By Stephanie Zacharek
By Alan Scherstuhl
By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
When Jim Mickle took on the task of remaking Jorge Michael Grau's We Are What We Are for American audiences, the last thing he wanted to do was film a strict remake. So his version of the cannibal-family drama ditches the urban setting and most of the plot points for a tight-focus, intimate view of a rural family who just so happen to eat other people from time to time. The intensity of focus and small scale set a distinct mood and paint a picture of a bizarre, horrifying world that the family's young girls accept as normal, making for a horror film that pushes much different buttons than the typical slasher.
We talked to the writer/director about his approach to doing a remake, the influence of religion and how his version started as a very different film than it ended up.
See also: An Odd Family Reunion with Horrific Twists in We Are What We Are
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Village Voice: How did you come to be involved with the project?
Jim Mickle: I had sort of a long history with the [original] film. I never saw it, but I played a lot of film festivals with it and had a lot of friends that saw it and told me great things. It was one of the movies I was looking forward to the most when it first came out. When it did I felt like I knew so much about it that I didn't actually ever see it. Then a pair of producers that I was indirectly involved with acquired the rights and brought it to us and said, "Would you be interested in [doing] an American version of this film?" My first response was no. Then we slowly kind of played with some ideas and found a way to make it our own, very different movie.
Yeah, within the first three minutes of the film, you've taken some pretty different turns.
I'm not a remake fan...hopefully you can watch [them] right away, back to back, and not feel like they steal from each other, but that they are two like-minded movies that take place in the same universe. Before we agreed to do it, [co-writer] Nick [Damici] and I sat down and watched it and both our first reaction was, "There's no reason to remake this, it's a great movie." [Original writer/director Jorge Michael Grau] set out to do a very specific thing and he did it perfectly, so why redo it?
As time went on, we talked about it as a challenge, like, "If you were going to do it, what would you do? How would you make it our own?" We talked about the elements we would change and before you knew it, in about a week, all of a sudden we were talking about it as if it were an original movie. We only watched [the original] once, actually.
One big, immediate change is shifting the setting from the hyper-urban Mexico City to a very rural setting. Was this an effort to connect to the deep, American current of "crazed redneck killer family" films like Texas Chainsaw Massacre?
If anything, we wanted to stay away from the Texas Chainsaw Massacre vibe and really make it unlike any other cannibal movies that you'd be familiar with. For me, the biggest part of it was the faith part of it--religion, and the effect that can have on families. We wanted to tell a story that the [original] didn't really try to, a story where you could really understand how two innocent, sweet beautiful girls would be driven to do something pretty horrible and believe that it was what they were supposed to do. In order to do that, we wanted to isolate them and I think that's where most of the fundamental religions are able to grab hold, is when they are taking place in a location where there's not much of a sense of perspective on the outside world.
It's classic abuser behavior--isolate the victims and construct their reality so they don't have any outs.
You put the focus firmly on the weird, almost out-of-this-world reality of this family. It builds a palpable sense of mood and place that helps put you in the mind of these girls. How did you go about doing that?
As we were kind of uncovering it and going through, there was an early draft where the first half of the film played very much like that, then the second half became much more of a traditional, sort of Chainsaw kind of story, which I love. It's one of my favorite movies. It opened the story up a lot and headed a lot of different directions. It was all very good, but as we went through, what I was struck with in the first half was how much we cared about those girls and how much their internal struggle was able to fuel the whole movie. What I loved coming out of it was, I don't think we need this [shift]. Coming back to Nick, at some point, I was like this is great and showed it to my girlfriend Linda Moran, a producer on the film, and I trust her implicitly. I think we both kind of felt like [we] don't need this second half of the story. It's what's expected, but what was actually surprising was how well the first half was able to carry with no cannibalism and just with these two girls forced into a corner and coming to terms with that. I loved that.
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