The dark, modern take on Red Riding Hood has arrived on DVD and Blu-ray after a theatrical run. In the original release window, director Catherine Hardwicke spoke about the film, sharing insights on casting Amanda Seyfried, the film’s score, and other fairy tale projects she would consider pursuing.
Hardwicke explains that the idea came from Leonardo DiCaprio and his company, who envisioned a modern take on the old tale, even before the Brothers Grimm, with a werewolf pursuing Little Red Riding Hood. A writer, David Leslie Johnson, was brought on and a script circulated for consideration. The director found herself intrigued by the visuals she had gathered and felt a fresh approach could work. She proposed changes to the script, including redefining the grandmother as a tough, independent figure who roams the woods, capable and sexy, not a frail elder. The studio responded positively, and Hardwicke began refining the world with the writer and an artist. [Source: Interview with Catherine Hardwicke]
The director explains that a contemporary score was key to winning studio support. She created drawings and a teaser trailer featuring Fever Ray to convey the film’s potential sound. Fever Ray’s Karen was described as a bold, inventive artist, and her music helped illustrate a modern, edgy mood beyond traditional orchestral scoring. Fever Ray contributed a track for the festival, while Brian Reitzell, known for his work on Sofia Coppola’s early films and his background in a punk scene, served as the score’s main composer. He blended old and new textures, combining a hurdy-gurdy treated through a synthesizer and electronic keyboards, then looping it through effects as the orchestra joined in, resulting in a layered, hybrid sonic landscape.
The director names two standout moments. One is the festival sequence, cherished for its music and dance, particularly the alluring dance. The other is the moment of the line What big eyes you have, captured in a striking shot where the camera focuses tightly on a single detail in a bed scene while the rest blurs. The effect was achieved with a lens designed to draw attention to a single element while letting the background fade.
The director explains that Amanda Seyfried was the clear choice for the role of Valerie. Seyfried has a fairy-tale presence with eyes that seem to leap off the page and convey deep emotion. Hardwicke had long admired her, recognizing her range across comedy, romance, and drama, and noting how she can be hilarious in one film and soulful in another. A defining moment came at an autism benefit gathering, where Seyfried’s simple, heartfelt reading captivated Hardwicke and left a lasting impression of her ability to draw the audience in.
On reflection, the director notes that given the nature of filmmaking, more time is often welcome. With a 42-day shoot, she recognizes both the advantages and limits of a tight schedule. She jokes about budgets, noting she has never enjoyed an abundance of funds, yet acknowledges that extra time could permit more experimentation and refinements that might have enhanced certain aspects of the film.
The recurring line All sorrows are less with bread ultimately traces to Cervantes, author of Don Quixote. The idea originated as a tweak suggested by Julie Christie, who plays the Grandmother. Reusing the line as a motif helps persuade the audience that the second utterance carries the grandmother’s hand. The effect is eerie, but comforting: sharing bread eases sorrows, whether in a crisis or elsewhere.
Asked about a future fairy tale project, the director says Cinderella would be a compelling pick. She enjoys the imaginative visuals, the pumpkin and glass slipper, and the familiar sibling dynamics. Fairy tales, she notes, allow audiences to explore desires and fears without judgement; they embrace wicked stepsisters and dramatic conflicts, guiding characters toward a hopeful ending. That openness is part of why these stories endure and why they allow audiences to engage with odd and eerie themes.
She would indeed tackle Cinderella with the same bold, dark edge.
The interview closes with appreciation for the director’s insights.