Watch The Invisible Man w/ Director Leigh Whannell! – Watch From Home Theater

published on July 2, 2020

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hello and welcome to watch from home

theater this is our brand-new show where

we here on Cinna fix and IGN we can

still watch movies together which is

super exciting even though while we're

all stuck at home I'm Clint gage and

joining me in this cozy little

livestream are IGN's Terry Schwartz and

Brian altano guys how you doing good how

are you excited to be here yes yes today

we're gonna be watching The Invisible

Man and talking about it while we watch

and joining us to do that the the most

important person here no offense to you

guys is Leigh Whannell writer and

director of The Invisible Man Lee thanks

so much for being here how are you doing

thank you I'm good I'm good I'm in my

office

I hope you don't mind a friend joining

us that was a very very terrifying and

on-brand pan yes yes I appreciate that

to get to it so we can show everybody at

home to see the detail on the I oh wow

is there like sweat in the side of his

head he's not yet swimming this this I

do have a couch bed in my office and

people staying here and that statute

makes it very difficult for them to this

is where I wrote The Invisible Man oh no

in this room so yeah you can see there's

my little toy collection behind us I

love it

what's your favorite toy back there what

do you got back there well I mean if the

Ani doesn't count no I

the Arne is something else entirely

that's worth of fear standing in your

game the Jack Torrence oh he's awesome

beautiful yeah I do love the little

likeness had to find this one hard to

find I think it was made in Japan but

that's a good one like I know it very

good

you look at the likeness and you're like

sorry no there's a Jack Burton here that

I like

oh he's lazy I think that's the hot toys

yes is that a Lebowski back there there

is a Lebowski there's a skillet or this

one this one I found in a toy store in

Turkey believe it or not can we get just

like bobbling with the head that is

horrifying I love that there's a lot I

could probably take up two hours just

sort of talking my favorite thing about

having the Terminator like hovering in

the background as you wrote The

Invisible Man is like he is yeah it's

yeah he's he's good he's a company you

know I just love that um I love that

film I love the original terminator and

I had to get the original I didn't want

the Terminator 2 version be the original

mm-hmm

the jacket is sort of that little Bette

hairdo that he has in the first one

sorry I'm taking it and you guys have

got toys in the background as well

I mean I'm yes Brian yeah Brian's toy

game is pretty legit there's a lot going

on back there SuperMario some mad

magazines down there hmm

that's the believe that's the 1978 Star

Wars version of Mad Magazine he had bib

Fortuna he was one of the basically

Jabba Jabba the Hutt's bodyguard I think

YUM and he's got very sensual human legs

for some reason I feel like this toy did

not sell well the children's universe

characters I don't know that there's a

huge bib Fortuna kind of cult out there

a one-man army right here maybe me

you're more of a max rebo guy you know

part of the Jabba's palace Ben

the keyboardist as you can tell I'm a

huge fan of all the aliens and Jabba's

palace and creatures and monsters in

general so sorry go ahead

you know I was gonna say like that this

is like your desert island like if you

can only bring so much what are you

praying because like a fans of IGN

should know that Bryan has in max has

the most amazing collection of toys and

collectibles at the IGN office but you

actually went you were like these are

the only ones that like I can bring with

me yeah we were told we couldn't go to

work anymore and I very male also snuck

in on the Sunday morning where the

office was dead yeah yeah that's like

the opposite of following that actually

I had three big grocery bags and I

filled them up with toys and walked 6

feet away from the security guard and he

looked at me like I have a good weekend

so looting now I remember working at a

website in the early 2000s remember the

first dot-com boom yes for the first one

where they got it wrong and they were

like it's like TV we should spend money

like they hadn't figured out yet that

you make the users provide the content

right and I worked at one of those early

calm like the Australian version of like

what was that one that Spielberg and one

Howard was a pop com

yeah like proud content that would be

made in-house mm-hmm I think a couple of

wealthy companies in Australia spent

like 50 million each creating this

website and I was like I was like eh I

guess I'm 23 years old I was like the

movie guy and it was hilarious because

it was like the inmates running the

asylum like I would come in and it would

it would literally hey like the older

guy who's actually in charge of

everything financially would be like

whoa what do kids like and then whip pan

over to me with my feet up on the end of

the conference table just going let me

tell you crusty I'm an expert in youth

all right I am like your

fired the dude would tell us

doest thou Oracle of youth and job down

until one day it lasted for about six

months and then one day these weird guys

in suits it was very early two-thousands

open plan office exposed wooden ceiling

beams and lots of people sitting on

inflate on inflatable balls instead of

chairs

everybody had those Apple computers that

you could see the guts of the monitor

yeah and these guys came in in suits and

we're like and we're looking around like

who are these you know people that look

like Hugo Weaving

from the matrix and one of them said we

are from you know William Peterson and

shave us and you know me we want

everybody to pack up their things

this company is done and and so we had

to get out of there and I had a security

guard doing pack towns and I managed to

get a DVD copy of the three amigos and

the Terminator that day in my pants the

security guard who was doing Pet downs

at the door did not find the DVDs and um

at the right spot journey I didn't

expect I don't know how many people are

still watching besides I think that

pretty much logged off after that story

only the diehards are still listening

and they're the only ones I want the

pure truth that's true right now now

that we've weeded all the tour is so

[Laughter]

what we're gonna do today we're going to

be watching The Invisible Man if you

want to watch along with us we'll be

talking over it with Lee getting some

commentary and some insight into the

movie so what you do go to the Invisible

Man movie dot-com to rent the film so

that you can play it at home along with

us

so that's Invisible Man movie calm to

rent the film and go ahead and go make

sure that's all squared away and

queued up we're gonna start it right

from the start from the very top of

universal logo here in just a minute so

while you guys are getting that sorted

out let's just start talking about the

movie really generally legally what what

was it about the Invisible Man that was

that was interesting to you what made

you want to make this movie in the first

place

well it wasn't something that I was

burning to make it wasn't something that

I was pursuing you know like I've just

got to make my dream Invisible Man

project I knew about the character in

the same way that you know my

grandmother knows who Dracula is like

everybody knows who the Invisible Man is

pretty much on the planet and and but I

hadn't thought about that character it

was I had just finished making upgrade

and I was really happy with how that

turned out

given the money in the resources had a

name

you know you really get bitten by the

action-movie bug you know making movies

involving actions stunt sequences

whether they're fight scenes or car

chases it's a very addictive drug it's

really it's um as you guys know a lot of

filmmaking is quite monotonous you know

anyone anyone who's ever visited a film

set lasts about 10 minutes usually

because they're like oh I get it

it's completely boring and it doesn't

seem like anything's happening but

that's not the case with action stuff

like with action stuff in your heart

really is racing when you're like three

two one action and two cars smash into

each other like you really have to do

that you know you really do have to and

it's way more mind-blowing in person

you're like in a movie you've seen a lot

of car wrecks so it's not exactly

mind-blowing believe me in person you're

like so that stuntman is gonna drive

that car into that wall huh lives we're

doing this on purpose huh that's great

yeah I'm like well and and so

the parade Oh more walkies more fight

scenes and then this movie dropped into

my lap if you had told me at the end of

upgrade the next movie you make is gonna

be mostly set in one house and it's

gonna be a domestic thriller about a

woman I would have thought you were

crazy I would have been like no no no no

the next film is is gonna be you know

the matrix so I went to a meeting and

somebody at the meeting suggested the

Invisible Man just the title and that's

how it all came about and it it kind of

crash-landed into my life you know to me

as opposed to me like seeking it out

I was incepted like I went away I walked

away from that meeting and I couldn't

stop basically the end of the story is

that the person at that meeting said

what would you do with the Invisible Man

and and kind of like Ron Livingston in

office space where he just keeps failing

upwards

it's like witness when there's no

pressure you're at your best what do you

do here at this company nothing that's

kind of because because I'd never

thought of making an Invisible Man movie

in my life

you know if somebody asks you what you

would do with the Star Wars movie in

your live stream is it to make a Star

Wars movie you're like well so what I'm

thinking is it hot in here I'm sweating

there was none of that for me there was

no desire to make so when the guy said

would you do the guy said when the guy

said what would you do with I was like

just no pressure I was like well I would

probably have a woman escaping a

relationship with a guy and she goes

into hiding and then he then he comes

after her but he's invisible that was

and then and then when I left that

meeting I couldn't stop thinking about

it and I was like actually that might

make a good film and I could see an

opportunity to make it scary

basically yeah I read us a story that

you had said that the folks at Universal

we're talking about well how do you make

a character like the Invisible Man your

protagonist in this today's modern day

and age especially because it seemed

like the the other iteration of the only

physical man they were looking to do

before was gonna focus on that character

and your response as far as I had read

was that you were like well you don't he

is the villain like he is a Tron guy and

and you kind of just run the entire

script in this movie on the perception

that I rewatched Holloman which was

obviously inspired by the Invisible Man

as well and I was like oh my gosh coming

off of this modern version and then

revisiting that it's like a completely

different context of positioning that

character and it's it's so much more

interesting now to see what you did here

yeah oh thanks for saying that I mean I

guess yeah that was my instance the more

mysterious The Invisible Man is the

scarier it'll be usually usually

Invisible Man story's going back to that

original novel and that original James

Whale film have focused on the Invisible

Man is the total character my instinct

was let's make it about somebody who is

being hunted by this thing like that

then then then you get to live the movie

through the eyes of that person and you

get to be as scared of the invisible man

as she is that was that was just my

first instinct anyway I tried to keep

that answer short to allay the sheer

panic that I could see in your eyes

before when you were thinking is every

answer to every any question we asked

during this next two hours going to be

as long as these stories he's spinning

off I think I'm gonna start a counter

I'm gonna start a running counter of how

many times you put your sunglasses on

put your feet up on the gas let's go

ahead and make it three right now and

let's get into the movie where somebody

does that oh is that like am i thinking

of like the secret of my success or

something it's a very Michael J Fox

thing to do

it really did like yeah you nailed are

you doing doing surprisingly well

Michael J Fox yeah all we ask is it at

the end of tonight if you want to go

outside and slide across the hood of a

car

most of Michael J Fox is if you look at

Back to the Future which is arguably his

most popular role he's all kind of

unsure of himself and like you build a a

time machine out of a DeLorean but if

you look at the rest of his era he

tended to play the confident guy yeah he

was he was Doug Hollywood for God's what

I feel I feel like at some point in

there we had a clean segue to start the

movie but it's it's gone now so let's

get into it so again I everybody I get

the movie rinse it get it queued up to

the very beginning of of the film and

I'm just gonna go ahead and count us in

and we'll start watching this thing so

we're at zero point zero seconds here

the universal logo is opening up and

let's play it on three three two

one play

how'd that work for everybody early on I

should also mention wherever you are go

ahead chime in I I will also mention be

sure to mention that it wherever you are

watching along with us make sure you

leave a comment either on YouTube or in

the IG and discord wherever you happen

to be following along with this we got

producer Nick is keeping an eye on the

comments and the questions so if you

have anything you want to ask feel free

to put it there and we'll be keeping an

eye on that he is our Invisible Man for

this stream right I was I should say

just to start it off there I was given

the option of what if the invisible what

if the universal logo disappeared went

away

you know how it's some type movies these

days tend to want to incorporate the

logos into the movie which I which I

like

I saw a cool one the other day for

zombie land to where the Columbia

woman's that's bashing the zone and so

they said do you want the low do you

want the globe here and I said no

because I didn't wanted to step on this

title sequence I was like ah I don't

want to put a hat on a hat like I want

the credits with the logo stealing my

thunder like I think can you just tell

everybody that you put the invisible man

in the house logo like he's in the room

there was everything before these

credits finish I was I was really happy

with what green house was the name of

the visual effects company that did the

credits I was really happy with a credit

sequence cuz I'm a huge opening credits

fan I love title sequences and and I was

I don't know I guess you always want

people to be talking about it

but I am really happy with how they

turned that I love this whole opening

sequence for a lot of different reasons

the first being used don't think any

dialogue for the entire thing which I

know is the irony of hangover it right

now but it's so tense you're doing it's

all physical storytelling and the camera

and Elizabeth like saying what's

happening but it's also that you drop us

in at this point after so much has

happened

like we we at least as far as she thinks

right now or towards the end of her

story where she's making her escape but

we get all the context we need of like

what she's experienced through watching

her escape and I think it's really

interesting I mean I've seen you talk

about how you were debating finding that

balance right between whether to

actually show any abuse that happen or

just start after the fact right yeah I

mean there's so many different versions

like I think I still have right in my

drawer here this is open my home office

I have the scene cards let me grab them

[Laughter]

