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The fact that you could go see a Ben Wheatley movie and tell him that the movie was incredible afterward. I was struck by the lack of separation between civilian attendees and the filmmakers. It’s really a place to commune in one space over film. It’s not really a buyers market - even though they’ve got a marketplace going now. But there’s a real coming together of a community at that festival that’s so unlike any other. I don’t think I realized that first year the impact it was going to have on my life. That’s how I saw “Let the Right One In” for the first time. My first experience at Fantastic Fest was that they’d occasionally screen some of the best of the festival afterward. Year after year, he was like, “Dude, you have to go to this festival, it’s the greatest festival in the world.” So I just kept hearing about it. My brother had lived in Austin for five years. My first time there was 2010 just as an attendant. When did you start discovering this community of indie genre filmmakers with whom you now associate?Ī lot of it happened out of Fantastic Fest. I feel a bit like I’m on the inside looking out now. Going into my twenties, I hadn’t come across any good horror films. But that was really coming at the tail-end of that horror film scene. I barely wanted to do “The Faculty.” The only reason I wanted to do it was because Rodriguez was doing it and I knew he’d do something interesting. Then it was fraught with not-great examples of the genre, with the occasional good film. It carried on for years after that to middling-to-poor results. It came at the end of the Kevin Williamson explosion, when everyone was trying to make a lot of these teen horror films. at least, from “The Faculty” on - was really a much-maligned genre. For a while, the horror genre in the U.S. I was 16 when I did “The Faculty.” So I would say the last five or six years of my life feel like a galvanization of my own identity, the things I’m interested in.
Some of that is aligned with my own autonomy and growth as a human being. Over the last few years you’ve been involved in a lot of genre films - not only as a producer with Spectrevision, but as an actor: You starred in “Maniac,” “Grand Piano,” “Open Windows” and now “Cooties.” Prior to that - discounting the “Lord of the Rings” franchise - the only real genre movie you did was “The Faculty.” How do you explain the uptick? Waller.Īt the Stanley, Wood spoke to Indiewire about the root of his ongoing involvement in genre films, and how he’s managed to work around expectations since his “Lord of the Rings” days. It’s also the second one, after 2013’s “Open Windows,” that he’s co-produced through his production company Spectrevision, the genre-friendly effort he runs with filmmakers Daniel Noah and Josh C. The movie - which opened the Stanley Film Festival last Friday in a new cut a year after its Sundance premiere and ahead of Lionsgate’s September release date - marks one of several genre titles in which Wood has starred in recent years. In “Cooties,” Elijah Wood stars as an aspiring horror novelist and bumbling substitute teacher at a school abruptly infected by the titular disease, which turns its students into flesh-craving zombies intent on devouring the entire faculty.
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