Franck Khalfoun details the process of reviving the tense horror premise.
Filmmaker Franck Khalfoun is no stranger to delivering audiences stories that are contained in constricted scenarios. While a film like P2 largely focused on specific levels of a parking structure, his interpretation of Maniac saw a majorirt of the film restricted to the point of view of the film's killer. His latest film, Night of the Hunted, could be his most restricted setting yet.
Franck Khalfoun: I didn't come up with the name of the movie, and it never bothered anybody. It was like,"Yeah, it's the Night of the Hunted." After having made the movie, I'm like,"It's a little bit more ... It's a little more cerebral, I think, of a film." There's a lot of things going on in there that are intellectualized or that there's a real debate and real arguments.
Well, I'll have to tell you, it was a simple concept, which I'm always down for. And then the writer who adapted and made it an American film, or film with dialogue, Glen Freyer, wrote about a psychopath who was chasing this woman down. There was one line in particular, which I really loved, which was he said that,"The future generations will inherit my ability to not give a f-ck.
The set, we found an old gas station, which was a garage, which had been turned into a diner with the pumps. I came in, I said,"Oh, let's get rid of everything," because I could control the space, and I can make it whatever I want. So I designed where everything was in the store based off of what we're all used to seeing when we go to gas stations somewhere in the middle of the country or wherever. I did a floor plan and designed the action around the floor plan.
Well, when I got there, I go,"Wow, my next movie's going to be in a closet because you keep getting smaller and smaller." It's the constraints of where to put the camera in a space like that and what angles, how many ... If you look at the movie, there isn't a single angle that repeats itself. It's always a different shot, and you have to maintain the audience's interest.
Emotionally, she's very intuitive. She's very smart. She had emotion. I mean, you could see it, that she's able to convey it, and she takes her time. I saw some movies, one of her earlier films where she plays a young prostitute who deals with having a child, and I saw the emotion in her. I saw that really, she really could bring that.
She's powerful. When she comes out of the gas station and confronts him finally, and he doesn't shoot, and she's out there, and she goes,"It's my choice. And it's the choice your mother would've made had she known what you'd become," it's so intensely powerful. A big part of that was the dialogue worked with her. That was the big surprise and the pleasant surprise.
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