Hannah MacPherson stands out as a visionary director. Having successfully helmed popular series like School Spirits and Trinkets, MacPherson returns with an exhilarating, high-concept slasher film that promises to captivate audiences globally. Co-written by the talented Freaky‘s Michael Kennedy, Time Cut masterfully intertwines the horror and sci-fi genres, ensuring a cinematic experience filled with unexpected thrills and suspense.

Launching on Netflix just in time to coincide with Halloween festivities, Time Cut follows the gripping tale of high school senior Lucy (Madison Bailey), an aspiring inventor who discovers a method to travel back in time to 2003—the fateful year her sister Summer (Antonia Gentry) was brutally murdered by a mysterious assailant. As Lucy races against the clock, she faces a heart-wrenching dilemma: to save the sister she never had the chance to know, she may have to sacrifice her own existence.

In this exclusive interview, MacPherson engages with Collider’s own Steve Weintraub to delve into the tried and tested rules of time travel established by renowned filmmaker Robert Zemeckis in his iconic film Back to the Future. MacPherson expresses her passion for the collaborative process of directing actors and the essential craft of refining their performances during the editing phase.

A Dream Conversation: Which Oscar Winner Would Hannah MacPherson Choose?

COLLIDER: With some extra time on hand, I like to throw in intriguing questions to get to know individuals better at the start of an interview. If you could have an hour-long conversation with any actor or director who has passed away, who would you choose and why?

HANNAH MACPHERSON: Wow! Do they have to be deceased?

No.

That’s a fascinating question!

MACPHERSON: I would choose to have a profound hour-long discussion with Tom Hanks. I believe he is the most incredible actor of our time. His unique ability to transport audiences to various settings in each of his films is remarkable. While there are certainly actors who maintain a consistent persona across their projects, Hanks stands out for his diverse portrayals. As a filmmaker, I would relish the opportunity to explore his creative process—what drives his decision-making, the directors he admires, and the distinct styles that shape his work. Everything he touches seems to shine, and I deeply respect that commitment to curating a meaningful body of work that resonates with the human experience.

It’s really refreshing to hear that about him.

MACPHERSON: Is that genuinely the case?

It’s astonishing how genuinely nice he is. I can’t emphasize enough how positive my impressions are of him. He truly is an exceptionally kind individual.

Exciting Developments: ‘School Spirits’ Season 2 Promises to Be Epic!

Expect the Unexpected: “So different, much bigger, much crazier, and not at all what you anticipate!”

Reflecting on your career, which shot or sequence has posed the most significant challenge for you?

MACPHERSON: Well, I’ve recently worked on some projects that I probably can’t discuss in detail.

Or can you? [Laughs] Just teasing, I wouldn’t want to put you at risk here.

MACPHERSON: I just directed four episodes for Season 2 of School Spirits. During this season, we achieved some crazy feats. I was at the helm for the first two and the last two episodes. It genuinely feels like Season 2 has transitioned from “Season 1 was one thing” to “Now, this show is going to be something entirely different, much bigger, and much crazier than anyone anticipates.” This includes remarkable feats like submerging entire sets underwater and executing stunts I’ve never attempted before. These technical challenges have tested my skills as a director.

The Blumhouse film Pure, which I directed for the Into The Dark series on Hulu, presented its own obstacles due to a tight shooting schedule of just 16 days. It featured a talented ensemble cast, which required me to cover a lot of ground. At my core, I’m an actor’s director. I am passionate about collaborating with actors, ensuring they have the time to inhabit their characters fully. However, the chaos of a fast-paced shoot can complicate this process, making it challenging to achieve the depth I seek in performances. For me, that’s the most arduous aspect of directing.

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Peyton List Talks ‘School Spirits,’ the Satisfying Season Ending, and the Final Season of ‘Cobra Kai’

“I read it so fast because I wanted to find out [what happened]. I was on the edge of my seat. I couldn’t stop crying,” says List of the finale.

It’s truly remarkable. I have the privilege of conversing with numerous individuals about their experiences in creating films and television shows. One recurring theme I hear is the universal desire for more time on set. Time truly is the most precious resource in filmmaking.

MACPHERSON: That sentiment rings true.

Unraveling the Time Travel Rules in ‘Time Cut’

Embracing Simplicity: “Less is more. If you can, don’t talk about it.”

Jumping into the heart of our discussion, how did this captivating concept come to life? Was it always your ambition to create this film, or was it inspired by another script? Tell me about the origin of this project.

MACPHERSON: I was introduced to Michael Kennedy’s script for Time Cut and fell head over heels for it. I had the privilege of doing some rewriting to emphasize the theme of sisterhood within the narrative. The essence of the story is truly Michael’s brilliance. What a spectacular concept to combine elements of sci-fi, horror, time travel, and slasher genres! From the moment I read it, I knew it was a perfect fit for me. The emotional core of the story, revolving around the love between two sisters, truly resonated with me.

Time travel and science fiction are among my favorite genres. One interesting aspect of time travel films is the temptation to delve deeply into the mechanics behind the concept. How much did you and your team debate regarding how much to reveal about time travel, its rules, and the intricacies involved?

MACPHERSON: I wish I could reclaim the hours we spent discussing how much to disclose, what should happen in the third act, and all the hypothetical scenarios! We even sketched out diagrams detailing Quinn A, Quinn B, Quinn C, and so on.

However, I believe this genre is challenging for a reason, and I took inspiration from Robert Zemeckis’ philosophy: “Less is more. If you can, don’t talk about it.” I find this advice invaluable. There were earlier drafts of the script and film that over-explained the time travel aspect, but they felt unsatisfying. The more we dissected it, the more plot holes emerged [laughs], and those holes are always there.

I’ve learned that your imagination holds immense power. Therefore, as much as possible, lean into the audience’s imagination.

MACPHERSON: Absolutely, what you said is spot on. Audiences naturally fill in the gaps in a beautiful way. Yet, if you over-explain, you run the risk of creating a narrative where they feel justified in their assumptions, even if they contradict yours.

The Editing Process: Discovering Unexpected Insights

Guidance through the Editing Journey: “You find your North Star, and you let that guide you.”

I am deeply intrigued by the editing process. You briefly mentioned it, but when you enter the editing room and screen the film for friends and family, what insights did you gain from those early viewings? What significant changes ended up shaping the finished product?

MACPHERSON: Editing is truly the third phase of filmmaking, and it’s my favorite! While I thrive on set, surrounded by actors, I become genuinely excited to roll up my sleeves and dive into the editing bay with an editor, making decisive choices. I don’t get emotionally attached to scenes—I’m willing to cut them without hesitation.

The most rewarding aspect of this film, like many projects I work on, is achieving the right length. This involves discerning what