Almost everybody in the modern world knows Elijah Wood. If not by name then by face as Frodo from ‘Lord of the Rings’ or from the FX series ‘Wilfred’.

What many don’t know is that he’s been somewhat quietly producing horror films for the last 5 years with his production company SpectreVision, the company behind the films  A Girl Walks Home Alone in the Night and Cooties.

Recently Emily Siegel for Forbes.com had a chance to sit down with Elijah and his partners to discuss what they want to accomplish with their films.

Wood is one third of SpectreVision, a genre film production company co-founded with directors Daniel Noah and Josh C. Waller. The trio describes their five-year-old company as “three vehicles and a dream” — a dream that a horror film one day take home the Oscar. Their only requirement? That the script’s they work on have been denied by Hollywood’s major studios. SpectreVision wants the raw talent and excitement of someone who’s already knocked on every door.

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Wood, Waller and Noah (from left to right), shown here with Jim Hosking, the director of their latest film (back center).

SpectreVision has produced nine films since 2010. How did the three of you first meet?

Noah: We met on project that never came to a fruition — a comedy I wrote in which Elijah was to star. The three of us first bonded over a love of the horror films we admired most at that time — Let The Right One In, The Orphanage, Martyrs — none of which, we realized, from the United States… would never have been commercially viable enough to be made in the United States. So, we decided to build a place supporting that specific type of filmmaker: talented folks who were interested in making horror films for a more discerning, but potentially less broad, audience.

Wood: We wanted to create a space for horror films that push the boundaries of what horror can be. And, sure, we’ve expanded our umbrella in the past five years, but what draws us to a film stays the same: things that are different. Things that aren’t being done. That are slightly risky, or out-the-box. Take the Greasy Strangler, which we just premiered at Sundance: that film would have never been made if it hadn’t been for us rallying around a world we all loved. If you watch the Greasy Strangler, it’s good example of what we look for in a film.

A scene from their fourth film, 'A Girl Walks Home Alone in the Night.'

A scene from their fourth film, ‘A Girl Walks Home Alone in the Night.’

So, is it horror first and foremost for you guys?

Noah: We’re fighting for the legitimization of the genre. There’s this strange dichotomy in Hollywood where horror is the most financially stable category, and yet it’s rarely recognized for awards. Our ultimate goal is for a horror film to win best picture.

Wood: Filmmakers like us are drawn to horror because it lacks the limitations of a standard comedy or drama. Horror has the freedom to take chances: visually, acoustically, within the context of our stories. It’s this incredible sandbox where creatives can operate beyond the confines of reality.

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