"A lot of it is about rhythm. A lot of it is about, well, I wanted to be able to see the whole movie, in color, so to speak. So I went through it. I can't remember exactly how I delineated it. But there are jump scares. Then there are more ghostly scares, these ambient scares, I think I called them that, the kind which don't really have a jolt payoff. They're all whispery, atmospheric scares. Then, there are kind of hide-and-seek scares, where the dynamic of the scene is about holding your breath and trying to keep the audience's attention. And then, there were chase scares. So I kind of broke it up like that. There were a few more, but I would just notice that 'Oh, we've got a run of three hide-and-seek scares here. We haven't had a jump scare for a while.' One of the best scares of the movie, the one where the Boogey jumps through the door, there was a big section of daytime scenes, and there just wasn't a scare. I thought, 'I want the audience to feel like even the daytime scenes are unsafe,' so I knew we had to give them something. I said, 'Let's do a well-executed, unexpected jump scare here to just break up this daytime section.' It was helpful just to be able to not get lost in the weeds, which is always a risk because there are so many details you can focus on." - Rob Savage, Director of The Boogeyman

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