Scare Yourself! What Horror Movies Tell Us About Our Own Fears

As Halloween night descends upon us, we may ask ourselves what is the thing that truly makes the season so spooky?

For some it’s haunted houses and jump scares, for others it’s gruesome makeup and costumes. But for most of us, a big part of Halloween revolves around our love for horror films.

Whether these films are slashers, ghost stories, tales of mass murderers or demons from beyond, there is always the implication that behind all the screaming, guts and mind fucks, there is a much deeper level of violence and fear that is innately known to us as human beings.

So what is it inside that draws us into that seemingly endless web of darkness that comprises the human imagination and undoubtedly beyond that, the unconscious?

As children, it can be assumed that we learn to scare ourselves; it’s a part of the developmental learning process. It’s exciting, it stimulates our nervous system and in some ways it gives us hope that beyond the mundane existence of reality, there is a world, even if it is terrifying, that exists beyond our own. Because even if that world is terrifying, it mirrors our own intense feelings towards death and the comfort some of us feel in that darkness due to our own traumatic lives. And what’s better than being able to experience these mind-altering worlds from the safety of our couch?

I’ve always found it interesting that some of my friends claim to watch horror movies to unwind and to ‘chill out’ before sleep. One person even mentioned, “The gorier the film, the more I relax.” How? What is it about watching a character get gutted that is relaxing?

For some, it seems to be a cathartic experience, one that allows the viewer to not only suspend their disbelief, but to somehow use the experience of “death” to find peace. It’s not so surprising when we look at it through this lens. What is more peaceful than eternal rest without any of the responsibilities of life?

For others, being scared is just exciting; it jolts you with electric energy and does the opposite of “killing you.” This sort of adrenaline rush is actually in the service of life! It reminds you, you can feel and experience all those intense feelings without the danger of actual obliteration.

And if I dare to dig deeper into this mass grave that makes up the collective psyche of a species which seemingly thrives on chaos and power, we can say that our love of horror is just a sublimation for our darkest and deepest desires to not only destroy everything around us, but also to guarantee our own destruction in the process.

Those who commit murders must know that eventually they will be caught and punished, even if these thoughts are cast from the conscious mind. We know that what most people do to others has a lot to do with their feelings about themselves.

When I ask people what their favorite genre of horror is, I always find it a telling clue to their most inner wishes and fears, for you cannot have a wish without that wish also being shrouded in fear; they are as inseparable as the will to live and the will to die.

So tonight, when you sit down to watch your favorite scary movie, take a peek at your reflection in that dark screen and maybe consider what that film is telling you about the darkness and evil that sits waiting, ever watching, from the deepest parts of your unknown mind.

Yours Truly, (in this life and the next….)

*evil laughter*

E

Q&A: A Conversation with Horror Filmmaker Geroni J. Saint-Hilaire

Let’s start this off as we should – what’s your favorite horror film?

Geroni: Such a hard question but The Omen (1976) does it for me! The way the story took on a biblical theme and brought an ancient fear into the modern world was very original. Evil children with agendas of destruction always creep me out.

What attracts you to horror more than any other genre?

Geroni: I find horror to be a genre of great potential; there is always something new to make you afraid. Choose your poison: zombies, ghosts, demons, serial killers, aliens, conspiracies or cults. And then you have the directors who are daring and innovative and have the creativity to take something unexpected and make it scary and refreshing. Horror gives you a chance to make something that is deeply personal because fear impacts us all differently.

You've made both experimental and narrative films. What are the biggest differences?

Geroni: When working with a narrative storyline, there is usually a character that must ultimately reach a goal of some kind. This approach to making a film is the most common and widely used. If you are going down this route you have a formula laid out for you and it gives you limited creative freedom to express your visual ideas. There is always the three-act structure to worry about and the forced ending. An experimental approach to the craft brings together a series of ideas not too dissimilar from a narrative project but the integrity of the film relies on the auteur’s ability to hit the emotional core of the audience without having to spell anything out for them. The images and choice of sound in this case should do the work for you. And there will always be different opinions of the meaning! It is always a favorite moment when people ask me about one of my works and what it “really means” to which I like to respond with a question of my own. What did you take or learn from it? I actually learn a lot about my own work as a result.

What’s scarier – fast zombies or slow zombies?

Geroni: Slower zombies seem to be more goal-oriented. The fast ones just take a bite and move on to the next human. Slow ones take their time!

I've heard you talk about how horror affects people's emotional state, which is why you personally crave scary stories and why you believe people love them. Can you expand upon this idea?

Geroni: Since we were all young, most of us feared the ghost in the closet or the monster under the bed. There is something fascinating about the unknown. Many people I know would never dare step foot into a graveyard or an occult supply store for that reason alone. We tend to fear what we do not understand so we attach wrong or false beliefs to certain things that are considered taboo or freaky. Out of all the wholesome genres in the world, ranging from romantic comedies to heart string pulling melodramas, horror stands alone as the one that can ruin a good night’s sleep. In many ways it is the opposite of entertainment. It makes its way from the written word or the screen right into your world and into your mind. After a good reading or film viewing, you find yourself extra careful and tense in your own space. You might feel tough until you hear a strange sound coming from your hallway and if you are brave you gather enough courage to stand there and look into the dark and against all your logic you wonder for one second if there is someone or something out there, waiting for you.

Geroni on the set of Wet Paint with G&E Productions

Is there anything you think modern filmmakers have lost in terms of what horror movies used to be?

