The Art of Fear: Rob Zombie’s 31 Brings a New Twist to Survival Horror

The Art of Fear: Rob Zombie’s 31 Brings a New Twist to Survival Horror

The Art of Fear: Rob Zombie’s 31 Brings a New Twist to Survival Horror

Horror transcends the mere jolt of a jump scare. True aficionados crave a narrative that creeps beneath the skin, invades the psyche, and lingers like an unsettling shadow. Such is the realm Rob Zombie explores in his latest film, 31, which plunges into a macabre odyssey of terror that promises to test the limits of both sanity and endurance.

In 31, the chilling plot unfurls around five carnival workers who, on the cusp of Halloween, are snatched away by deranged maniacs. These hapless souls are ensnared in a grotesque game of survival, tasked with enduring a hellish twelve-hour ordeal against a cadre of psychopathic fiends. This ruthless ensemble includes chainsaw-wielding siblings, played by David Ury and Lew Temple, and a malevolent, bloodthirsty clown portrayed by Richard Brake.

One particularly harrowing scene captures a character trapped in the confines of a bathroom stall, with death ominously knocking. Yet, on set, this scene is reduced to her reacting to nothing more than a camera and the director’s instructions—‘Look left, look right.’

Feature Details
Initial Fame Frontman of White Zombie
Band Formation Co-founded in 1985 with Sean Yseult
Breakthrough Album La Sexorcisto: Devil Music Volume One (1992)
Notable Hits “Thunder Kiss ’65”
Album Sales Over two million copies
Final Album Astro-Creep: 2000 (1995)
Band Status Disbanded in 1998

No Film School had the opportunity to delve into Zombie’s insights on the evolution of horror, his nostalgia for the 1970s, and his filmmaking techniques amidst his tour for his album The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser.

No Film School: It’s been over a decade since House of 1000 Corpses. What insights have you gained about filmmaking development?

Rob Zombie: I’ve absorbed quite a bit over the years, but the fundamental lesson is simply to complete the film—no matter how trivial it may seem. It’s all too easy to get ensnared in endless meetings and discussions, only to realize years have passed without any tangible progress. My primary objective is always to get the project off the ground and into production.

NFS: Securing a green light, particularly in horror, is notoriously challenging.

Zombie: Absolutely. The landscape of the industry has shifted dramatically even within my relatively short tenure. The path to filmmaking is fraught with obstacles. For 31, we engaged in crowdfunding efforts, which were invaluable for getting started, though they did not cover the entire budget.

A significant blow to the horror genre has been the decline of DVD sales—once a vital revenue stream. With The Devil’s Rejects, we saw modest theatrical success but a tremendous boost from DVD sales. Removing this component from the equation has made it increasingly difficult to finance projects.

Zombie: Budget constraints heavily influence development. My experience with The Lords of Salem taught me a lot about managing limited resources, which I applied to 31. I refined my script by cutting extraneous characters and situations, enhancing its precision. My past experiences with shooting schedules also helped streamline the process.

During filming, I was constantly aware of the sheer intensity of the action sequences. Crafting a dual chainsaw fight in a single day seemed straightforward on paper, but the reality of executing it was fraught with difficulty. The action scenes were the most labor-intensive aspect of the production.

NFS: 31 is a blend of chaotic violence and madness, reminiscent of a carnival-themed Battle Royale, with the protagonists pitted against a crew of horrific maniacs. What inspired this concept?

Zombie: It’s intriguing how people compare it to films like The Running Man, but my inspiration stemmed from the classic notion of “The Most Dangerous Game”—a straightforward premise where humans hunt other humans. Given the constraints of our budget, I knew we needed a self-contained story, which shaped the development of 31.

NFS: Given that locations can be one of the most significant production expenses, did you find a singular site that encapsulated the film’s essence?

Zombie: We relied heavily on practical locations due to budget limitations. Much of the filming took place at Willow Studios in downtown Los Angeles for the more claustrophobic scenes. For expansive, atmospheric shots, we utilized an abandoned power plant in Santa Clarita.