"It's not scary to make a horror film because you get to pull back the curtain and see that none of it's real. When you're watching one, the terror bombards you"
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Hartnett’s line is a neat little reversal: the person manufacturing fear feels safer than the person consuming it. On set, horror is labor. It’s lighting cues, prosthetics, marks on the floor, a director calling “cut.” “Pull back the curtain” isn’t just a metaphor, it’s an actor’s daily reality - the monster is a costume with a zipper, the scream is timed to a camera move. Knowing the trick dissolves the spell.
Watching, though, is surrender. The viewer doesn’t get the relief valve of craft; they get pure delivery. “Terror bombards you” captures horror’s one-way relationship with its audience: the film controls pacing, sound, and what you’re allowed to see. You can’t glance off-camera to confirm the safety of the room. Even if you intellectually know it’s fake, your body doesn’t care; horror targets reflexes (startle, dread, anticipation) more than beliefs.
The subtext is a quiet defense of genre filmmaking. Horror often gets dismissed as cheap manipulation, but Hartnett frames it as an engineering problem: fear is built, not magically summoned, and that construction is exactly what makes it powerful. Contextually, it lands in a culture where behind-the-scenes content is everywhere and “spoilers” are a sport. Hartnett argues that demystification changes the emotional contract. Once you see the seams, you’re no longer prey - you’re a collaborator.
Watching, though, is surrender. The viewer doesn’t get the relief valve of craft; they get pure delivery. “Terror bombards you” captures horror’s one-way relationship with its audience: the film controls pacing, sound, and what you’re allowed to see. You can’t glance off-camera to confirm the safety of the room. Even if you intellectually know it’s fake, your body doesn’t care; horror targets reflexes (startle, dread, anticipation) more than beliefs.
The subtext is a quiet defense of genre filmmaking. Horror often gets dismissed as cheap manipulation, but Hartnett frames it as an engineering problem: fear is built, not magically summoned, and that construction is exactly what makes it powerful. Contextually, it lands in a culture where behind-the-scenes content is everywhere and “spoilers” are a sport. Hartnett argues that demystification changes the emotional contract. Once you see the seams, you’re no longer prey - you’re a collaborator.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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