The set-up: Aaron (feature debut director Patrick Brice) is a videographer-for-hire, who goes to work for Josef (Mark Duplass), without initially knowing any pertinent details other than how much the job’s worth, and that “discretion is appreciated.”
That’s really all you need to know too, and I’ll leave Mr. Brice himself to say why.
“I wholeheartedly agree that Creep is a better, more full experience the less you know going into it. We were really trying to make something that a large part of the enjoyment would be the discovery of the film itself.”
Suffice it to say that Creep is pretty much a two-man op. Or, at least, a two-man op with some invaluable help from Blumhouse maestro, Jason Blum.
Working from a rough treatment, Brice and Duplass went off to shoot a majority of the film, which, under the guiding hand of Blum (whose input was, in Brice’s words, meant “to make [Creep] marketable as a horror film”), has resulted in a piece that’s both disturbingly intimate, and intimately disturbing.
“If you want to see a movie like Creep it's because you have two very relationship-oriented filmmakers, guided by Jason Blum, so what you're going to get is a movie that does not follow all of those rules of what a horror movie is. When Jason saw this, he told us, I've seen every piece of shit found footage horror movie, because I'm the guy they came to, but he liked we were not horror filmmakers, that we got the performances right, the relationship dynamics right.”
Parting Shot: As much as Creep impressed (and disturbed) me, I honestly don’t know how to feel about hearing there are plans for sequels…
(Creep OS courtesy of impawards.com.)