Nick Frost on the Lovable Psychopaths of ‘Get Away,’ What Sequels or Prequels the Horror Comedy Could Lead to and His Next Project With Simon Pegg and Edgar Wright

After delving into the mind-bending world of Nick Frost, I must say it’s like embarking on a whimsical journey through the quirks and charms of a man who has seen more than his fair share of the peculiar and the mundane. His latest project, “Get Away,” is an intriguing testament to this fact.

SPOILER ALERT: This story contains spoilers for “Get Away,” now in theaters.

Nick Frost, an actor known for his versatility across two distinct genres – comedy and horror, has made significant impressions in movies such as “Hot Fuzz”, “The World’s End” for comedies, and “Shaun of the Dead”, “Attack the Block” for horrors. It’s only fitting that his first feature as a solo screenwriter, “Get Away”, set to hit theaters on December 6 via IFC Films and Shudder, blends these genres effectively. This movie, filled with humor that packs a punch and gory scenes, follows the Smith family, headed by Nick himself, who embark on a holiday to a remote island harboring some sinister and deadly secrets. In an interview with EbMaster, Frost discusses juggling roles as writer, producer, and actor in one project, striking the right balance between horror and comedy, and rejoining old friends for this project, including Simon Pegg and Edgar Wright.

How did the idea of “Get Away” come to you originally?

My first wife is from Sweden, and her family owns a small yet charming house situated on a secluded island in the Baltic Sea, accessible only by sea as it lacks roads. There’s a shop and a restaurant, both open exclusively during summer months. Currently, there are approximately 40 houses on the island, but in winter, only around ten families remain to brave the season. However, come summer, the entire island bustles with activity – it’s truly breathtaking. Therefore, our marriage gave us the opportunity to visit this idyllic location for holidays. We didn’t limit our visits to the whole summer; we went there for Christmas, Easter, and other special occasions as well.

Despite frequently interacting with these individuals for two decades, I never felt like I truly belonged among them until I shared my film idea with one of the elders. His response was a Swedish saying, “Don’t soil where you eat,” which I took as a sign that he recognized me. While I did consider causing trouble once, I quickly dismissed the thought and focused on a storyline about a family who is beloved and accepted, but faces resistance when they arrive on this island.

What are some of the movies that inspired you while writing?

To put it in simpler terms, I’m drawn to films that feature serial killers as the main antagonists, such as “Midsommar,” a different take on “The Wicker Man,” “The Vanishing” from the Netherlands, and “Man Bites Dog.” What intrigues me is when these characters are portrayed as complex individuals, making us feel somewhat sympathetic towards them despite their heinous actions. It’s ironic because we shouldn’t empathize with a serial killer, but their imperfections, sadness, and human flaws make it hard not to.

You’ve had success mixing comedy and horror, which can be a tricky balance. What do you think is the secret to blending those genres successfully?

To begin with, let’s focus on creating authentic human characters. The humor will stem from the interplay between people, a situation we can all identify with. We’ll also include some humorous elements, such as visual jokes, to make it even more enjoyable. For instance, in this movie, there’s a scene where a character calmly says, “There’s no problem here,” while another character is visibly on fire running across the background. I particularly enjoy crafting these types of witty jokes – ones that contrast starkly with the events taking place. Once we’ve established the characters and their traits, it becomes easier to play off those aspects for humor.

Are there horror comedies that come to mind that have inspired you through the years?

Although “Poltergeist” might not strictly fall under the genre of genuine horror-comedies, I’ve always had a soft spot for it, particularly because of how convincingly they depicted fear, especially when Tangina appeared on screen. As for “An American Werewolf in London”, while it may not be categorized as a comedy, I’ve found its humor quite amusing, such as the scenes where David interacts with his deceased flatmate.

In two movies you’ve starred in this year — “Get Away” and “Krazy House” — you play a twisted version of the sitcom dad archetype. What interests you about that character and subverting it?

I find these characters somewhat appealing, not necessarily because they’re the best, but also due to their occasional foolishness, which is intentionally portrayed as a bit slow-witted and dumb. Sometimes, it’s their idiocy that draws me in. Despite this, I appreciate how he stands up for them, showing a hidden depth of care. I suspect they secretly adore him, despite their outward disdain. In “Get Away,” I believe their affection for him stems from his psychopathic tendencies.

Are there other solo projects and scripts that you’re working on?

I’ve completed the initial version of my upcoming film, which I’m currently refining. Soon, it will be distributed. Sending it out before Christmas seems unnecessary as people are busy, so expect it to be shared around early next year. I hope this first release will give us an idea of whether audiences have enjoyed this particular film. If they do, securing funds for another one might become less challenging. Working with John Hegeman and Lee Kim on the production has been a delight – collaborating, assembling an excellent cast and crew, and shooting a movie has been a wonderful experience. I’m grateful to be able to pursue my passion.

Congrats on finishing the first draft! Are you able to reveal a genre?

This upcoming production leans towards the blend of terror and humor, but it’s not your typical slasher film. Instead, it follows a more conventional approach, hinting at a possible appearance of a witch in the plot.

Do you see a world in which we could revisit the Smith family in a “Get Away” prequel or sequel?

Indeed, it seems clear that when Richard utters “You got my fucking tits this trip,” he may be indicating some tension or conflict between him and the other character during their first journey together. It appears to me that his character could exhibit a loss of composure earlier in the story, leading to a potentially explosive outburst – at least, that’s one possible interpretation. Certainly, there seems to be room for both a sequel and a prequel exploring these dynamics further.

You’ve done so many beloved collaborations with Simon Pegg and Edgar Wright. Have you all talked about working together again in some capacity?

Absolutely, that topic often arises. It’s not as if our individual activities are mundane or burdensome, causing us to yearn for each other again. Quite the contrary, we’re engaging in activities we truly enjoy. As we mature and these characters evolve, I believe their portrayal will become even more captivating. So, if someday we create a film when we’re both 60 years old, those characters would be intriguing to watch too. The question then becomes: “How do older men interact? Where can we find the humor?” I believe audiences will appreciate it more. Therefore, let’s produce a film only when we have a fantastic idea, time, mutual affection, and enthusiasm for it, rather than just because it’s expected of us. Let’s provide them with something they won’t forget.

With your quality control, I can’t see you all wanting to rush out and make “More Shaun of the Dead” or anything like that.

Yeah, agreed.

Watch the “Get Away” trailer below.

2024-12-07 01:18