Madelaine Petsch

Yeah, I think that there's something really fascinating about like finding a balance and tone that doesn't necessarily make sense to everybody.

Right.

I mean, you look at, so like Edward Albee plays kind of a thing.

Yes, yes, like that.

Or like, I mean, this is like the most obvious, but like Yorgos Lanthimos, you know what I mean?

Like he takes things like the lobster and makes it this like absurdist magical realism story.

But at the core of it, there's still a value, there's still a theme, but it's being told through a lens of like, you have to buy into this world immediately.

For things you have to buy into this world immediately.

And I think that's also what I love about horror is like people, audiences are walking into a horror film knowing they have to buy into whatever the rules of the world there are right when they walk into the film.

Right.

Whereas when you do a drama or a comedy, people are expecting it to be the real world and you have to prove them wrong in the first 20 minutes and buy them onto your side.

So it is a little bit tougher when you're making those straightforward genre films, I think.

Yeah, it's definitely way more fun to have somebody to bounce ideas off of, to be honest.

Shout out to Catherine.

That woman runs my world, I swear to God.

Yeah, I'm very lucky.

I'm currently working on reclaiming my spirituality.

Okay.

I'm very, very woo-woo as well.

I think for a long time I started getting into like a routine with my spirituality with –