Once I finish shooting, I usually get sick. Very sick. I go through about three different prescriptions on average when I’m shooting — and not for the fun kind of illnesses, I’m sorry to say. I get strep throat, sinus infections, chest infections — it’s kind of inevitable. As the director, you can’t take a single day off, so you really have no time to recover, and you just have to ride it out and cough your way through it. After you’ve built up an immunity to your cast and crew, who you’ve been living, working, and eating with for months, your adrenaline carries you through the end of the shoot, and once you wrap, you just collapse. I usually take about a week off to rest and wind down while my editor assembles footage.
I work with a great editor named George Folsey, Jr., who edited great films like “Animal House,” and produced such classics as “Trading Places,” and “An American Werewolf in London.” I like George because he’s old school — he’s in his mid-60’s. I like working with someone who has far more experience than I do because those are the people you learn the most from, and they always have the best stories. George’s son Ryan edited “Cabin Fever,” and when Ryan was working on another film George stepped in and edited “Hostel.” He literally went from editing “The Pink Panther” to editing “Hostel,” which was so low-budget we actually got a free room because we edited in a back room in the “Pink Panther” suite. George also knows everyone in town, so he has tremendous contacts when it comes to setting up things like the sound mix, which is crucial to any movie, and especially a horror movie.
Missed Eli Roth’s last few diary entries? Check out his last “Hostel: Part II” column here, and check back right here on the blog for upcoming daily installments.