Editorials
‘Paranormal Activity 3’ And What I Learned At My “Tea With Toby”
Last week Paramount held a “Tea With Toby” at The Roosevelt Hotel in celebrate today’s DVD/Blu-ray release of Paranormal Activity 3.
What was “Tea With Toby”? It was a press event where I (among other journalists) was summoned to the hotel for a late afternoon Tea. Complete with sandwiches, smoked salmon, little pastries – what I had always imagined Tea being like in England.
We were there to discuss the film (and the franchise) with Oren Peli, Katie Featherston, Micah Sloat, Christopher Smith, Chloe Csengery and Jessica Tyler Brown. While it was a breezy and enjoyable 90 minutes, the gracious and polite Peli lived up to his notoriously tight-lipped reputation in regard to any new info on the series. And the cast followed suit.
But still, fun was had and, if anything, I walked away more energized to revisit the franchise. Hit the jump for the full report! 
Upon my arrival at the hotel I was escorted through the main lobby, past the famous Roosevelt pool, and into a room darkened with pitch black curtains. Awaiting me was a vast array of teas, bottled water and snacks. Beer and wine was also offered but I passed.
Pretty soon cast and creatives from the Paranormal Activity franchise (along with my fellow journalists) began to wander in and take their assigned seats. In the corner, Teddy Ruxpin was set up with his own tea set which, if you’ve seen Paranormal Activity 3, requires no explanation.
Oren Peli, Micah Sloat, Katie Featherston took seats across from me and to my left, Christopher Smith sat directly in front of me, and across to my right were Chloe Csengery and Jessica Tyler Brown.
One of the most interesting dynamics of the day to witness was the interaction between Smith, Csengery and Brown. Their time onset during the shooting (and planned re-shooting) of the film clearly brought about a familial bond. Smith seemed to take a paternal role towards them, helping them gently with their answers (without putting words in their mouth) throughout the event.
One topic that did come up was the increasing budget size for the series. Don’t get the wrong idea, these films are still made very cheaply and of course provide a huge return on investment, but the first Paranormal Activity cost only a fraction of what they spent on PA 3.
According to Peli, while of course the crew is bigger on the films now and people get paid a little more, in the case of Part 3 much of it was spent on sound design, finding and renting a house and making it 80’s authentic, and making sure the film was ready by its October release date.
“ We did do some work on it. We didn’t want to throw the 80’s thing in your face too much though. We needed to dress it up. We just wanted it to look authentic. That this is what it would look like if video cameras were rolling in the 80’s.”
Smith added, “It felt like I grew up in that house“.
Now, can we get any insight on part 4? “Of course not“, Peli laughs.
Do you know where you’re going with it? “We have some ideas“.
I turn to Csenegry and Brown, hoping they won;t be quote as circumspect. How about them? Will they be in Paranormal Activity 4? “I sure hope so!“, says Brown. Clearly she’s learned from the best at not giving away too much!
Back to Peli, what is the benefit of the quick turnaround and tight shooting schedule on these films? “You always wish you had more time. The fact that you have a release date that is immovable, you have to get the movie made no matter what. It’s both a blessing and a curse. It’s a blessing because you know the studio will put their full resources into finishing it. It does force you to move quickly, which can sometimes be good. In feature development you hear stories about movies that take years and sometimes a decade to develop, but we know we’ll be out in October. But you always with you had more time. There’s always a panic that builds up when you have ten weeks until release, so you have to lock the picture four weeks before release, and you’re still shooting. It’s scary, but at the end of the day, if someone has an idea, normally you talk about it two weeks later. We talk about it that day and then shoot it two days later.”
Someone asks Csengery and Brown if they believe in ghosts. “Chris does“, they say laughing.
“Yes, that’s right“, he replies.
Someone asks Peli if its true that everyone onset is allowed to pitch ideas for sequences and scares in the film. “We definitely have an atmosphere where everyone is allowed to suggest anything no matter what their role is. And we have a ver small crew. We basically did ‘Part 2’ and ‘Part 3’ as one, so we’re kind of a ‘Paranormal Activity’ family and there’s a collaborative atmosphere. Everyone can feel free to talk to the writers, producers and directors and if it’s a cool idea we shoot it. We don’t care where it came from, only if it’s cool.”
About the home video release, do you think it’s actually more effective watching this at home? In a dark house? Peli replies, “I think it’s a different experience. To some degree there’s nothing like watching it in a theater with the energy of the crowd. It’s a much more communal experience. But watching it at home we’ve heard people say it’s scarier because it’s much more intimate. And also the subject matter is about what happens to you at hem alone at night. And people usually watch movies in the evening. So when you turn off the TV and have to go to sleep, you’re conscious of every little sound in the house!”
Watching the Blu-ray later that weekend, I have to say he’s right.
Paranormal Activity 3 is out on DVD and Blu-ray today. It boasts a host of special features including an extended cut that I prefer to the theatrical edition.
Paranormal Activity 3 Blu-ray/DVD Combo Pack: The Paranormal Activity 3 Blu-ray is presented in 1080p high definition with English 5.1 DTS-HD Master Audio, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital and English Audio Description with English, English SDH, French, Spanish and Portuguese subtitles. The DVD in the combo pack is presented in widescreen enhanced for 16:9 televisions with English 5.1 Surround and English, French, Spanish and Portuguese subtitles. The digital copy is presented in English.