okay you're saying we should we should

have just had to talking off screen this

whole that's it so these are the

original same cards so cool that I had

mapped out on my little board so let's

see what it says first

oh it says credit sequence invisible

titles invisible title cards revealed

through mist that was the first idea hmm

okay so it was a different opening in in

the original opening says military

officer search so it was a bunch of

people coming to his house and looking

for him with like heat-seeking you know

goggles so I guess it went through a lot

of it went through a few iterations

before I hit upon that opening and I

feel like um it was the best way to do

it was just to drop the audience right

in there like he said with no

information and um III felt like it was

the best way when people read the script

because anyone who read the script the

producers or people involved would

always say like I love this opening

sequence and so you you sort of start to

get the feeling that it's working you

know by people most of the time when

people give you their thoughts on the

scripts they're telling you what's wrong

with it on the rare occasions that

people that feedback will they'll write

in the great say yeah but I

I think the trust of the audience comes

into play because you like when we test

bring the movie people would say things

like well I didn't like the start I need

more information about what she's

running away from but the the problem

with the test screening I don't know

what thoughts you guys have on this

subject of test screenings is sometimes

I feel like if you put people in that

situation and you ask them for an

opinion they'll give it to you don't

think of something right right you're

not I mean it's like looking for

something ya know you don't usually view

a film in the context of let me write

down what could be better do you not I

mean like sitting down from the start of

it saying like I'm gonna find five

things I don't like about this girl

right ya know and instead of sort of

deliberately experiencing something the

way it was set out to be you kind of

approach it with the with the mentality

of I must nitpick this immediately

because they'll change anything and then

I can tell my friends I change this

movie forever yeah totally this scene

like is a prime example of how you start

like a lot of the tension in this is the

questioning of where Adrian is in

corners right like where is the

invisible man in a scene we can't see

but I love that you start playing with

this idea of the camera being its own

character and its own perspective for

the audience separate from her so early

on like at quince when obviously he

wouldn't be invisible because we seem to

see him in England yeah totally I mean

that was something I wanted to do from

early on even during screenwriting stay

during the script writing stage I was

like I want the camera to kind of tap on

the fourth wall in the sense of I want

it to like move away from characters

that are talking and and try to create a

language that was was this movie's own

language even a little bit you know

we're not reinventing the cinematic

wheel but even if the if any movie that

I make I try to think of one thing he

has that belongs to this movie

you know like in upgrade you had that

thing where they kind of locked to the

actors mm-hmm

in fact one with that camera

panning away most of the time I was

thinking are we doing it enough like it

in the editing stage I was like have we

done this enough for people to notice it

and what you realize when you release a

film is anything anything you do that's

different even a little bit different

yeah it doesn't have to be much of it

for critics and pundits and audiences

and people on social media to really

pick up on it this shot right here to me

is yeah first time we pan to the empty

hallway this is the whole movie for me I

love this this especially like right

here in the beginning and you just set

up the sound design of the suit in the

lab to preview that like insect crawling

up you at the back of your neck kind of

sound and drop some of that in there too

so this this pan to an empty hallway is

is so cool and sets up the movie so so

well oh thanks yeah I mean it was kind

of the first time we were doing that in

the pan trying to set up the language of

the movie and and as I said during

editing I was like do we believe they're

doing more of this you know do I need to

be doing this more Halle Lizabeth we

need to go back to their house it's it's

um I guess I guess it's that thing in

art it's so subjective like you'll never

know what was too much or too little you

just have to try a version and maybe if

I did that pan every second shot do you

think you would like it as much or would

you be like they're doing this too much

they over playing their hand I think I

am always a fan of less is more I think

it probably it's the type of thing that

that you know when you especially at the

beginning you build up to it later

especially when boilers this is called

the Invisible Man he's around he's

invisible later but I think like that

Panda that Clint pointed out in

particular is one that really stood out

to me early on too because I was like oh

is he there and you kind of just feel

unsettled because I watched a really

great video breakdown kind of discussing

how you were I think inside are made it

discussing kind of the camera movements

and how traditionally in filmmaking when

the camera pivots and

positions on something it's because it

wants you to see something there

so when it moves and you aren't seeing

something you're like oh my god what am

I missing like what is here and it makes

you almost certainly drew a focus on it

I mean now is he that was exactly the

reason for doing it was was because the

audience is so knowledgeable about

movies that like for instance look at

this shot coming up I wanted a lot of

these see this shot on her back like I

wanted a lot of shots on her back

because I think in the audience's mind

we've been taught to think that that

must be somebody's perspective if we're

looking at the back of someone's head

right for me it was a way of making the

audience more tense was to be shooting

her at these odd angles and trying to

make the audience think wait a minute

should I be nervous right now like I

never want to let them off the hook in

any way yeah yeah I also I I really

appreciate the sound design in the in

the way that scene builds up how it

starts with very small things like

there's a little bit of water there's

the pill and then the dog bowl scraping

across the floor and then the car alarm

and like you the audience is on high

alert by the end of that like my palms

are sweating by the end of that I know

this shot here was fun to shoot it was

like three o'clock in the morning you

know and that where he runs up to the

window

it was a tough scene to shoot because

this car that they're driving was a

trailer that was being towed and it was

it was it was one of those shooting days

that you have on every film shoot when

nothing seems to be going right every

everything goes wrong to a comical

degree to where you like laughing it

almost becomes funny like what else is

gonna happen it the first ad gonna

dropped it that particular night was

that shot where he comes running at the

window and I was like okay if all else

fails we have that shot that's the great

right yeah I also know if if you guys

are just joining us just tuning in to

this let me just get some business out

of the way real quick make sure you go

to the Invisible Man movie com2 rent the

movie and watched along with us we're

live here with Leigh Whannell there's a

timecode also on

right now that you can reference to to

catch up if you're if you're a little

late to the party you can you can

fast-forward straight to the to the

point that we're talking about in the

movie based on that timecode

and in the meantime we do have before we

we have a couple of good good questions

from the audience that are kind of on

topic for for some of the stuff we were

just talking about the oh where did it

go it's getting rearranged over here I'm

gonna say just concerning to be doing

this for in my office cuz I said through

my body like wait a minute the animal

porn once we've reached that question I

mean now it's in Oliver now it's in your

heads right I'm just you know you can

never be too careful okay continue yes

please let us know later because yeah

yes yeah yeah we'll have to have to jump

in zoom in up there force so manday go

on YouTube has asked was there ever any

version or initial cut of the film that

that never had Adrienne reappearing

again after this opening sequence oh no

II thought to worry where he would just

say invisible the whole time

yes in the at screenwriting stage the

first draft of the script

you never saw his face they still they

still met up for dinner at the end but I

I wrote in the script that he's only

ever shot from behind so you never see

his face and Jason Blum and Cooper

Samuelson from Blum house we're both

like time to go all Sundance on us and

they they were like I think Cooper who's

one of the best executives out there in

my opinion he he is sort of the film guy

Blum house

I think he's probably said something

like late late oh no the casting of

Oliver came right after the haunting

came out and late I don't know about you

I was so obsessed with that show I was

like my sweet Luke I'm so glad he's

going on two other really exciting

things but then obviously you have this

this awesome actor who you do see a very

small amount of the movie so how did you

guys like find the balance of letting

him develop that character knowing that

it probably would be no one or a guy in

a green suit for the bulk of the movie

well yeah I mean obviously I guess it

comes down to who you can cast like a

role that size you can't get Ryan

Gosling you know to come on board unless

he happens to be your best friend from

from grade school but um but with with

with Oliver he's up-and-coming he's so

talented and he and he and he did the

haunting of Hill House but he he was one

of those actors that was not only

willing to throw but he auditioned tired

from his like flat in London and I'd

seen a lot of auditions for the

character and and some great actors but

there was a tendency to lean on the what

I loved about what Oliver did is without

even speaking to me he nailed what I

wanted which was a really charming

almost self-deprecating guy and one of

the audience to be like wait this guy

like but he's so nice he's so and I know

in wanting him to be charming in the way

that like you know debonair Psychopaths

in James Bond films are charming like

welcome to Monte Carlo Mr Bond like I

actually would say to Ollie

Oliver on set I would say you you got to

be more Hugh Grant it's got to be I want

you to play someone who's the lead in

the rom-com like don't and so he was

like alright alright and so he was

really being cuz i you know narcissists

and and they're really good at being

charming they were that's how they get

people in their web they

they don't they don't display these

traits when you know they they're very

very charming and so that's where I kept

pushing Oliver and I think he was so

good at doing that there's there's

obviously a bit of Elon Musk in there

correct I think there's probably a bit

of the tech mogul thing and like that's

obviously a new kind of celebrity tech

mogul celebrity you know we live in an

age where

technobear as much of a household name

as an actor you know and so I did I

wouldn't say Elon Musk specifically but

there was some kind of like you know

tech mogul blender concoction happening

right where there's sort of the gray the

nebulous gray area how good are that how

much good are they doing for society

like what how how evil can there be

their technology manipulated you know so

we just we just passed the point the

movie where she finds out that Adrienne

is dead and I'm not like first time I

saw this movie I was like when Zeus what

happened to Zeus is anyone gonna go back

and take care of Sue's my poor sweet

Zeus my boy I like such a dog person I

hear that it's funny so much some people

said like I keep getting the same tweet

saying thank you for not killing the job

myself like well people must they must

really kill a lot of dogs in movies

people must really be waiting for the

dope murder which I've never I would

never think of doing that but like

people is obviously very scared about

you can kill as many people as you want

but if you put an animal on the train

it's like don't do it well I watched the

as I said I watched Holloman – you know

I to remind myself on other Invisible

Man adaptations before this they kill a

dog and it's very sad because it's a

very cute dog it's an invisible dog but

they kill a dog very it's such a it's

such a shorthand to make a bad guy you

can just factor a bad guy they heard an

animal this movie no dead dogs tenders

you know but you know you could say that

the dog was a little bit of a shorthand

for her thing like yeah yeah she had an

opportunity to leave and she put herself

in jeopardy to take this for remit a

collar so the dog has a shock collar on

there's two different types of shock

collars I discovered in researching is

the bark collar that shocks the dog when

they bark and then there's the perimeter

collars and so right know if anyone

picked this up meaning I don't think we

made it clear enough I didn't shoot it

properly but the collar is the collar is

a perimeter collar which is supposed to

be kind of I guess like a metaphor for

her you know that it was a perimeter

collar back to that that opening

sequence just the the visual shorthand

of the whole thing all of the exposition

that you need there and it's stuff like

that with the dog like oh she's the type

of person that would save a dog right

yeah like it's almost like exploiting a

dog in the opposite way so instead of

instead of saying I'm gonna show how

evil this guy used by him hurting the

dog I was like I'm gonna show how good

this person is what a great human being

she is by having a risk safety to help

the dog at least take this collar off it

and take it away so it doesn't have this

shock column and use a great yeah we're

gonna say you did it you did a great

tweet along of this came out on digital

on Friday and you put that fan pointed

out the and you agree that the the Zeus

name was indicative of Adrienne's god

complex in general as well yeah it's

funny with that opening scene I guess I

needed his house to say a lot about him

you know so at the kitchen how clean

everything is these San Francisco shots

by the way so this is Sydney it's not

San Francisco the scene that we're

looking at now so we digitally altered

the background a little bit to throw

some San Francisco buildings in there

but I haven't heard too many people say

oh that is clearly not San Francisco so

hopefully ya know I've I've lived there

for 10 years and you had me completely

convinced that you shot them

yeah I think this is a Michael Dolman by

the way who is an Australian actor

that's been around for a long time he

was in an Australian kind of drama and

called the secret life of us in the

early 2000s was like a really popular

Australian TV show so I I've known of

him since then but this is my first time

working with him and he really enjoyed

playing a worm yeah yeah I was gonna say

this is what I appreciate here is that

that you've now introduced multiple

characters who I think the audience does

not fully trust there's a lot of

unreliable narrator happening with the

main character and then you introduce

him the brother and he already just

immediately has this kind of look I

don't know if it's a must yes but you're

kind of like you're like nothing wrong

with a mustache no I I do think this is

another is another sort of turning point

in this movie where this is the really

the the first scene where we start sort

of actively questioning whether or not

Adrian is in the room like he's

literally or you know he's his ashes are

in the room and he points out like oh

you're you're with him in the room right

now I can say yes now he is in the room

right now so yeah that was my that was

gonna be my question was in every scene

did you guys always talk about like is

he here right now I would talk about it

with the actors that were appropriate so

I told Michael so Michael who plays Tom

his brother he would perform for Adrian

right and so and so there used to be we

cut it out they used to be a scene in

the movie in that in that little

lawyer's office scene where I panned

away from Elizabeth moss to an empty

chair yeah and I cut it out of the movie

because I thought it would get a laugh

when we get to the next scene with Tom I

actually have a question about about Tom

and Adrian's like that brother this

scene is actually one of the only happy

scenes in the film and

I really had fun shooting it because I I

just enjoyed there's a certain aspect if

somebody is somebody's being terrified

in a movie and and they think that

someone's out to kill them and then

maybe they're holding it there's a

certain serious reality about that

there's a certain you know gap in in in

reality that you have to feel like

because most been in a situation where

we're holding the kitchen knife this was

one of the only scenes in the movie

where everyone in the room has lived

everyone every actor in this scene had

lived through a happy life changing

moment like this and so I felt like the

actors it was just such a touching scene

to watch them there was a real truth to

it because they didn't have to be like

scared for their lives which is fun to

shoot but I just loved actually was like

tearing up on set because like she was

giving this great gift to her and they

were all crying it was like really it

was really movie because it was like the

it was like the one time we got to have

a little party on set and then as soon

as the scene was done it was like okay

cap next up Elizabeth is being

terrorized that for last was that like

the rap scene in the movie where it's

English nice no is pretty girly actually

the set that Baron is a is a built set

this this was a big thing during their

making of the film was that because we

shot in Sydney you would think that

Australia is very similar to me and on

the surface it is but when you dig a

little deeper it's very different the

houses different they're built with

different materials that's very very

hard – it was very hard to find the

exterior of a house that for me would

pass as an American house and we finally

found one but we but we could not find

an interior we were originally going to

shoot in a real house but given that

I've lived in the US for 15 years I

considered myself sheriff of whether

this feels American or not

and I could not find a house interior

that the it just is it's hard to explain

this is the middle there was nothing and

so we actually ended up building it so

everything you're seeing right now her

bedroom is a set and one of my biggest

worries believe it or not was will the

audience these are the kind of stupid

things you worry about on a first ed I

was like will the audience know that

this is a set you would you would

constantly hear the words said e on the

set of this movie like every day ten

times a day someone would look at

someone else and be like is this to city

and it's I would say it's set ish Jason

[Laughter]

