WEBVTT - Choc tops and chainsaws: the Australian horror boom

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<v Speaker 1>It feels weird to be adding a chop toop, drinking

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<v Speaker 1>a coke while crying because you're so scared.

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<v Speaker 2>A chok top at a horror movie is an insane choice.

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<v Speaker 1>From The Australian. This is the weekend edition of The Front.

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<v Speaker 1>I'm Claire Harvey.

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<v Speaker 2>You like it here?

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<v Speaker 1>What do you like about this place?

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<v Speaker 2>Lamaran and Tamerfia stuck in the sill.

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<v Speaker 1>There's something scary about small towns that sense you're never

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<v Speaker 1>quite alone. Throw in some unsuspecting outsiders, a gaggle of

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<v Speaker 1>curtain twitching provincial medalers and some deep seated prejudice and

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<v Speaker 1>you're on the way to the hottest Australian film of

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<v Speaker 1>the moment. Leviticus is by award winning director Adrian Curella

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<v Speaker 1>and tells the story of two teenagers subjected to conversion

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<v Speaker 1>therapy by the remnants of a Pentecostal community in a

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<v Speaker 1>one time Victorian industrial boomtown.

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<v Speaker 3>Indecency, lust, desire, He has to go now, look at

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<v Speaker 3>the line.

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<v Speaker 1>Leviticus premiered at the Sundance Film Festival in Utah earlier

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<v Speaker 1>this year. It was snapped up by film distributor Neon

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<v Speaker 1>for seven figures and now it's terrifying audiences in cinemas

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<v Speaker 1>around the globe. Horror is hot, specifically Australian horror. To

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<v Speaker 1>explain with her hands over her eyes is our entertainment

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<v Speaker 1>writer Jordie Gray.

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<v Speaker 2>Oh, it's terrifying. It's terrifying in a way that Australian

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<v Speaker 2>films are uniquely scary. But yes, I absolutely love it.

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<v Speaker 2>I think it's going to be a future classic Australian

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<v Speaker 2>horror film.

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<v Speaker 1>What is that feeling that we get in horror movies

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<v Speaker 1>and how much do you think it's fueled by the

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<v Speaker 1>music and the experience of being in a cinema rather

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<v Speaker 1>than watching it on your phone or watching it at home.

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<v Speaker 2>You absolutely get more scared in the cinema and I

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<v Speaker 2>think that's possibly why horror movies are overperforming at the

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<v Speaker 2>box office, because you don't want to watch them alone,

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<v Speaker 2>so you go with groups of people because they are frightening,

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<v Speaker 2>and you go in consenting to be frightened. I don't

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<v Speaker 2>know why we do it, like why do we want

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<v Speaker 2>to be horrified? But I think that's just something to

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<v Speaker 2>be in that dark space with that booming sound system

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<v Speaker 2>and just like hearing the collective intakes of breath that

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<v Speaker 2>it's yeah, going to horror is an experience.

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<v Speaker 1>It must be bad for the candy bar sales though,

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<v Speaker 1>because it feels weird to be eating a choktop or

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<v Speaker 1>drinking a coke while crying because you're so scared.

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<v Speaker 2>A chock top at a horror movie is an insane choice.

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<v Speaker 1>Getting a screening at Sundance very impressive to me, and

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<v Speaker 1>Levity Kiss has got one too. Right.

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<v Speaker 2>There is this session at Sundan it's called the Midnight Section,

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<v Speaker 2>which it's in the name, and many Australian films have

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<v Speaker 2>premiered there. So we had talked to me. We had

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<v Speaker 2>sow oh, doctor Gordon, I want to play a game

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<v Speaker 2>James Wand's film, which I think is technically an American production,

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<v Speaker 2>but it was adapted from an Australian short film, and

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<v Speaker 2>we're going to collect that this indigenous Australian horror. The

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<v Speaker 2>Moogui premiere there.

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<v Speaker 4>They've seen children with white eyes, the children stolen by

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<v Speaker 4>the Mugui. Sometimes we escape, sometimes we don't.

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<v Speaker 2>The Bubbadouk Premiere, the sun Dance are actively seeking out

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<v Speaker 2>Australian horror, and Australian horror is being bored by these distributors.

