{"id":5228,"date":"2026-09-18T15:10:28","date_gmt":"2026-09-18T13:10:28","guid":{"rendered":"https:\/\/www.horrortalks.com\/?p=5228"},"modified":"2026-09-19T17:21:56","modified_gmt":"2026-09-19T15:21:56","slug":"interview-with-can-evrenol-2015-2","status":"publish","type":"post","link":"https:\/\/www.horrortalks.com\/en\/interview-with-can-evrenol-2015-2\/","title":{"rendered":"Interview with Paco Plaza (2024)"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=””]<\/p>\n

In the first REC, you and Jaume Balaguer\u00f3 chose to film and tell a horror story in a different way, as Deodato did in *Cannibal Holocaust*<\/em> and, more recently, Daniel Myrick and Eduardo S\u00e1nchez in *The Blair Witch Project<\/em>*. Did you want to somehow bring the audience closer to the horror, or use the screen in a certain way\u2014for example, like in a video game\u2014or was it simply a found-footage film? <\/strong><\/p>\n

Well, basically, our idea was to use the resources of a television program. Since I believe that we, as viewers, come to see a certain way of telling a story as the way reality is portrayed. In short, it\u2019s another way to characterize a news report or a documentary. Things like handheld camerawork, telephoto lenses, voice-overs, and the use of low-quality audio\u2026 These are elements associated with a particular way of portraying reality. So we thought that if we could present a fictional story told in that way\u2014in a way that simulates reality\u2014the terrifying moments would have a greater impact. <\/p>\n

Did this limit you during the making of the film\u2014for example, during the editing process\u2014in terms of music and sound effects? <\/strong><\/p>\n

Well, rather than limiting us, the way we wanted to shoot the film shaped and determined our approach, didn\u2019t it? For example, the fact that there was no music. Our idea was to simulate, so to speak, that what you see in the film is the raw footage from the camera. So, we had to give the impression that there was no post-production. There\u2019s no music, and the sound effects had to be more or less realistic. In fact, in the mixing room, we left them unedited; we recorded them with a microphone and reinserted them to simulate, to some extent, that all those supernatural sounds had been captured by the camera\u2019s microphone. In short, I believe that form doesn\u2019t limit you, but it does influence you. <\/p>\n

How do you and Jaume divide up the tasks when you write and direct together\u2014both during the writing process and on set? <\/strong><\/p>\n

With Jaume, it was really easy because we had an agreement: we wouldn\u2019t try to convince each other of anything. In fact, when one of us came up with an idea, if the other thought it was good, we\u2019d go ahead with it; if not, well, we\u2019d look for one that we both liked. So it was a very natural process\u2014not very planned, very spontaneous\u2014that was basically based on the fact that we\u2019re two good friends who wanted to have a little fun making a horror movie. So there weren\u2019t any problems at all\u2014no egos or anything like that. <\/p>\n

Compared to the first REC, in the second installment you had a significantly larger budget, different and more sophisticated special effects, and even more cameras operating simultaneously. How did you approach these aspects compared to the first film? <\/strong><\/p>\n

Well, it\u2019s true, the second one is more sophisticated, more elaborate. Especially the part about the \u201cgeos\u201d [Spanish special military unit], which is, if you will, more conventional for an action movie. We approached this second installment with great enthusiasm because we had more money available\u2014unlike the first time, when we made it on a shoestring budget. So we could afford more elaborate ideas. We were able to build a set, for example, whereas in the first part everything was made up of natural elements found in the building. We created corridors and new rooms, and this allowed us to incorporate special effects like a collapsing ceiling; we could have weapons that fired; we could include elements that aren\u2019t cheap but that we were finally able to afford. <\/p>\n

Why the shift toward the paranormal in a story that starts off differently\u2014by talking about contagion, and thus a \u201csimple infection\u201d? Was that a decision you made while writing the second chapter, or had you already considered the possibility that the ending of the first REC would be exactly like that? <\/strong><\/p>\n

From the very beginning, we wanted the style to be very realistic and the content very fantastical. Even before we knew it would be a movie about zombies\u2014or, rather, the infected, as we prefer to call them\u2014we really liked the idea of combining the realism of the style with the fantasy of the plot. We also drew inspiration from Lovecraft, specifically the episodic structure that characterizes many of his stories. We wanted to apply the same concept to the video format. <\/p>\n

What challenges did you encounter in blending the \u201ccontagion\u201d subgenre with the one about possession? It\u2019s a unique hybrid genre\u2026 <\/strong><\/p>\n

When working within a genre tradition\u2014whatever it may be\u2014vampires, werewolves, or any classic monster\u2014I think it\u2019s interesting to bring something different to the table, a little twist. And in this case, it occurred to us that the infected weren\u2019t suffering from a disease, rabies, or anything like that, but were \u201cinfected by evil.\u201d It\u2019s as if evil were contagious and demonic possession had a physical manifestation that could, in some way, be isolated, studied, and transmitted. It struck us as a really fun idea. If the body undergoes a mutation due to a spiritual curse, perhaps by manipulating that body, the possession can be ended. We really liked this dual approach combining the physical and the esoteric. Yes, it was a new concept for us, too. And yes, I don\u2019t think we\u2019d ever seen anything like it before. In the first film, the religious aspects were subtle, but in the second they take on an important role\u2014they\u2019re much more present\u2014and in the third they\u2019re already quite evident. It evolved gradually. We really liked that plot twist toward the end, with that esoteric touch. In the second part, we wanted to include an exorcism\u2014we\u2019d already come up with that idea. There was supposed to be an exorcism performed by a priest on one of the children. So the story took that turn a bit. And already in the third installment, there was the climax with the priest speaking through a megaphone. In the fourth installment, I think Jaume moves further away from this aspect and focuses more on the chemical and scientific elements, but I was really interested in that spiritual dimension. <\/p>\n

You directed the third episode on your own. It was completely different from the first two in terms of filming style. Was that because, in a way, you didn’t want to shoot the same movie over and over again, or was it to surprise the audience in some way? <\/strong><\/p>\n

The idea of a wedding video had been on my mind ever since the second chapter. I thought it would be fantastic if a traditional wedding video eventually turned into something terrifying. It all starts with the formats we\u2019re used to and interpret. In the first episode, it was a news report; in the second, it was police body cameras and, at the same time, some kids filming themselves to upload the videos to YouTube. In short, formats that exist in real life. And in that sense, wedding videos are also something we\u2019re unfortunately used to seeing. Because they\u2019re usually one less hassle for the bride and groom. So it seemed fun to play with that idea. It also fit the more comedic tone I wanted to give the series. It gave me inspiration for funny situations with drunk relatives and things like that. <\/p>\n

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Paco Plaza has redefined Spanish horror cinema with a claustrophobic and visceral style that blends found footage, demonic possessions, and dark folklore.<\/p>\n","protected":false},"author":2,"featured_media":5233,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[346,352,348,347],"tags":[349,350,351],"class_list":["post-5228","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema","category-festivals","category-film","category-interviews","tag-cinema","tag-movie","tag-news"],"yoast_head":"\nInterview with Paco Plaza (2024) - Horror Talks<\/title>\n<meta name=\"description\" content=\"Paco Plaza has redefined Spanish horror cinema with a claustrophobic and visceral style that blends found footage, demonic possessions, and dark folklore.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.horrortalks.com\/en\/interview-with-can-evrenol-2015-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview with Paco Plaza (2024) - 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