"Lee Daniels' Mother Worried About His Exorcism Movie, So He Hired an On-Set Spiritualist for Protection: 'We Prayed Every Day'"
Lee Daniels, known for his bold dramas like “Precious,” “The Paperboy,” and “The Butler,” surprised many fans with his latest film, “The Deliverance,” a horror movie. Though Daniels is primarily recognized for his work in drama, this new project blends supernatural elements with a deeply personal family narrative based on true events.
In “The Deliverance,” Andra Day stars as Ebony, a single mother caring for her three children (Caleb McLaughlin, Demi Singleton, and Anthony B. Jenkins) and her ill mother (Glenn Close) in a house that appears to be haunted. As the family grapples with demonic forces, Ebony also contends with a concerned social worker (Mo’Nique) who grows increasingly anxious about the children's welfare. The film draws inspiration from the infamous “Demon House” case in Gary, Indiana, with Ebony’s character based on Latoya Ammons, the real-life matriarch of the afflicted family.
Daniels, who directed the film from a script by David Coggeshall and Elijah Bynum, discussed the spiritual themes of the movie, Glenn Close’s distinctive role, and why he believes he might not make another horror film.
What drew you to direct your first horror movie?
After finishing “Precious,” I was initially hesitant about this script because it seemed similar in its depiction of abuse. My mother also discouraged me, fearing that working on a horror film would expose me to negative energies since she believed I was an open portal for them. Despite this, the story lingered with me. We’re living in challenging times, and I aim to tell stories that resonate with the current climate. For me, this film wasn’t about the jump scares that Netflix initially envisioned, but rather about seeking a higher power.
In the film, a dysfunctional family finds a higher power, and I believe that’s what we all need in these dark times—whether it's through Buddha, Allah, Jesus, or simply a deeper understanding of ourselves. It’s about learning to love ourselves more in a world where the future is uncertain. My intention was to use the horror elements to push viewers toward that higher power, though I’m not sure if I succeeded.
Ebony endures a tremendous amount throughout the film but remains steadfast. How did you and Andra Day develop such a complex character beyond what was on the page?
Our collaboration was enhanced by the strong connection we built on our previous project, “The United States vs. Billie Holiday.” We have a unique shorthand, which made it easier to delve into this character together.
I was eager to work with her again, particularly because of her deep spirituality as a born-again Christian. Her authentic spiritual practices, including speaking in tongues, brought a genuine depth to her performance. By the end of the film, when she’s speaking in tongues, it’s truly her connecting with God—something she does at church. Her performance was so compelling that my assistant director asked if we were rolling, and I decided to capture every moment of it.
What horror films have influenced you?
I haven’t seen a film quite like this one. I’m not generally a fan of jump scares unless they’re executed exceptionally well. Recently, I enjoyed “Talk to Me,” but my approach is different. I aimed to create a grounded experience, reminiscent of classics like “The Exorcist,” “The Omen” (parts one and two), and “Rosemary’s Baby.” I wanted the audience to connect with the characters as real people, creating a sense of familiarity before shifting the narrative. I hoped to pay homage to these films while offering something unique.
Some of the human characters in the film are arguably the most frightening aspects. In fact, the revelation of supernatural elements can feel like a relief, reassuring viewers that Ebony hasn’t lost her mind. How did you manage to heighten the tension in this way?
I believed the horror would only be effective if we fully invested in the realism of the situation. The film depicts a reality where the children are taken away by a social worker, leaving Ebony to battle both the demons in her house and the legal system for her kids. This raises questions about the nature of abuse—how do you differentiate between a disciplinary action and actual abuse?
I wanted to portray Ebony as someone who is tough and capable of standing up to anyone, yet also deeply conflicted, especially when confronting her own son.
Did you interact with the real-life family during the making of the film?
Yes, I spoke with Latoya Ammons twice—initially to secure her rights and then once or twice more with follow-up questions. I chose not to meet her in person, partly due to my own apprehensions and what my mother had expressed. I aimed to tell her story with some creative liberties, such as changing the race of her mother and relocating the setting to Pittsburgh instead of Indiana, to create a degree of separation from the real events. Ultimately, my goal was to convey the essence of her journey towards finding a higher power, and I hope she finds the film to be a respectful portrayal of her experience.
Audiences have never seen Glenn Close in a role like this before. How did you approach this with her?
At first, Glenn didn’t quite grasp the character. About a quarter into the shoot, I asked her to gain weight and had the costume department adjust her outfits to fit her new size. When she noticed the changes, including some cellulite, she was surprised. I explained to her, with the help of Mo’Nique and the African American women on set, that this is a reflection of our real lives—a sense of body positivity that Hollywood often overlooks. Glenn found this experience liberating, and it was a huge compliment to me when she publicly spoke about the freedom she felt, which many Black women experience regularly.
This character is a fresh depiction. She’s someone familiar to many African Americans—strong, deeply connected to her community, and without the negative stereotypes. This unique portrayal was one of the reasons I was eager to tell this story.
Your mother was concerned about the energy surrounding this film. Did you sense any of that while working on it?
I had a deliverer on set throughout the filming, both to assist Aunjanue Ellis-Taylor, who plays a deliverer in the film, and to offer protection for everyone involved. I’ve read about the eerie experiences during the making of films like “Poltergeist” and “The Exorcist,” and I was determined to avoid any negative influences. We prayed daily for protection, though Netflix’s HR raised concerns about the potential offense of our prayers. We worked out a compromise where I made it clear that those uncomfortable with the prayers could opt out. Most of the 200 crew members chose to stay, understanding the need for protection.
Would you consider directing more horror films in the future?
No, I think I’ve checked that box. Known primarily for my dramatic work, I wanted to challenge myself in a new way. This film had a different pacing and presented a valuable learning experience. If there were ever a “Deliverance 2,” I’d produce it but not direct it. The process was intense and lengthy, so I might try my hand at a romantic comedy next—though, to be honest, that’s a stretch! [laughs] I’d probably need a whole new set of skills for that.
Are there any other genres you’d like to explore?
I’m interested in creating a grounded superhero film. I’m currently developing a series for Disney+ and a separate film, both featuring superheroes. I haven’t seen a superhero movie that feels truly grounded and relatable, and I’m excited to explore that space.
Despite my interest in superheroes, I plan to stay primarily within the drama genre. I draw inspiration from directors like John Cassavetes and other classic filmmakers who delve deeply into the human condition.
What’s the future of “Empire”? I know the Cookie project didn’t come to fruition, but are there any new developments?
We’re focusing on “Star” for now, as that seems to be what fans are most eager for. I initially thought “Empire” was the main draw, but there’s significant interest in “Star.” I’m planning to work on a movie featuring Queen Latifah and the cast from “Star,” which should be exciting for the fans.