I want to ask about the scene too

because we now have you hacked it and

you can't leave your here forever so I

get to ask every scene is he actually

there so this is one of the first

instances of word be like one of many

things in the same and like and that

that scene you mentioned before that you

liked Clint where the camera first pans

away to the hallway this is I think the

second time we do that and I just I

loved a lot of people got really scared

by this bacon and eggs by the way it's a

big sound jokester you get a cat meowing

you know a kid sizzling it was we can't

watch the scene without pointing out

that there's a small community of people

on Twitter that really lose it over what

Elvis Hodge is wearing in this scene I

mean it's just

Emily Saracen the costume designer and I

had no idea we let's let's put it this

way we were not dressing in for maximum

eye candy he had a big say in what he

wore we let him be really involved so

maybe he read had a clue as to how as to

what would look best he knows what he

needs to wear this so much and like so I

totally watched the movie for the first

time assuming

the camera was playing around like there

were things like that at scene with the

the lawyer early on and the one in her

room when it pans away where I was like

it's just like setting me up for

wondering when it's making me so much

more stressed out now even watching in

this setting knowing that he's always

there because I'm like oh my god they

let their guard down and they assumed he

wouldn't be there and how did it hit him

but I love the way the camera like in

that in the last scene before this where

the cameras following her but then it

moves away and then she's walking in and

out of frame and I don't know I just I I

love when you can get to be playful like

that and it's really interesting as a

viewer to watch something that's just

like visual storytelling is different

than the very traditional and kind of

actually horror

I wasn't sure the shot that did it for

me – that shows that Adrienne's actually

in the house was the scene prior to that

the tail of tail end of the scene where

they're all celebrating and we cut way

back to down the hallway and it's a

really long shot sort of like somebody's

looking around the hallway so it's like

that to me was Adrian's POV there and so

he's definitely in the house from now on

from that point right totally totally I

think um I think as soon as you point

the camera at nothing I think you if the

movie is called the Invisible Man is

over so I really had fun doing this

stuff where we were just pointing the

camera nothing yeah no it's a blast I

also I really is called the Invisible

Man I'm a segue cleanly into reminding

everybody that go to the Invisible Man

movie calm to rent the Invisible Man and

catch right up with us the timecode is

is on screen somewhere nearby me in this

box so check that timecode rent the

movie The Invisible Man the Invisible

Man movie calm and catch up with us to

continue watching along with writer

director Leigh Whannell thank you it's

all happening

I'm a huge horror movie fan I'm a huge

movie monster fan and I think that what

I love about really good hard movies and

movie monster movies is that they slowly

and steadily introduce that sort of the

villains capabilities and in that scene

is the first time you really start to

see that this the the Invisible Man is

not just a monster and the traditional

sentencing he's just not not just a

violent person but he's also

specifically creating a universe where

no one is trusting the main character

anymore

it's deliberately starting to make her

look like she's making mistakes she's

going insane and so for her to just

wreak what would be a pretty like I've

made bacon and eggs a million times

that's never happened to me yeah and so

if that was to happen to me I think my

wife would walk in and be like is

everything okay are you alright and so

you start to establish his character as

as somebody that's sort of you know he's

a nuisance in a way in starting small

and so how how much did you guys really

start to ramp that up or like how did

you sort of develop that idea of him

almost playing pranks on her to make her

seem like she was going crazy um I

definitely I kind of mapped it out

during the screenwriting process like

during the writing of the script I would

have this board and I showed that these

same cards that I was shown or you see

they have these little post-it notes on

them like orange and blue and pink like

they would indicate for me like when

something when he did something that was

changing the landscape of the main

character's life and as you said I I was

like I had to graph it out like okay we

have to start off small you can't just

open with the biggest thing and then

it's it's it's one of the fun parts

about screenwriting is kind of mapping

out that ramp that you were talking

about where you sort of start small and

build anything you chop and change you

kind of played Tetris with it a million

times before you settle on it settle on

a version but I think pretty early on I

thought the first thing he should do to

her is just turning the gas up on just

even starting that kitchen fire for me

as you said it's kind of anunnaki

thing it's something that other people

would just be like you could easily

brush it off

but I knew but then but then I hoped

that the audience would be like oh that

something do you not I mean like yeah I

love doing that I love I think I had a

million different ways he could do that

like well this year I'm watching right

now is chock full of them like with with

just the door being open behind her and

and yeah these all these cool little

yeah yeah all of these cool little

little things that he's doing it's

actually there's a question that we had

user named Toronto Freddy he's watching

on Cinna fix right now I was wondering

why did they was wondering about the

handprint on the shower scene in on the

the glass or the shower in that that was

in the trailer which is was that shot

just for the trailer was a cut from the

the film is cut from so we shot it for

the movie

everything you see in that first trailer

was shot and it's but the thing is we

hadn't even finished editing the movie

when they cut a trailer so they actually

cut the trailer together using dailies

they just were like oh this is a good

scene is it and then we ended up it

ended up working out for us because when

we released the trailer everyone online

was like they showed too much and I'm

thinking like actually a lot of what

they showed isn't even in the movie so

they're there they're the chat is

popping off right now and it's really

fun I just switched over real fast to

see what people were saying art says

that they're disappointed they said oh

come on that would have been on you'd

seen his face lol he liked the idea of

not seeing Adrienne's face that would

have been he said he said that would

have been awesome if we hadn't seen his

face he wanted more Sun decks put the

shades on put the feet up and go full

Sundance it's like I I always want to

lean into these things that are a bit

unique and different and it's

interesting where people draw the line

like the producers of this film were

fine with me panning off to nothing but

they draw the line in the space and and

the reason I think I ended up not

that way is because it's too it's it

feels too much like an aesthetic choice

like the character version is too mean

because then you actually get to hear

him speak and you get to I think it's

more interesting to find out who this

guy is right at the end then it would be

just completely block his face I do

agree with the that comment that it

would have been kind of cool to make a

movie like how do you see a movie where

they never show the guys know but I just

in the end you have to I think choose

the stronger character choice there's

also a good question from Andrew asked

Knology make its way into the story it

may not have been intentional but modern

technology is a monster in itself in the

context of an abusive relationship

nowadays and the film captures this

order so well oh cool it's interesting I

never really saw this at the time but

when I was writing this but in hindsight

I can see a lot of parallels between

this and upgrade mm-hmm I made before

this just in terms of I seem to have

this subconscious fear of tech that

keeps bubbling up as you guys

experienced earlier when I was trying to

log into this we weren't gonna bring

that up yeah that's a video you'll leak

later recording the whole once I get

over the tech for me is the best way to

make the Invisible Man grounded or as

grounded as it could be like that when

you think of the Invisible Man you think

of the guy drinking the potion like you

know haha you know I'm alive or whatever

you know or it's the way as a serum you

know in every superhero movie it's like

you know it's like the serum

I must inject it and and I never I never

believed the serum like I can't convince

myself that a serum could turn you into

a superhuman so I was like how do I

away from that and it seems like tech

was the best once you do a little bit of

research on invisibility it doesn't take

too many doesn't take too deep of an

internet rabbit hole to realize that

they are working on this they are

actively trying to come up with

invisibility camouflage for soldiers the

thing that gets worked on and and so I

was like oh that I feel like I could do

a version of that that people could

almost believe in 2020 where they could

be like yeah I could see a Elon Musk

coming out with an invisibility you know

to me

right right no I I've been in like a

specific amount of conversations with

like friends at bars and parties and

stuff like that where we're talking

about superpowers and superheroes and

invisible people and stuff like that and

there's always that conversation about

like well if they put on clothes to the

clothes turn invisible when they drink

milk do you see it but turning it into a

suit like a shell sort of answers all

those questions because you you don't

have to worry about that anymore

anything that he would technically

ingest into his person I'm sure you guys

had some conversations like this right

well we did this is a good time pets

funny I we haven't done much of a

commentary for the movie I just really

see was an upgrade to an actor I loved

who played risking upgrade um I just

asked him you know do you want to come

and he was one day roll for us and he

was gracious enough to say yes I love

him he's the world's nicest human being

but he always gets us fashioned bad guys

always nothing wrong with the muscles

look there is now there is now all right

fine next time we do a watch long I

won't have it

love the moustache plane you need to

just shave the sides off and go for that

Charlie Chaplin look let me sure keep

the mustache but I'll also have to save

a dog on camera but this this scene in

speaking I think we made the point

earlier about how many people that she

meets that are just kind of Nikki right

yeah that is the sense and this here's

another guy that the dynamic in this

scene is just so uncomfortable

well it was interesting in in in sort of

thinking about that aspect of the script

and thinking about this idea that that

you know women live their lives with

their keys between their fingers they've

like it's kind of shocking to think that

I I spoke to a bunch of a bunch of

friends of mine like you know female

friends of mine when I was writing the

script just asking them about various

things just to get their perspective on

certain things in the script and and and

one thing that kept coming up was like

comments you would get right and and and

just I think it's supposed to be

harmless but it's sort of like a

slightly uncomfortable comment that

these friends of mine that I was talking

to they would talk about having to laugh

it off because then if you make an issue

of it you're seen as the bitch or she's

crazy she drew oh I just said one

innocent thing I was giving her a

compliment she freaked out on me and it

was interesting I guess it's stuff that

I'm aware of in a general sense but it

was interesting to talk to friends of

mine some of whom I've known my whole

life and I've never had that

conversation with them before about the

sexual harassment or things that and it

was I don't know it was pretty

enlightening I mean in the specificity

of it in the personalization of it so

that character in that scene even just

his often offhand comment like hey why'd

you go to Paris is that we're all the

beautiful women of the world have to go

yeah like oh sorry sorry go ahead sorry

no I was just gonna say like there's

been so much conversation about

microaggressions is what they're called

essentially and like I think that like

this to your point like does that

balance really well and obviously

gaslighting has been something that

people have been talking about like a

real-life abusive relationship an issue

that especially women face and we're it

like the he's he's fully gaslighting her

right now and it's so stressful to watch

because you're as a viewer if you know

more right than not you've gotten the

clues from the camera movement that like

she maybe isn't crazy but I'm curious

like was there a point that you were

looking to find the balance of like

maybe having the audience question if

this actually if he was actually doing

this to her or if she was she was making

it up like to feel more like her friends

that maybe you know he's dead obviously

I mean I gotta say I was never really

that interested in be is she crazy is

she not crazy I've seen movies like that

before whether it's you know the tenant

or whatever that those movies where the

whole spine of the movie is is this

person crazy or is it really happening

and I've seen some really great versions

of that but I I guess I guess it just

wasn't that interesting to me that that

I would have I would have if I had

written that movie I would have gone on

a lot harder on the whole like she's

just making it up she's just imagining

it what was what was more interesting to

me was the idea of that the most

interesting thing to me was the Gaslight

aspect because I feel like um you know

in in in in movies that portray domestic

violence in any way we've seen a lot of

physical stuff you know we've seen a lot

of films deal with somebody being hit or

somebody being physically assaulted and

what I when I was writing the script I

was chatting to these women who worked

as counselors at a domestic violence

shelter and in talking to them what I've

what just in listening to them I wasn't

really listening and writing down and

asking them questions but what really

struck me was the idea of gas lighting

and changing someone's reality like and

and so I was I started to think oh this

is a really great metaphor for the

Invisible Man like the The Invisible Man

is the ultimate gas lighter you know he

can be in the room with you gonna prove

you can never prove that it's happening

and so I guess that just became really

interesting to me I actually went back

and watched that old that film gas light

you know mm-hmm and and and and it's

yeah I really found that interesting and

and maybe I felt like I hadn't seen it

very in movies I mean this is where your

the people you know your readers are

like you're wrong that you know I'm

gonna get called out here on just how

many have featured gas lighting but in

my mind I was like I don't know if I've

seen this as much as I haven't haven't I

think I feel like it's a really

interesting way to explore this

character you know so yeah I'm glad it's

gratifying to hear people say this movie

has a lot of truth to it in that respect

because you know it's a sensitive

subject so you don't want to be phony

you don't want to like God that movie

really really was didn't he didn't get

to the truth at all you know yeah it

also sort of begins to peel back the

layers of how far he's willing to go to

control her because your first

introduction to him as he's as she's

getting into the car shows basically the

the lengths that he'll go to to

physically with holder in place which is

bashing through a window and pulling her

back so right off the bat you

immediately know this is not your like

typical relationship and then that kind

