Corin Hardy on "the nun" and why the "conjured" universe feels like a family

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In just five years, the Confident universe has become the third most profitable horror franchise in history. Not only that, but it's also one of the most acclaimed.

The franchise's films collectively collected $ 426.24 million at the national box office, unadjusted for inflation – this figure was adjusted to $ 471.61 million. On a global scale, this figure reaches $ 1.2 billion, unadjusted for inflation.

The last entry, The nun, is now in theaters and is expected to set a box office record for the weekend, with ticket sales in the region of $ 40-45 million.

I met the director of the film, Corin Hardy, to talk about the Confident universeThe influence of the box office and if he would like to come back for more information.

Simon Thompson: The connective universe had a huge box office success, and the movies are, for the most part, acclaimed. Where did these factors make you want to get on board?

Corin Hardy: What seduced me more than anything was that he was taking a different direction rather than simply being a classic Gothic horror.

ST: Being part of a large studio machine, it was something new for you. Was that what you thought it could be?

CH: The nun is a great movie in the studio, but there was also an organic process, and it was like being part of a family. New Line has been responsible for some of the great horror films such as the Nightmare on Elm Street movies and getting to work with James Wan's Atomic Monster was a no-brainer – they grew those movies. It was not like I was going into an unknown genre as rom-com or working with unknown entities. James is passionate about horror in the same way as me, it was a very comfortable collaborative process. There were tips and there was room to be creative.

ST: As a filmmaker, is this a comfortable space for you?

CH: Absolutely. I have a few projects that I have been developing for many years at different stages, I have read other scripts and finally, you know that you want to balance as much as possible your creations. When I was sent The nun the script was just exhilarating to read, I knew that I could really apply it and bend over backwards, and that made sense to me.

ST: With these films, as well as the box office, the filmmaker's victory is the reaction of the audience. Watching The nun during the premiere at the Chinese Theater, did he play as you wish?

CH: It was fantastic. You spend so much time in the process, preparing, filming, editing and post-producing. You want to create something that will sell, but that will come as expected. You get so close to it, and you look at it a million times, but when you actually watch it with an audience, especially somewhere like the Chinese theater, where I read that Ray Harryhausen had seen for the first time the 1933 King Kong, it blows you. I've always dreamed of having a Hollywood premiere in order to see her play in this room and receive the reactions I wanted. This is a great indicator that it works, all the little touches you put are up to it. As a filmmaker, you see the film in a completely different way, not just as a creative piece, but as something that people outside the process consume commercially.

ST: Edgar Wright, one of your longtime friends, was your guest. Did you watch him watch?

CH: I do not think he would have liked that. I could hear him, and he always expressed his love for the cinema, so it was very special to have him there and browse him with him. He's a close friend, whom we met at the youth film festival in Newcastle, England, and in addition to having him as a friend, I'm a fan of his work. So having him as a special guest was amazing.

ST: You mentioned the fact that The nun is something that the public can consume commercially, has the box office been in mind during the process?

CH: You are aware of this because the Confident universe has become so iconic and successful in a few years, but you really can not do better than get stuck and get the job done. I really think, certainly for me, it's more the audience than the box office that is in the lead. I can not think of the box office. You can not worry about it. You must be concerned above all to do something good. Hopefully the box office will come, and you know there is an audience because they have turned to other films. The nun also. That said, even if there is a dedicated audience, you should also think of people who might be new to the franchise. So you have to create something that is autonomous and, hopefully, become regular customers.

ST: When you say The nun stands alone but is also part of the Confident universeHow did you work to find that balance? She was not even supposed to be in The Conjuring 2 initially, no?

CH: You're right, but it's a tribute to James because of his instinct for a story, his talent for horror, he decided to present it in the publishing because he's felt that he needed something more and he created this demonic Nun. She was not even in the movie for a long time, but she somehow stole the movie, became iconic and everyone seemed to like it. I came on board when you know that James and Gary Dauberman wrote the screenplay and I'm always looking for things that are unique to them, even in a larger world. When I got the job, we went straight to preproduction and then to production, but we had a lot of discussions about the story.

ST: If the offer came to make a second movie Nun or another movie in the Confident universe, would you consider it? The nun seems ready to be hit with robust box office tracking.

CH: We will have to see what happens. Who knows? I am certainly attracted by strong stories, dark stories and horror movies, and these are both. We must see. I loved working with James Wan, and the whole thing was a very positive experience.

ST: Speaking of dark stories, you were working on The crowbut it's not happening now. Is this stone dead?

CH: I think we will have to see what will happen in the future. I think it's the best way to express what's going on with that.

