Christopher Sebela

writer, wronger, rearranger

That’s the worry—you don’t want to make something that doesn’t hold up at all. You want to make it kind of skeletal enough that people will understand it. You’re having a conversation with the screen when you’re watching a movie, don’t you? You talk to it, and you say, “What are you doing? Where are you going? How is that going to work?” And most times you totally understand the movie; even with the most tenuous of clues, you can piece it together and understand where it’s going. I think audiences can be incredibly sophisticated like that.




You really have to be careful with the clues you lay into the film—if they’re too heavy-handed, or you’ve pandered to a slightly stupider audience, then you’ve spoiled it for the people who are even slightly smart. That’s the worry. Also, a lot of people enjoy that teasing out of information and how that makes them think about it even harder. Otherwise, you might as well just have a banner up at the beginning of the movie that flat-out says what’s gonna happen and where it’s gonna go; then, everyone can relax because they know they’re not gonna have any problems understanding it.

Ben Wheatley re: KILL LIST

(speaks to what I loved about this movie and the idea that you don’t have to write to make everyone happy, writing for smart/patient/curious people is perfectly okay too)

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