Visimag home page
About Us
Cult Times
Film Review
Movie Idols
TV Zone
Ultimate DVD
The Works
Shopping Info
Film Byte Archive
Hollywood Hotline
VI jobs

for your own topics
Go to USA site Readers in USA click here

Go to UK/World siteElsewhere click here

Image copyright: see contents page of each issue. All other material © Visual Imagination 1998 - 2008
Welcome to

Go to main Exclusives page

Look out for more coverage of
Shutter in our magazines

THE MOVIE: Shutter

Josh Jackson • Rachael Taylor
DIRECTOR: Masayuki Ochiai

Joshua Jackson as Ben THE CONCEPT:
Photographer Benjamin Shaw (Jackson), and his new wife Jane (Taylor) are in Tokyo for a lucrative fashion shoot. While driving on a mountain road their car crashes into a woman standing in the middle of the road, who has materialized from nowhere, but after they regain consciousness they cannot find any trace of the girl. When Ben begins his fashion shoot, mysterious white blurs, eerily evocative of a Human form, begin to materialize in all of his photos, and Jane believes the blurs are the dead girl from the accident.

U.S. RELEASE: March 21 2008, Nationwide
• Rated: PG-13


RACHAEL TAYLER on doing a Horror film:
Rachael TaylorďYouíre dealing with fairly complex human issues and the spectrum of emotions you play are potentially wider, youíre dealing with ideas of revenge and death, deceit and betrayal and all that stuff. I find that kind of pleasurable as an actor. It gives you more to play with and youíre exploring things that you probably wouldnít get to explore on a daily basis, like the Supernatural.Ē

Josh JacksonďWhat attracted me to Shutter was playing the character. In a straight ahead drama, generally the arc and the transition that the character goes through, while it may be internally severe, it is sort of [limiting]. When youíre doing a Horror film you have the potential of doing something much broader and a much more shocking shift, so for me to be able to start here and then end up as somebody totally different was fun for me.Ē

ďI was a big fan of the original film. I didnít use it in terms of performance, but it was one of the main reasons I wanted to make this movie. Itís an excellent movie and it was a great jumping off point. Our version is different; itís more of a reinterpretation than a remake, because we shift the perspective a lot. What I wanted to bring to it was a strong female story. Iím not interested in making a film about a blonde girl in a ghost house having horrible things happen to her. What I wanted the story to be about, and what I really fought to occur, is that she would be very proactive and be a strong female character trying to figure out this mystery, and interpret these supernatural events rather than things happening to her.Ē

JACKSON on whether he believes in spiritual photography:
ďIíve never had the experience of it. I donít really work on absolutes, I think itís impossible to say absolutely yes or no to just about anything. Itís like my issues with faith, Iím not a man of faith, I have a real hard time when people of faith tell me something is absolutely correct, but then it would be hypocritical for me to say itís absolutely incorrect. So Iíve never had a ghost moment, Iíve never had a ghost in my [camera] but I donít deny that itís possible.Ē

ďI think [ghosts are] really interesting, itís a real phenomenon which is really cool. There actually are photographs that have inexplicable images in them, whether or not you want to consider them as supernatural images is up to you. There are photographs that you canít explain the element in the picture, itís not a watermark or a technical problem, so itís fascination. And I like what it represents, which is that itís how a supernatural being can articulate something that they really need to say if the emotion is potent and strong enough, and itís about their finding a way to get their message across to us, and in this case it is using the medium of photography.Ē

JACKSON on working with Japanese director Masayuki Ochiai:
Director Masayuki OchiaiďThere were certainly moments of difficulty, because I think when we would get into the meat of a language heavy scene, it was difficult for him to follow along because he understands only a little bit of English. But in terms of communicating with the actors, or the rest of the Westerners on set, he had a phenomenal translator who was able to not only translate correctly the words, but had lived in the States so could contextualize this is not what Iím saying but how Iím saying it thatís important.Ē

Written by Judy Sloane. Back to top

Visit the official Shutter site
Images above © 20th Century Fox
Feature © 2008 Visual Imagination.
Not for reproduction.

Film Review, #695, May 2008 cover

Keep up with the latest movie news, reviews and features with every issue of Film Review and the Film Review Ultimate Special

Ultimate DVD, April 2008 cover

Stores Info

You can order any of our magazines via this
secure service.

FILM REVIEW, use these
links to our stores:

Jump to UK £ subscription page
UK/World subs
Jump to US $ subscription page
USA $ subs logo