of subsides for a while and it becomes a

lot more about like like you're saying

the sort of the microaggressions of like

figuring out little ways to turn

everyone in her life against her until

she sorta sort of feels completely

desperate and alone and isolated yeah

and also just also just to break her

down mentally like up yeah one of the

things that the one of these counselors

I spoke to said that they had women that

they work with where they're pod and

they'd be like where

my khakis where are my car keys and

their partner would say what you know

and would would set would start going

off on them about it and be like you

lost him

you you moron how could you lose them do

you not I mean meanwhile I've got it in

their pocket and that and in hearing

that I was like wow what what a ruthless

sort of what a ruthless game to play

with someone to like hide something from

them and then stir overly and yeah that

was another avenue that I felt the

Invisible Man could really sort of you

know eat just little things like taking

away her job stuff with in real life you

know that would be it would be really

would really make you flustered if you

were in the middle of a job interview in

the same way that if you if your boss

was like okay I need that thing now that

you said you would have for me and it's

gone right yeah right yeah say right

here with like a long hallway shot or

like I played with that a lot in this

movie and it sort of has you looking in

the corners of the frame a lot to sort

of pick apart is there am I gonna see

movement is there gonna be something

there because this is the scene where

you see the relationship with her sister

collapse based on a message that she

didn't send or did send at this point

you don't really know and so now you're

watching her personal relationships fall

apart but structurally in in in this

shot the was it intentional to get a lot

of these sort of like powering long

hallway shots where the your eyes are

kind of meant to dance around and you

know like this one right here you're

what are you seeing it from his

perspective in that scene you're not but

I but yes I was trying to do that like I

was I was Stefan douchier who's the

cinematographer he and myself really

wanted this film to drive people crazy

basically we wanted we wanted to see if

we could make something where you never

get you know usually there's kind of an

EKG chart for thrillers where and horror

films where you'll have a spike of

adrenaline something bad will happen

then and then you'll have a little

relaxation period

you know like we're just hanging out for

a while we were trying to make a movie

where you never there was never a

relaxation it's not like we never cut to

the scene where the friends were just

hanging out and you could take a

breather and be like I'm fine we wanted

to kind of weaponize every corridor and

every room in the film so as you said

with we wanted the audience to always be

like wait is he here is he not here you

know so to hear you say that is great

cuz I'm like okay cool it it kind of

worked you know on some people it worked

for some people to be like constantly

questioning the movie you know but was

he in that last scene with the brother

at the office no he was not in that

scene and that's why the brother was

honest about how he felt he kind of when

he when he says I I was glad when I

heard that he was dead he I said to

Michael he's not in this scene so I want

you to tell the truth about him

I was wondering if because he was so

sort of smug in that first scene and

then in the second scene he had in that

the last scene he had changed his tune a

little bit so I was wondering if there

was it some like strategy that that was

happening in the background where he was

like oh she was like no no you gotta you

got to play along and be a little nicer

to her so that like that was all part of

the manipulation I think it started out

with him playing along and then in the

middle of him doing his little act he

actually spoke the truth about his

brother and so when he says he

controlled me long before he ever met

you like um he he's telling the truth

like he's as much of a victim of

Adrienne as she is you know he right and

this scene here sorry to jump on it but

like the the scene where Sydney gets

gets slapped I'm sorry to talk about

this point in the in the story and the

links that that Adrienne's gone – no

he's actually physically attacking

people yes so I guess in that sort of

you know ramp that Brian was talking

about before we started off small I

guess I wanted something I wanted him to

like really put the

start putting the boot on the throat of

her whole situation so he needs to cut

everyone out of her life so he's you

know he's fractured the relationship

with the sister and now she's got this

trusting friend James and the you know

Adrienne attacks the one thing that I

that James cares about the most you know

the daughter so he's I guess at this

point he's really starting to break her

down you know and start to you know

break off those relationships and now we

as the audience or as freaked out as she

is because we know that he's in the

house and you had like obviously you

have this shot right here where you're

like he could be anywhere my being like

that deep with that shot did you think

like oh is he home yeah this is like

spider walking it's like he could be

anywhere but like I mean she has this is

to me is like you know that it's nice to

be the viewer to be able to say if I was

there you know whatever I could she

grabs the flower but what was kind of

your logic and figuring out like you

know at which point would you just be

like here's paint that I'm carrying

around with me everywhere here's like a

bunch of flower that I can throw to see

if you're there if you think that like

he's in the room what was kind of

balance with like her logic and I think

she I think she's like really losing it

she's she was already on edge she was

already as suffering post-traumatic

stress when she got out of the

relationship so it does actually doesn't

take that much prodding from Adrian to

get her to this place and I guess at

this point where he's hit Sydney she

grabs the coffee and she's just looking

for anyway prove that that he's actually

there mm-hm and and so she spreads it

out and sits there and is waiting she's

thinking that he'll walk towards her or

something and she ends up having this

conversation with the doorway where she

you know she hasn't slept in a couple of

nights and she she really feels like

she's talking to him and kind of having

this one-way conversation it was

actually a really fun scene to shoot

this

for me because I just was in or of

elizabeth's acting here in this scene we

did it a bunch of times and you know on

on lower budget films this film I guess

you could say as a low ish budget you

know you don't have the luxury of a lot

of Tanks but in this scene then we're

watching right now I just insisted I was

I was like we can't stop until we've got

it exactly right

and then I remember Elizabeth and I

would have this thing where she knew

when I was just saying we're good

she would say we good and I'd say yeah

okay one more and then and then she did

one more and it was amazing with

beautiful the last take she just nailed

I was like jumping up and down I have

this really bad set because I'm wearing

headphones and I'm looking at the

monitor I just go into the world of the

movie and forget that I'm surrounded by

people

so I'm actually doing this let me do my

impression for you for yourselves and

for the viewers they on a set watching a

scene so I'll pretend that like it's so

and then all of a sudden I called cotton

I look around and there's all these bits

you were clapping that whole time we

have to take some like laughing and

crying and like when she did that last

take of that conversation I was like I

was like yes I was loving it was like

it's so beautiful to watch an actor be I

mean every take she does is amazing that

this last one was like transcendent I

was just like losing my mind that how

great she is so yeah I just had a lot of

fun shooting that I'm gonna keep asking

these questions was he in the doorway

was he was family rapt audience I can

ask you for ever seen at this movie he

actually was there in that particular

scene he actually was kind of standing

off to the side like staring at her

he's such a live in this movie but I'm

curiously

but I'm curious how much you guys played

with that leak he is literally an

invisible character but how much were

you guys imagining that she was kind of

pushing his buttons and getting under

his skin as the movie progresses or not

at all how much was he pushing her

buttons as the movie doesn't the other

way around like was she getting to him a

little bit she like you know and she's

having that conversation with him and

talking to him like she knows the things

she can say to upset him right I cook it

I think at that point she's not getting

to him he he was completely enjoying it

how much he had broken her down to seem

freaked me out so much yeah I wanted to

talk about this this Adam sequence

because this is this is really the only

sort of quintessential horror kind of

setting like you're in a dark spooky

yeah right and even then it's it's wide

open space in there when you shine the

flashlight in like there's not much in

this attic right yeah I mean I'd say

that because I I said to the

cinematographer Stefan I want this is

this is gonna be our traditional horror

movie scene in the sense that it's all

dark we're in we're in an attic and you

know cinematographers love darkness so

he he was he was loving petting net to

play with and then I wanted to light the

whole scene just with the flashlight so

there's actually no other lights like

Stefan wanted to put some panels in the

they built this attic set so it was like

a set and I actually it's funny you said

it's the wide open space I wanted it to

be the first the crawl I didn't want you

know usually in the movie she opens the

door and it's this huge thing you know

this gets like just a whole other room

to me but Clint has been his garage for

a week so movie cameras changed the

perspectives they shrink things and make

things larger the set was actually

really cramped it was really cramped and

hard to shoot in there and I kept saying

lower lower like lower the roof like it

has to feel so cramped

but you're right it's like a it's more

of a quintessential yeah and I think the

the openness I'm referring to is just

like you normally there are cardboard

boxes and and cobwebs only and this is a

fairly fairly clean space yeah I just

wanted it to be like one of those crawl

spaces that never gets used yeah and and

it's I guess this scene is the first

time she really does you know like she

this is us before us before whether he

when he gets rattled by her and I think

this is the first time when she throws

even stresses me out so much yeah

seriously tell you all I'm a huge baby

when it comes to work you can't do the

right place yeah you got plenty of

lights on there too yeah it's great so

this I guess I guess I didn't want to do

too many for lack of a better term jump

scares

in this movie but if I do if I was gonna

do it I wanted it this is this yeah this

is this is such a good one

and and to circle back to the trailer

like this this shot was in the trailer

and I I was fully expecting this to be

towards the end of the movie it's such a

good jump yeah I mean um it's one of

those things when it's in the trailer

your first instinct is always like what

are you doing you know save your stuff

and then of course the marketing people

are like we need to sell the movie you

gotta give us something to work with so

there's this tug of war that happens

there was a version of the trailer with

the restaurant scene in it oh wow yeah I

circle back to that first time but I'm

glad that I'm glad that found its way

out of the trailer right yeah like when

people say how are you showing too much

so here's here's another this other

sequence in it and I want this is a

really

really cool seen that word that we're

just starting out on so if you can walk

us through like just how it's built

because it crescendos into just such a

cool bit of violence for lack of a

better word I guess early on in the film

sometimes when I'm writing I usually put

together a soundtrack and I'll start

imagining almost the trailer for the

movie before I even started writing I'll

be listening to music and I'll be

imagining the movie and different images

almost trailer moments will come to mind

and you just write them down and and

some make it into the movie and some

don't but one of the when I did that for

this movie one of the first things I was

picturing was the main character this

woman being sort of pulled around a

kitchen I could just see this image of

her being dragged and so I was like

basically from that I wrote this scene

and I just thought it was like a

visceral way to express the invisible

man's violence like you know to fight

scenes in movies you know action scenes

you know they're just so done to death

there's there's not many things you can

do of action that are unique you wait

you always have to be looking at like

what can I different and so like with

upgrade we've locked the camera to the

actors and that was our little we're

making our action scenes a little bit

different in this one I was like well

one of the people in this fight scene

isn't even visible so I felt like we

could really construct something unique

and we actually found a stunt

coordinator in Sydney who owned his own

motion control rig which is a robot

camera and that's how we filmed

everything using this motion control and

the the score in this sequence to is is

awesome yeah Ben I wanted I said to

Benjamin Whorf it impose alike

I want the score here to be really

unhinged like it needs to sort of come

apart the way she's coming apart and

yeah he speak he loves that yeah you

have

you have a question on from nuclear Phil

on YouTube about how many takes this

sequence took to shoot because it's kind

of a kind of a long long take here on

the back half of it yeah it was I mean

yeah we didn't have that many with we

did not have that many takes because you

know it's a lot of setup and the motion

control camera it goes where it's

programmed to go and so if if Elizabeth

doesn't hit her mark we miss her and you

have to start all over again and so we

did a lot of takes but we only I think

we had one day to shoot the whole scene

no and it was a stressful day because

you just unless it's perfect it's not

worth doing like if you're using a

motion-control camera which has this

perfect movement then everything else

has to be perfect it's almost like the

actors have to become robots as well so

yeah it was quite a it was quite a few

takes before we got that one and cuz can

I just say the fact that she hits him

with plates was maybe my favorite part

like that was such a there was just

something so so perfect about like

seeing seeing her hit an invisible

person with plates yeah it was wonderful

for me that like anxiety there were

fortunately I don't loan but what I did

where it's like okay if someone did

invade my house like what would I do

like what you see people always knew and

like grab the giant butcher's knife and

like all this stuff but I look yeah I

agree in that scene where it's like yeah

she's she's grabbing whatever is in the

nearest floor I you know when I saw the

movie the first time I assumed that was

a lot of wire work to get it done

technically but I saw some BTS stuff and

you actually had a guy in a green screen

suit right like yeah he was in the green

body suit and it was a bit of everything

it was wire work with the green body

suit it was it was we any technique was

on the table to get it done even had

like props people hidden in cabinets

they would the table goes over that was

just a rope being pulled by some people

off-camera

yeah it was that's that it that is fun

and we've had some people to talk about

watching some of these classic Universal

monster movies which the classic horror

movies to me where we're all about those

sort of those fun camera tricks and like

early optical effects and they were

really experimental for the thirties and

absolutely think about the the dr

