments that made the film memorable.

Even in “My Best Friend’s Wedding,” as absurd as the comedy got at times, having Julia Roberts by my side made everything seem alright. That’s the magic of storytelling – it can make even the most outlandish situations feel believable and relatable.

While balancing the romance and the horror, did you find similarities between the two genres that you might not have seen before?

I didn’t give it much thought at first. I didn’t notice it either. Looking back now, it seems they require a unique approach. In truth, tranquility is vital in intimate scenes, and the more relaxed we become, the more vulnerable we are to sudden fright and intense fear. While there are some parallels, I experienced them quite distinctly. Essentially, it was about handling the tender parts delicately and the horror genuinely. The entire film can be seen as a single instance where you expect a kiss between two characters, but Craven’s signature style constantly twists that expectation, like a machete slicing through the heart of the moment.

Regarding the gore in this movie: How were you able to find the line where you gross people out without luxuriating in it too much?

It’s likely that factors such as camera angles, scene composition, and overall context significantly contributed to this film. I had an outstanding editor named Brett W. Bachman working with me. A particular scene in the movie is particularly gruesome, and it lasts for about five more minutes beyond that point. I could have continued cutting back and forth, showing more tendons snapping and blood splattering onto the ground. However, I found myself enjoying staying in that intense scene, but eventually realized it was becoming too painful for viewers, and I don’t want to alienate anyone. Yet, I’m glad people are enthusiastic about a movie that doesn’t shy away from violence, and is somewhat more approachable. I wouldn’t recommend this film for a 12-year-old who enjoys horror, but there will undoubtedly be 12-year-olds who watch it – as I once was a 7-year-old who watched “Jason Lives.” They may find themselves with some vivid, disturbing images in their minds afterwards, but let’s face it, they’ll grow up. This film will likely become one you can watch repeatedly, much like “Monster Squad” for me: a movie I aim to create. Since I can’t stomach too much violent content, I always try to maintain a balance when it comes to such scenes.

Could you see yourself directing a “Heart Eyes” sequel?

The intrigue lies in the possibility of crafting or replicating the essence of popular romantic comedies, such as “His Girl Friday” and “Defending Your Life,” but with a psychopathic killer at its core, represented by Heart Eyes. This unique blend could attract filmmakers who are eager to tackle this challenge. The allure is that they might strive to recreate the feel of films like “Bridget Jones” or “Love Actually,” but with characters who are terrified by this murderer. This setup offers a long-term potential for the project.

The challenge lies in achieving a delicate balance between incorporating new elements and gory scenes, while still maintaining a story about two people developing or struggling with their relationship that audiences can emotionally connect with. The key to success will be creating genuine chemistry between these characters, as it’s this emotional connection that will keep the audience invested. If this chemistry isn’t present, the project may fail.

Are there any other genres that you daydream about throwing a serial killer into to shake things up?

At some point, I’d be thrilled to direct a musical with a unique twist. While I’m not sure if anyone has attempted something as brutally intense as Wes Craven’s work outside of “Sweeney Todd,” I think there’s potential for an intriguing narrative without the operatic feel. It might not be entirely suitable, but I have this urge to explore a fantastical concept. It’s not necessarily horror, but it would take place in a world reminiscent of the fantasy I grew up watching, with elements of danger, romance, fear, brutality, and fun. I aim to create something immersive. As for slasher films, I’m excited about any that focus on characters we care about deeply. However, I’m not sure about the slasher aspect, but I’m definitely looking forward to it!

2025-02-08 22:17