Alejandro Brugués has made a significant impact on the world of horror cinema. His breakout film, Juan of the Dead, won the Goya Award for Best Spanish Language Film, establishing him as a major force in the genre. Brugués' U.S. directorial credits include From Dusk Till Dawn: The Series by Robert Rodriguez, the Florida episode of Sam Raimi’s 50 States of Fright, and Pooka Lives! for the Blumhouse/Hulu series Into the Dark. He also directed segments in the anthologies Nightmare Cinema and Satanic Hispanics, which he co-produced, and serves as Executive Producer on the Netflix series Bandidos.
In this candid conversation, we delve into his latest project, The Inheritance, exploring his creative process, the challenges of filmmaking, and the inspirations that have fueled his remarkable career. Join us as we uncover the mind of a director whose passion for storytelling has captivated audiences and cemented his place in the pantheon of horror cinema.
Jessie Hobson: Can you share how you first became involved with “The Inheritance,” and what drew you to this project?
Alejandro Brugués: I had worked with Joe Russo before, he was one of the producers on Nightmare Cinema, and we quickly became friends. At some point, we were talking about doing something else together and he sent me a couple of scripts. One of them was The Inheritance, written by him and Chris LaMont. Nothing happened at that point, but a couple of years later he told me the movie was happening and they were looking for directors, so I read it again, still liked it, and I went for it. One month later I was flying to Vancouver to begin prep.
AB: The thing that always drew me to this project was the blend of genres. The murder mystery and the horror movie. And it had a relentless pace, which is always a plus for me.
JH: The film has a compelling premise involving a family reunion under supernatural threat. What inspired the storyline, and how did you approach balancing horror and family drama?
AB: Honestly I don’t know what inspired the storyline. That’s up for Chris and Joe. I usually don’t ask where ideas come from. It’s a mystery to me, so I assume it’s a mystery to everyone?
For me, it was always a family drama first. So I focused on that, to begin with. If we don’t care about the characters, the horror doesn’t matter. But it was super fun to craft all those set pieces.
JH: Given the film’s supernatural elements, what were some of the unique challenges you faced as a director, and how did you overcome them?
AB: Honestly the biggest challenge was finding a location that matched the house described in the screenplay. It ended up being more than one house, obviously, but also every time I found a place that I liked we’d have to adapt the set pieces to that new location, and sometimes for whatever reason we couldn’t get them so it felt like we were coming up with new variations of what to do on a daily basis. And then once we locked them, it was about how to shoot there, because some of those places were museums and we literally couldn’t even touch the walls, so it was a challenge how to pull off some of the stuff we had to do. I know, it’s a boring, technical answer, but other than that the shoot went pretty smoothly.
JH: How did you work with the writers to bring their vision to life on screen? Were there any significant changes or challenges during production?
AB: Mainly the changes I just mentioned, adapting what was written to the reality of the locations. I tried to be as faithful to the screenplay as possible. Obviously we’d go over a lot of stuff, mythology, tone, but we were on the same page. The hard part was not having them on set. We shot during Covid, so they couldn’t come, which means that most of the time it was me calling them and saying “This is what we have, what can we do here”. Which was fun! Filmmaking is adapting. Lots of problem-solving. There was a lot of that.
JH: The cast includes a mix of seasoned actors like Bob Gunton and rising stars like Peyton List. What was it like working with such a diverse ensemble, and how did you approach directing them?
AB: I usually do the same since Juan of the Dead. I get the cast together, but we don’t rehearse. We all talk about the story and the characters, we create their backgrounds together so they can own those characters, and they get to know each other so it doesn’t feel like the first time they met is on set. It was a great group, they were all super fun and always came prepared. When you do your homework like that, it feels easy because sometimes I’d start approaching someone to adjust some things and they’d be like, “I know exactly what you want”. When you get to that point in a shoot, it always feels great.
JH: Could you talk about the significance of each character in the story, especially Charles Abernathy played by Bob Gunton?
AB: For me, the family was all about greed. It’s this rich dysfunctional family, in a way like piranhas, going at each other all the time. They mostly have no moral code and would do anything to stay on top. Kami, Peyton List’s character, might be the nicest of the bunch, but she’s still all business. The twins are an extension of their father, constantly plotting how to get rid of the others. I even remember asking Rachel Nichols to circle Hannah, like a shark, when she’s first introduced. Then there’s Drew, who would’ve probably ended up like the others if he hadn’t married such a pure girl as Hannah. She’s the heart of the movie, and Brianna Middleton is so fantastic. From the moment I saw her tape I knew she had to be the character. She’s the outsider, she’s not part of the family and she’s rejected by some of the others. There’s a lot of weight on her shoulders coming to the house. She’s supposed to be the only pure thing in that place. And I think she succeeds beautifully.
And then we have Bob Gunton as Charles Abernathy. He is greed. I don’t want to get too much into the details but we needed someone like Bob, who could bring layers to the character. He’s fantastic, I was already a big fan, and it was a pleasure working with him.
But honestly, the group was fantastic. They were all a pleasure to work with.
JH: The film features atmospheric cinematography. How did you collaborate with DP Vincent De Paula to achieve the film’s visual tone and style?
AB: I usually break down the movies in different blocks. Not necessarily acts, but “stages”, how we go from one point to the other. In this case, it was a movie that starts in the light and ends in the darkness. So with Vince, we would carefully work on these stages. It was also very challenging. Again, boring technical stuff, but since we were shooting in museums we couldn’t use haze, which sucks when you’re making a horror movie, and lighting those places was a pain because we could barely touch anything. So that was a challenge for him and his team, but they did a fantastic job pulling that off.
JH: As an experienced director in both horror and comedy genres, how did you balance these elements in “The Inheritance”?
AB: Well, I’m always blending genres, so I guess that part comes naturally to me. There’s barely humor in “The Inheritance”. I had to make a great effort to avoid adding jokes here and there because that’s always a thing with me when I’m making a movie. This was mostly about balancing the mystery of the first part of the movie with the horror of the second part. Letting the supernatural crawl in.
JH: Can you tell us about the decision to shop “The Inheritance” to other studios and platforms after Netflix’s cancellation?
AB: I honestly don’t know much about this. I didn’t have a role. Mostly was just getting news from our producer of what was happening with the movie. I’m happy it found a home and it’s finally out.
JH: Are there any upcoming projects or genres you’re excited to explore next as a director?
AB: I’m always working on a ton of stuff. Right now I’m working on two or three things with Mike Mendez, my partner in Satanic Hispanics, because we can’t get rid of each other. I also have a project I love that was announced a while back and I’m hoping will find the light soon. All these in horror. But I do want to try my hand at other genres. There’s a new script I finished earlier this year that is my favorite thing I’ve written and it’s not horror. It’s just... weird. Which I love as an answer when people ask me what genre. It’s a very personal movie, which I hope to make one day because I’m sure it’s gonna be the best thing I make.
Alejandro Brugués' filmmaking journey is a testament to his dedication, creativity, and deep passion for storytelling. From the eerie atmospheres of his horror films to the intricate narratives of his dramas, Brugués has proven himself a versatile and dynamic presence in the industry.
Our conversation delved into the mind of a director who excels at crafting compelling stories and deeply values the collaborative nature of filmmaking. With projects ranging from Juan of the Dead to The Inheritance, his work continues to captivate audiences and generate excitement about his innovative and thrilling upcoming projects.
We are grateful to Alejandro for sharing his experiences, insights, and artistic vision. His contributions have undeniably left a significant mark on cinema, and we eagerly anticipate the further evolution of his remarkable career.