I am a founder of SPECTRISIONThe company I run with Lawrence Ingee and Elijah Wood. We make genre films, like “Mandy”, “A girl goes home alone at night” and “Color out of space” to name a few.
I am also what is called an experience – that is, someone who often has experience of the paranormal. This has been a condition throughout my life, although I just really started to understand and accept it about ten years ago.
As a producer, they always strive to support stories that handle the trials with our daily lives honestly and accurately, and the genre has always been a reliable sneaky way to smuggle these ideas on the screen. But when I have come to settle for the strange reality of paranormal experience, I have felt an increasing obligation to produce the supernatural elements of film In ways that are equally honest and correct.
It is a unique challenge that we were looking for to bring writer/director Brown chaineys ‘rabbit trap’ to the screen. The film is a sensitive portrait of a marriage in crisis, Darcy and Daphne Davenport (Dev Patel and Rosy McEwen), musicians moving from London to a cabin in Wales to complete their new album. When they inadvertently record a mysterious sound that has never been heard before human ears, the long resting fairer is moved from the ancient forest, and the veil between this world and theirs begins to thin.
The Faeries of Celtic Myth and Folklore seen in “Rabbit trap“-Ve is known as” The Fae “-have nothing to do with fluttering wings and magical magic wands. These were form-shifting tricksters, sometimes there are people, sometimes animals, sometimes self-luminous and beautiful, sometimes creepy and grotesque. And sometimes not even seen at all.
In this movie, Fae is more of a state of mind than a monster in the wardrobe. They are a violent recycling of the natural world, a petulant demand for love and affection and a mirror that reflects their deepest secrets – even those you hide for yourself.
Bryn has created an enchanting sensory experience that is permeated in this folklore, and he breathes life into it. Master Sound Designer Graham Reznick’s use of distorted analog sounds evokes the feeling of knocking on the kingdom in addition to our own, and kinematographer Andreas Johannessen’s lush landscape that is composed with omniscient close -ups beautifully captures both reverent and unpleasant by the unpleasant.
Every aspect of this filmmaking is reminiscent of the enchanting experience of meeting the supernatural.
When it came to creating the story of the “rabbit trap”, we felt it was important to split near the bow in the paranormal. As all experiences will tell you, it is paranormal that realizes by nature, a step into the unknown that offers no simple answers. And it certainly does not develop into three actions.
In fact, the form of a paranormal event, such as the one seen in the film, is exactly reverse against traditional story structure. It starts with something fine and pointed – a special development, a confusing deviation. It then gradually becomes more enormous and mysterious as it develops, which eventually leads to questions so expansive, they make their heads spin.
There is not just a resolution … there is not even an end. Paranormal is a mystery that never stops developing.
John Keel was among the first to capture this anti-structure in his seminal book in 1975, “The Mothman Propcies”, a non-fiction classic that describes a series of small-town meetings with a gigantic mal-like hominid, which was not sulled.
“Rabbit Trap”, haunting in his own right, elegantly captures both the allure and the subtle fear that you know when you are the protagonist in an unpleasant journey, and as such, it combines his own logic universe, one that falls somewhere between traditional story and fable. It is in many ways a movie about the longing. In the literal sense, it is a longing for love and acceptance, an emotional state that is familiar to anyone who has lived a life. In a holistic view, it is a longing to return to the primordial state of nature from where we all came. And in a more metaphorical sense, it represents a longing for films that dare to weave essential, open stories that ask indelible questions that have no answers.
In this way, “Rabbit Trap” is both a nice compassionate illustration of marriage, and one of the most accurate depictions of the paranormal experience that I have still seen engaged in film. Like the paranormal itself, this step in salt-sweet ambiguity is uncomfortable for some.
For people I represent it a deep catarsis – one we hope others find comfort for many years to come.
“Rabbit Trap”, a Magnolia Pictures release, is now in theaters.
Daniel Noah is a founder of ReflectionThe production company behind titles like “Mandy”, “A girl goes home alone at night” and “Rabbit Trap” to name a few. With over 20 feature film credits, Daniel wrote together and created the award -winning video game “Transference” for Ubisoft, and he wrote and directed “Max Rose”, the last starring entertainment legend Jerry Lewis, which premiered at the Cannes Film Festival 2013.
He is an experience and outspoken advocate for the paranormal, he is the head of Spect Revision Radio, a tailor -made podcast network devoted to exploration of esoteric and unpleasant. “High Stransenness”, his original comic books based on paranormal phenomena, will be released this fall from Oni Press. A degree from NYU’s Tisch School of the Arts, he is currently adjunct professor at USC’s School of Cinematic Arts, and he serves in the Advisory Board of the Philosophical Research Society and The Overlook Film Festival.
