[Chapter 110: Beyond the Original]
Link spent five days editing the film and after watching it, he felt pretty good about it -- it was better than the original version he had seen.
There were three positive aspects he noted. First, the plot and pacing were tighter, lacking many of the dull moments that made the original seem boring and left viewers wanting to skip through parts.
Second, Renee Zellweger, Matt Damon, and Ben Affleck turned out more compelling performances, feeling more authentic and relatable.
Lastly, Link and Sofia had shown significant growth in their filmmaking skills. The shot composition, pacing, lighting, sound, props, and atmospheric design had reached a more mature level, elevating the overall tension and horror of the movie compared to the original.
However, there were some drawbacks. The film leaned heavily into its design, cutting out long stretches of tedious plot, which made the story feel tighter and more dramatic. While this approach could enhance the viewing experience and horror impact in other films, it also somewhat weakened the authenticity of the mockumentary format.
This shift happened partly due to Sofia's influence. When Link suggested using a "Yakuza-style" filming method, she countered by asking which element should take precedence -- authenticity or horror, if they ever clashed.
The pursuit of a Yakuza-style film should have just one goal. After giving it serious thought, Link chose to prioritize horror. He realized that The Blair Witch Project was a horror film, with the thrill as its main selling point, while the "realness" was merely a promotional technique that served the horror aspect.
People were intrigued at the prospect that this could be a real documentary, adding to their immersive experience and ultimately enhancing the fright factor.
Once he established that "realness" had to serve "horror," every time they encountered a conflict between the two during filming, he chose to sacrifice some authenticity to amplify the horror. Whether this was the best decision would become clear only after the film's completion, relying on feedback from the industry.
After finalizing the edit, Link handed the movie to the production department for post-production work, which included adjusting audio tracks, brightness, clarity, and creating the opening and closing credits. They completed the digital processing in five days, preparing it for theatrical release.
---
Link called Sofia, Danny DeVito, and Jon Gordon to gather for a small internal screening at the company's viewing room.
The film had a runtime of 83 minutes. Just like Paranormal Activity, it fell into the horror-thriller genre. The difference was that in Paranormal Activity, the female lead, Katie, desperately tried to escape the evil spirit but couldn't, while in The Blair Witch Project, they actively sought out the witch.
In Paranormal Activity, the action transpired within a small house, creating an oppressive atmosphere through sound and subtle cues. In contrast, The Blair Witch Project existed in a much larger area, as the witch enchanted those entering the woods, preventing them from escaping -- a confined space in essence.
Additionally, The Blair Witch Project was filmed in the fall and winter, with withered, dark woods and chilly weather that intensified the eerie atmosphere.
Both films shared similarities as well. They both utilized handheld cameras and employed a mockumentary style, with The Blair Witch Project feeling slightly more believable, allowing viewers to suspend their disbelief.
The cast sizes were small: two actors in Paranormal Activity and three in The Blair Witch Project. Each film featured a curious character whose curiosity ultimately triggered the disaster -- Micah in Paranormal Activity and Anne in The Blair Witch Project.
The "monsters" in both movies relied on invisibility; viewers could hear their sounds and witness the terrifying scenarios they created but could not see tangible forms. This type of filmmaking primarily relied on the viewers' imagination.
Those skilled at conjuring imagery in their minds would find it genuinely terrifying, while those less adept at these kinds of narratives or unfamiliar with the lore of The Blair Witch would likely find the film dull.
...
"So, what do you think?" Link asked Sofia, Danny, and Jon as the credits rolled.
"What's your take on it?" Sofia replied.
"Full marks!"
"You're that confident?"
Sofia shook her head. "I'm not as optimistic about it. The last twenty minutes were somewhat thrilling, but the first portions dragged on. Those shaky camera shots gave me a headache. This kind of movie is better suited for a video release; I doubt many would go see it in theaters."
"You're being too hard on it. I've said before, this film caters to regular folks -- those with lower education levels who might not entirely trust science and lean toward superstition.
In the United States, the literacy rate sits only at 69%, with about 31% of the population unable to read -- that's nearly 100 million people. If we can lure them into the theaters, this film's box office won't be terrible."
In the movie industry, box office success varied greatly due to differing audience demographics. Commercial films targeted a broader range of viewers.
For that reason, commercial movies couldn't delve too deeply into themes; the jokes and thrills had to be widely accessible, and the nudity couldn't be too coy.
The goal was to ensure everyone could understand and enjoy the film. Art films aimed at intellectuals rather than the mainstream; their camera work, narrative, and themes could express ideas more subtly, allowing audiences space for reflection.
In commercial films, the leads were typically attractive and relatable, featuring clear themes that promised excitement and engagement. On the flip side, art films required their leads to have skill, dealing with deeper material that left viewers contemplating afterward.
If a commercial film was too abstract or profound, average audiences couldn't grasp the thrills, feeling cheated out of their money. They would just label it as a bad movie. Yet, many directors unfairly believed it was the audience that lacked sophistication.
Conversely, for art films, if the narrative was overly straightforward or the actors uninspired, it could attract scorn from more discerning viewers.
Both Paranormal Activity and The Blair Witch Project catered to viewers with lower appreciation levels. Their draw was primarily horror and thrills, lacking deep, insightful content. Getting scared was the main takeaway, and they couldn't expect more than that.
Sofia pointed out that the initial half felt boring, indicating she wasn't part of the target audience for this film.
...
"So, you purposely crafted the film this way to attract regular viewers? Does that mean you have the capability to create something better?" Sofia pressed.
"No. Do you know what sets me apart from most directors in this industry? I'm no film school grad. My expertise and education fall below theirs, so expecting me to create something too profound isn't going to work."
"I don't believe it. I've spent over a decade in Hollywood working with various directors. Your skills in directing actors and using the camera put you in the top tier. I can't see how someone who can write movies like Paranormal Activity, The Blair Witch Project, and Interstellar is anything but skilled."
Sofia wagged her finger playfully at him.
Link chuckled, "Screenwriting differs from directing. At my current skill level, I'm most confident handling this type of film. A higher standard might be a stretch -- that's why I've repeatedly mentioned I still need practice."
"In the future, once you gain confidence and improve, would you shoot high-level films?"
"Of course! My goal is to win an Oscar for Best Director and the top prizes at the three major European film festivals. It's going to take significant work to achieve those."
"Ha! You have quite the ambition! Keep at it; I'm rooting for you."
Sofia playfully bumped her shoulder into him, adding a mischievous tone.
*****
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