In an American horror film, you usually have a character and a shot of them. Then their point-of-view moving down a hallway, approaching a door and they`re coming closer to the door. And a hand reaches for the knob, and you know, the moment or the moment before or the moment after, based on the timing of the editor and the director, there`ll be a big moment of an attack or a scare. What Shimizu does is a moment where Sarah Michelle Gellar is opening this closet, to see what`s inside, and we Americans think something is going to jump out, there`s nothing in the closet but darkness. And then you start to realize, within that darkness, you see a shape. Is it a knee? Oh, yes it`s a knee, and there`s a face in there. That`s always been there. That I can just perceive within the blackness. And it unnerves me in the freakiest way! And in a completely different way than the sledgehammer technique of some of our cruder American directors. (pause) Such as myself!"
- Sam RaimiSledgehammer?s a great fit for Digital Post because it enables them to accept new business by dedicating the suites to project work rather than tying them up for file I/O.
- John MillerUsing SWAT in this case is like using a sledgehammer on a fly. I`d much rather use a little bit of stealth.
- Jack Cole