First and foremost: horror is an individual thing. When it comes to horror, human beings differ widely. Some people get frightened by movies like Psycho and Halloween. Others get frightened by movies like Saw and Hostel. And even more people get frightened by ghost-movies, supernatural phenomena and surrealism.
Horror in Upstairs/my inspiration
Upstairs does not deal with serial killers or violence – here the fear comes from the supernatural. It is the incomprehensible kind of horror that we experience when least expecting it.
Jonas’ inner journey is not normal – he sees things, he hears things, and he experiences a lot of things that simply do not exist.
As we have discussed a number of times, Upstairs is a hybrid between horror and social realism meant to land somewhere within the field of insanity without things turning too vulgar. It’s not my intention to deliberately go for horror – or use cheap means like cats suddenly jumping out of nowhere and sound effects moving into overdrive. I strive for a nice and quiet sense of horror that rather crawls under your skin – like for instance Lost Highway and Don’t Look Now.
Horror has been my hobby for more than 20 years and I have seen more films from the genre than most. I hate movies where the sense of horror becomes overproduced and feels fake, and I’m not too big a fan of the new wave of torture movies. But I love movies that give me a creeping feeling of unrest and a clear sense that “something is wrong”; where the camera doesn’t go wantonly round and round, ruining everything. This is how I would like to piece Upstairs together: quietly and (un)easily – with an uncertain and claustrophobic feeling. This philosophy also covers the technical side of things: Not overproduced, not annoying and no fooling around with the camera – no cheap sound effects, no screaming and yelling, only Jonas’ disturbed states of mind and the strange sounds in the apartment. I have, in short, decided to let myself be heavily inspired by a director like Roman Polanski (the master of claustrophobia) and make a quiet and subdued movie – here and there exploding in fast sequences and playing on contrasts.
Instruktør Jesper Maintz
Ene Øster Bendtsen
Instruktør & idé Jesper Maintz
Producer & Producent Ellen Riis
Manuskript Jesper Maintz & Jacob Weinreich
Produktion & Indspilning Louise Valeur
Fotograf Erik Zappon dff
Steadycam Anders Holck dff
Belysningsmester Per Danbo
B-fotograf Henrik Lyngbo dff
Klipper Adam Ross
Lyddesign og mix Hans Christian Kock
Scenograf Finn Richardt
Chefrekvisitør Ulla Malmos
Sminkør/stylist Tina Deleuran
Scripter Miriam Nejsum
Grip Uffe Egeberg
Belyserassistent Jacob Molberg
Tonemester Hans Christian Kock
Foley Martin Langenbach
Boomer Andy Drabik
Grading og effekter Jakob Eriksen
Komponist Thomas Maintz
Post koordinator Miriam Nejsum
Videoassistent DIT Tobias Hede Bendixen
Michael Bauer Nielsen
Stillfotograf Finn Nordfeld
Produktionsassistent Emil Bech Jepsen
Scenografassistent Thomas Stanley Nielsen
Rekvisitørassistent Roberto Coronado
Statistkoordinator Christina Martiny Moltke
Runner Nina Tengberg
Jens Villy Kock