With Cult of Chucky, I wanted to do something very different from the last movie, which was very gothic. Or, you might have a certain expectation, knowing that this movie is a mental hospital movie, so I didn't want to do what you would expect: the crumbling, Dickensian ruin. Aesthetically, we'd kind of done that with Curse of Chucky. Instead, I wanted to go the other direction: very modernist, minimalist, black and white in color, which really excited me creatively, because we'd never seen Chucky operate on that aesthetic canvas before.
What made you want to subvert those preconceptions, if Hollywood doesn't often go for truly original work?
Mancini: It's partly just a philosophy that I've developed over the course of doing this. By the time we'd done Child's Play 3, the lesson I'd learned with that movie was that I was starting to repeat myself. That was a problem, and it could, if I wasn't careful, spell the end of it all. When it came time to do another one, with Bride of Chucky, I thought, OK, I need to do something radical. So we turned it into a comedy, which in retrospect was really the best thing we could've done, because I think that set a precedent for us to be the horror franchise that was willing to be fluid. I think that's really helped keep us alive.