00:06The Vigil
00:07is a horror film
00:08set in the ultra-orthodox
00:11Jewish community
00:12in Brooklyn, New York.
00:14Ti farebbero comodo i soldi, no?
00:16Lo so che hai avuto qualche problema
00:18con l'affitto. Come lo sai?
00:19It is about a man
00:20who has left the community
00:22when he's called back.
00:23He's called back to do a job.
00:26Per quanto tempo?
00:27Cinque ore.
00:28Fino al mattino, a cominciare di...
00:31He agrees to take it.
00:32Finds himself at this house
00:34where he will be watching a body
00:35over the course of one night
00:37and he realizes that he's not alone.
00:40Non la lascerà andare via.
00:43Che cosa?
00:44Non la lascerebbe andare via.
00:48Il maasek.
00:50I find it really interesting
00:52to begin your story
00:54with your character in Crisis.
00:56This is an old screenwriting trick.
00:58As I was developing the script
00:59and kind of working through it,
01:01I realized that
01:02what really interests me
01:04in this story
01:05was kind of exploring
01:07the idea of guilt
01:08and trauma
01:09and pain.
01:12If we focused in on, like,
01:14a couple of minutes
01:15in someone's life,
01:16how those minutes
01:17ripple throughout their life,
01:19those two events,
01:20those two people
01:21are in the same place,
01:22and this guilt
01:23that's between them
01:24is this demon
01:26that afflicts both of them.
01:33The key to trying
01:34to make this film work
01:35were the sequences
01:37in which we're suggesting things.
01:39It's always before you see the monster.
01:41That's the best thrill.
01:44It's the same way
01:45like a roller coaster.
01:49The bigger the hill that is,
01:52the better that is.
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