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'Victorian Psycho' Director Zachary Wigon Only Shot Coverage When His Killer Was Faking It
Victorian Psycho director Zachary Wigon shares how one scene unlocked his film's tone.
A governess walks up to a manor and peers into a dark window. A maid looks out and ducks when spotted. And in that moment, a director understands the whole movie. That's how you nail tone in a film like Victorian Psycho.
Victorian Psycho is Zachary Wigon's third feature, after The Heart Machine and Sanctuary. Maika Monroe plays Winifred Notty, an unhinged governess at a remote English estate in 1858. It premiered in Un Certain Regard at Cannes. Virginia Feito adapted her own novel.
We spoke with Wigon about how he found the film's slippery tone, how he built a camera that lives inside his killer's head, when plain coverage earns a spot, how he rehearsed with Monroe from another continent, and what staging violence taught him.
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After a decade of surviving monsters onscreen, Maika Monroe gets her hands dirty in Victorian Psycho. Directed by Zachary Wigon (Sanctuary) and based on the Virginia Feito novel, the movie is set in the mid-1800s, our most hysterical era, and follows Winifred Notty (Monroe), a newly hired governess who arrives at a gothic manor to tutor the Pounds’ children (Jacobi Jupe and Evie Templeton). Upon her arrival, staff members begin to vanish, building up to a bloody climax.
The tone of Victorian Psycho is what makes this story so distinct. While it has the makings of a stuffy period movie with the necessary story trappings and tight dresses, viewers know from the moment Winifred steps into the frame that she’s not like other governesses. Much like Patrick Bateman, Winifred narrates her story with a twisted perspective, alluding to a dangerous past she’s determined not to repeat.
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