Geroni: Yes. They have lost the ability to be a generation to explore new topics for the very first time. Also patience and slow building as a form has dropped along with everyone's attention span. As a modern filmmaker, I feel that we have a huge opportunity to make innovative, shocking material. The past is there to provide us with lessons on what works and also with what doesn't. Despite this, there are still so many bad films in the genre being produced that it becomes questionable how some of these projects get green lit in the first place. On the other hand we do have some brilliant storytellers that are passing into new territory with their ideas. 

 Shock VS Tension. It’s an age-old debate. What's more important in your opinion?

Geroni: A healthy balance of both is essential. Like anything else too much of anything is not good. All shock means gory, loud, and annoying jump scares with a lack of character development. I attempted to find a decent balance of both with my short film Wet Paint. Trying to slowly build up to the finale piece by piece without showing too much or relying on jump scares was a challenge but ultimately a rewarding exercise. Too much slow building and tension and the project will come across as “boring” to many people. You have to find a way of keeping people guessing while also finding ways to give enough shock to keep them interested.

What makes something scary?

Geroni: In my opinion, something truly scary is something that can possibly happen to you. Anything beyond normal understanding and control can scare you. Zombies? No. Demons? Yes (I totally believe in demons). Slashers? Not so much. Disturbed fan that crosses boundaries and stalks you? Absolutely yes. 

What do you think most people get wrong when thinking about the process of making horror films?

Geroni: Most people start a script and immediately succumb to tropes and stereotypes and they force themselves into a writing device that ultimately makes a terrible film. How many times have you started a film on Netflix or Amazon just to see the same pack of arrogant teenagers going off on that last weekend get together before college starts only to see those same characters drinking, having sex, and dealing with some crazed lunatic who happens to know that they are alone and isolated all weekend. I tend to turn these off before the 10-minute mark. Many writers are scared to think outside of the box and this is what ironically leads them to make these awful throwaway projects. Everyone does their part and sometimes the image is great and the actors pull it off to the best of their abilities but the ultimate failure happened before anyone ever stepped on set in the form of a weak script. If you cannot keep people guessing what is going to happen next while cheering for someone in the story you will lose interest quickly.

If you were to remake a horror film – which would it be?

Geroni: I would love to take on The Omen! Even though this story is so cursed and infamous, something about working on a project with so much controversy and myth is very seductive. I would dive deep into the spiritual origins of Damien.

Is there a filmmaker who has never made a horror movie that you think should?

Geroni: I would love to see Darren Aronofsky try something in the paranormal or occult (I do not consider Mother! horror). He has a way of sending his characters into this terrible place mentally and physically and so it would be very interesting to see what he can do with horror. He has a very unique way of making audience members invested in characters while also destroying them at the same time. This approach would work wonders within the horror formula.

What’s the part of the creative process that you enjoy the most?

Geroni: Working with actors is probably my favorite part. Seeing how a performer will change and envelop the traits of a fictional character and mold him/her into reality is always fascinating. Actors add things into the mix that I would have never thought of and that experience is always fun. Also location scouting! The location for a film is always the most important and silent character. Think about how some of your favorite films would be impacted if they were based elsewhere!

The least?

Geroni: Writing the script is tedious work. Everyone has strengths and I feel like writing a script that really pops is a gift on its own. If you have a good writer who can help you achieve your vision, half the work is already done. 

You also paint - mostly horror related pieces. Tell us about that. 

Geroni: Yes! After wrapping up production on Wet Paint, I started to get an interest in making art in the medium of painting. I started on canvas and was inspired by Zdzislaw Beksinski and Salvador Dali's surreal paintings. It is a very freeing process because with a painting, there is no limit to what your imagination can create. There are no producers telling you, “No!” Plus, money isn’t as much of an issue. It's all about your unique vision. I was even able to get my paintings into a few small pop-up shows and galleries!

What would you like to see from the future of horror movies?

Geroni: I feel like the future is contrastingly bright for the dark world of horror films. Horror will always be something that people want to see. It will continue to survive the test of time. Scary stories have evolved from campfire gatherings and ancient urban legends to where we are now with people paying money to participate in haunted houses and extreme events. We will always revert to that primal desire to be scared, to get that adrenaline rushing, no matter what the future holds.

What would you like your mark on the genre to be?

Geroni: I want to be able to lift the veil of mystery on the occult. To be able to make solid work that does not lie or exaggerate in story. The occult has many twisted and terrifying secrets that have not yet been explored through the lens of a film camera. I want to show off the dangers of spiritual forces that cannot be seen but surely felt.

Unlimited budget – what's the next film you would like to make?

Geroni: I have one script that I have been working on slowly for some time that I will compete regardless of budget or costs. It deals with witchcraft and an old legend. Sometimes you have to dream big; the money is always possible to secure. Finishing something that seems impossible carries a big reward.

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Geroni J. Saint-Hilaire

Film director and a native New Yorker.

Geroni J. Saint-Hilaire is a film director and a native New Yorker. His short horror film Wet Paint is currently on the festival circuit and so far has screened at The New York Short Film Festival, Scared for your LIIFE, The Russian International Film Awards, and The Videoscream International Film Festival where it is currently a finalist in competition. His other films include Black Valentine, Sex, Drugs & Art, and Side Effect, which won Most Outstanding Experimental Short at Alpha Channel at Tribeca 92Y. Geroni also enjoys making music and painting. youtube.com/blackillusionpictures

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