Blu-ray Special Features:
Original theatrical version of the film
Unrated version of the film
Lost tapes
DVD Special Features:
Unrated Version of the Film
Digital copy of unrated version—compatible with iTunes® and Windows Media
A trilogy DVD set will also be available on January 24th exclusively at Walmart, which includes the theatrical and unrated versions of all three films plus all previously released bonus material.
Before unleashing a cruel fate upon its characters — one of the worst in recent horror memory — The Borderlands leads the audience down a different path, insensibly alluding to what all lies ahead. The plot breadcrumbs of Elliot Goldner’s 2013 film are only more discernible after the fact. Until that momentous reveal, this plays out as a standard story of believers and nonbelievers investigating the religious unknown and finding more than they ever thought possible. What these unfortunate souls unearth is deeply disturbing.
Renamed Final Prayer in some parts, this British film has grown steadily in renown despite its small beginnings. Recently, Guillermo del Toro put The Borderlands on more radars; the popular filmmaker deemed it an “unknown gem.” Even before obtaining such a great endorsement, Goldner’s first feature (his only one to date) was applauded for its approach to first-person and folk-horror storytelling. More high praise: The Borderlands has been favorably compared to The Wicker Man.
Demonic possessions and exorcisms tend to go hand in hand when watching religious horror. Refreshingly, The Borderlands evades those overused elements even as the film’s backdrop predominantly features a church. Nevertheless, uninitiated viewers will suspect supernatural goings-on are in store after witnessing the prologue; a shared video clip shows the aftermath of an incident at a Brazilian shrine. Already in those first few seconds, Goldner is adept at misdirection, although the fruit of his labor is still a bit of a ways off. There are the standard formalities of these kinds of films to deal with first. Namely the introduction of the cameraperson, the purpose of visual documentation, and, of course, the mission. What brings these characters to the Devon countryside and why must their business be recorded?
Pictured: In The Borderlands, Deacon (Gordon Kennedy) prays after Father Crellick’s (Luke Neal) death.
As they say, a leap of faith can lead to miracles. For Brother Deacon (Gordon Kennedy), however, miracles have become the bane of his existence. He has lost his way ever since Brazil. Sent by the Vatican, the same man spotted in the film’s vague intro is now in charge of yet another religious inquisition: confirming the veracity of a supposed miracle inside a rural church. Joining Deacon are an agnostic tech expert, Gray Parker (Robin Hill), and the rather inflexible Father Mark Amidon (Aidan McArdle). Footage of objects mysteriously moving during a christening is supported by local priest Father Crellick (Luke Neal), but Deacon and his team are, needless to say, skeptical.
Compensating for an implausible situation is the film’s grounded setup. And at the core of this out-there story are these two mismatched characters who, individually, feel like they were plucked out of real life. Intense and weary Deacon would probably never find himself in long conversation with layman Gray, a babbling goofball, had they not been assigned to work together. That being said, there is a terrific amount of chemistry between these men with opposite life experiences. Their convincing on-screen fellowship, not to mention an ability to meet one another halfway, sells everything. Especially the film’s outcome.
Something The Borderlands implements early on — and other found-footage auteurs should take note of — is assigning cameras to more than one character. This allows for a variety of angles and views, much like in a traditionally shot production, without losing the immediacy and intimacy of the first-hand perspective. The director also does not have to resort to inorganic tactics to ensure every moment is captured on video. Another general gripe with the found-footage format is the valid question of why characters never drop their recording devices when in peril, or why they always happen to have a cam available when anything weird occurs. Here the simple fix of wearable cameras makes a world of difference. Particularly once it comes time for the big reveal at the end. Staying so fixed and unflinching on the characters’ agony is more believable now.
Pictured: Deacon (Gordon Kennedy) and Gray (Robin Hill) crawl toward their cruel fate in The Borderlands.
The horror genre’s long history of questioning, challenging and corrupting people’s faith has certainly yielded a wealth of shocks over the years. However, The Borderlands stands alone in the realm of religious horror, due in large part to its uniquely dreadful conclusion. In lieu of a conventional finisher, Goldner pulls the rug out from under everyone and delivers a tremendous ending. The kind that stays with audiences for years to come. What goes down in that final act is as impossible to unlearn and unsee as it is brilliant. The film, in hindsight, portends Deacon and Gray’s fate, but it did so with whispers.
The Borderlands dangles significant clues in front of the audience without them realizing it. The setting’s undeniable sense of unease acts as a smokescreen of sorts; Goldner persuasively establishes how the imminent danger goes far beyond the church grounds, all while throwing everyone off the scent of the real evil here. From local youths setting a live sheep on fire to the sudden suicide of a supporting character, the story has these startling moments that undermine its overall slow-burn quality. And just as the film starts to feel at odds with itself, those pieces finally fall in place and create a bigger picture. Understanding how, though, requires going back and picking up on the considerable indicators (both visual and verbal) from earlier. This scrutiny only makes future rewatches more satisfying.
If The Borderlands aimed to harm viewers on an emotional level, it succeeded with flying colors. Elliot Goldner set up what looked to be a traditional tale of religious horror, only to then lead unsuspecting audiences elsewhere. He took them down a dark passageway and left them trapped with just their raw feelings after witnessing such a horrific sight. This film is indeed recognized for its devastating closing minutes, yet the outstanding storytelling before that point, along with impressive performances from the two lead actors, should not be overlooked.
Since its original release, The Borderlands has gotten lost in the horror shuffle and gone unnoticed by the masses. Once experienced, however, the film becomes an instant reward for found-footage enthusiasts; the ones who comb through the divisive subgenre’s catalogue in search of that one elusive and worthwhile treasure.
Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.
Pictured: Poster for The Borderlands.
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