I see this production like a big road trip, shooting in sequence.
Yeah, it was all chronological order, real locations. There was a plan to stay in caravans with the crew, but the convoy would have been somewhat expensive. But it did have a family outing feeling to it.
Were there dark comedies you were shooting for, tonally? To have your movie sit alongside on the shelf, so to speak?
I try not to think that. I think Alice and Steve [Oram] may have watched certain things beforehand. Laurie Rose, the DP, and I watched “Grey Gardens” beforehand. Which we did before “Kill List," too. That documentary feeling, plus the family tied to each other that don't really like each other. The Maysles documentaries, I watch quite a lot. In terms of “couples on the run murdering people” movies, not sure there's much that's very helpful.
Can you talk a bit about using “Tainted Love” in the opening credits?
Edgar Wright is our executive producer, and he'd seen an early cut. We had all this German prog rock in there but not much else. I come from a low budget background so it scares me to think about music licensing. But Edgar said, “Don't be afraid to use pop music.” So I just went back to my iPod asking what do I love? I didn't want to use something too ironic. I've loved that song since I was a kid, so I was surprised we could get it.
Was that the most expensive thing in the movie?
[Laughs] Actually the original version of “Tainted Love” was more expensive in the end, not sure why. It was affordable in our budget, but it's great because it has such cultural resonance.
There isn't as much violence in this as in your other films, but there are one or two moments when it really goes all out. Did you ever consider trimming some of those images just a little, for a wider audience?
Yeah, but what are you saying if you do that? The whole message of the film is gone, and you go down a rocky road if you think like that. You wonder, “What if I just took those jokes out?” You start thinking about an audience of four old ladies who want something nice and quiet. You end up with a movie about caravaning and that's it? Looking at hills and saying, “That's lovely, innit it?”
If you soft-pedal on violence, then I think you advocate it. Which is counter-intuitive, I know. If you make a movie with violence in it, but you don't show the violence being horrible, then you are kind've being disingenuous about the whole thing. No one can accuse me of advocating it or making bloody murder look anything other than horrible.
Yes, it should make you uneasy because you are tacit in it, you are agreeing with it. You think they're okay and all right. And it isn't all right, murdering people.
Let's talk about the future a bit because there's a lot on your plate and, you know, for guys like me who get confused easily it can be confusing.You've got something called “A Field In England” which I hear is done, and, unless I'm mistaken, is a period piece about deserting soldiers during the British Civil War who end up in a poppy field and go on a giant acid trip for two hours. Have I got that correct at all?
[Laughs.] Um, elements of that are right. It's about the English Civil War and soldiers that escape a battle and end up taking magic mushrooms. But, taking acid in a poppy field is [laughs] a bit of a defeat of logic for all involved.
And it's low budget, black & white and experimental?
Yeah, and we're very happy with it. Can't wait to unleash it. I couldn't say [which festivals if any], but we'll show it at European festivals and a cinema release in the U.K. in July.
Something else in the works without much info, something called “Two For Hell.” Can you talk about this?
It's a crime film, British crime script. But that's long lead. I've been writing that on and off for the past year. What we tend to do is write something for immediate production, then we have something of a spare – a throwdown script – then the one for next year, and year after, that's why there's so many floating around. The next big one is ”Freakshift” which has a bigger budget. We're casting that one right now. We're trying to lock the casting and then get greenlit and it will go, we're confident about it. Imagine “Hill Street Blues” versus monsters.
I would imagine that after “Kill List” you were invited to lunch by the Hollywood studios. Would you ever consider a director for hire gig?
Never say never. I shoot TV and I make ads, so I'm not some hardcore indie filmmaker.
With the superhero craze, is there one that if you were offered you'd say “That's my guy!” They've all been done, haven't they now?
Well, they've all been done, and now they are all being re-done.
Re-done, yeah, yeah, you're right. My favorites were Frank Miller's run on “Daredevil” and “The Dark Knight Returns” and then “Watchmen”, which has all been subsumed into popular culture. There's stuff round the edges, though. I read comics still however, from all time periods. And I stay pretty current. One I'm reading now, it's an older one, is “Abslom Daak: Dalek Killer”
Oh, “Doctor Who!”
Yeah, it's from late 1970s/early 1980s. It's very good, but it's all tied up with “Doctor Who” so that'll never happen. Eh, who knows?
Summer movies are here – anything you are excited to see?
The new “Star Trek” to be sure. The first one was the best summer blockbuster I've seen in years. I'm very excited for it. And “Pacific Rim” although I can't say the title without giggling. What were they thinking with that?
I mean, I know that they have the “Pacific Rim Games,” which is a big thing for the Navy.
I bet! I'm sure it is! [Laughs]
“Sightseers” opens in theaters on May 10 and is available on VOD May 13.