![]() Everybody worked together to figure it out, ''How can we get this? How can we build it? How can we create something that feels like it is moving?" This is a handshake between every department, including costumes. Villella: Weren't there multiple moments where we were like, "Maybe we should just cut it?" Then, we were like, "Absolutely, under no fucking circumstances."īettinelli-Olpin: This was a testament to how great everyone on the crew was. Thirty percent of pre-production was like, "How are we doing this subway sequence?" We tried to get a couple in, but they were too heavy and were tipping. In the back of our heads, we thought, "We'll get a subway and retrofit it and make it look right." Then, we found out that was off the table. What were some of the challenges?īettinelli-Olpin: The challenges of getting that on screen started in pre-production when we learned that we had no idea how we were going to do this in terms of getting a subway car. The subway sequence proved to be one of the most difficult to film. It was making sure that it's complex enough that you feel that it's two worthy adversaries squaring off each other. The legacy of these movies is such a nod to that. Maybe I am running down the stairs," and she's shooting more holes in the door… That is an awareness, given her experience. She is going to use all of them against Ghostface. It was essential there were enough moves to prove that Ghostface is terrifying and that Gale, even as a survivor, is up against a worthy adversary. We loved the idea that they are going to be outsmarting each other and besting each other throughout that sequence. The elaborate moves within that sequence are you have this iconic character who survived five movies and five brushes with death. We were certainly waiting for and excited by the possibility of Gale's first phone call. Gillett: I think there was all of this potential energy in that interaction. That kill in the alley definitely plants that seed. All of that is going to spill into a public space. They are not interested in staying hidden, necessarily. ![]() The Ghostfaces in this movie are going to take risks that we haven't really seen before. While that Ghostface doesn't survive the opening, it sets up this idea that we are in the city now. There's plenty of smoke and mirrors in this sequel. The opening scene sets that up perfectly. It had to walk that tightrope the entire time. We had to make a movie that would leave you guessing the whole time and feel dramatically different than the previous movie while still feeling like a Scream movie. I am riveted." That reaction really shaped the way we read the rest of the script for the first time and how we approached making the whole movie. Matt Bettinelli-Olpin: When we read the script for the first time, and we got to that first turn… five minutes in, page five, give or take… We all had that moment of, "What is going on? What is this movie? I have no idea where this is going. How much did you enjoy defying those expectations? What kind of tone or message does it set up for the rest of the film? Radio Silence is represented by UTA and Brillstein Entertainment Partners.Laura's death was not your typical Scream opening sequence. Young are overseeing the new “Escape from New York” for the studio. The film brought in $140 million worldwide this January. ![]() The new “Scream” and its self-aware “lega-sequel” packaging did particularly well at the box office, reuniting the original franchise cast with new talent to fantastic effect. Radio Silence in particular has proven more than capable of reviving a franchise. The company is also working on new entries in the “Planet of the Apes” and “Alien” franchises. Like most studios, 20th Century is mining its IP for new (or, at least, new-ish) spinoffs and reboots of classic properties see the recent success of the “Predator” prequel “Prey” on Hulu. Studiocanal also has an overall deal with The Picture Company. “Escape from New York” is in the Studiocanal library, and the company will retain distribution rights to the film in some international territories. ![]() How ‘Scream VI’ Directors Brought in One of Their Favorite Scream Queens for a Killer Opening Sequence ![]()
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