The nun is in the rooms now.

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In just five years, the Confident universe has become the third most profitable horror franchise in history. Not only that, but it's also one of the most acclaimed.

The franchise's films collectively collected $ 426.24 million at the national box office, unadjusted for inflation – this figure was adjusted to $ 471.61 million. On a global scale, this figure reaches $ 1.2 billion, unadjusted for inflation.

The last entry, The nun, is now in theaters and is expected to set a box office record for the weekend, with ticket sales in the region of $ 40-45 million.

I met the director of the film, Corin Hardy, to talk about the Confident universeThe influence of the box office and if he would like to come back for more information.

Simon Thompson: The connective universe had a huge box office success, and the movies are, for the most part, acclaimed. Where did these factors make you want to get on board?

Corin Hardy: What seduced me more than anything was that he was taking a different direction rather than simply being a classic Gothic horror.

ST: Being part of a large studio machine, it was something new for you. Was that what you thought it could be?

CH: The nun is a great movie in the studio, but there was also an organic process, and it was like being part of a family. New Line has been responsible for some of the great horror films such as the Nightmare on Elm Street movies and getting to work with James Wan's Atomic Monster was a no-brainer – they grew those movies. It was not like I was going into an unknown genre as rom-com or working with unknown entities. James is passionate about horror in the same way as me, it was a very comfortable collaborative process. There were tips and there was room to be creative.

ST: As a filmmaker, is this a comfortable space for you?

CH: Absolutely. I have a few projects that I have been developing for many years at different stages, I have read other scripts and finally, you know that you want to balance as much as possible your creations. When I was sent The nun the script was just exhilarating to read, I knew that I could really apply it and bend over backwards, and that made sense to me.

ST: With these films, as well as the box office, the filmmaker's victory is the reaction of the audience. Watching The nun during the premiere at the Chinese Theater, did he play as you wish?

CH: It was fantastic. You spend so much time in the process, preparing, filming, editing and post-producing. You want to create something that will sell, but that will come as expected. You get so close to it, and you look at it a million times, but when you actually watch it with an audience, especially somewhere like the Chinese theater, where I read that Ray Harryhausen had seen for the first time the 1933 King Kong, it blows you. I've always dreamed of having a Hollywood premiere in order to see her play in this room and receive the reactions I wanted. This is a great indicator that it works, all the little touches you put are up to it. As a filmmaker, you see the film in a completely different way, not just as a creative piece, but as something that people outside the process consume commercially.

ST: Edgar Wright, one of your longtime friends, was your guest. Did you watch him watch?

CH: I do not think he would have liked that. I could hear him, and he always expressed his love for the cinema, so it was very special to have him there and browse him with him. He's a close friend, whom we met at the youth film festival in Newcastle, England, and in addition to having him as a friend, I'm a fan of his work. So having him as a special guest was amazing.

ST: You mentioned the fact that The nun is something that the public can consume commercially, has the box office been in mind during the process?

CH: You are aware of this because the Confident universe has become so iconic and successful in a few years, but you really can not do better than get stuck and get the job done. I really think, certainly for me, it's more the audience than the box office that is in the lead. I can not think of the box office. You can not worry about it. You must be concerned above all to do something good. Hopefully the box office will come, and you know there is an audience because they have turned to other films. The nun also. That said, even if there is a dedicated audience, you should also think of people who might be new to the franchise. So you have to create something that is autonomous and, hopefully, become regular customers.

ST: When you say The nun stands alone but is also part of the Confident universeHow did you work to find that balance? She was not even supposed to be in The Conjuring 2 initially, no?

CH: You're right, but it's a tribute to James because of his instinct for a story, his talent for horror, he decided to present it in the publishing because he's felt that he needed something more and he created this demonic Nun. She was not even in the movie for a long time, but she somehow stole the movie, became iconic and everyone seemed to like it. I came on board when you know that James and Gary Dauberman wrote the screenplay and I'm always looking for things that are unique to them, even in a larger world. When I got the job, we went straight to preproduction and then to production, but we had a lot of discussions about the story.

ST: If the offer came to make a second movie Nun or another movie in the Confident universe, would you consider it? The nun seems ready to be hit with robust box office tracking.

CH: We will have to see what happens. Who knows? I am certainly attracted by strong stories, dark stories and horror movies, and these are both. We must see. I loved working with James Wan, and the whole thing was a very positive experience.

ST: Speaking of dark stories, you were working on The crowbut it's not happening now. Is this stone dead?

CH: I think we will have to see what will happen in the future. I think it's the best way to express what's going on with that.

The nun is in the rooms now.