As a film enthusiast and aspiring director, I find myself captivated by the blend of horror and mystery genres, much like a fine dessert pairing of vanilla and chocolate ice cream. The genre combination is as enigmatic as it is enticing, providing a unique canvas for storytelling that explores both the terror of the unknown and the intrigue of uncovering secrets.
SPOILER ALERT: This article contains minor spoilers for “Cuckoo,” now playing in theaters.
Roughly 40% of cuckoo bird species are “brood parasites.”
As a film enthusiast, I find the cuckoo’s behavior in the bird world fascinatingly similar to a cinephile hijacking other directors’ projects. The cuckoo doesn’t build its own nest; instead, it insinuates itself into the nests of other birds and conceals its egg amongst theirs. Due to the cuckoo’s accelerated growth rate, its chick hatches sooner than the host’s brood, at which point it instinctively pushes the host’s eggs off the perch. The fledgling then uses its persistent cry to persuade the host species into nurturing it until maturity, often becoming larger than its surrogate caretaker.
Tilman Singer’s motivation for writing and directing the horror mystery “Cuckoo” was sparked by a particularly unsettling evolutionary characteristic. The movie centers around Gretchen, a 17-year-old character played by Hunter Schafer, who, along with her father (Marton Csokas), finds themselves in a secluded resort community. However, their tranquility is disrupted when Gretchen falls victim to an enigmatic creature resembling a bird.
As I find myself immersed in the captivating world of “Cuckoo,” now gracing screens across the nation, I recently had the privilege of sitting down with EbMaster for an enlightening conversation. We delved into Singer’s intriguing exploration of subconscious cinematic influences, his unwavering passion for wide-angle lenses, and the compelling reasons why he believes mystery and horror make a formidable genre duo.
In simpler terms,
Initially, I wasn’t quite sure if I felt confident yet. The situation was still so new and unfamiliar. You know, just like the cuckoo bird, which lays its egg in the nests of various other species and lets them raise the chick instead. This often results in the host parents, who are usually smaller birds, feeding a much larger cuckoo chick after their own offspring have been thrown out or died. Despite this, they refuse to abandon the nest. It’s a strange mix of horror and beauty, a sense of existential sadness and beauty all at once. And it stuck with me.
The title “Cuckoo” seems to originate from feelings of teenage turmoil, as adolescent tension is a recurring motif in the movie. Has this theme been influenced by personal experiences? Did you ever find yourself stuck in a lovely place as a teenager, yearning to escape?
In simpler terms, although I had a generally positive upbringing without major traumas, I still grappled with existential doubts, pressures, fears, and anxieties like many others. It seems I’m more susceptible to these feelings, leaning towards neuroticism at times and experiencing bouts of existential dread. These experiences likely influenced the narrative.
How did you design the look of the Hooded Woman?
As a cinema enthusiast, I yearned to embody an iconic feminine elegance from a bygone era – specifically, the timeless grace of Audrey Hepburn in “Charade” with her oversized sunglasses, trench coat, and scarf. Another inspiration was Angela Bower from “Dressed to Kill.” Initially, we experimented with wigs, but the ’70s long-haired ones didn’t quite capture the essence. It wasn’t until they styled a Marilyn Monroe-esque wig on her that the perfect look emerged – that was it! That’s the timeless beauty I aimed to portray.
In most horror movies, the monster is kept hidden until the climax, but “Cuckoo” breaks this pattern by revealing the appearance of the Hooded Woman early on. Can you explain the reasoning behind this unconventional choice?
In my opinion, the emotional impact of the ghostly woman character outweighed the intrigue surrounding the mystery. For instance, consider the situation where our main character has just lost their mother and is now haunted by this spectral figure. I believe revealing more about this ghostly presence would have been more significant than keeping her hidden. By the halfway point of the movie, it seemed crucial to give the audience a clear, intimate look at this character.
