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The Saw franchise, while famously gratuitous, is ludicrously insane in the best way. House of Wax features incredible set pieces and some genuinely chilling scaresβeven if part of its marketing campaign revolving around getting people to see the movie because a certain culturally saturated blonde heiress met her untimely demise during its runtime.
But audiences, especially ones who love horror films, have a tendency to root out movies that deserve reconsideration. And if the product at the center of it all is crazy enough, bold enough, different enough, and, often, delightfully bonkers enough, then there may be a good chance to achieve cult movie status. Since , I Know Who Killed Me has taken on a new life as a favorite midnight movie, revered for its wild thematic choices and gutsy storytelling.
Some find it to be a hilarious, so-bad-it's-good instant classic. Others, like me, have tried to use cultural context clues and genre patterns to inform their view of the film, its performances, and its style.
Together, these perspectives have allowed I Know Who Killed Me a well-deserved second shot at greatness. Back in April, I revisited I Know Who Killed Me for the third time and ruminated on what I felt to be its misunderstood, visionary nature in an essay for this newsletter.
Hammond and I exchanged questions and thoughts back and forth for months, and his candor during the process has made the film and its storied production even more layered with his rare, behind-the-scenes perspective and insight. Hi Jeff! I'm curious as to how and when the idea for this story began to form and how long you had been fleshing it out before you began work on the screenplay. Had you always been a fan of these kinds of psychological thrillers and surrealist horrors, or was this sort of a first foray into that kind of territory?