As ‘The Babadook’ Turns 10, Director Jennifer Kent Remembers Her Horror Classic and Shooting the Ending in a Haunted Basement: ‘I’ve Got Photos of Ghosts’

As a filmmaker who appreciates the depth and vulnerability that young actors can bring to their roles, I found Noah Wiseman’s performance in “The Babadook” truly remarkable. He managed to convey complex emotions that belied his tender age, making Amelia and Sam’s plight all the more heart-wrenching. It’s not every day you come across a five-year-old with such talent!

On the tenth anniversary of Jennifer Kent’s gripping directorial debut, “The Babadook,” I am thrilled to be part of the team that is re-releasing this indie horror masterpiece in cinemas on September 19th and 22nd, through IFC and Iconic Events Releasing.

Debuting at Sundance Film Festival in January 2014, “The Babadook” tells the story of Amelia (Essie Davis), a single mother who is finding it tough going, particularly with her energetic six-year-old son Sam’s (Noah Wiseman) relentless tantrums. One evening, when Sam asks Amelia to read him an intriguing bedtime tale, they unwittingly summon a terrifying supernatural being into their home, further straining their already tense relationship.

Before the countrywide rerelease of the movie, Kent had an interview with EbMaster where they talked about pre-Sundance nerves, penning “The Babadook” in Amsterdam, and shooting the finale in a spooky cellar.

When was the last time you watched “The Babadook?”

After countless viewings during production, it’s been released into the public realm – a sight I’ve only witnessed fully at that late-night Sundance screening and haven’t seen since. Frankly, I don’t wish to revisit it again. Most filmmakers might concur, as watching their work often leads to scrutinizing every flaw. However, with a decade’s distance, I believe I could now watch it with more detachment. I’ll be present at some of the screenings.

Do you clearly remember the premiere at Sundance? Or was it a blackout moment and over before you knew it?

This moment feels extraordinarily intense for me. “What’s causing her to cough? Why is it so quiet?” I found myself questioning, as if expecting a conversation during the movie. When the credits rolled, the woman in front of me remarked, “That was terrible.” The remark left me feeling deflated and I thought, “I’ve really messed up.” Hearing such feedback, I felt it was universal. But of course, that’s the nature of filmmaking; you’ll always encounter comments like that from time to time. However, as the positive buzz began, it turned into a delightful experience overall.

What was it like when the film started to take off?

Ten years ago, my debut film found a lasting place in audiences’ hearts, now playing on 500 screens instead of the initial two. This incredible journey has filled me with immense gratitude. Reflecting isn’t typically my style once a film is completed; it’s time to move forward and pour myself into the next project. Yet, I can’t help but feel profoundly thankful for this first cinematic endeavor. The world of films can be unpredictable, with success often hinging on luck. A brilliant first film might not find its moment at the right time, failing to garner the attention it deserves. So, I consider myself incredibly fortunate.

You started writing “The Babadook” in Australia and then took it to the Binger Filmlab in Amsterdam for development. How did that experience shape the film?

The Binger, a place I deeply mourn, was an extraordinary hub where filmmakers from various parts of the globe collaborated intensely on their scripts for a whole six months. I received invaluable input from fellow filmmakers and script editors, while still having ample creative control over my work. By that time, I had already written around six to seven films. Regrettably, these scripts were never produced. Faced with this challenge, I decided either to abandon my dreams or to create a film beyond the Australian borders. Consequently, those six months in Amsterdam turned out to be incredibly fruitful, as it was there that “The Babadook” came to life amidst the frosty streets of Amsterdam. It’s disheartening to think that future filmmakers are denied the opportunity to experience this unique program, as it no longer exists.

What ideas did you already have in the treatment before bringing it to Binger?

I’d experienced the death of my dad, and so I was in this very real and personal space, and I tend to write from a personal space. I don’t mean I write about myself, but I write things I’m experiencing or interested in. So the treatment spoke to this idea of a person who could not feel the necessary pain or grief because it was so frightening to her, and the way that she lost her husband was so frightening that she pushed down on it. I was fascinated with this idea of someone pushing down so much and the pain having such energy that it had to go somewhere. So it splits off and becomes a separate thing that says, “Look at me. Remember me?” That’s where the terror is, in the pain of this horrible accident that she went through. Then she had to completely throw herself into labor and give life at the same time, which to me, was just unfathomable. So that’s what the treatment contained, those elements.