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<v Speaker 2>So this movie Leviticus, that premiered at Sundance earlier this

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<v Speaker 2>year and has been released this week, was bought by Neon,

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<v Speaker 2>who distributed Parasite, that Oscar Gobbling Sensation and Anora, which

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<v Speaker 2>also one best picture of the Oscars. It's huge for

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<v Speaker 2>these kind of low to midrange budget Australian movies to

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<v Speaker 2>premiere at Sundance because the whole of the industry is

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<v Speaker 2>that all the horror directors go and are a part

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<v Speaker 2>of it, and it gives them like the biggest chance

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<v Speaker 2>to succeed on like an international stage.

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<v Speaker 1>The Bubbadook was really scary. Issie Davis plays a grieving widow,

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<v Speaker 1>a mother who is dealing with the loss of her

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<v Speaker 1>husband and trying to deal with the grief of her

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<v Speaker 1>son and failing to get through it very successfully. They

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<v Speaker 1>start reading a book that has mysteriously appeared on the

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<v Speaker 1>shelf about a creepy kind of figure called the Bubbaduk,

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<v Speaker 1>and then the Bubbadok starts appearing in the house.

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<v Speaker 5>If it's in a word or it's in a look,

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<v Speaker 5>you can't get rid of the Bubba Duck. His name

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<v Speaker 5>is mister Bubbaduk and this is his book a rumbling sound,

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<v Speaker 5>then three sharp knocks.

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<v Speaker 1>It is so scary. It's kind of all about what's

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<v Speaker 1>inside your head too, isn't it?

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<v Speaker 5>Yeah?

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<v Speaker 2>Absolutely? And what grief can do to you?

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<v Speaker 1>Did the Bubbletok do well at the box office?

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<v Speaker 2>So The Bubbadock is an interesting film because it wasn't

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<v Speaker 2>a massive box office success, but it is often credited

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<v Speaker 2>as a film that ushered in this era of grown

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<v Speaker 2>up horror or elevated horror people like to call it,

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<v Speaker 2>which has kind of taken the place of like prestige drama.

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<v Speaker 2>So the Bubbadock was first, and then we had American

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<v Speaker 2>films like Hereditary, Jordan Peele's film get Out, and they

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<v Speaker 2>are films that address very real things trauma and race, and.

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<v Speaker 1>They're not pitched at sort of eighteen year old boys.

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<v Speaker 1>Is that the difference is that what makes it elevated,

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<v Speaker 1>that it's not trying to just make you terrified.

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<v Speaker 2>Well, it's not just like splat. Yeah, they are dealing

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<v Speaker 2>with meti films. I think they are pitched at grown ups,

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<v Speaker 2>but young people like them too. Affectability prodress now vanity spawned.

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<v Speaker 5>By fear.

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<v Speaker 2>Waken friyt is debatably because some people don't think it's

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<v Speaker 2>a horror but it is debatably our first horror film.

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<v Speaker 2>So it came out in nineteen seventy one. There was

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<v Speaker 2>a blanket ban on Australian horror films from nineteen forty

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<v Speaker 2>eight to nineteen sixty eight, so it was kind of

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<v Speaker 2>the first horror movie out the gate.

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<v Speaker 1>Why horror? Why was horror band?

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<v Speaker 2>So in nineteen forty eight it was banned by the

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<v Speaker 2>Chief Censor, jo Alexander, who said this type of film

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<v Speaker 2>has no cultural entertainment value. Its appeal only extends to

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<v Speaker 2>a very limited section of the community whose mental outlook

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<v Speaker 2>should not be fed with films of this nature. In addition,

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<v Speaker 2>such films are a source of potential danger to women

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<v Speaker 2>in a delicate state of health, could be hysteria, could

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<v Speaker 2>be pregnancy, who knows, but just being female, just being dangerous,

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<v Speaker 2>fragile state of being a woman, which is funny because

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<v Speaker 2>women are driving the box offic sales for horror films

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<v Speaker 2>now so so Waking for It came out in nineteen

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<v Speaker 2>seventy one. It was actually made by a Canadian director,

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<v Speaker 2>Ted Kotrov, but it was based on an Australian novel

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<v Speaker 2>and set amongst the Ltback and it's just this barbaric,

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<v Speaker 2>alcohol fueled descent into hell.

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<v Speaker 1>Yeah. A teacher who is stuck in this booky town

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<v Speaker 1>can't get back to Sydney, and the locals kind of

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<v Speaker 1>draw him into their clutches, don't they.

