Innocent, Set in a semi-secluded, nondescript high-rise apartment, four lonely children follow each other who find each other, as well as severely affect the bending of the mind one summer. Horror Peak was launched in Cannes last year and reached the Stateside last weekend via IFC Midnight in a limited theater plus digital release after playing a new director / new film. This is the latest in a long line of Norwegian Eskil voters who have been shepherds until recently The worst people in the world, Which he co-wrote with director Joaquim Trier, his great run, including an Oscar nomination for Best Original Screenplay and Best International Feature.
Vogt is attracted to complex characters with an inner life that is not always visible on the surface. In his first film Blind, Which premiered in Sundance in 2014, a writer lost his sight and returned to a vast and fascinating fantasy bubble. He talks to Deadline about how the idea behind paternity spreads The InnocentsThink about the evolution of notable child actors and arthouse films in a changing landscape. (His comments have been lightly edited for clarity.)
Deadline: Why does a film revolve around children, especially those with supernatural powers?
ESKIL VOGT: I think being a father, being a father. I wasn’t too nostalgic about my childhood. I am happy to grow up. I have friends who refer to childhood all the time, as that part of their life is very important, just a constant touch, and it has never been for me. But when I became a parent I became curious about childhood again and was reminded that it was a radically different experience than being an adult. Everything is different, the way you feel things, the way you feel things, the concept of your time is different. Seeing them, I got a memory, a trigger, a jolt of the feeling of being a child. And it will go away instantly because it is impossible to hold on, because you will lose it. You are no longer like that. And I thought, ‘That’s funny, can I do something about this secret world of childhood’?
Deadline: Child actors are exceptional. One character, the older sister in a pair of siblings, is portrayed as severely autistic, which is an interesting choice. Can you talk about why?
VOGT: Autism came as a bit of a surprise. I was already working on this notion of childhood, then I read an article about his autistic son by a Norwegian writer who had something called regressive autism that I had never heard of. Her son developed like a regular child with language and communication up to three or four and then he lost his language and went back to this autistic bubble. I was completely devastated because I was a dad myself and I felt like it was a horror movie. It had been with me for a long time and I said, it could be part of my movie. I am making films about the closed world of my childhood. It fits perfectly because there was a very complex mobility between the sisters, demanding more attention from one parent and the possibility of being cruel to a sibling, which is a very normal emotion. Although this is a supernatural fiction, I can tell the story that moved me the most. I could have told that story in the movie, but in a higher way.
As for the actors, someone later told me, ‘I’ve seen good kids acting before, but it’s usually a character, there are four in this movie.’ I didn’t think of it that way. Maybe, I wouldn’t have done it before.
Deadline: The autistic child eventually becomes the strongest of the four.
VOGT: Yes, he finally returns to where he was. But we, and his sister, will never see him again.
End date: The worst person in the world Was exceptional, not least because of its powerful theatrical run. This is not the case with many arthouse films as the industry struggles to bring back its traditional audience. How do you see it?
VOGT: It’s the same here, but some countries are ahead of the United States in Norway, when the movie was re-launched for the first time in October without any restrictions, it was the best October movie in ten years. (Things shut down again later due to new restrictions.) I think the right movie will bring people out. There’s nothing like watching a movie in a theater, and I think when people come back, they notice it. They notice the luxury of not paying attention to anything else for two hours. So I am optimistic. And maybe it’s a new world, where we don’t have to make movies that make all their money in the theater. Because you have the theater and then you go to streaming. Which is a good thing. Maybe more people will see something in streaming because it was in the movies. I love movies and I love the theater experience and I don’t think it’s going to disappear. For arthouse theaters, it’s probably about moving away from business as usual.
Deadline: Any new projects?
VOGT: Nothing. Luckily for me, a small movie like this is being released in every country, at some point, and they told me to press and it was beautiful, because people care. And the Oscar thing. But a lot of time goes by from writing. Everyone asks, including people who can probably afford a movie, like, ‘What do you have? Do you have any projects? ‘ I should have had three scripts under my arm. We’ll see when I finally write something if people forget about me. “