Insidious: The Last Key doet het tegen alle verwachtingen in zeer goed in de Amerikaanse bioscopen, want opvallend is aangezien januari en februari normaal 'dump' maanden zijn voor slechte films en horror het juist goed in oktober. Ondertussen draait deze film ook in de Nederlandse bioscopen, en gaat de PR onverminderd voort. Zo had de website Collider een interview met Adam Robitel en daar van kan je hier onder alvast een stukje lezen.

The Insidious films have stayed in James and Leigh's hands until now, so how did this project come to you? How did you get involved in the Insidious universe?

ADAM ROBITEL: Well, I had known James Wan personally. I had also been in a couple of horror films with Lin Shaye as an actor. I knew Lin, and we'd go up to Lin's house. Sometimes she'd have dinners. And then I met James through her. We were in the periphery when made my first film, The Taking of Deborah Logan. James was very supportive and was very lovely in the press, and sort of nurtured it. So, we have this previous relationship. And then when Leigh Whannell decided he was not going to direct Chapter 4, I was sort of put on a short list, and kind of was vetted over that Christmas break. I kind of put together a really strong presentation, lookbook, and animated storyboards and just a concept art. And was vetted by Blum, and then ultimately was sanctioned by Leigh and James to kind of jump in. And obviously, you know, had a big responsibility to kind of stay within the boundaries of an Insidious film.

Was the script already written at that point? How pinned down was the story?

ROBITEL: Yeah. There was a draft. I mean it was much more ... It did not have a demon at that point. I mean, it had a lot of the ideas that ultimately were in the movie, but we went through a series of revisions and loved this idea of keys and locks, and locking a part of yourself away. And so for me it was like I really wanted something iconic in terms of a demon, I always think of the Lipstick Demon or Man Who Can't Breathe, I felt like an Insidious movie needed that, sort of the big bad, and so out of those earlier development sessions came a new draft with this idea of this puppet master that Lyn Shay's character happened to let into this world, using her as a conduit, opening the first door to the Further. And so for me, I really felt like if you're gonna make a movie about Elise's origin story, she's sort of like a superhero. She's not really afraid of ghosts, and so you need something that really, really scares her. How do you do that? Well, you play her psychology. You play on the thing that she hates the most, which is this relationship with her father, and his distrust of her, and the fact that she lost her mom in this formative event when she was younger.