Entrevista al director Scott Derrickson por el estreno en formatos digitales de "Black Phone 2", una de las películas de terror más taquilleras de 2025, basada en el icónico personaje creado por Joe Hill
00:30And it's a movie that feels like self-contained.
00:34What made you want to come back to this story?
00:37Were you interested in exploring the lasting aspects of the character's trauma?
00:42Yes, that was part of it.
00:44I was really interested in following up both of these characters, Gwen and Finn,
00:49but only if I could take some time in between and let them get older.
00:53You know, the studio wanted me right away to make a sequel
00:56because the movie made so much money.
00:58And I eventually just told them,
01:01I'll make a sequel, but you're going to have to wait for a couple of years.
01:04I'm going to go make another movie.
01:05I want to make a high school movie, not a middle school movie.
01:08And I felt like one of the reasons that the sequel should be made
01:11was getting to meet these characters years later,
01:14see how the events of the first film affect them emotionally,
01:16but also be with them in a different stage of life.
01:20How did you approach Medellin and Mason return to their roles?
01:24They are older now.
01:25They can do more physically demanding things.
01:28Also, we get to see the emotional aftermath of what they went through in the first film.
01:33Yeah, I thought that Mason was obviously traumatized by the events of the first movie.
01:44And I thought it would be interesting to have him not process what had happened to him in a healthy way
01:50and to still be holding all that fear inside, and that fear turns to anger.
01:56That's very typical for teenage boys, you know, for the feelings of fear to become something that makes them angry
02:02and turns them into anger.
02:05And I thought that for Madeline, I wanted also for her to be struggling with something
02:11that's fairly typical for teenage girls, or at least not unusual for teenage girls.
02:18And that's feeling awkward, feeling weird about oneself, you know,
02:21and she's got this spiritual gift that makes her feel like a freak,
02:24and she doesn't want to be like her mom.
02:27And I like the idea of her wrestling through what she feels is something very weird and strange and odd about her,
02:34but she runs toward it, and ultimately that becomes something that she recognizes really is a gift
02:40and really is who she is as a person, and it's beautiful.
02:43What really grabbed my attention about Black Phone 2 is that you bring back elements
02:48from the first one, the main characters, the grabber, but you build something completely new.
02:53The first film feels like really claustrophobic, and this one feels wide open.
02:58The thing with the part of the living and the dead and the dreams and reality.
03:05What did Joe Hill think when he saw it?
03:08Did you or Robert get it?
03:10Yeah, he liked it more than the first one.
03:12He loved the first one, but I think both he and his dad thought that Black Phone 2 was even a better film.
03:20There is something about the texture of the Super 8mm that feels so disturbing.
03:26We saw that in Sinister and in Black Phone.
03:29What is this kind of texture that fascinates you so much?
03:34Well, you're dealing with a representation of reality or even of dreams, which we all have.
03:43There's something about Super 8 texture, that Super 8 look, especially when it's projected and the grain is very big,
03:49that is real but not real.
03:54And it feels, and Super 8 is also very messy.
03:57You know, it sort of flutters in the gate so that the image is not stable.
04:01It has aberrations in it.
04:02It has dust and particles, and it reacts weird to light at times.
04:08It moves in and out of focus in ways that it shouldn't.
04:11And I like all that messiness.
04:13I think it's the messiness of Super 8 that makes it feel dangerous.
04:17But I also think that there's something about the fact that it's old and that people don't use it anymore that makes it inherently creepy.
04:24I mean, if you yourself were to go into your grandmother's closet and find a Super 8 projector in some films,
04:32and you put that film up and projected it on a wall, I don't care what's on it.
04:36It could be, you know, her when she was, your grandmother when she was younger, you know, having tea with friends.
04:43It would feel creepy.
04:44There's just something, there's something about it that is just inherently creepy.
04:50And I think part of it has to do with that old uniqueness and the hiddenness of it and the fact that it's sort of a lost form, a lost art form.
05:03I could sense some reference to The Devil's Backbone and, of course, Nightmare on Elm Street in this movie.
05:10Were there any other films that inspired you this time around?
05:14It wasn't so much that they inspired me when I started.
05:17I just found myself as I was writing it realizing that I was making a movie set in 1982 and elements in the movie were so close to so many great films from that time in the early 80s.
05:33That's when we got all the summer camp slasher movies, you know, Sleepaway Camp, films like that, and the Friday the 13th sequels.
05:41You know, all that was happening around that time.
05:46And, of course, The Shining has, you know, a snowbound place in the Rockies.
05:53You know, these aren't things that were starting points for me.
05:55But when I realized, along with Nightmare on Elm Street, I'm making a movie that fits into this era of cinema from 1982 perfectly.
06:04I found that very exciting and liberating, and probably because I recognize how much affinity the film had with other films from that era.
06:14I think that's probably what led me to the very bold and audacious choice to shamelessly and unabashedly steal an image from the 1983 film Curtains, which is the masked killer on skates.
06:30You know, that was a film, the scene that I remembered from the early 80s.
06:35And that's when I just took, you know, it was a very direct, very obvious homage.
06:41And I like the fact that this film is inspired by all those movies, but it's also very inspired by the 70s Italian horror films.
06:50You know, Bava and Argento and these artists who are making these slasher movies that were incredibly artful.
06:58And all of that, that attempt to make something highly artful, even though it could easily be a cheap looking horror film, but to instead try to do something that has an elevated, highly artful look.
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