Jekyll and mr Hyde POV mirror stuff and

the Invisible Man obviously from the

from the 33 of you know having him take

off his mask and everything egg how how

much in fact there's a question in art

on art again I think on IG and discord

was asking about the classic Universal

monster movies and you know which which

ones should he have queued up in terms

of influences on on this film well I

would say I mean obviously the original

in business and is something to queue up

in just in terms of the legacy of this

character and seeing what the you know

it as an as an interesting counterpoint

to this movie you know in terms of

influence some of the older films that I

watched weren't necessarily the from the

classic Universal monster cannon like

one film was cat people

yeah sharp Tony a film which is an

incredible film in terms of using

atmosphere and what I love about it is

it's all about what they don't show and

there's a lot of shots of just I love

this shot right here I love that house I

was just gonna say like you're walking

walking through the house again for the

first time since she left like what was

what was some of the the goals here with

this scene I guess it was like her going

back to the hornet's nest like this is

the most stressful place for her this is

like they're the sort of what hot center

of her anxiety but she she was willing

to go back there because she felt like

in the opening scene when she turned off

the security cameras she turned around

and she heard that noise coming from

this little lab room that we're looking

at now and then she's been hearing that

noise she's here heard that no

and she's basically put two and two

together and is like I feel like this

something she's taking the risk that she

wants to prove that he is somehow in

achieved invisibility somehow run

it it was some piece of evidence that

she could come away from the house with

they could prove to people that he could

do this

she doesn't know exactly what that

thing's gonna be when she goes to the

house but she remembers this room and

she remembers this strange apparatus

kind of holding up this I think she

that's Sam but we lost you for a second

we that heart dropped out oh sorry is

just I think she's uh she's she's

basically putting two and two together

that there's some connection there you

know so I didn't realize this until the

second tilt watching again now but on

his phone that she finds in the Attic

the screen background is basically

exactly what she's find here right was

that intentional or am i projecting

there it looks like the design is the

same as like what the phone background

was is what you see of the suit yeah yes

yes so it's very intentional so it's

like here so a lot of people I saw one

guy on Twitter ha what a joke

a guy designs an invisibility suit just

a stalk is X and I was like yes men

would do that no I was design the suit

to stalker he's in this business like

he's in the optics business and this is

what he's done is is create this

invisibility suit to sell it but you

know in my mind he hasn't gone out into

the world with it yet it's still in the

sort of prototype stage and then when

Cecilia runs away

I guess he's he's gone so crazy and and

is in such a sort of psychopathic rage

about her leaving him that he uses his

invention against her it's not like he

invents it for the purpose of

right but I do love it a lot of music I

should say that then wolfish came up

with here's the suit gets revealed it's

if anything that just to go back to that

question about the classic Universal

monster movies to me this scene where

you reveal it and the music to me that

is where that universal monster

influence came in where they're sort of

it's that music crescendo where the

monster is revealed it's it's the moment

in Frankenstein winning which still is a

great moment where is like it's alive

you know as the lightning strikes yeah

those those moments where you know those

music in that in the classic Universal

movies the music it was so melodramatic

and so big you know when the monster

would be revealed and so I just kind of

wanted to kind of go big or go home with

that scene of the suit reveal like let's

just lean into it and be like it's

awesome it's great the monster this suit

is the monster you certainly does not go

home I was gonna say there's entire

sequences I think my favorite part of

the whole movie because specifically I

really like the way the sort of visual

language of having sheets over all these

things in the house that makes them you

know obviously your verse your first

identity as a viewer is ghosts you know

like you're like that's a that's a very

classic look for a ghost but it's also

shows this place to shut down but also

just the cool ass sci-fi of seeing that

suit rebuilds for the first time it like

it it feels like you know it feels like

if this guy was using this power for

good he'd be in the MCU you know like

reverse Iron Man I was always saying on

set you know let's not go to Iron Man in

terms of the look of his lab you know I

didn't want to be too I didn't want it

to be too over-the-top sci-fi and the

suit I really liked the look of it but

the lab I did to Tony Stark but I should

I think this is a good opportunity

because a lot of people have asked about

how the suit works and I've never really

gone into it before I was gonna ask how

much thought went into like the actual

science behind it it was a lot and we

ran it by some actual scientists could

work so so basically the suit is covered

with all these camera lenses and the

cameras take thousands and

of photographs per second and map any

room that it's in so any any room any

angle change in each movement the

cameras adjust and take thousands and

thousands of photos per second to map

and then project the result onto the

other side so for instance camera on my

back here would project here on the

front so the theory was that the camera

by mapping out any 3d space that it's in

and projecting it and adjusting for

perspective you would never see him and

we talked to some scientists at UTS in

Sydney about it and they were like they

basically said yes this could work we

don't have the technology yet that

there's no camera that could do when

you're describing yet but in theory

there's a version of this that could

work it was really cool it was really

cool to to have these and we were

talking to people in the optics

department of of UTS in Sydney and that

so they were really actually excited by

the hope they were doing notes and they

actually started arguing with each other

and being like well no you would and

they they were actually coming up with

formulas and things they they had a lot

of things that you would need so they

kept telling us like to do this you

would need X yeah everything about that

sort of near future science fiction is

you can kind of get away with with like

we're on the bleeding edge of this

actually happening we're not there yet

but this is you know this is a fun

little tangent to look at but real quick

I just want to remind everybody that

we're watching The Invisible Man with

writer director Lee when L go to the

Invisible Man movie com2 rent it and you

can catch up with us based on the time

code that you see on screen right now

yeah I was gonna say for this scene I

don't want to give anything away but Lee

yes okay so the restaurant scene this

was a really fun scene to write like a

love writing these scenes where you pull

the rug out cuz you know screenplay is

written to be read so that's the first

goal is can I intrigue a reader and so I

actually try to write it in a way that

makes people go what the

and and so and so when I when it came

time to shoot it I was like man I really

have to do this right I have to live up

to it and so the whole aim of it was to

do something that was so shocking I

wanted it to be a safe space we talked

about before I was saying before how I

never wanted this movie to have any

scenes where the audience was like oh I

can relax for a minute because she's

hanging out doing yoga for a while I

wanted it and so I thought if I can

structure this scene like one of those

moments like the moment in the movie

where you can relax so that's why that's

why I insisted on the restaurant being

really big and cavernous

we found this restaurant called esthe in

Sydney that is been around for an

eternity in restaurant 15 years and it's

like a sushi restaurant in Sydney we

turned it into like a Chinese restaurant

called Yu LAN and we had a whole name

and and the people that ran the

restaurant were kind enough to let us

use it and we had it was noisy there was

music everything to make the audience

think I'm safe here right it's and so

it's all about misdirection like being a

magician like the magicians like really

that yeah and so that's what right now

like I felt like I felt like if I could

get that right everybody would be like

and even that camera yeah it's such a

major turning point in the film too

because you you gave the audience 90

seconds maybe two minutes where we think

she's in control she's invaded she took

his shoes she's gonna win this is it and

then it's like no she she's now framed

for the murder of her own sister not

only is there her most personal

connection to the living world now gone

from her she's well not to this shot

here we're looking at right now with oh

my god like those moments on set I was

talking about where I'm just like yes

like what Lizzie did I was just like we

get a couple of takes and then I said

Lizzie I really need you to go cliff

and we didn't even use it for that long

but I'm telling you there exists the

Snyder cut of this scene careful you'll

never escape that hashtag I'm with you

people

I loves Expo I want to see this not

again I am I

all right there was a we let you know

there's a thing in movies where you just

let the camera keep rolling you can

almost feel the actors going like it's

almost like trying to see you say cut

out of the corner of their eyes

sometimes you can have fun with them and

torture them by being like not gonna

coke out I'm just gonna see what you do

and that scene that scene when Lizzie

dropped the knife we just didn't call

cut because I just wanted to see and and

she like really lost it it's almost er

it was such a shame to have to cut away

you know during the editing process you

you hone it down but there is a really

long take of her just losing her

and and she's just so phenomenal I

thought that the had cut into the

psychiatric hospital would be really

jarring so that's why I was like I'm

just gonna like I'm not gonna drag this

out I'm gonna like get it right into

that psychiatric hospital she's such an

incredible actress to see you and she's

like from this point out she's like okay

and she's lost it and like you get to

see her just have that full range that

like she does incredibly well as you as

you just said like she this scene right

here with where she gets dragged in she

was going ballistic right and I and I

said to the I think we only shot it once

or twice we only did one take of her

being dragged in and I said to the other

actors I really want you to drag her in

and strap her down and she's gonna be

resisting you need to be ready for her

to like kick you I said to Elizabeth

like are you comfortable you know you

you really have to resist that I want

this to be like movie resistance I want

you to

really trying to get away from these

guys and and are you comfortable with

that and we all had a big chat everybody

was comfortable and I was like let's do

it and they put her down on the bed and

they're trying to strap her in and they

really had a really thrashing around and

going ballistic and you know she's

crying and a mascara is running and then

we call cut and I came in and I was like

you know is that hushed tone that falls

over a set if you're doing something if

the actors doing something really

emotional as soon as you call cut

there's this like hushed tone of respect

and I came into that room and I was like

are you okay and she like looks up at me

with this like mascara her eyes are

totally red and she was like and she

said you kidding this is my happy place

and she nobody nobody enjoys going and I

think this is evident in the role she

chooses nobody enjoys a breakdown like a

loss in fact if you give her a scene

where she has to be like hey girlfriend

let's have a margarita and chat about

the good times

she's like Elisabeth Moss is that our

happiest when you say I want you to go

in that room no crew will be in there

just the camera and we're gonna put the

camera on the guy's shoulder and you

just go ballistic she is gonna be like

let's do this happy so anyway sorry that

that knows she really loves it so from

here on in when she was doing the psych

Hospital stuff

she was always you know happy space I

think you can look at her roles that

she's done and be like oh now I see the

through line well you didn't see where

like Peggy Olson went to became such an

iconic care she evolved and I feel like

so much of Elisabeth obviously she's not

having the same level of breakdowns in

that as she's having here about like you

know I feel like you get you can see

that he does even even with Peggy Olson

she seems to gravitate toward these raw

Oh a woman is mad what she wants to say

yeah like I mean the entire series of

The Handmaid's

tailors basically about that is it's

about someone who's standing there who

really wants to to kill the person

standing in front of them but instead

has to say like what a blessed day you

know and and but in it but in her eyes

you can see that she wants to kill the

guy but she's saying what a blessed what

a blessed day or whatever and the same

in same in madmen like she could tell in

her eyes that she wasn't happy but what

was coming now yes or whatever so she I

don't know I don't know if it's an

unconscious thing but she does seem to

gravitate towards these women who are

being like really put upon by

patriarchal systems like you have that

catharsis like like when she's able to

play parses certainly in handmaids like

I felt me that's why the the shot of

Peggy finally saying suck it in Mad Men

came out with like her to the cigarette

and everything iconic scene cards to I

wonder if you remember if there were any

other really fun interesting

distillation for watching I'm gonna show

okay okay so here's the same card of the

restaurant name so that's the one

what does it say they hang on sistahs

sister's throat is cut no I've put in

Cecilia's hand police arrived Cecilia

breaks down figure this out later set

pace set pace basically four main names

like this is a big scene in the movie

and I can look at when you put the movie

up on the wall I thought my eyes have to

be able to scan it and see enough scenes

where I'm like okay you know I mean like

it's like watching the audience in the

face

so you like and you can rearrange them

like okay something hasn't happened for

a long enough that I can I'm gonna put

this scene over here

you know me but that is kind of

embarrassing but I what were you asking

is there any other interesting cards

well really I wanted to see the

restaurant scene card so I'm glad to eat

that was like that was the one I wasn't

floated right and then okay then there's

the one to immediately up so this one

says Cecilia is taken to a psychiatric

hospital hysterical she is restrained

and sedated keeps saying he's in the

room down the bottom so that said this

was written before I started writing the

script so a lot of these sing cards

didn't make it into the finished movie

but that's an example of one that that

made it all the way all the way through

Andrew in the IgM discord chat a little

bit of he said wanted us to tell you

that the pan shot earlier with Adrian is

a perfect throwback to the window scene

in your directorial debut insidious

chapter three yes under appreciated

I love the insidious chapter three I

don't hear many people mentioning that

one a lot you know it's not like it's

it's hard for people to have a positive

reaction to anything that has a number

three on the end of it like even even

when I was directing the film I was

agonizing over it so much and someone at

Blum House who shall remain unnamed was

like Lee it's part three like it's

Chinatown no one no one's going to

