The Curtis Hotel is right across the street from the Denver Performing Arts Complex--a city block "hollowed out" in the middle that houses Denver's premier venues: the ones for the opera, the ballet, the symphony, and touring companies of Broadway productions. On a hot day in September, I walked through the complex, under the four-storey-high glass canopy, to the Curtis. It's a fun place, this hotel; the floors have themes. I met Jim Mickle on the superhero floor, on the morning his film was to screen at the 4th Mile High Horror Film Festival. He's a tall guy, affable, friendly, and not at all what I was expecting after watching his sober, dense, matriarchal horror movie We Are What We Are. I expected, at the least, a tweed coat with leather patches on the elbows. On the last day of publicity for the film, after which he was returning to editing duties on his adaptation of Joe Lansdale's awesome noir Cold in July, I promised I would try to avoid asking him questions he'd already answered a few dozen times before--although I couldn't resist bringing up Kelly McGillis and Witness because, yeah, I'm a big, giant dork. We started off, though, talking about Antonia Bird's Ravenous and his own film's Ravenous feel.