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[Cettehistoirecontientdesspoilersmineurspour[Thisstorycontainsminorspoilersfor[Cettehistoirecontientdesspoilersmineurspour[ThisstorycontainsminorspoilersforHalloween]
Halloween presents one of the most striking opening sequences of the year, and this only happened thanks to the tight handbags of the budget – conscious producer, Blumhouse.
The scene shows a team of British podcasters (Rhian Rees and Aaron Korey) visiting Smith's Grove Sanitarium in the hope of getting an interview with Michael Myers, the famous serial killer who has not spoken since his closing since forty years. The audience sees Myers, chained and standing in the checkered pattern courtyard of the sanatorium. Soon, one of the podcasters tends the mask of Myers. The intensity increases as other patients begin to react to something invisible.
The moment was meticulously executed, but it was not always planned as well. Director David Gordon Green and his team designed it just six months before shooting began in January, after deciding to remove an original opening sequence that would have resumed the end of the year. 1978 original of John Carpenter. But this prologue turned out to be too expensive and cuts had to be made, which allowed the spectators to make themselves known in the cinemas.
In a conversation with The Hollywood journalistGreen also recalls how the script was tweaked during the filming, writing weeks under pressure and enough to convince Jamie Lee Curtis to resume her role as Laurie Strode, as well as the way this abandoned prologue culminated in the film. Read the full conversation below.
This opening sequence is one of the most interesting of the year. How did you make it?
Until production, the inauguration was going to be a prologue that gave us context in our narrative. He was going back in time; 1978. As we approached production and had 25 days of main photography in front of us, that would make no sense. We had to do all this playtime and specific things that became too intimidating given our tight shooting schedule. So we had to find something very quickly.
I've been doing independent films for 20 years, so it's not unusual, but it's funny to make a film that has this studio profile, its support and its campaign, but if you put us in the past in January, how is it even possible to film this in this number of days? I was confused and pissed at not being able to perform this prologue accurately. We found that this really cool place had a weird checkerboard and we were going to meet Michael. We have just proposed an increased environmental atmospheric opening that would be inexpensive.
I would have guessed that it was the plan forever.
Probably six days after the start of photography, it is when this opening has appeared.
As you wrote this, there was no agreement for Jamie Lee Curtis to appear. Have you ever thought: "What will we do if Jamie Lee Curtis does not agree to make this film?"
We thought that way, but we just could not find what it would be. So we stopped thinking that way. We drew up all these lists and we did not know who it could be. So we decided not to spend our energy trying to give this role another name. So we decided to put 100% of our efforts to get who we are. want to.
This film is a bit like Creed in the sense that you have an original talent involved, but you also need it to have a new voice. How did you balance listening to Jamie and John Carpenter's advice while you own it?
Once [co-writers] Jeff [Fradley] and Danny [McBride] and I was excited about what we wanted to do, it was important to involve John and his voice was invaluable. He was the voice who said, "You do not need the prologue, trust the public." He certainly knows the DNA of this universe and these iconic characters more than anyone and he has seen what has happened over the years and the various detours and tangents that some of these characters have borrowed. He has a perspective on this and it was important to me. just at the cosmic level, let him be there to navigate us. I always look at every job I do as a student, not as a teacher. And I want to surround people with whom I can learn. Sure Halloweenit's first and foremost, I want to learn from John Carpenter. Second, I want to work with Michael Simmonds, the DP that I really respected and who has made some very good horror movies. I want to surround myself with Timothy Alverson, a great horror editor, and I will learn from these guys because I am very scared to make this movie. If I do not surround myself with intelligent people I can learn, what do I do with this opportunity?
What did you learn from screening tests or the editing process?
The editing process is so much fun on something like this. In a horror movie, you experience surprise versus suspense, music versus silence and that sort of thing, but you really learn once you have it in front of people. I've probably done a dozen screenings with the audience. I am a little neurotic, trying to bring not only my first horror film, but also a film that brings us an extraordinary amount of luggage. With this baggage, it's an opportunity.