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<v Speaker 2>Absolutely, it's I honestly think it's one of our scariest

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<v Speaker 2>horror films.

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<v Speaker 1>It's very bloody and there is a little splatter as well,

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<v Speaker 1>like there's a horrifying kangaroo hunt scene which should make

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<v Speaker 1>anyone a vegetarian.

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<v Speaker 2>Oh no, absolutely, and it was real. Obviously it was real.

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<v Speaker 2>It was the seventies they went doing cgi Kangaroos and

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<v Speaker 2>Australia hated it. We really rejected it. There is this

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<v Speaker 2>anecdote about like one of the early screenings and a

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<v Speaker 2>guy standing up and saying that's not us, and another

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<v Speaker 2>actor being like it is rte So we really rejected

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<v Speaker 2>that movie. It went to Kahn where nominated for a

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<v Speaker 2>Grand Prix, which is the audience award, But afterwards it

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<v Speaker 2>was almost lost forever and it only saved because of

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<v Speaker 2>Muttin Scorsesey here champion to restoration effort.

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<v Speaker 1>Horror is kind of having a moment, isn't it internationally.

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<v Speaker 1>The back Rooms is one that I'm way too scared

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<v Speaker 1>to go and see.

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<v Speaker 2>Why'd you feel me? Yeah?

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<v Speaker 1>Follow my lead, Like, what is this? That's what I'm

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<v Speaker 1>trying to figure out.

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<v Speaker 2>I've been every night since I found the place, and

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<v Speaker 2>I still barely scratch the surface.

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<v Speaker 1>That's a movie adaptation really of a meme or an

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<v Speaker 1>idea that's lurked around on the Internet for a long

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<v Speaker 1>time of scary spaces, kind of around the edges or

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<v Speaker 1>in between things, liminal spaces. Gen Z has freaked itself

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<v Speaker 1>out about the train platform, weird corridor kind of part

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<v Speaker 1>of Parts of the World. Tell us a little bit

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<v Speaker 1>about the back Rooms and why that is drawing young

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<v Speaker 1>people to the cinema.

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<v Speaker 2>I think Backrooms is interesting because it is based on

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<v Speaker 2>a collectively owned ip that belongs to everyone.

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<v Speaker 1>You mean, like a scary idea that's haunting a whole

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<v Speaker 1>generation of people.

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<v Speaker 2>It's kind of like folklore. I feel like these creepy

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<v Speaker 2>pastas is what they call them. This bite sized horror

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<v Speaker 2>stories are Internet folklore. The fact it made more money

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<v Speaker 2>than Wuthering Heights, and I think unless you were super

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<v Speaker 2>tapped into this weird online liminal community, no one knew

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<v Speaker 2>what backrooms was.

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<v Speaker 1>It got a really kind of slick production, didn't it.

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<v Speaker 1>Chewitel Edgy of four was the star. He's so compelling

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<v Speaker 1>and magnetic. An amazing set where they recreated this space

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<v Speaker 1>that had been photographed and someone posted a picture on

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<v Speaker 1>an Internet forum of kind of a disused office back

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<v Speaker 1>room with dodgy carpet and horrible wallpaper that seemed to

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<v Speaker 1>stretch on forever. You can understand why that's a scary premise.

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<v Speaker 1>But they managed to turn that very simple idea into

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<v Speaker 1>a whole universe of scariness, didn't they.

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<v Speaker 2>Yeah, it's super interesting because it's like, how did a

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<v Speaker 2>photo of a Wisconsin hobby shop being renovated become a

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<v Speaker 2>one hundred million dollar box office juggernaut. So the director

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<v Speaker 2>of Backrooms is this twenty year old called Caine Parsons.

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<v Speaker 2>He started making these backroom shorts at home when he

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<v Speaker 2>was sixteen, so he's he's a first time filmmaker. He's

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<v Speaker 2>given a budget of ten million dollars, and I think

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<v Speaker 2>this Studio twenty four were just like, we trust you

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<v Speaker 2>make this movie because you know what the backroom's law is.

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<v Speaker 2>And I feel like so many movies try so hard

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<v Speaker 2>to appeal to gen Z, but they have no gen

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<v Speaker 2>Z creatives behind it, and by handing the reins to

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<v Speaker 2>this kid that was born in two thousand and five,

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<v Speaker 2>which makes me feel sick to my stomach.

