in an interview with Eli Roth (the director of Hostel, if you were fooled by the QT presents
he talked about, among other things:
Did you know you were gonna write this? (question from joblo)
I knew I was gonna write it. It was one of those things, after Cabin Fever. Cabin Fever was this crazy ride, as most of you know. It was all totally built through internet and word of mouth, and we made it for a million and a half bucks, and it wound up doing like over 100 million dollars. Not that any of it went to me, mind you. About 4 dollars did, but thatÃ¢â‚¬â„¢s cool. After that I had all this opportunity and I didnÃ¢â‚¬â„¢t know what I was going to do next. And I started writing this project here and got this set up with this studio, and I kind of started like 15 different things. YouÃ¢â‚¬â„¢re completely on the outside, and then all of a sudden every door is open, you wanna like start taking advantage of it.
But then I realized it was like those magnetic dogs when you put their noses together and they start spinning, like in 15 different directions. I didnÃ¢â‚¬â„¢t know what to do. I was talking to
Quentin (Tarantino) and Quentin loved Cabin Fever. After he saw it he invited me to his house to watch movies. We watched War of the Gargantuas, and Hell Night, and Blood and Black Lace, Zombi. He was like, Ã¢â‚¬Å“Man, you gotta check out this print of Zombi; itÃ¢â‚¬â„¢s really cool.Ã¢â‚¬? We would just geek out watching movies. And I said to Quentin, Ã¢â‚¬Å“You know, I kind of just donÃ¢â‚¬â„¢t know what to do now.Ã¢â‚¬? I said, Ã¢â‚¬Å“IÃ¢â‚¬â„¢m at this weird place where I am being offered to direct studio movies, I have my own stuff thatÃ¢â‚¬â„¢s sort of developing,Ã¢â‚¬? and heÃ¢â‚¬â„¢s like, Ã¢â‚¬Å“Well, what ideas are you working on?Ã¢â‚¬? I told him this and this and thisÃ¢â‚¬Â¦and I said, Ã¢â‚¬Å“Well, then thereÃ¢â‚¬â„¢s this other thingÃ¢â‚¬Â¦Ã¢â‚¬? and I told him the idea for Hostel and he was like Ã¢â‚¬Å“Are you fcking kidding me?
ThatÃ¢â‚¬â„¢s the sickest fcking idea I have ever heard.Ã¢â‚¬? He told me Ã¢â‚¬Å“Eli, youÃ¢â‚¬â„¢ve got to do that. fck it. Do it low budget.Ã¢â‚¬? I have a horror company called Raw Nerve, and he was like, Ã¢â‚¬Å“Do it with Raw Nerve, do it for like three million bucks or something. Go to Europe and make it as sick as you want to make it. Make it fcking balls-out. This could be like, your Takashi Miike film. This could be, like, a classic American horror movie.Ã¢â‚¬? And I thought about itÃ¢â‚¬Â¦ There are very few people whoÃ¢â‚¬Â¦I have a lot of experience making low budget movies. I know how to do it. You know, Cabin Fever. I know I could learn and make a better film. I said, Ã¢â‚¬Å“fck it. HeÃ¢â‚¬â„¢s right. I drove home that day and I unplugged my phone and I just burned out the draft and I showed it to Scott Spiegel and Boaz Yakin, who are my partners at Raw Nerve.
Scotty wrote Evil Dead II and Boaz wrote and directed Fresh and Remember the Titans and they loved it. They had great ideas. I sat down and did another draft Ã¢â‚¬â€œ this was all in the span of two weeks Ã¢â‚¬â€œ and I showed it to Quentin, and he was like, Ã¢â‚¬Å“This is fcking awesome. LetÃ¢â‚¬â„¢s go through it.Ã¢â‚¬? And we went through the script. And heÃ¢â‚¬â„¢s like, Ã¢â‚¬Å“You know what? WeÃ¢â‚¬â„¢re gonna do a bullshit pass. IÃ¢â‚¬â„¢m gonna call bullshit where it feels like this could only happen in a movie. If this is movie convenience or itÃ¢â‚¬â„¢s not something that you and I would do, then I am calling bullshit Ã¢â‚¬â€œ Ã¢â‚¬Å“He canÃ¢â‚¬â„¢t get out of the chair like this, cut his fcking fingers off.Ã¢â‚¬? Ã¢â‚¬Å“Well, I wanna cut his hand, but then would he bleed to death?Ã¢â‚¬? Ã¢â‚¬Å“No, if you cut half his hand he could probably still wiggle out.Ã¢â‚¬? You know, that kind of stuff. So, we did like a whole pass, and heÃ¢â‚¬â„¢s like, Ã¢â‚¬Å“Oh, man, what if heÃ¢â‚¬â„¢s got a fcking bolt cutter and heÃ¢â‚¬â„¢s cutting off YukiÃ¢â‚¬â„¢s toes?Ã¢â‚¬? and IÃ¢â‚¬â„¢m like, Ã¢â‚¬Å“Oh thatÃ¢â‚¬â„¢s awesome, letÃ¢â‚¬â„¢s put that in.Ã¢â‚¬?
So we went through it and sort of did a reality pass on it, and it just sort of seemed natural. And heÃ¢â‚¬â„¢s like, Ã¢â‚¬Å“You know, IÃ¢â‚¬â„¢d love to be involved in this, and IÃ¢â‚¬â„¢m like, Ã¢â‚¬Å“Yeah, itÃ¢â‚¬â„¢d be so f*cking fun.Ã¢â‚¬? So he was just great. So we shot in Prague while he was doing a CSI episode, but he was really helpful in the editing room. He came in the editing room and heÃ¢â‚¬â„¢s likeÃ¢â‚¬Â¦ You know, George Folsey cut the movie with me. He was John LandisÃ¢â‚¬â„¢s partner; he produced American Werewolf in London, Blue Brothers, Trading places, and he cut Animal House. He edited a lot of blaxploitation movies that
Quentin lovedÃ¢â‚¬Â¦so Quentin had seen all his movies and Quentin came in the editing room and said, Ã¢â‚¬Å“Well, what do you think of this, maybe, you know I think you can cut this. You know, I think this is a good scare, but what if you add some this to that?Ã¢â‚¬? He helped us trim it down.
But honestly, it was his enthusiasm, his spark, that I was just like, Ã¢â‚¬Å“What do I do? Why am I waiting for the perfect movie.Ã¢â‚¬? You know, you get that fear of doing your second film, like, Ã¢â‚¬Å“Okay, the first one did really really well, and I want to make sure this one does well but I also want to do something that IÃ¢â‚¬â„¢m proud of that feels like a step forward. It just felt like the right next movie.