Craig Zobel: Eliciting “COMPLIANCE”


Making its DVD and Blu-ray debut today from Magnolia Home Entertainment, COMPLIANCE is a psychological thriller that spins a fact-based story into a skin-crawlingly disturbing exploration of human behavior. It’s a remarkable achievement for writer/director Craig Zobel, who discusses the movie with FANGORIA in this exclusive interview.

Inspired by a series of cases that took place across the
U.S. in the 1990s and early 2000s, COMPLIANCE takes place at a suburban
ChickWich restaurant, where supervisor Sandra (Ann Dowd) receives a phone call
from a man (THE INNKEEPERS’ Pat Healy) posing as a cop. Calling himself “Office
Daniels,” he informs Sandra that teenaged cashier Becky (Dreama Walker) has
been accused of stealing by a customer, and asks if Sandra could please
interrogate the girl…and then strip-search her when Becky insists she doesn’t
have the stolen money…and things get darker and more perverse from there (see
review here).
It’s a story that has outraged audiences, and will have you questioning your
own views on dealing with the law…

FANGORIA: Did you ever have any experiences with the
authorities that influenced the writing of COMPLIANCE?

CRAIG ZOBEL (pictured right): That’s a good question. I don’t know how unique
this is, but I don’t have any particular affection for any experience I’ve had
with police. I definitely thought about the fact that we sort of have this—not
to be highfalutin—social contract where we’re like, “OK, these people are here
to protect us,” and you assume they’re not going to do anything illegal,
because that wouldn’t fit. A better way to say it would be, I’ve certainly been
pulled over by the police before, and one time it was because my taillight was
out and I didn’t know. I was like, “I’m not speeding!” I was incredibly
defensive—that was my natural instinct in that situation, which was
frustrating. I certainly knew I wasn’t committing a crime at the time—why was I
defensive [laughs]?

I believe we give power to the police automatically. And
that’s not a bad thing; they wouldn’t be able to do their job unless we did
that. But it certainly also means that there’s some accountability, for us to
believe they’re not going to abuse the power. There’s been a lot of activity in
the lower courts about videotaping the police and what the rules are on that.
It has become a big civil-liberties case. Police don’t want you to videotape
them, but it’s become an issue that that should be allowed in order to make
sure honest things happen. I definitely thought about that a lot.

FANG: How much do you consider COMPLIANCE a horror/thriller
genre film, and how far did you steer it in that direction?

ZOBEL: My goal was that the movie should be like a study, as
if I was an alien who came to this planet and saw this weird situation: “Why is
this happening?” I tried to be incredibly objective about how it happened. But
I found that in conceiving, shooting and editing the film, it became important
that it not feel only like an intellectual exercise, but play on the unsettled
feeling you get when you think about those cases. Those stories bothered me,
and I felt it was a viable and important thing to root it in that feeling. And
in that sense, I definitely leaned on the psychological-thriller elements.
Certainly, my background of watching genre movies of various types popped up,
and it was really enjoyable to exercise that muscle—to explore this
intellectual idea, but also figure out how to move the camera and edit and use
sound in order to get the audience to pay attention to certain things.

FANG: The movie seems to be especially inspired by one
particular prank-call case in Kentucky. How much did you study that, and how
much did you bring in elements of other incidents while you were writing?

ZOBEL: There are similarities to a bunch of different
events. Like, [making Becky] run in place or do jumping jacks came up in
multiple documented court cases. So I looked at a bunch of these and started to
process in my mind what would’ve had to happen in order to get from point A to
point B, and for it to happen multiple times. For me, it’s significant that it
occurred so many times.

FANG: How did you go about casting the lead roles, which
required very specific types of people?

ZOBEL: Obviously, having the screenplay be as clear as
possible was the first step, and then it became a two-part thing. I knew I
didn’t want to use actors who would completely take you out of the story. It
couldn’t be people you wouldn’t buy working in a fast-food restaurant. It was
important to me that that work. Also, having actors with a similar fascination
with the subject matter was important to me. So all of the casting involved
questions like, “Are you curious about this?” or “What are your thoughts on
these stories?” That was the first conversation we had.

Ultimately, it worked in the sense that you see these people
processing things beat by beat, trying to rationalize how they can be in the
situation they find themselves in, which required actors who were fascinated
with that part of humanity.

FANG: The actress playing Becky was required to be put in
some very uncomfortable situations. Was it difficult to find someone up to that
task, and how did you work with Dreama Walker to get through those difficult

ZOBEL: That’s a good question. As far as finding the
actress, it was just like, they didn’t come into the room if they didn’t know
what the job was, you know what I mean? People weren’t going to audition for
the movie if they weren’t comfortable with the subject matter. And it was
important to me to feel that Dreama Walker was very involved in how we
portrayed those events. We had a lot of discussions; everything was talked over
before we got into those situations.


Closed sets with nudity are always uncomfortable, even if
it’s supposed to be a scene where they’re willingly in love—in some ways, I
feel like this was, at least, more honest. It was not about having to
be in an uncomfortable situation and pretend like it’s totally cool, so she
could use that. And she wasn’t nude very much on set. There was a lot of
planning the shots, which she was intrinsically involved in. Being able to have
those conversations with her, as well as Ann and Bill, helped me feel more
confident about how we were portraying it.