appreciate this you lose sixty points on

the Rotten Tomatoes rating you're minus

sixty as soon as you're a horror sequel

you start at minus sixty instead of zero

so the thinking seemed to be like but I

swear to God I treated that film like it

was long day's journey in tonight thank

you thank you IGN use a slash commenter

for mentioning that film

I mean it's interesting though because

we have we have you in the most iconic

like modern order franchises with saw

and insidious and everything so what was

interesting or challenging to you then

going half like having to go into one of

the most classic or universes with the

universal monster movies and reinventing

it um it was funny because I never

really felt that much pressure with the

Invisible Man only I don't feel like his

cultural footprint is as big as some of

those other Universal month Dracula and

I feel like there's more room to breathe

with a character like the Invisible Man

where I feel like if I was making a

Dracula movie I felt that pressure and

and then the second thing is that I felt

like the best tribute I could pay to the

universal classic constant was to

modernize it like there's a version of

these Universal movies that really pays

homage to those original movies in a VIP

set in London in the 1800s and this fog

on the ground right actors are all like

good day sir and like that that to me is

is the literal face value version of an

homage I love to watch that movie I love

I love Victorian London I love watching

that stuff but I don't necessarily want

to make it but the version the version I

was interested in making was the like

gone girl version of this like what is

the most clinical modern version of it

that I could do and it just before this

scene finishes this was one of my most

one of the most fun scenes to direct

because the two actors I I just loved

having them go at each other and it was

kind of delicious to have for a lot of

the movie they're not saying what they

really think it's kind of great to take

the gloves off especially when you have

two actors as great as Lizzie and

Michael when you take the gloves off

come man there is no greater feeling of

pleasure than directing a scene with two

amazing actors who are playing

characters

nothing left to lose they're both being

so honest in this scene to like their

yeah nothing to hide from each other and

it's just here's how I'm gonna make your

life hell so he is there in this same he

is there and you know for this one

Elizabeth went so much time in this

movie being sheepish and feeling and

what I love about that scene is she's

got to use a popular internet expression

no more left to give and and I

look that's why I love that line where

she says not the line like I love my own

dialogue I mean I love I love her

reading of that line where she says just

the jellyfish version of him like it's I

I said I said to her before she shot the

scene like you just don't give an F

anymore like you need to tell him what

you think he do the funny thing with

with Lizzie you don't have to give her

any direction like halfway through your

direction she'll just be like yeah got

it

like understand wait I didn't even start

like I'll go over to her and be like so

in this next take if you could just

achieve it okay I did I didn't actually

get to what I wanted but I feel like she

does have it and then you'll go and and

she'll do it you'll be like yeah she has

such an intuition for she already knows

what you will what was lacking or what

you needed or what cuz she feels it too

so um so that was so fun – what sure

just in all this stuff like where she's

she's kind of changed like now she's

like she has a plan and she's she's

hospitalized her sister was murdered

right like she doesn't have any system

and Adrienne is tormenting her what what

more can happen like when you're at the

bottom when you're at the bottom of rat

you bought him you can she like she's

like I'm gonna try this suicide escape

plan because if it doesn't work I really

don't care anymore yeah so he's gonna

this is a another real interesting

turning point where she kind of goes on

the offensive here

and and the the sequence that's coming

up is is really pretty incredible it's

another one of those sort of like sort

of long take escape sequences here but

yeah I mean this was a point I wanted

the film to really become unhinged like

the thing with a monster movie oh can

you hear me can you guys know I'm sorry

I can't watch jaws really set the

precedent inadvertently jaws created

this theme that monster movies from that

point on followed which is the template

of you don't show the monster you don't

show the monster you don't show them you

show the monster yeah and like and like

and what a great way to show the monster

finally with her stabbing the out

of it stabbing him like yeah a lot of

people I've noticed some habibi was

until all of a sudden it was an action

thriller in' and i were just thinking

like look it's it's the Invisible Man

it's a monster movie right like II you

know I don't I don't know that I I

definitely wanted to see this monster in

action I wanted to have the he's been

exposed she is now got him on the back

foot and you see this suit like I don't

know that I could have resisted shooting

this scene you know and and you know the

action movie part of it is was is so fun

if you can get it right we used emotion

again in this we're not quite there yet

but there's a shot coming up yeah it's

actually three different shots stitched

together which was incredibly hard to do

to find the cut point because everything

has to match right so then and again

once we get out in the hallway here this

is a very clean bright space which is

upgrade to in kind of the way that you

shot it and

use the camera again as its own

character in that story telling

oh yeah yeah I mean thanks I mean that

that's the most you know gratifying

thing to hear I think of anything

compliment anyone could pay this movie

people saying like I felt like your

movie or there was this reminded me of

upgrade which I guess is another way of

set you know it reminded me of your past

work cuz I feel like that they're good

for the moon just hate doing I hate

doing digital squibs because I feel like

the blood is never it's just never quite

right right we used an actual that was a

real old-school squid blowing his me

show it shows and on behalf of literally

everybody else thank you wave I guess is

film industry slang for those bullet

those blood packs that explode so like

you know when you're watching the last

scene of the world

it's just these squids and they're

really fun because they they're set off

by the charge it's like dynamite

Pacey hood and then they're really loud

and as I've won one before as an actor

and there's kind of a tense moment when

they're rolling because not only do you

want to get it right but you're aware

that it could be painful there's always

that little yeah but it's literally an

explosion strapped to your body like

it's yeah they give you the warning the

way American farmers commercials tell

you that this drug could cause tongue

hair really and then like and action

well that was a goopy Paul Verhoeven

esque squib that I really do appreciate

you know each turret great if I'm not

missing what's that

isn't there a sequence where there you

have some US PD on a building outside or

did we miss it or not get to it yeah

like an oil reference maybe yeah yes

it's we're not to it yes

okay we should pointed out what it guns

this this scene

I love Stefan do Co cinematography in

this scene and I also love will files

the mixer for the film his sound design

he said to me we had music on the scene

Ben wolfish had written this tense music

and and this parking lot sequence will

file said I think we should just use the

sound of the rain and he's such a talent

to the sound mixer and he's just so so

brilliant and so creative like we would

have these interesting conversations

during the mixing stage you know when

I'm watching a Coen Brothers movie like

No Country for Old Men why is the sound

so pristine what are they doing that

other people aren't and and you know

like when he when when Josh Brolin

discovers that crime Steen and with all

the dead people why is it so beautiful

and and will said because you can hear

it mmm and I was like what do you mean

and he said we usually movies flare up

sound effects and then put music on top

of it and everything sits on top

he's like the reason you think the sound

of the keys just swinging in the

ignition in that scene in no country for

all men the reason it sounds beautiful

to you is because that's the only sound

that you're hearing it's less it's it's

not like a better recording of keys but

you can hear it they haven't put music

on top of it and wind and whatever and

so and so I think what we'll did in this

scene with the rain sorry I keep

thinking like there's people actually

listening to me right now have some sort

of shot caller device that you could hit

the trigger on if I snapped or you could

actually electrocute

we we put the proximity cholera yeah I

may just hint you just can't leave the

room it's not that we can stop you from

talking yeah exactly I mean now you know

what it's like if I was having beers and

if you got talking about movies this is

what it would be like it would be like

it made rambling off about ten different

and getting off totally forgetting where

I started but I just love the sound in

this scene because I think we'll in

stripping everything out and saying

let's like the rain you realize how

movies sound these artists these mixes

if you give them a chance to be great

they will do it you know they but they

usually being told no we need music on

top of it well I mean the other thing

that I really like about it is the

matically it works the same way as the

visuals do right I mean we're spinning a

whole movie looking at empty corners and

empty hallways and like it's it's so

quite and like we're filling in the gaps

of like what can be there and so for

this sequence to you know with the sound

be doing that same thing I'm just like

you keep waiting like I'm waiting for

that as a film goer I'm trained to wait

for that music sting that's gonna tell

me when to start being scared and it's

just not there yet and I don't know what

to do with myself you know it's such a

tense scene without the music there –

it's so it's like any time every part of

the movie works together that way like

those are the kinds of things that

aren't immediately evident other than

like oh wow that was a really effective

scene yeah yeah and that for me is the

most fun part of filmmaking is when

you're when you're in post you've shot

the movie and you're now making creative

just you know it's so fun because you

don't have a hundred people looking over

your shoulder you don't have a producer

sitting there you're just on a mixing

stage with a bunch of creative people

real quick but there it is oh okay

there's a dumpster back there with so

basically I've put I always put that

that saw puppet face I put it in upgrade

as well for the new James one he's put

it that that thing has had more

my favorite Aquaman yeah totally I know

it's just this thing I guess I guess

James and I are both like a part of it's

fun like how can we squeeze this in

there but part of its like this guy got

us here yeah if it wasn't for that

goddamn puppet guys right now

well is it weird for you that like this

is the year where psy is being kind of

real yeah spiral coming out like

everything I mean everything's weird to

me about what happened with saw you know

III think it's a testament to the power

of low expectations because James and I

when we made that film we were not

hoping to dominate the world we were

like if we're really lucky we'll get a

straight-to-video release will be in

blockbuster and you know if we're not so

lucky we'll have a pretty compelling

demo reel to show people like a 90

minute movie that we can show people and

say see we know how to make movies give

us some money and we'll make a real

movie the fact that the fact that our

little demo reel made it into theaters

and people just did enough to spawn

sequels is kind of mind-blowing yeah so

here we're going we're going back to and

and this for all intents and purposes

this camera move here this is this is

the invisible man's POV just not bad

it's actually supposed to be the camera

behind him so the it's looking at his

back yeah do we have any questions I

feel like I haven't answered enough

question

you're from the right here from TV Dirk

solar to the the last big fight scene

out in the rain he's they're curious how

did you do the rain CG effect she's

gonna be holding on to an actor or is

she so kind of how did you make that

technically work when she's grappling

with Adrian with the suit flashing

so basically we had an actor in a green

bodysuit we had we had Oliver Jackson

Cohen in the group talking to Elisabeth

Moss and then we did a take without him

and you just kind of combined that the

suit was actually entirely filled in a

computer it was all CG so it was I love

what cutting edge the visual effects

company did there that was like the the

visual effects always the last thing and

so it was very late in the game before I

saw a shot where I was like oh that's

here and I really loved it I feel like

it I don't know I just I felt like it

was scary looking just those cameras

they the way they look it just has this

weird it almost looks like a Blade

Runner version of a gimp suit this is

gonna be an S&M thing dad I was like wow

it's like a latex rubber black suit you

know it felt very sexual in a way but

there's something I don't know when I

first when I saw that visual effect shot

in the rain I was like oh this is gonna

work because it just looks strange weird

well I like how in this fight yeah

the fight scene that we just saw is well

here and though right and it going back

to the hitting him with plates thing the

idea how tactile the Invisible Man was

like you could see people grabbing onto

him and struggling against him which I

thought was really really well executed

well actually in that last scene with

Aldous Hodge we didn't have anybody they

just beat himself up oh wow dress

himself right can I ask you a question

about this scene as well I mean in the

in the interest of is he in the room

right now as a question okay so no so we

can't so here's where this is good so

when Adrian got away from the

psychiatric cost basically contacted his

brother and was like I need you to do

this

and he's and his brother he's brother

there's a little bit of a time crunch

there but his brother is basically doing

this cuz Adrienne asked him to do it and

this is the only time that Tom was in

the suit the rest of the time it was a

dream it was a dream

so under the thumb of his brother he'll

do anything his brother tells him to do

so his his brother was basically like he

tell he told him to go and to kill

Signet I love it we shot here of the

SWAT team we were losing the light and I

was losing my mind

gift to the scene because looks very

Michael man yeah you you wanted to

what's that you said you wanted to open

the film with like something really cool

you got a listen to the end yeah I mean

yeah it was basically like this this

scene here was almost gonna be do except

I think I was gonna have originally I

was gonna have people coming in with a

knowledge of what with a knowledge of

his suit so they would be wearing like

these you know you know heat vision kind

of global things but so this so this

scene is I feel like there's that

misdirect there of like so Adrian has

basically staged a version where it

looks like he's been innocent his

brother does everything but then I

wanted to quickly defuse it by having

Elizabeth's character say know that

because everything everything with the

guests lighting has been about like

making her look crazy and making it seem

like her version of reality wasn't

wasn't tracking and so this was her see

she's stronger than she has been in

print right that's the thing that really

struck me about this scene is

Elizabeth's performance is just she's so

so confident and so like she's like

rooted and in the truth in this scene

like and just telling people like it is

more so than she has been in the rest of

