In the remake Tom (Jensen Ackles) returns to his hometown on the tenth anniversary of the Valentine's night massacre that claimed the life of 22 people. Instead of a homecoming, Tom finds himself suspected of committing the murders.

Bloody-Disgusting: Congratulations of completing principal photography on MY BLOODY VALENTINE!

Patrick Lussier: Thanks! It's was actually pretty brutal for all involved. One location was voted by the entire crew as the hardest location they've ever shot. But the shoot itself, what we shot, turned out to be fantastic! Luckily, our resilient and talented crew and a completely kick-ass cast really came together, always making everything better than we'd hoped for.

BD: Most horror fans were more excited that you cast Tom Atkins in the movie than that the movie will be in 3-D!

PL: LOVE Tom Atkins! The novelist Tom Piccirilli and I were talking about shooting in Pittsburgh when Pic told me that Atkins lives there. I immediately got in touch with him to play a vital supporting role in the film. We actually ended up retooling the character specifically for Mr. Atkins, making the part grander. He's a legend in the genre (and for fans of the Rockford Files) and it is an honor to work with him. Tom's one of those guys who has such a great pedigree in the genre and outside, who shows up and is an amazing pro. He'd show up and instantly get what we were doing and slipped into the vibe of the horror film like he'd just walked off the set of “Night of the Creeps” or “The Fog” and onto ours. He so understands how the genre works and how to bring the most to his character.

BD: You have a pretty solid cast, how much influence did you have and who was the easiest to work with?

PL: The entire cast was awesome. Jensen Ackles, Kerr Smith, Jaime King were stunning as our leads. All of them had a lot of really challenging physical and emotional stuff to do in the film and each of them did great. Tom Atkins, Kevin Tighe, Edi Gathegi and newcomer Megan Boone were also fantastic. All the actors really honed their characters and brought so much to the film, lifting off from what was on the page and making the scenes more intense and terrifying. Betsy Rue and Todd Farmer (the amazing writer of the film) worked out some great beats for one of the more spectacular scenes in the film. They improvised a lot of it on their own and revealed it to me on set. It was pretty awe-inspiring. And oh so brave. Betsy does a sensational job making the audience focus on her so completely, and feel her terror.

BD: How did the shoot go over all?

PL: The shoot was tough but rewarding. Everyday was hard but everyday we had great results. You can't ask for more than that.

BD: Was it difficult shooting the film in 3-D? Can you explain the process for people who might not know? It’s a new 3-D process, correct?

PL: Digital 3-D is, in spite of what some people say, different than just shooting a normal 2-D film. You have a whole dimension at your disposal that you don't in a 2-D film. And you very quickly realize that the language of 3-D affords the audience an opportunity to be completely immersed within the film, within the story, the thrills, etc. There's no surprise that previous to this recent wave of 3-D that its been widely explored in theme parks. And we very quickly realized we had the opportunity to turn this slasher remake into a theatrical event that goes beyond expectations. The reactions we've had to early screenings have been sensational. It's been so rewarding to see people love the group experience of not just seeing the film, but being enveloped within the thrill ride we set out to make. The process basically involves shooting with a 3-D camera rig, in our case two RED camera mounting on a stereo rig, one shooting into a 50/50 mirrored beam-splitter – one camera shoots through it, the other, mounted a 90 degree angle shoots the reflection (that image is later flopped in post to be correct). Max Penner, our stereographer, pulls 'depth' as we shoot, adjusting how much three dimensional depth the shot has at any given point, depending on if it's a close up, or an over the shoulder, or a pick ax swinging at your skull.

BD: What makes this 3-D better than let’s say, FREDDY’S DEAD 3-D or FRIDAY PART 3 in 3-D?

PL: The technology is far more advanced than the old school red / blue paper glasses 3D. Every frame of this film (save one shot which is deliberately 2-D), is in 3-D. Every frame. To do that, to tell the story, we go through and balance the colour/highlights/registration of each eye (left and right) of each shot for the entire film. This makes viewing the 3-D all about immersion and not the old 3-D of Freddy or Jaws 3-D or House of Wax, or what have you. Movies previous to this latest wave of technology didn't have the digital template to remove the visual eye strain from the process. Now, the only eyes ripped out of heads are the ones on screen.

BD: One of the dangers of shooting a film in 3-D is that it can become more of a gimmick than being something to enhance the film, does the fact that your technology adds depth make it more involving? Do you get gimmicky at times?

PL: In making a 3-D film, especially a 3-D remake of My Bloody Valentine, it was important to build the film to 3-D crescendos. You don't want everything out in your face like Dr. Tongue's 3-D House of Pancakes... you can't tell a story that way. What you want is to create a visual environment that lends itself to 3-D space. 3-D loves claustrophobic depth, a contradiction perhaps, but true nonetheless. That's why shooting underground in a real coal mine was the perfect setting for a 3-D film. Once we discovered that we very quickly chose other locations that used that to our advantage. There's a huge sequence in a grocery store where we used the long, tunnel-like aisles to similar effect. Do we have our share of 'gimmicks' as you call them? Let's say we deliver the 3-D thrill ride we promise. Without hesitation, those crescendos will throw you back in you seat and having grabbing your lap bar.

BD: What’s something cool fans can look forward to with the 3-D?

PL: There's a lot to look forward to, but telling you would spoil it. Let's just say from the first frames of the Lionsgate logo in 3-D until the finale of the film, you'll have a fantastic time.

BD: How true to the original is this remake? Let’s be honest, the first film isn’t all that great…

PL: It's true in spirit and intent. The opening of MBV3D is an homage to the grand finale of the original. The original had an iconic killer, The Miner, which we embrace absolutely for the remake. Is there a love triangle, you bet. Do we kill anyone with wiener water? Nope. Not even close. But we don't hesitate to have the Miner cut wide and deep through the poor townsfolk of Harmony. There are a lot of moments in our film that will hearken back to the original but the remake is definitely it's own beast.

BD: What is the premise of your version of MY BLOODY?

PL: Jensen Ackles, the prodigal son, returns to a small town after surviving a series of horrific murders ten years before. The love of his life, played by Jaime King, is now married to his old rival played by Kerr Smith. The murders begin again, with The Miner's reign of terror renewed, seeking vengeance on those that escaped him all those years before.

BD: Were you familiar with the first when you were approached for this?

PL: I worked in a video store in the '80's so I'd seen the original, remembered the trailers and the reputation it had. It's a Canadian cinematic tax shelter classic – a stand out because it's about adults, working-class adults and not John Hughesian teenagers. The industrial setting and that iconic Miner, a truly inventive killer. That's what resonates.

BD: How different was it directing this than let’s say, the reshoots on THE EYE, WHITE NOISE 2 or the DRACULA series?

PL: This was a lot more fun. There's no supernatural element, just savage brutality. The rules are simpler, the goal of the villain far more direct. The technology is advanced and was amazing to work with and explore.