A: I grew up in Bristol which is a little outside London. I’ve always been a pathological lover of films. Where I grew up is a very working class area and you’d never expect to grow up and be a film director. Wanting to be a film director is like wanting to be an astronaut, it wouldn’t happen. When I turned 21 though I was still obsessed with it and I figured I’d rather just try and fail then never direct a film. So I went to film school and did a degree in film. A Classical M.A. in films, a Masters in Film Production, a couple of short films. Ended up coming up with the idea for “Creep” which is a simple idea of a girl stuck alone in the tube. Managed to get it financed as a feature. And that did well in England, so then I made “Severance.” That sorta did well so then I was able to make 2 more films: “Triangle” and “Black Death.”

          A: After finishing “Triangle” I came across the script. I started reading it and the first line of the script read “In the year of our lord 1348, a terrible plague is spreading through Europe.” I just read the rest of it saying “please be good, please be good. I so wanna make this film. And I really liked the script. I felt like I wanted to move it into a new direction, more gritty realistic way than the 2nd half of it was written. The first half of the film is like how you see it, but the 2nd half had been more supernatural. I wrote the writer and he was up for changing it, working it and changing it that way. So all you see after the building of the cages was developed after I got on board.

          A: I just wanted to make a film that on the one hand is a cool scary "guys on a mission" movie, and on the other hand deals seriously with the fears of fundamentalism. There’s so much of what we’re going through today that we’ve been going through for 600 years, when are we gonna stop. That I think is the interesting thing about this film, is by the end of the film you see a lot of modern parallels.

          A: I think it’s two-fold. It is a mystery film. The priest at the beginning warns them of leaving the safety of the monastery. The safely of their faith. Sean Bean shows up and tells them there’s a demon out there. He sells the theory to the men and then when you get there you’re like “where’s the demon.” But because you’ve been told there’s a demon, any trace of weirdness you get becomes amplified. And by the end, it’s much darker that anything.

          A: The only problem you ever have on a film is time. I never run out of ideas or things to do. So there were no problems ever by the end except for time and budget. One of the things that was weird is we shot everything in order. So at the beginning you’re taking your time because everyone is new and by the end you’re rushing to get everything done. So the only problem is just making sure we get the film finished.

          A: Well because we shot it in order I really could feel the film was working early on. I think the scene where they come across the witch near the bridge. Once I got the men out of the village and they started out on the road, I had a feeling it was really working.