‘I Don't Have A Backup Plan’: How 'MaXXXine’s' Director Pulled Off A Shoot At One Of Cinema’s Most Iconic Locations - video Dailymotion

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05/07/2025

Interview with Moses Sumney, Ti West, Giancarlo Espositio

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00:00It's not just a ode to horror cinema of the 20th century, but just all cinema.

00:05You have so many different references from Giallo to Chinatown to Blade Runner.

00:10I'm curious just kind of how much of that was first draft design

00:13versus like how much kind of came organically as the film came together.

00:16Most of it was probably in the scripts.

00:18I mean, I think to set the third movie in Hollywood and to take it as far as we took it in scope wise,

00:23you know, this trilogy is sort of about cinema in a way.

00:27It's about a lot of things, but one thing is about, you know, if in X they're trying to make a movie

00:31and it's what it's like to make a low budget movie and be outside of the system and outside of Hollywood,

00:35but still be able to try to carve your own path via movies.

00:38And then Pearl is someone who's sort of looking to the screen as a hopeful thing

00:42and how her life could be different if only she had a life like in the movies and the glamour.

00:46And then now in Maxine, she's actually here.

00:48She's in the belly of the beast.

00:50And, you know, I just wanted to embrace that to its fullest.

00:53And were there any ideas that you had that you weren't able to kind of use?

00:57I mean, because you get to use like the Bates Motel, the Psycho House.

01:01We were very fortunate that even today I still think about that

01:05because we had to get Universal to say okay, which they did,

01:07and then we had to get the Hitchcock State to say okay.

01:09And it was in the script.

01:10So I remember it was the first thing Jacob Jaffe, the producer, that was the first task

01:14because I was like, I don't have a backup plan.

01:17There's not a better location that we could go to and talk about.

01:19And because we referenced that in X, it was such a payoff to come all the way back around and be there.

01:25And, you know, credit to both of them.

01:27I mean, we got this really – and it was very surreal to shoot there and to photograph it

01:30and to not be making Psycho but to be photographing it.

01:33It was very surreal.

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