“We’re a statistical improbability. And now they want to see who will be the luckiest among the lucky.” – Zoey Davis, “Escape Room,” Columbia Pictures, 2019
With so many elections going on around the world this year – 97 countries – including the ugly one here in the US, we needed some solid/safe escape from the creepiness and grossness of the real world.
We did what any normal/smart person would do … we dug into the whole idea of horror films. That included watching a couple of the new ones and revisiting some classics.
Of course, that meant we had the family room and big screen to ourselves because the wife won’t have anything to do with blood, guts or gore.
Don’t get us wrong, we’re not really into violence, religious stuff or messy gore for the sake of gore.
But….
Still, the little chestbuster in the first Alien was a helluva’ shock to the system but Sigourney Weaver (Ripley) didn’t back down from the challenge.
The biggest problem for us is how to categorize a film as a horror movie.
Sure, if Stephen King is listed in the credits, you’re pretty sure of what you’re watching because he’s widely regarded as the master of horror.
Of course, if you bring up Alfred Hitchcock, it’s a little tougher because most think of him as a master of suspense, not horror.
But we feel classics like Psycho, Frenzy and The Birds are solid horror films because they showed us the dark side of people and showed us threats that people couldn’t control. Hitchcock’s use of shadows and audio signs and music put you on the edge of your seat because you knew bad stuff was going to happen.
One way to identify a movie as a horror film is that it will have sequels or even become its own sub-genre.
For example, directors, actors, writers and crews can thank George Romero for releasing zombies on us again and again and again when The night of the Living Dead was released back in 1968.
We’ve enjoyed it every time we’ve watched it, even though we were really p***ed at the end. Ben (Duane Jones) did a fantastic job of trying to protect folks from the zombies only to walk out into the morning light and have some idiot kill him just to be on the safe side.
Really ticked us off!
We’re not into much of the franchise stuff but we all know that when one project earns money, more will follow.
Having a creepy villain like Freddy Kruger or Jason is a place to start but what they really need is a damsel in distress or scream queen to put the film over the top.
Source – Compass International Pictures
Jamie Lee Curtis (who probably got her scream from her mother in Psycho) is our favorite and the one who took the fight to Michael Myers from 1978 – 2022.
Being tough, attractive and driven made for a suspenseful, terror-driven and interesting story that gives people someone to cheer for when they show you that you can stand up to and take fear head-on.
There are a lot more good/great horror filmmakers; and thanks to global streaming media services, we’re able to share/experience projects from around the globe.
“The films have always been produced and available,” said Allan McLennan, CEO of 2GDigital. “However, the low-budget projects were often given limited distribution because of their being produced in a specific language.
“But with today’s advanced AI-enabled localization services,” he continued, “studios and streamers can quickly, accurately and economically make them available in any language so people everywhere can enjoy/experience them as though they were produced in their home country.”
Consistent – Streaming has opened up new opportunities for folks who like to experience feature films so they can be surprised and shocked in whole new ways beyond projects being simply brutal and gruesome.
Sometimes (often) it’s difficult for industry executives and experts to accurately define when a film fits in the horror genre.
But with the movie magic, advanced technology and the global reach/exposure we have with a broader spectrum of horror film types, they’re becoming more important release valves for folks in every walk of life and every corner of the globe.
Whether it’s filled with ghosts, monsters, masked stalkers or deep-down personal fear, filmmakers often find it difficult to pinpoint what terrifies the audience. That’s rather important because it helps determine if the film gets greenlighted or not and whether the project will be profitable or another studio/streamer write-down.
The major components of horror films are spine-chilling music, precise tension and suspense and shops like A24, Blumhouse and others have gotten very good at getting the mix right.
To understand the genre better, we turned to film data research expert Stephen Follows.
It turns out he is putting the final touches on his Fellows Horror Report 2 — https://tinyurl.com/5ynh6knj — the most comprehensive study of the genre around.
While he’s a nice “normal” guy, he has spent a lot of time gathering and analyzing data on every horror film ever made. The report, which we aren’t promoting, covers everything from development, production and distribution as well as … profitability.
Fellows noted that horror films are perennial favorites with filmmakers because they are fun to make, can be developed/delivered more quickly on a lower budget and can make money.
Yes, But – Okay, so not everyone likes/appreciates a really good horror film the same way; but streaming services are able to adjust their library offerings for people in countries where interest/demand is highest so they can capture/retain larger audiences.