It was about learning how to do paces, learn gore balance, when that is too much, when it is not enough, when you want to use your imagination and make sure that everything goes well in front of the camera, as opposed to the delight of a filmed sequence. And I really let the audience lead the conversation. We could make a restricted version where everything was in your imagination and you did not feel so much fun. You can make a version with lots of shows and tell everyone what everyone's motivation was, and it was not as fun. Then when you find the line and you give everyone enough resources to unleash their imagination, then when they least expect it, slam on their face something that they do not know Do not wait, so it 's super fun to see the excitement and the commitment of an audience. for a suspenseful scene. How long can you maintain the tension? How long can we not know Michael Myers is hiding? When is this voltage used to our advantage and when is it just exhausting? I can not personally learn that sitting in an editing room. I want to see him as big and strong and with so many people that I can argue to watch him and live him for the first time because they're not going to lie.
You come from a comedy background and this movie has some rather unexpected and funny moments. How did you find that balance?
Danny and I were really concerned to make sure that there was no humor in this movie. There was nothing funny on the page. And then we go into the casting, the rehearsals and the production, and the people are funny and there is spirit and there is an alternative line or this kid who is babysitting and he talks about shit and it's hilarious. Then you're in the editing room thinking, "Are we doing it ourselves?" So, you leave the audience, you put some in and you say, "Hey, is that a good type of breaker or does it get distracting?" with that kind of things that start to appear.
There is a beautiful scene where Laurie has an emotional crisis in a restaurant. This is not the kind of thing that is expected of these films. What was this shoot like?
It was very loose and improvised. I will say that there are not many things in this scene that is scripted. In the scenario, it was a bit more explosive and I think she broke something. There was more of a physical fusion and less of an emotional fusion. Very often, in the rehearsal process, Jamie came to tell me, "I think it should be more internal" and I agreed. Often, as a writer, you write to people to tell them what they are feeling, simply knowing that the reader, the actor, can start to interpret things and that fewer people are going to do it. is more, the day. If I remember correctly, it was a big day of this "minus, that's more".
It was also the day she went to sit at the table and said, "I was going to kill him." It was the day that inspired us to go back a bit and place a gun when she watches him. In the screenplay, she was watching him go, but after turning the stage down, we said to ourselves, "Oh, put a gun there." So she has a weapon at the moment of the transfer when he goes on the bus and that kind of thing. They sometimes even informed scenes that would occur before in the story, because it would have improved something. This whole scene is improvised. They talk about Cameron [Dylan Arnold] dad and peyote. When you have Toby Huss in a room, it's hard to stay in script. So it became fun. Toby and Judy [Greer] and Bill, the actor who plays Cameron, and Andi [Matichak], they were just sort of on the cat. In the scenario, there was a scene that we could not afford to do the day, where most of these events took place during the ceremony of the honor society, which we then reduced for budget reasons, that's why we ended up improving this scene. because we were supposed to get this content at the ceremony, where Alison [Matichak] was honored. We even located this place and located it, but we would have too much time to do it, but we just decided to let it fall in the restaurant.
Blumhouse productions are not known for their five-star talent accommodations. Where did you stay during the shoot?
The accommodations were where I lived at home. There are no trailers, there are no frills and everyone is snowy, which is great. We started to build this decoration for the prologue I told you about. We had taken the measurements of the house, literally the home of the original movie. We sent an art director there to measure the climax of that film, the bedroom where Michael was shot, and we framed it and we built half of it before making the decision economic to do it. We could not afford to finish it. So, we've done this in Laurie's bedroom to mark the end of our heyday. So it has a strange unconscious reflection of the end of our film reflecting this film, which was an economic choice and not a creative choice, and most people do not recognize the distance that separates them from the closet door to the balcony, but those who know it, or even those who do not, I think there is a subconscious link the sets reflect that I'm excited. Again, this is a positive result of the economic hardships and the Blumhouse model opens these corridors, these avenues. It was the idea of my production designer. "Rather than leaving this climax in this tiny room of the real house, let's use this half-built set" and it becomes this huge eureka. But it is only out of economic necessity that this opportunity is discovered.
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