the movie it is a really really cool

shift in her performance here

well she didn't right the whole time

right she's validated that she's been

right the whole time and like it's funny

like you that so much of the movie is in

her perspective and so well there's only

like two days that she didn't work but

um do you guys do you guys enjoy movies

where you spend the whole movie in one

person's perspective you know those

films where it's really like just one

it's just like whether it's taxi driver

all what you wear to a movie where it's

like all one person

so I'm answering your question with an

aside not intentionally but to someone

when I'm scrolling back to find it

someone had asked if you like the Sadie

Brothers films like good time or oh my

god why am i blinking on bedroom because

like to me uncut gems is a prime example

of like living in one character's head

the entire time and that movie is like

the most anxiety inducing movie I have

ever watched in my entire life but like

you're really you're really in it with

him even if you can't relate to it I

think you can play around with fun

things within that where it's like are

you in a character's head that you can't

relate to really like a taxi driver or

Joker or are you in a character's head

like the Invisible Man where you you

need to be in Cecilia's head to really

be able to like to see the world through

her eyes is Evernote is misjudging her

yeah I mean I felt the same way I

actually good time was just as stressful

as well that was really stressful those

guys it's it's it's so amazing what they

do because making people anxious is kind

of abstract like on a movie set how do

you how do you make someone anxious like

if you look at a film like uncouple the

characters getting into these bad

situations but I think it's I think it's

really hard to make people as anxious

does that film makes people just put

having grown up in your movie exactly

yeah and I think specifically here

you're working with a carrot not putting

herself injecting herself in scenarios

that are increasingly worse and worse

she's going to his house here but that's

to end this is not her being like let's

let's

gamble everything that's left you know

this is this is her being like I have to

put this to rest and I'm going into the

Lions Den to do this like it's very it's

I think I think you did a really

excellent job of building tension in an

opposite way where you're you're rooting

for a character not because you can't

wait to see how far they go with their

own demise but because you want them to

succeed which is obviously the the role

of a strong protagonist yeah yeah I mean

I guess the most pathetic thing I could

think of was to her to go back to see

him in person like he's got the whole

movie you spent the whole movie with him

as this invisible entity and now she is

seeing him and you're playing a lot of

catch-up like you're meeting this person

that you haven't gotten to meet

throughout the whole film and but he

continues you know gaslighting her and

manipulating her he's being he he

everything he says in this scene and

this dinner scene is kind of loaded like

to her and and he's just a he's just a

great liar so when she's asking him to

tell the truth he's really he's really

good at saying to her I promise you I'm

telling the truth

you know even even him saying here like

on my hand shot it you know it's him

pretending to not be in control to

making sure oh no I seem to say real

quick as a father one of the micro here

is he's basically offering a pregnant

woman sushi and wine which is like I

know specifically she can't have those

things right already you're already

failing as a parent dude but I mean how

much of this scene in when you're

working with him is like how much of

this is the truth according to him you

mean the character yeah the character

yeah I think I think I think like a

really good liar

he he's living this little little ruse

that he's cooked up this reality he's

living it so in his mind he's a victim

he's he's convinced himself the

his brother did do this he I think he's

able to really skillfully live in the

reality he and and it's almost like that

the line between acting the line between

the lie and the truth is so blurred in

his world like he's just it's like I had

Oliver watch all these videos of Ted

Bundy like there's all these great

YouTube videos of Ted Bundy being

interviewed just going to turn the light

on I'm noticing that the light is

disappearing in this there you go um so

I had him watch these there's all these

great videos online of and the degree to

which he believes his own lies and the

degree to which he's able to sell it

it's it's it's incredible like the the

the there's the skill I mean he could

beat a lie-detector test because he was

so when when the reporter would say did

you do this and he would say no and he

was so believable so I just feel like

aged Adrian is at that level of you know

being a sociopath and then where he can

really believe his own lies if he

admitted to her here that he did it do

you in your mind do you think this would

have gone differently or did she always

knew exactly what she wants I think it

would have I think she I think if you

know she knows that her friend is

recording it I think if he hadn't that

would have been enough for her to maybe

walk away she probably would have gotten

up and said she might have walked away

with that but I think she I think she

knew he wouldn't though there's there's

no part of her that thinks she does try

to get him to tell the truth but I think

she knows dig down he's not used to he

sort of he sort of talks to her in a

coded way here and tells her that it was

him by saying you know he says the word

surprise here right because we went to

London to do

as a pickup it was very hard to recreate

this whole dinner scene in London months

later but even that was a close-up shot

of all of us too close to it very hard

to place it and extremely difficult but

um but I did not know this I also I also

do really love this this scene as the

way that the film ends after a you know

a car chase and an escape from a

hospital and and all of you know those

delicious that delicious squib like the

action and stuff that comes up earlier

and the jump scares and everything that

are in this film and then to end the

movie so quietly like this yeah I think

is really wonderful I I really

appreciate how you positioned him as

this sort of monster in a castle all

along this isolated person surrounded by

these like giant stark halls everything

feels so hauntingly lonely in this place

it's dark it's grim like you're like

he's rich but what does that mean you

know like totally I mean he's it's

designed this like clinical I guess it's

the modern version of that classic

Universal like the castle on the hill

you know yeah and I love that that quick

little cutaway to the empty chair that

he's backing on themselves and I do love

symmetry like I like opening the film in

that house and then closing the film in

the house she opens her eyes the first

shot of the movie is happening and then

the last shot of the movie is her

closing her eyes and so I just I just

really like that kind of symmetry I

don't know why I may be young well and

using the using the security-cam footage

– yeah I mean there's there's a you know

call calling back to the visual language

of the opening of the film is is you

know it it in a movie full of like you

know I'm expecting to look at something

in this empty hallway or I'm expecting

as a big music you and that raining the

parking lot scene it's these

visual cues at the end sort of signal

that's like okay now we're coming to the

end because this is a you know where we

started so she also didn't just kill him

she framed him for a murder basically

she framed him for his own murder which

i think is the perfect revenge she I

guess she weaponized his surveillance

against she she used everything that

he's used throughout the film she was

being manipulated like in that scene she

there's a big part of her that's

manipulating him as well and she you

know uses the suit against him and she

she uses his surveillance like I just I

basically wanted her to be up use all

his weapons against him and I like that

it has that moment do before she like

you know when before it cuts the chair

where he's like wait a second it's been

a minute a feeling unsettled himself the

dog sous-sous made it Zeus made it

you're welcome Terry ironically with a

leash back on but that's okay going to a

loving home now she well like she he he

does he does he heavily Shin that did

you say leash in that maybe I'm

maybe I wasn't looking maybe I was

thinking of he does have she took the

leash off because you say it in the bag

oh maybe I was seeing the bag well and

and hurt her taken off with with the

suit like she's keeping the suit here

what what are the implications of it are

you guys honestly believe it or not we

weren't thinking about a sequel but I I

wanted her to I wanted her to take it

away and I wanted I wanted to end the

movie on a note of him of James the

character played by Aldous Hodge I

wanted him to know what she did and so

she's you know she's taken the suit out

of the house and there's this

understanding between them and he's

gonna go along with her version of the

story and it's it's gonna be a suicide

you know they have camera footage of him

cutting his own throat and it's a it's a

suicide so that'll be it yeah I read

this endings

in two ways it could either be she took

this suit out of the house so that no

one else can get it and power and evil

and then the other side of my brain was

like she could now use this for evil and

yeah you know I mean out of me a part of

me thinks that she used I mean she can

use it to prove what happened to her

that's you know I don't know I mean I

honestly haven't um I honestly haven't

talked to anyone about a sequel yet

people will bring it up and I'll be like

let's talk sequel and I'll be like yeah

I just I loved ending I think been what

wishes music here I really love there

was a great queue when he recorded the

orchestra in London so I went over there

and watched he record in this great

studio in London air studios and I was

just it's amazing to hear an orchestra

that be recording this yeah it's also

having having yeah having that long shot

at the end and knowing for the first

time in like two hours that there's

nothing behind her is so this is a dumb

question to save for the end seen this

movie I've been curious what is her

relationship with James because she

chooses him over her sister because she

knows Oliver would potentially Oliver

potentially go there so what is kind of

in your mind their relationship that he

would be the safer option even with

having a daughter and everything so he's

a he's a childhood friend of hers that

she grew up with and but she hasn't seen

him in a while

I think her relationship with Adrian

took her out of the world for a while so

her sister is closer to James than she

is and I think as you said like there's

not many people she needs to stay with

somebody that Adrian doesn't know

someone that and also he's a cop like

staying police officer and so I just

felt like her and her sister felt like

this was the safest option you know

yeah yeah as you said she if she stays

with her sisters she's too easy to find

I also I'm trying to go back and find a

question from away early on we I've got

it's uh this is from Micah Street or on

YouTube he or Micah asks hey talk about

crafting that cathartic ending we just

talked about it was awesome was that

ending there from the very beginning of

your writing process or was it a

creative journey to get there hmm

let's consult the scene ya know the

first was that in the did you know where

you wanted to end up in in a spot like

that before you started writing yes I'm

just looking at okay okay so in the

original now remember this that in the

original version she did not kill him

mmm it says it says here I can't believe

it Cecelia tells him they will never be

together she has one of his suits she's

leaving and then I've got Griffin is

enraged then he hears a sound so so

basically in you in the original but

before I even wrote the first draft my

thought was she was gonna say to him I

could kill you

like almost like a psychological version

if like you'll never know I guess in my

mind I was like just him knowing that he

can't be near her is enough of a torture

and then as I was writing the movie and

he was doing so much to her I was like I

gotta kill this Dean cards but in terms

of crafting that end scene it was it was

it was a great scene to shoot because

they had such a long dialogue scene that

we put two cameras on them so we shot

both actors at the same time rather than

shoot this person and set up over here

so you can get their reactions and it

was almost like a little mini play you

know with them at opposite ends of this

table and with it was it was really

I mean some sometimes with throat

cutting stuff there's a tendency for it

to look a bit naff onset you know you

can see the tubes and the Bloods not so

sometimes in those moments of physical

practical effects you can doubt yourself

but in the but in the banter between

them I was loving it I like you know you

know this is really good for the final

shot when she walks out and she closes

her eyes

I was playing music we kept doing take

after take him the Sun was coming up I

remember the Sun was coming up we're

about to lose the light and I think I

did like 15 takes and the line producers

and everybody on set was like come on

hurry yeah and and I said and of course

you know Lizzie Elizabeth is you know

she's in she's incapable of a bad

performance so it wasn't like she wrong

thing but I remember saying to her like

there's a certain feeling that I'm going

for him and we had and then I started on

the set and we had I think it was the

title track from the soundtrack to

prisoners which is a great soundtrack

and it has that big cathartic feeling to

it did you listen to that title track I

think it's the track from the prison

soundtrack called prisoners and that's

one thing that Elizabeth uses a lot is

me he's always walking around with in

fact there was a few takes we couldn't

use it because she forgot to take her

but as soon as I it's funny is we kept

talking about it as soon as I played the

music she was like oh now I I know

exactly what you want and that's what we

did that type that you see in the movie

was the one it was like just as the Sun

was picking up over there rise of the

sky was going blue it's going from black

to blue and and we're all about to go

home and every door stood and it's

freezing cold but we we did the take I

think it was like the second take with

music was like the one and I was like I

was lazy not just because the sun's

coming up that was perfect

it's funny how quickly on a film set the

crew like I'm running around celebrating

and everyone else is just packing up

what did you get home like everything

around me everybody it's not that they

don't care but it's like oh we're done

I'm going home right they're not they

still have to pack up so so I just

remember that that was really fun to be

like you know there's that line in the

film adaptation I don't how well you

guys remember that film bear there's

that line where Brian Cox who plays

Robert McKee in the movie he's he's

talking to Nicolas Cage's character

about screenwriting in movies and he

says um look man don't stress too much

just get the last 10 minutes right

because that's all the audience

remembers it's like this thing in movies

they say that the first 10 pages of a

screenplay are the most important in the

last 10 minutes

of a movie are the most important thing

and so when you're shooting the final

scene of a movie you really you really

hear that ringing in your head like look

I can compromise on things but not with

this like this is this is the end the

same thing happened on upgrade I don't

know if he goes room remember the last

shot of upgrade where he like pulls the

knife out of his hand and he walks

towards the camera mm-hmm Zack Lee the

same we did so many takes on set and

everybody was losing it and saying we

need to get out of here we've done 20

takes 25 takes you know if we're not

gonna and I was just saying absolutely