FANG: One of the key decisions, I would imagine, was how
much to show of the caller, and when. What led to the decision to reveal him as
more than just a voice on the phone?

ZOBEL: There were people close to the movie—very good
friends of mine—who were, even up until editing, saying that it would be
interesting to never see the caller. That was a decision I constantly wrestled
with. And the reason I didn’t want to do that was, it didn’t feel like it would
be as interesting to play with the audience’s expectation of whether the guy is
a cop or not. I felt like that ultimately would be frustrating. At the end of
the day, the audience would have been like, “Come on, that’s not a cop.” I
wanted to do something that would take that off the table, and decided to show
him. And we specifically shot it with two cameras running [on the caller and
the other characters] at the same time, because I knew I wanted the phone calls
to be live.

FANG: So all the phone conversations were shot live?

ZOBEL: Yeah. And once that was decided, I was like, why
don’t we just shoot the caller’s side while we shot the other side, so we would
save time and money? This kind of infuriated my producers to a degree, because
it was much more logistically complicated, but it was great. We built two sets.
Except for the very initial scene, for every other one I had footage of both
sides. We could’ve cut to [the caller] at any point, but I picked the place I
did for specific reasons—and without spoiling where it is, it was the time when
I wanted to take off the table whether he was a real cop or not. It’s a place
where a new person comes into the situation, and I felt like that person could
have reacted the same way the audience would, like, “What?!” [Laughs]

FANG: One of the most striking things about your treatment
of the caller is the way he’s kind of humanized, in those moments when you see
him amused and surprised by how far he’s able to push things.

ZOBEL: Absolutely. That was a constant conversation between
me and Pat Healy, reminding him every day, “Remember: The stakes are really low
for you. The worst that can happen is that they’ll hang up.” Which was true for
that person in the real-life situation. It’s almost like a video game, where
he’s trying to get to the next level. That was also in part because it could
have been a difficult role to play if he didn’t have some sort of
rationalization, like, “They can hang up anytime they want! I didn’t do

FANG: Did you cast Healy for his voice first, or for the
overall performance? Because the voice is the performance for the first third
of the film.

ZOBEL: I definitely thought about that for a long time. It
was one of those funny things where, with the casting director, we talked
about, “Who sounds like a cop?” I started watching Cops—that’s all I was doing
for research, watching episodes of Cops [laughs]—and I started to realize that
they don’t sound like anybody. It’s a tone of voice and a speech pattern; it’s
always saying “Sir” and “Ma’am” a lot, and trying to be as dead-flat in your
delivery as possible. We didn’t want to cast a Dirty Harry-sounding voice. To
me, that would’ve been hokey. Does he play as a cop to you?

FANG: He does, yeah. He’s very by-the-book, which is what
makes it work.

ZOBEL: Right, and having the asides and saying, “Let me
explain to you…” It’s kind of this weird sales pitch. That’s why it was fun to
write him as a telemarketer, because I felt that specific job is one where you
learn to keep people on the phone.

FANG: Did you intend to convey a message with this film
about people and the way they behave, or were you just interested in telling a
straight dramatic story?

ZOBEL: It’s very hard to talk about a movie like this and
not think about the moral implications, yet it’s also very grey as to what
those moral implications are. To be fair, I absolutely have my own thoughts on
that; it’s very hard to explore this without bringing your own morals into it.
I guess I walked away from the experience of making it with the feeling that
our morals are delicate instruments, which other people can cause to be
inaccurate at times. Your choices of what’s right and wrong can be influenced
sometimes by other people. A certain amount of doubt is a valid and acceptable
thing, and it should be culturally accepted, quite honestly. In the end, the
movie is about being confronted with a life choice that can make you fall apart
and have catharsis and then build yourself back up, or burrow down and defend
your decisions. People can make one of two choices when they’re in that type of

FANG: It’s almost too much to believe that people actually
did the things they were told to do by the caller in real life, so how did you
got around that plausibility issue in writing and directing the movie?

ZOBEL: It’s interesting [laughs]—I don’t know if I 100
percent succeeded in solving that problem for everybody in the audience, but I
knew I wouldn’t be able to. I knew I wasn’t going to be able to satisfy
everyone’s questions. I tried to cut to the quick of the kind of decisions I
recognized as being very human—protecting yourself from this or that. Your job
being on the line can be an incredibly powerful motivator for a lot of bad
decision-making, especially these days. Obviously, I had the real accounts, and
I could’ve made the most perfect version of this with a very, very long movie [laughs],
because in real life those events happened in four or five hours. In real life,
the way these things happen and the way they can become, frankly, as absurd as
they do in the movie, has to do with the amount of time. It’s about nudging
people slowly over a long period, and it would’ve been excruciating to watch a
four-hour film of that.

So I had to make some decisions and narratively cut to the
chase on certain things, and I hope I picked things that make people think,
“Yeah, I can see how if you were going to lose your job…” I didn’t want to lean
only on the “Inspired by true events” aspect, although at the same time, I
think it makes the story so much more human that there is that element.

For more on Zobel and COMPLIANCE, check out FANGORIA #316.

posted on: 2013-01-08 18:42:50

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FANGORIA: The First in Fright Since 1979.

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