The final point is obviously most important and that’s because folks young/old, male/female are attracted to a good slice of horror – spooks/ghosts, the paranormal, aliens/monsters and the evil psychological underbelly of men/women.
Perhaps that’s because horror is a mirrored reflection of our societal fears and people can process/address them without being endangered.
More to Horror – A good horror story isn’t one-size-fits-all. There are underlying messages that attract people to enjoy certain sub-genre films over others, making them interesting and viewable.
One of the keys to horror films’ success is that they can (and usually do) include storylines from other film genres.
Overall, movies in this category more than 50 percent released in theaters generated profit which compares very favorably to the industry average of 37 percent across all categories.
According to Fellows’ research, over a 21-year period, profitability has remained relatively consistent.
And of course, if you’re interested in adding insurance to the project’s investment, throw in some comedy and/or romance to appeal to the vast majority of the potential audience.
Ah-Ha Moments – It’s interesting that having a big boogie man (or woman) dominating the screen will keep people watching a film more than uncovering long-lost secrets or competing against the bad guy (or gal).
Projects like Paranormal Activity and The Blair Witch Project are often cited as two of the most profitable films made, costing $15,000 and $60,000 respectively; but are seldom included in the industry profitability reports because they are what most folks in the industry consider total anomalies or dumb luck being in the right place at the right time.
But others found footage films are generally more widely and enthusiastically received by the theater and home crowd (meaning more profitable).
On the other hand, monster films are usually more expensive to produce and have great difficulty in turning a profit.
The biggest divergence comes in the horror film category comes between what the audience thinks is good and what “expert reviewers” express.
Over Analyze – Consumers (people who buy tickets and subscribe to streaming services) appreciate good horror films more than self-appointed film experts. Sometimes, it doesn’t pay to over analyze a film and just consider it good entertainment.
Horror films have had a bum wrap for more than 30 years.
Say it’s a horror film to the experts and they almost automatically say it’s a second-rate film with second-rate writers, actors and production teams produced to elicit cheap scares and vast volumes of blood coming from spare body parts.
Fortunately, they’re not the ones who pay for their theater tickets or their streaming service.
The folks who spend their time/financial budgets go to the films to experience life at multiple levels.
They see stories that address mental health social class, racism, bigotry, abuse, bias and other cultural issues that they can identify in their own lives.
And the hour or two in front of the screen gives them the opportunity to release their frustrations and angst and heal–if only a little.
In addition, they know they aren’t alone in their issues, problems, concerns.
The truth is that the depth and breadth that horror films cover has expanded … dramatically and professionally.
Well not completely when it comes to professionally because films that the industry and reviewers put in the category haven’t won an Oscar since 1992 for Silence of the Lambs (taking home five statues).
To even be considered in the ensuing years, folks rationalized the films as being in different categories, something that is more aloof and more “worthy” of the Academy’s consideration despite what the ticket-buying, viewing public said.
With elections over or nearly over and the turmoil around the world – mass shootings, war, out-of-control AI, climate disasters, economic unrest – there are a lot of people anxious about what lies ahead.
The new horror projects that have been, are and can be produced around the world need to have broader exposure in theaters and on home screens because they show we aren’t alone in our community/country, but we face common problems, issues, enemies and physical/psychological challenges.
If we’re lucky, we just might see how someone else, somewhere addressed and conquered the drama/issue.
Even if they didn’t, it’s sorta’ nice to know we’re not alone.
And it reminds us of what Games Master WooTan Yu said in Escape Room, “Have you ever thought of Kentucky Derby, do you think the horse can get the prize?”
It seems rather timely that Stephen Follows is putting the final touches on his horror report that might help inspire and establish some guard rails for filmmakers to keep the film pipeline filled.
And if the filmmakers/crews turn a profit … sweet!
Sure wish the results of all of the elections looked as promising. Can’t believe people get the government they deserve.
Maybe if we all promised to be real good …
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Andy Marken – andy@markencom.com – is an author of more than 800 articles on management, marketing, communications, industry trends in media & entertainment, consumer electronics, software and applications. Internationally recognized marketing/communications consultant with a broad range of technical and industry expertise, especially in storage, storage management and film/video production fields. Extended range of relationships with business, industry trade press, online media and industry analysts/consultants.
