But it didn’t add enough to justify the schlock. We were trying to make a point of how animalistic the pigs were. So we switched it out for a male body, and it looked like gay rape. It started off fucking a female body, and actually it just looked like rape. The problem was it just looked like the pig was raping someone. Pinchbeck: There was a pig fucking a dead body. That’s how you find something with a real edge. If you tiptoe cautiously up, you’ll always fall short. If any member of the team said, “I don’t feel comfortable,” we pulled it out.īut you’ve got to push it too far to find out where that line is. Pinchbeck: With the stuff about the children, specifically, I had to sit down and go, “Do I feel comfortable as a father with what I’m producing.” It’s about a father who kills his children. Were there ever times when writing the script got to be more than you could handle? This is about what people do to people all the time. This isn’t really about a monstrous clockwork AI. It’s really fucking horrible, because it’s us. Justifying the death of a few to save the many. It’s what was going on in the Balkans, Rwanda. It’s the same question that Hitler asked that Stalin asked. It’s a really dark place, because it’s a real one. But the darkest thing in A Machine for Pigs is the question of whether it’s okay to kill hundreds of thousands of people to save millions. The baseline horror, cannibalism, child murder, that just rolls out. Pinchbeck: You’ve got to just push and push, every time you think you can’t go any farther, until you end up in some really dark places. What about yourself? I imagine that to create a work of horror, you have to become somewhat beastly, so to speak. This is a tragic story of a guy running away from the pain he feels-trying to make himself less human. We didn’t want a main character who was easy to write off as a monster.
KILL SCREEN: Amnesia: A Machine for Pigs opens with the well-known Samuel Johnson quote, “He who makes a beast of himself gets rid of the pain of being a man.” What drew you to that?ĭan Pinchbeck: What we were really trying to get away from with Pigs was the simple idea that there are bad people and good people, and that bad people can turn good, and that good people have bad people in them. the other morning, his wife Jessica Curry (co-director of the studio, composer, sound design) also chiming in. In constructing the persona of one Oswald Mandus, his protagonist who, shall we say, has some guilt on his hands, he notched out the tortured mind of an irredeemable man. But when he sat down to pen Amnesia: A Machine for Pigs, all that went out the window. Dan Pinchbeck is happily married, good-humored, a caring dad.
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