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<v Speaker 1>Welcome.

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<v Speaker 2>Yeah, I just feel like it's connected with young people.

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<v Speaker 1>What a clever choice by A twenty four to fund

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<v Speaker 1>these and they're associated with some of these other horror films, right.

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<v Speaker 2>Oh yeah, no, absolutely, they are kind of trailblazers in

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<v Speaker 2>that space. A twenty four bought the Australian horror film

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<v Speaker 2>Tork to Me, which was directed by these two twins

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<v Speaker 2>in Adelaide, Danny and Michael Philippho, who kind of got

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<v Speaker 2>their start making amazingly stupid YouTube prank videos like Ronald

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<v Speaker 2>McDonald massacre. And they, alongside Courseway Pictures, which is an

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<v Speaker 2>Australian production house, made this movie Talk to Me for

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<v Speaker 2>like four point five million dollars. A twenty four boarded

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<v Speaker 2>at Sundance after at premiere at the Midnight Section, and

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<v Speaker 2>it went on to make ninety million dollars and was

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<v Speaker 2>A twenty four's highest grossing horror film until Back Rooms.

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<v Speaker 6>Light the candle to open the door, blow it Out.

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<v Speaker 6>To close it, puts your hand on it. Now say.

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<v Speaker 2>Talk to me.

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<v Speaker 1>There's so many movies that when I was we were

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<v Speaker 1>thinking about doing this interview with you, and I was

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<v Speaker 1>looking back at the movies that have scared me the most,

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<v Speaker 1>from Misery to seven to the sixth Sense, and a

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<v Speaker 1>lot of them when I google them to remember what

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<v Speaker 1>they were actually about, are not regarded as horror by

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<v Speaker 1>horror purists. Is there a bit of controversy about what

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<v Speaker 1>is actually horror and what's not.

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<v Speaker 2>I think horror has been stigmatized for a very long time,

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<v Speaker 2>so I feel like perhaps studios would have been reluctant

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<v Speaker 2>to classify things as horror because there was a preconception

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<v Speaker 2>that horror was kids stuff and it was somehow unworthy.

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<v Speaker 2>And you get even in Australia, we've had these amazing

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<v Speaker 2>horror films that were sort of trojaned into like serious dramas.

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<v Speaker 2>I would say that Peter Wehirs, Picnic, It Hanging Rock

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<v Speaker 2>horror film, the Last Way horror film, but they don't

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<v Speaker 2>call them horror films. And I do think that just

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<v Speaker 2>has a lot to do with stigma.

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<v Speaker 1>What's the scariest thing you've ever seen on screen? I'm

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<v Speaker 1>still recovering from when Gwyneth Paltrow's head was in the

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<v Speaker 1>box since seven.

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<v Speaker 2>You know what, I think, it's the original Omen. My

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<v Speaker 2>mom made me watch that when I was far too young,

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<v Speaker 2>and it terrified me.

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<v Speaker 1>Why does she make you?

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<v Speaker 2>Would you because she said the Jordy, you gotta know

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<v Speaker 2>what a good horror movie is like. Also, I feel

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<v Speaker 2>like the horror movies that scare us most say a

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<v Speaker 2>lot about what we are scared of. I have a

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<v Speaker 2>new answer. The movie that scares me the most is

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<v Speaker 2>the original Halloween with Jamie Lee Curtis, and I think

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<v Speaker 2>it scares me the most because it's fears irrational. You

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<v Speaker 2>could be followed home by I mean, perhaps not a

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<v Speaker 2>hockey mask wearing lunatic, but a lunatic no less.

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<v Speaker 1>I think hockey master are hard to come by in

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<v Speaker 1>Australian so true, Thank god. Jordy Gray is an entertainment

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<v Speaker 1>reporter with The Australian. You can read her deep dive

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<v Speaker 1>into the world of Australian horror, as well as all

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<v Speaker 1>the latest in culture from around the world right now

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<v Speaker 1>at the Australian dot com dot au slash culture. This

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<v Speaker 1>episode of the Front was hosted by me Claire Harvey,

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<v Speaker 1>produced by Kristin Amy, and edited by lead Samma Glue.

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<v Speaker 1>Thanks for joining us on the front this week. Our

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<v Speaker 1>team also includes Tiffany Dimack, Joshua Burton, and Jasper League,

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<v Speaker 1>who wrote art theme