How did you land on the time loop effect as a symptom of the “bird call?“
As a film enthusiast, I yearned to create a narrative where humans could unwittingly find themselves ensnared, with a subtle psychological twist. The idea struck me: what if they were being subtly hypnotized? Pondering the recurring themes in my work, I realized the potential for cycles, present in various forms such as family and nature dynamics. This contemplation sparked the concept of loop visuals, which seemed fitting for the storyline. Additionally, I’ve always been intrigued by the idea of using the same or similar shots multiple times within a single scene, but never found an opportunity to execute it effectively. While editing films, you sometimes encounter instances where the same take appears twice in the timeline, and I thought this repetition could be an engaging element for my movie.
Could you explain the techniques you employed in your cinematography for “Cuckoo”, as the forest scenes are a common horror trope, and the way they were filmed gives them a gentle, dreamlike quality? I’m curious about the approach you took to achieve this effect.
As a filmmaker with a deep love for cinema, I’ve always found myself drawn to wide lenses. Growing up in the era of ’80s and ’90s, when wide-angle lenses were all the rage, I was captivated by their ability to transport me into the heart of the story. When I look back on those films now, I still feel that sense of immersion, as if the screen wraps around me and pulls me into the world being portrayed.
In your two initial feature films, “Luz” and “Cuckoo,” they both fall under the category of horror-mysteries. What is it about merging these genres that excites you as a filmmaker?
I don’t know. They go so well together. It’s like vanilla and chocolate ice cream. It’s just two really good tastes. Horror is always about death in some way. It’s always about like, life ending, our existence is limited and things will end. And a mystery is…I forgot who made that joke, but a comedian, maybe Demetri Martin, made a joke that a mystery is never about uncovering a good thing. It’s always about like, who’s the murderer? It’s never about like, oh, who made cookies? These things, they just go together, right? It’s always about like, okay, where does the danger lurk? What is it I need to find out?
As a movie enthusiast, I’ve shared before that “Lost Highway” and “Repo Man” were films I watched at a young age, undeniably shaping my perspective for “Cuckoo.” However, there are other cinematic gems that have left their mark on this project. For instance, the raw, gritty realism of “A Clockwork Orange,” the dreamlike quality of “Mulholland Drive,” and the dark humor found in “Fargo” all contributed to the unique flavor of “Cuckoo.” Each film offers a distinct perspective, and I’ve drawn inspiration from their individual strengths to create something new and captivating.
As a cinephile who has spent countless hours immersed in the world of film, I can confidently say that my appreciation for movies is a sprawling, chaotic tapestry, much like the works of the masters themselves. From the enigmatic visions of David Lynch and Brian De Palma to the operatic mastery of Federico Fellini and Michelangelo Antonioni, their unique styles have left an indelible mark on my cinematic sensibilities.
From my personal standpoint, “Cuckoo” is a poignant exploration of self-discovery and identity, as well as a deep dive into the complexities of human connection. As someone who has navigated their own journey through life, I can relate to the raw emotions and challenges that the characters in this film face. Partnering with Neon and Hunter Schafer was not only an honor but also a valuable collaboration that helped bring our shared vision to life. Together, we aimed to create a film that resonates with audiences on a profound level, offering them a glimpse into the intricacies of the human experience while providing a platform for important conversations about mental health and self-acceptance. I believe “Cuckoo” will leave a lasting impact on viewers, encouraging them to embrace their own individuality and seek help when needed.
In a dreamlike state, I’d like to discuss the theme of acceptance. This film explores the concept of acknowledging and making peace with one’s current circumstances. It delves into various aspects such as family dynamics, intergenerational strife, and the destructive cycle of violence individuals inflict upon each other. It shows how this vicious circle repeats, affecting future generations. This is a grim reality, yet something we all must navigate in our own ways. It’s not about embracing it with joy, but rather understanding that we are often both perpetrators and victims of violence. I want to explore this idea through a story that portrays characters who show love by protecting each other, dealing with difficulties, while also acknowledging that the horrific aspects are an integral part of them.
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2024-08-10 20:47