Chapter 50: The Final Cut
[Chapter 50: The Final Cut]
The second version of the film, Paranormal Activity, wrapped up after an intense six-day shoot at the mansion.
The film had been in production for a total of 16 days in San Diego, which was a bit longer than planned, costing about $20,000 over budget.
Including actor salaries, props, costumes, makeup, food, lodging, and post-production expenses, the total investment reached approximately $85,000. Adding in the director and lead actor's fees pushed the investment above half a million dollars. He couldn't believe that the original director, Oren Peli, had managed to finish the film on just $11,000.
Even though all the actors were non-professionals and they only shot for seven days, once you factored in issues like post-editing subtitles, sound mixing, and digital format conversion, expenses exceeded $50,000.
However, he figured that the low-budget angle would serve as a great marketing gimmick, so when the film hit theaters, he planned to claim it only cost $20,000.
---
After wrapping the second version of Paranormal Activity, Link returned to Los Angeles with the crew. After handing over the apartment keys to Monica, he went back to Guess Pictures' editing studio to begin the editing work on version two.
Editing the same film for the second time went more smoothly; he cut a rough cut within three days.
While reviewing version two, he noticed a significant problem: Monica's performance during the second shoot was quite a bit worse than in the first.
When looking at each shot individually, it wasn't as noticeable, but once the final cut came together, many small issues were magnified, making the differences apparent. From her expressions to her dialogue and movements, she didn't seem as natural in their scenes together. Though her chemistry with the lead actor, Jeremy Northam, looked right on the surface, it felt emotionally disconnected.
Link sat in the editing room, repeatedly watching both version one and version two. He watched several times before coming up with a plan.
He decided to splice in Monica's performances from version one into version two. This was a bold idea but also quite practical.
In the film, the lead character had a role similar to that of the cinematographer and director, often positioned behind the camera to shoot the lead actress. Other than the nighttime sleep shots, they rarely shared the screen together during the day; it was mostly done through voiceover.
He got to work. He remained in the editing studio for days, using the restroom and bed there, dedicating all his time, apart from meals, to the editing process.
...
After four days of rough cuts and fine-tuning, he managed to seamlessly merge both versions into version three. With additional sound effects and mixing, version three was nearly complete.
However, while reviewing version three, he noticed something strange that sent chills down his spine. It seemed as if a ghostly presence had really been added, wandering around the lead characters and continuously amplifying the terror.
This was particularly noticeable in Monica; her looks and movements exuded an inexplicable eeriness in the new version. The fear it invoked was stronger than that in either version one or two, as if it had a tangible quality.
As he sat alone in the editing room watching the finished product, he felt an overwhelming sense of unease, as if something was lurking behind him, producing a shiver down his spine.
When he turned to look, there was nothing there.
This is the kind of magic that cinema brings. Individual shots could seem ordinary.
But when those shots were edited, arranged together, and formed into a complete film, many elements would expand, creating a transformative effect.
When footage featuring romantic themes combined, emotions intensified, and the narrative became sweeter, sadder, and more touching.
Comedic scenes, when mixed, would amplify emotions, evoking laughter that could blend with shared tears, or even just pure hilarity.
And horror films stretched this effect to the extreme; while they might not elicit laughter or tears or deep feelings, they could bring racing hearts, stimulating one's arousal, affecting psychological and mental states, delivering a deeper sort of thrill.
When a horror movie reaches its peak, it can even distort one's perception and cognition, making one's awareness of their environment feel chaotic.
For example, when he watched version three, even though nothing was behind him, the film's intensity made him feel as if there was, creating a deeply unsettling sensation.
The stronger the mental stimulation, the higher the quality of the film.
---
"Link, why did you call me here?"
"Version two is done editing; I need you to help check for any continuity issues or bloopers so I can cut them out."
"No problem, I got this."
After watching version three twice, Link felt quite uneasy, so he called Chris Barnes over for company.
...
The film began to play.
At first, Chris Barnes sat back, arms crossed, showcasing his muscular build, leisurely watching the film.
After more than twenty minutes, around the thirteenth day scene, Chris Barnes started to cover his eyes, goosebumps emerging on his exposed arms.
"Yikes, too scary, Link. Is something off with this version? It's really terrifying; it's like there's actually a ghost in the house."
Chris didn't just shield his eyes; he tried to block his ears with tissues too.
"Don't scare yourself; those sounds are just you messing around. What are you talking about?"
"It's different; it's completely different. During filming, I was just outside making noise, but now, there are visuals along with the sounds. Totally creepy."
Chris Barnes scratched the back of his head, unable to resist glancing over his shoulder.
"Don't be scared, it's just the two of us here; there's nothing to worry about."
"Alright, I'll stick it out a little longer."
Chris managed to endure till the seventeenth day night scene before he flat-out refused to watch anymore. He wouldn't even do it for money, worrying he'd be scared to death in his apartment later.
...
Link had no choice but to call Danny DeVito, asking him to bring over two brave staff members from the production team to help out.
Ten minutes later, Danny DeVito entered with two colleagues.
Watching the horror film together in a group of five, the fright factor was significantly reduced, yet it remained unsettling.
Danny DeVito clenched his fists while watching, his forehead slick with beads of sweat.
The two staff members, like Chris, turned to check behind them three or four times throughout the film.
One of them cried out in fright, turning away, unable to watch any further.
...
"Link, is there something off with this movie?"
Danny wiped his forehead and noticed sweat on his glasses, taking them off to clean them. With his slightly larger head, he looked all the more comical.
"What's wrong with it?"
"Is it too terrifying? Even with all five of us guys sitting together with the lights on, it's really uncomfortable. In a theater with dim lights, the sound effects elevate the tension; it could be overwhelming for many viewers."
"You're underestimating the audience. Horror movie fans are generally pretty bold; they seek thrills through this genre. The scarier it is, the more they enjoy it; we only need to cater to that part of the audience and fulfill their desires. I'm not worried about box office returns."
"When do you plan to release it?"
"No rush. Tomorrow, we should hold a meeting to discuss pre-release promotions. This film is unique, so we need to brainstorm on marketing to ensure we don't lose out."
"Okay."
...
After Danny DeVito and the others left, Link remained in the editing suite, looking for errors while fine-tuning the film's visuals.
The eerie feeling returned while watching alone, making him feel chilly.
That's the downside of being a horror film director.
Regular viewers can cover their eyes or turn their heads away when scary things appear.
But as a director, you have to keep watching.
Face the fear.
The only downside is the lingering aftereffects.
*****
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