How did you land on the storybook as the vessel of “The Babadook?”

Initially, I recognized that its arrival had to be enigmatic. To achieve this, I created a short film titled “Monster.” Within this short, a doll materializes, but I felt this didn’t offer enough room for a full-length feature. Instead of focusing on the doll, I desired to center the story around Amelia and Sam. Consequently, writing a book seemed like an obvious choice. In this book, you can write various things, tear it apart, or even set it ablaze.

What went into the development of Sam’s character? I was particularly interested in how you came up with his obsession with weapons and machinery.

My fascination with creating gadgets stems from my childhood years. I would often visit the hardware store, where I’d pick up bucket seats and lawnmower wheels to construct homemade go-karts complete with brakes and steering mechanisms. As a child, I was deeply engrossed in such DIY projects. I wanted to instill that same spirit of ingenuity in him, so he could grow up to be a resourceful kid who thinks quickly on his feet. He’s the main character in our film, portrayed as a feisty little hero. A line from the movie that still brings tears to my eyes is when [Noah Wiseman] says, “I know you don’t love me. The Babadook won’t let you.” This young actor, only five years old at the time, managed to convey such a profound sentiment. Truly remarkable!

Was there ever a version of the script where you didn’t save Amelia and Sam from “The Babadook?”

I wouldn’t be able to craft a tale as bleak as that. I could delve deeply into dark themes due to my confidence in finding my way back. In essence, the movie represents a journey through the heart of darkness, moving from the depths toward the light.

How did you eventually land on the ending that’s in the film?

Life as a human can be challenging, and it seems to me that it doesn’t get any easier. I used to believe that growing older would make things simpler, but I was wrong. We tend to carry our experiences with us, shaping who we are. Sad events have certainly touched my life, and I imagine they have touched many others as well. These moments strike a chord within us, and ideally, they foster empathy. I believe the purpose of life is to cultivate empathy and understanding for one another.

In the very real basement where we filmed the climactic scene, I’ve long held a feeling of eeriness. Despite it being part of our set, its authenticity as a haunted space has never left me in doubt. I’ve captured ghostly apparitions within its walls, and one fateful day, I found myself demonstrating Essie Davis’s peculiar backward motion. With the camera in her hands, she and I experienced a strange occurrence – a sudden rush of light passing by us simultaneously. Upon reviewing the photo, we were left speechless, for there appeared a ghostly image of me, bent backwards with a massive wave of light sweeping past.

I read that you like to have a looser set and do a lot of running takes to give actors room for experimentation and improvisation. Was that something you were exercising on “The Babadook?”

Leading a five-year-old child was quite challenging due to frequent pauses and resumes, as you can envision. I collaborated on “Dogville” with Lars von Trier, who had a shooting ratio of approximately 30 to one – that’s a significant amount. I may not be as prolific in my shooting, but everyone has their unique approach to delivering exceptional performances. For me, performances are vital elements of cinema. Achieving the right performance and making it seem genuine can sometimes take time and effort to draw out from an actor. I don’t mean I physically harm actors; rather, I strive to bring forth their best acting abilities.

One thing I kept coming across in my research were YouTube videos titled “‘The Babadook’ Explained” or “What ‘The Babadook’ ACTUALLY Means.” Have you seen any of those?

I haven’t watched “The Babadook” myself, but my nephew sent me a video of a woman enjoying it, which was adorable. I always find delight in observing people as they engage with movies. Typically, I don’t watch explanation videos unless I feel confused about a movie’s plot and need clarification, but that’s rare. It’s heartening to know that such videos are being produced because someone takes the time to think that others might be interested enough to watch them.

You are developing a new supernatural horror series. What can you share about that project?

The project is based in Ireland during the 1700s and explores traditional Irish stories. I’m collaborating with another writer on this. It’s planned as a six-part miniseries focusing on Irish legends and folklore. Contrary to popular belief, these tales are not just about dancing leprechauns; in reality, they encompass many fearsome elements.

2024-09-18 21:47