Adam Sandler is like you’ve never seen him before in the new sci-fi movie Spaceman. In his most dramatic role yet, he plays an astronaut on a solo mission to the far reaches of Jupiter to collect ancient space dust.
Out of Darkness’ director set a god-tier difficulty level for his debut horror movie
09.02.2024 - 21:00 / polygon.com
“Never work with children or animals,” goes the old showbiz adage. First-time filmmaker Andrew Cumming technically abided by that wisdom… though “creature feature set in the Stone Age” might soon belong on the avoid-for-your-own-sanity list.
Set 45,000 years ago and staged across the Scottish Highlands, Out of Darkness follows six prehistoric humans who wash ashore in a new world, in search of an evolved future. Cumming, Ruth Greenberg, and Oliver Kassman wrote the script in an entirely fictitious language called Tola, with a story that has the group’s immediate survival efforts threatened by something lurking in the shadows. As the patriarchal society’s leaders fall, a young woman, Beyah (Safia Oakley-Green), confronts the threat herself. With thick atmosphere and enough on its mind to imbue familiar horror tropes with much-needed specificity, Cumming’s directorial debut is the kickoff to a promising career. But making the film wasn’t easy.
With Out of Darkness out in theaters, I spoke to Cumming about taking a big swing and sticking to his guns, in spite of the many raised eyebrows he encountered over the movie’s years of development.
Out of Darkness has been a journey. How many years ago did you start work on it?
We put pen to paper in September 2015. That was when we first committed words to sentences about the subject matter.
This is your directorial debut. Very few people start out by making a prehistoric horror movie. Did it feel like a risk? Does it still?
It brings me comfort now, but not at the time, because there wasn’t really a template. A lot of debuts, you can go, “OK, I see that this is a contemporary drama,” or “It’s a sort of comedy thriller” — you can see what it is. But then when we were pitching this film, we said, “Oh, it’s a bit like Alien. But it’s also a bit like The Hills Have Eyes. Also, The Witch?” So you’re borrowing percentages from all these different films and making this Frankenstein’s monster, and then going “Oh by the way, it’s my first film, it’ll be in a made-up language, a discovery cast.”
But I was excited by it. I felt like this was a movie I would pay to see. It felt like it could be really cool, and it would say something about humanity. But even when we were shooting… I remember the day before we started filming, I said to the cast I that was worried this was just going to be a huge Scooby-Doo movie. Without spoiling anything, you’re always just worried that people are going to find it hokey. When we were pitching it, we’d always be asked, “Do they speak?” I worried people were expecting like a Raquel Welch throwback [like the 1966 movie One Million Years B.C.], or a more cuddly thing like Alpha. I was fraught with a lot of anxiety, because it was my
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