"I always go with the story and character and if those are good and if the setting is something that's scary (horror films seem to always take place at night and the weather's always bad) then I might be interested"
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Naughton’s pitch isn’t about monsters; it’s about craft. By leading with “story and character,” he’s quietly separating himself from the disposable end of horror cinema - the kind that treats actors like props and fear like a cheap jump cut. The subtext is an actor’s evergreen complaint: genre films can be brilliant when they’re built around people, and brutal when they’re built around “a concept” that doesn’t survive contact with human behavior.
Then he slips in a sly, almost affectionate jab at horror’s visual shorthand: night, bad weather, the perpetual storm cloud of budget-friendly dread. It’s funny because it’s true, and because it’s a little weary - an insider’s recognition of a genre that often signals “scary” through atmosphere before it earns it through narrative. Naughton isn’t dismissing those tropes; he’s acknowledging their utility. Darkness and rain are cinema’s discount unease: they hide production limitations, compress space, and prime the audience’s nervous system.
Context matters, too. As an actor best known for a landmark horror-comedy moment, he’s speaking from the experience of a genre that can typecast and yet endure. His criteria read like a boundary and a survival strategy: he’ll show up for horror when it respects performance. In a business that regularly asks actors to scream on cue, “good story and character” is a way of saying: give me a reason to be afraid.
Then he slips in a sly, almost affectionate jab at horror’s visual shorthand: night, bad weather, the perpetual storm cloud of budget-friendly dread. It’s funny because it’s true, and because it’s a little weary - an insider’s recognition of a genre that often signals “scary” through atmosphere before it earns it through narrative. Naughton isn’t dismissing those tropes; he’s acknowledging their utility. Darkness and rain are cinema’s discount unease: they hide production limitations, compress space, and prime the audience’s nervous system.
Context matters, too. As an actor best known for a landmark horror-comedy moment, he’s speaking from the experience of a genre that can typecast and yet endure. His criteria read like a boundary and a survival strategy: he’ll show up for horror when it respects performance. In a business that regularly asks actors to scream on cue, “good story and character” is a way of saying: give me a reason to be afraid.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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