![]() ![]() ![]() If you're being chased by an axe-wielding maniac, it doesn't really matter which side of the political persuasion you're on. ![]() King knows more than anyone that underneath, when you peel it all back, we've got more in common than we do in our differences from each other, and that finding that common thread of humanity is what horror does so well. He's vulgar and racist, but ultimately, you empathize with him, and the story ends with him breaking down in tears and his kind of macho facade crumbling away. And Lester Billings from the short story is a great example of that taste. And that there's some catharsis in that, that cinema is like almost an empathy machine that forces you, like Clockwork Orange, pins your eyes open and makes you watch even as you're spending time with characters who you know might rub you the wrong way.Īnd I think that that's what I love about King, is that he always finds something deeply human in his characters. The idea with the character in Dashcam was that love her or loathe her, and most people loathe her, by the end of the movie, you've been on a ride with her and you've been shoulder to shoulder with a character who you would normally cross the street to avoid. You'll find a common humanity to empathize with. "I think, normally with an unlikable character, if you scratch a little bit beneath the surface you'll find things. ![]()
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