The violence in the film, especially toward the end, is intensely shocking and graphic. Given that “do it on the set” attitude, did you stick with practical effects?
One hundred percent practical effects. There is nothing there that’s not practical. It’s the same thing: make it happen on the day, and figure it out. A couple of moments fell a little short, and we went back and did a little pick-up shoot after the movie was done. But it’s the same idea of how to affect the audience. My feeling is, if it’s a digital effect that doesn’t look entirely real, which is the case in $150 million movies, there’s nothing there, and you can feel it. If it’s a practical effect and it looks pretty good, but not 100 percent right, you can still feel there’s something real there. Maybe all the qualities aren’t completely right, the audience says, “That’s a little rubbery,” but there’s still something to talk about. Whereas when it’s digital and it doesn’t work, your mind goes, “Well, it’s all computers.” It’s a different thing on a subconscious level. It’s the same reason I try to have as few edits as possible in my movies, because every edit is a suspension of disbelief.
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