not we need to keep until we get it

exactly right well Lee thanks again for

being here I just it's congratulations

it's a really great movie thank you and

everybody watching if you didn't catch

all of this this this whole video will

be will live on as VOD so you can rent

the movie yeah I was like you do start

to get into design where it's like it's

just yeah I do want to ask you though

because this this was such a such a cool

movie and I was big fan upgrade as well

about what's coming up next is and one

of our viewers Keegan Kim Linda's on

YouTube has also asked is there anything

happening with the Escape from New York

project so tell us about to answer your

question now I don't actually know

what's up next a lot of the time I would

you know finish something and then I

would already have started something

else or there'd be something in the

works but this is this is a first for me

in terms of like not nothing on the

horizon nothing planned so I'm trying to

think it of course we're living in this

weird Mad Max world right now of you

know coronavirus lockdown so it's it's

good thinking time to be like okay what

do I want to do um escape from New York

I'm not sure about that was something

that I saw

getting involved in and then somebody

put out a press release it's funny when

that happens because the press release

gets ahead of the reality so you like me

as soon as it's as soon as it gets sort

of shared amongst various websites it's

written in stone you know and and so I

was I was kind of like oh well that

train shouldn't have left the station

yet so I'm not sure what's gonna happen

with that but um I'm really trying to

think of something I really love

original films that really take chances

we seem to have gotten into this weird

space with movies where IP is the king

and you know what superhero is it based

on what's in a remake then and and I'm

not against remakes some of my favorite

movies arena like the thing the fly this

there's so many movies I thought the

Dawn of the Dead remake was really

fantastic play um I'm not a I'm not

against remakes in any way but what

really gets me out of bed in the morning

it's like films like The Matrix like

like you know for a big blockbuster

movie that's a pretty weird film you

know for a monster it's it's it's pretty

idiosyncratic you know it has its own

little world and it's it's not based on

anything it's not based on a graphic

novel or another movie it's just this

thing and I'm I'm really in or of that

and I don't know if that time has passed

I would put the question to you guys do

you guys think the time of the original

blockbuster a l'arbre matrix or has

passed you know et if et was made today

the Netflix movie like that's what I was

gonna say I think it's interesting when

went from this point where you know

original films and like these mid budget

films felt like they were being

filtering filtering away because you

either had the the very small budget

movies that people are willing to take a

shot on and put in theaters or every

had to be a really massive budget to

make an even larger amount of money

right and there was like no middle

ground and then suddenly we saw there

being a platform of that that kind of

middle ground distribution through all

these streaming services and now we were

talking about this a little bit before

we went live but with what's happening

right now and the way that everyone is

stuck at home and consuming things on

digital because we can't go to theaters

it's like how will that change things I

think I think that there's going to be a

big opportunity for original movies but

I don't I do wonder if like the audience

is going to be so trained to wanting to

watch things at a home that they will

end up living on streaming platforms and

getting these special distributions in

theaters to kind of like be a companion

of that but I think there have been some

some exceptions to their being really

exceptional movies released on exclusive

distributor is's but I think largely

we've seen ok to like absolutely

terrible movies released there and and I

think there needs to be a certain shift

where we get like really really great

original movies being put out there that

are that are filling of the way

obviously obviously last year last year

was actually a aracite and knives out

there were some yeah original movies

that really made an impact in theaters

at a genuine impact and so that was a

really hopeful that was great to see

that and be like okay so there's still

an appetite yeah and and can conversely

you had like the Irishman on Netflix

which was you know this three and a half

hour opus from like a prestigious

director one of the best of all time and

just dropped it on a streaming service

one day so I think a large part of it

for me I don't know about you guys but

there's a large part of it is nostalgia

there's a nostalgic connection for me

growing up in an era when original

Hollywood movies were more than like

Back to the Future ghostbusters

you know Robocop the that's the era

that I have a nostalgic connection to

and and I love Hollywood movies you know

like I love I love mainstream Hollywood

movies that are that do something you

know and so I think I think it's again I

think a large part of is nostalgia and

trying to reach back towards that time

when those movies that I mentioned we're

coming out on kind of a weekly basis

right right now you know it's a great

era I I think it's like it went like

when I was watching when I when I first

saw your movie at no point was my brain

like you were watching a remake because

I feel like that you did such a great

job of of imagining a concept and

reinterpreting it in the way that was

completely unexpected for me that it

never really I was on my toes and I

don't know that that's a really smart

way to sort of take something that maybe

like with a title will bring us in as

comforting I think for like you know for

the average person being like oh yeah I

have a vague idea like I told my father

we're gonna do this tonight he's like

I've ever seen that movie I was like

well that's what I love it's like

there's that sort of late he's talking

about the original movie yeah yeah the

original where she probably saw in

theaters right from the east coast so

actually that's pretty that's

I really like that it was like sort of

welcoming people in with something that

they maybe think they have an

understanding of and then completely

catching them off guard and I think

that's something that this movie really

triumphs with I guess well you know

thank you for for saying you know that

about the movie I mean maybe maybe

that's part of going forward with movies

is you have to have some connection to

something that you can then reinvent but

yeah you know is the is the era I hate

to get into the whole nostalgia thing

that is the error of the you know that

that blockbuster era of original movies

you know gremlins ghostbusters Robocop

is that is it over

I'm sure I'm sure we all know it is and

anyone pining for its return is going to

be disappointed but as Terry said maybe

it just gets reinvented you know

dreaming where streaming can afford

streaming can afford to be original

because they don't have that looming

overhead of movie theaters right well I

would actually I would say your take I

would kill to see your take on gremlins

actually it's funny because I love I

love gremlin little China these movies

that I grew up loving but I'm instead of

being like oh I want to remake that

movie I'm doing I'm asking myself the

impossible difficult question of what's

today's version of that how can i how

can I come up with the movie that that

no one's ever heard of the Sun that is

somehow gonna catch fire cuz these these

movies could really catch fire back then

you know yeah and if if you ever get a

chance to put a Slayer song in any of

the movies actually and hopefully he

sees this user is still watching with

mine spawn on IG on IG and discord this

is one of the first questions that

showed up there's no easy way to sneak

this in there I think I did it clumsily

just now and that's about the best we

hope for but I just we have to know what

is your favorite Slayer song okay I mean

I'm a card is the last question we have

for you so I'm not gonna say raining

blood although that was the gateway drug

player through the very I think the

first one of the first versions of Grand

Theft Auto had had that song in it and I

was more of her Metallica I was a

teenager I was a late Slayer bloomer

sure my favorite slow song I think is

no pressure we're just gonna hold you to

this forever

no I'm blanking on the title I think

it's called is it disciples of death

I know exactly now you guys talk amongst

yourselves well I'll tell you I will

take this time to remind everybody then

again please please go and rent the

Invisible Man

it's a wonderful movie that we just

watched and and also this watch along

will be available on VOD let's call it

forever yeah yeah you need any time you

want to watch The Invisible Man just

just I was hoping this was more of a

dress rehearsal situation until one

later yeah this is a good good run guys

you ready to do this

yes can I just say real quick I'm I've

been a gigantic fan of sort of making of

books behind the scenes dr Mann Ameri

documentaries um movie commentaries and

stuff like that and while I do

appreciate this sort of shift we've made

to digital streaming and stuff like that

I feel like a lot of that's been lost

with like IGN specifically used to have

an entire channel dedicated to blu-ray

DVD or blu-ray and DVD reviews where we

talked about it this is a great value

because it's got all these special

features deleted scenes and stuff like

that so this was like absolutely a treat

to get to do this with you today because

I I'm such a geek about this kind of

stuff and I feel there's like a new

generation that doesn't really get

exposed to this much anymore when when

you watch a movie on Netflix you don't

really have the opportunity a lot I

bought like every Star Wars movie did

times they'll just put like an hour of

like special stuff after the film and

very rarely commentary and everything so

yeah I mean just thank you for helping

us like sort of I was the most

disciplined person doing this so much of

rambling too much well that's fine

listen I I I love doing it I love

commentaries like you do and and in this

movie when it gets released you know

when the proper video version gets

released it will have a commentary and

behind the scenes I'll

I love a really good behind-the-scenes

documentary not many not many movies

still do it like pray a lot of them a

lot of them as you guys know we'll do

this sort of 5-minute studio made kind

of puff piece where that's the best one

where the actors are I mean I just loved

it it was I'm guessing I'm guessing from

what you just said that you liked me or

after the holy grails

whichever ones where the behind the

scenes it's like an hour or longer and

it really goes in like a lot all the

David Fincher movies do this really well

they're like warts and all you he even

allows them to show him being like

peevish and like upset with people on

set which you you never get to see that

stuff like I think ray there's a great

making of documentary attached to the

social network disc and in that I think

it's like two hours long but you get to

see David Fincher getting pissed off

with the Kirk I'm like only Fincher with

you yeah it's it's over here about the

difficult yeah yeah it's like it's it's

it's it's amazing to me when I can find

that and I'm always asking for

recommendations like saying to people

like yourselves do you know of any good

ones actually war the world has a really

great way it's not a documentary it's

just b-roll so it's just footage of them

making the movie cutting it like there's

no talking heads there's no commentary

it's just footage of them like standing

on set making the movie and it's really

fun for me to watch I'm like so this is

how they do that we we don't quite have

the hour-long version but we have like a

director's diary where I'm like talking

through the shoot and talking to the

camera about how we did certain things

and we have a commentary we have there's

this and there's definitely some goodies

on this one and hopefully going forward

with other movies it'll get

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doing feature-length and I'll also say

we were talking about you know the the

future for original movies that aren't

remakes you know sequels adapt and I

will say all of all the genres that I

think that they're like thriving and I

enjoy them in most is horror because I

think you know obviously that there's a

man right now but as Brian said this is

like a completely imagining that is but

I think that there are so many original

horror movies that that come out and

like original horror thriller action

movies like upgrade or I think of like

hereditary and the which like all these

just like really inventive movies and I

think part of the thing with horror is

like you have to reinvent the scare a

little bit and if you're doing a remake

like you did here or like pre

approaching the same property you have

to rethink how can I scare people in a

new way that I haven't dared them before

but I think it's so exciting and I think

whore is for all that I said a make

usual babby and not you saw me like

looking away when I'm in a completely

bright room talking to people and it's

minimized on my screen um you know I

think that that's where like I know I

get so much enjoyment out of really

interesting well made a unique

experience that I haven't had before and

and I think ironically that brings

people together to gush about them even

though horror when you consume it by

yourself is probably when you get the

most freaked out yeah I mean Horace

still great experience communally and

and I think you're right it's one of the

genres left where you can do original

stuff and you don't have to be based on

some other piece of AP and and there's

actually a lot you can get away with in

the horror it makes it a cool genre like

it's the only genre where people will

just accept a negative ending like an

unhappy ending you can just kill off the

hero and I feel like it's pretty

avant-garde within within the mainstream

sort of genre world

I feel like horror is the genre where

you can get away with the most you can

stretch it you can be a bit artistic you

can you can definitely push it the form

and and be more avant-garde than saying

maybe you can with an axe

yeah I would say science fiction is is

in that with like I mean just in the

past decade you know there's movies like

ex machina and you know under the skin

the kind of riots that yeah that fine

line between a sci-fi and horror where

you can get away with some just some

bananas stuff and like just that's why I

love this movie you know yeah cuz like

you you Kip you KITT patch like to my

favorite genre you made it a sci-fi suit

and you know horror monsters right yeah

yeah actually out really good twin

genres a lot of my type horror films are

horror sci-fi like aliens alien yeah

yeah I listen there's there's so many

let's just figure out how to watch alien

for the night this is just our first

episode of watch from home theater so we

really really appreciate you being here

for it man

you're always thanks always of course

welcome back you will get the Terminator

back back on the show as well yeah let's

just just show us show us out with your

sunglasses and your feet up one more

time yeah okay and everybody else thank

you so much for watching and sticking

with us all the way to the you know

styles you know I wish I could do that

but I can't I wish I could be styles I

wish I could be styles I am but I want

to say thanks for doing this and for and

for you know letting me blabber on about

the movie for for the length of the

movie and I appreciate your support of

the film and and this was fun yeah let's

let's do it for some other movie that's

not one of my films just whatever you

want your your choice of Joe Dante films

we'll figure that out we'll figure that

camera but everybody else that tuned in

thank you so much we'll see you next

time i watch from home theater

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