WEBVTT 00:00:00.000 --> 00:00:02.100 I want to remember that these characters of scary. 00:00:02.100 --> 00:00:05.300 I don't think he can take tracular and make him a secret agent. 00:00:05.300 --> 00:00:09.200 This couch is being done so much in so many movies that The approach 00:00:09.200 --> 00:00:21.600 is often like it's Dracula, but he's Jason Bourne books for them. 00:00:21.600 --> 00:00:25.600 The undead has a hall pass at the CIA. 00:00:25.600 --> 00:00:28.500 I don't want to send as a secret agent. 00:00:28.500 --> 00:00:32.600 I don't think these do you know leyes of mayonnaise and needed 00:00:32.600 --> 00:00:35.900 to make the character palatable for a modern audience the way 00:00:35.900 --> 00:00:41.200 to do it in my humble opinion is to strip away all the iconography 00:00:41.200 --> 00:00:46.500 types and fangs in coffins and crosses and just look at the essence 00:00:46.500 --> 00:00:51.800 of sociopathic drinks blood and make it scary like when the original 00:00:51.800 --> 00:00:54.800 Dracula novel and indeed the original film was released. 00:00:54.800 --> 00:00:56.100 It was scary to those audiences. 00:00:56.100 --> 00:00:58.500 So make it scary for a modern audience. 00:00:58.500 --> 00:00:59.300 I'm afraid. 00:01:01.400 --> 00:01:03.900 Midea, I'm sure contract beloved. 00:01:03.900 --> 00:01:05.900 Excuse you you must go to your room. 00:01:08.600 --> 00:01:10.700 It's the symbol of them that's iconic. 00:01:10.700 --> 00:01:12.000 Not the original character. 00:01:12.000 --> 00:01:16.100 You know, I don't know how many more than teenagers who would 00:01:16.100 --> 00:01:17.500 have read the original HG Wells novel, 00:01:17.500 --> 00:01:21.500 but they're aware of the Invisible Man because they grew up watching 00:01:21.500 --> 00:01:25.400 Hotel Transylvania Adam Sandler voicing Dracula and stuff like 00:01:25.400 --> 00:01:26.500 this. It's part of the reason. 00:01:26.500 --> 00:01:29.600 I think a lot of these iconic Muncie characters have become 00:01:29.600 --> 00:01:31.700 safe because they so ubiquitous. 00:01:31.700 --> 00:01:33.900 So that's part of the challenge with these characters. 00:01:33.900 --> 00:01:35.600 How do you strip all that stuff away? 00:01:35.600 --> 00:01:38.900 My primary goal was you know, how do I make his character of 00:01:38.900 --> 00:01:42.600 The Invisible Man scary again to a modern audience the best 00:01:42.600 --> 00:01:45.400 way for me to do that was to forget about all the Rafi and 00:01:45.400 --> 00:01:48.100 everything that's been done with the character in the past and 00:01:48.100 --> 00:01:50.900 what the Slate clean and just start again with this character 00:01:50.900 --> 00:01:53.200 in the essence of the character in trying to build a story around 00:01:53.200 --> 00:01:58.100 it figured out a way to be invisible. 00:02:13.600 --> 00:02:17.400 How do I make this guy scary and as I was figuring out the 00:02:17.400 --> 00:02:21.800 answer to that question this idea of a woman escaping this abusive 00:02:21.800 --> 00:02:27.400 relationship and a spot or Post Oak and started to fit seems 00:02:27.400 --> 00:02:30.200 to be where the story wanted to go as I was writing it. 00:02:30.200 --> 00:02:33.500 I started researching it cuz in anything I write all that researching 00:02:33.500 --> 00:02:37.000 interviewing people and so I interviewed some counselors 00:02:37.000 --> 00:02:43.700 at a domestic violence shelter in Los Angeles in the script, 00:02:43.700 --> 00:02:47.400 you know, every time I've written the screenplay will be a point 00:02:47.400 --> 00:02:49.500 when I'm interviewing someone and some of that research 00:02:49.500 --> 00:02:53.300 end up making the script stronger and more authentic and I was 00:02:53.300 --> 00:02:56.500 saying movies depicting physical abuse a lot I'll be asleep 00:02:56.500 --> 00:03:00.700 but I think so I can logical abuse in and being manipulated 00:03:00.700 --> 00:03:04.300 by someone is this may be harder to photograph and it's something 00:03:04.300 --> 00:03:04.900 it was interest. 00:03:05.000 --> 00:03:08.600 I felt myself wanting to go in that direction more somebody 00:03:08.600 --> 00:03:11.400 who is losing their mind because of the way someone else was 00:03:11.400 --> 00:03:14.900 manipulating them and it just fits with the idea of the Invisible 00:03:14.900 --> 00:03:18.700 Man if you think about that character was a metaphor for an insane 00:03:18.700 --> 00:03:22.400 man, that's in your space and he can do anything. 00:03:22.400 --> 00:03:24.700 He wants it can mess with you in these ways and you had your 00:03:24.700 --> 00:03:29.900 defenseless that I think it would fit well with the idea of you 00:03:29.900 --> 00:03:33.400 know, this woman being gas-lit and manipulated to the point 00:03:33.400 --> 00:03:33.600 of Madness. 00:03:41.500 --> 00:03:45.000 We use practical effects that would have been used on the original 00:03:45.000 --> 00:03:49.500 1933 invisible mad props guys hidden in cabinets pulling 00:03:49.500 --> 00:03:53.100 doors on a string, you know, and I'm saying they're on the set 00:03:53.100 --> 00:03:53.800 in the shot. 00:03:53.800 --> 00:03:55.700 The only reason you can't see them is that they're inside 00:03:55.700 --> 00:03:59.000 a cabinet everything from strings to like state-of-the-art 00:03:59.000 --> 00:04:02.600 CGI where you have to completely remove a stunt performer 00:04:02.600 --> 00:04:04.000 who's wearing a green bodysuit. 00:04:04.000 --> 00:04:06.000 It's all that stuff for me. 00:04:06.000 --> 00:04:08.400 I don't really care how the sausage is May. 00:04:08.400 --> 00:04:11.400 I just want the end result to be seamless. 00:04:11.400 --> 00:04:15.000 And so if it takes a string and fine with that, 00:04:15.000 --> 00:04:18.300 sometimes it's better like, you know, you can go around the block 00:04:18.300 --> 00:04:22.100 with CGI and it takes months in the end result isn't quite 00:04:22.100 --> 00:04:25.400 satisfying and the end of the day someone pulling a door closed 00:04:25.400 --> 00:04:29.200 with a string on moving a prop the piece of string can be more 00:04:29.200 --> 00:04:33.200 effective because as I said, the goal is realism in Daddy's 00:04:33.200 --> 00:04:34.300 real the thing is moving. 00:04:34.300 --> 00:04:36.100 You're not faking anything. 00:04:36.100 --> 00:04:39.400 I wanted the film to be so grounded when people watch it. 00:04:39.400 --> 00:04:42.300 They just took Granted that pic was actually being photographed 00:04:42.300 --> 00:04:43.700 a lot of times. 00:04:43.700 --> 00:04:48.900 When you see movies with huge budgets the CJ really close attention 00:04:48.900 --> 00:04:51.100 to itself like you you're so aware that you're watching 00:04:51.100 --> 00:04:53.500 something that was created in a computer. 00:04:53.500 --> 00:04:55.500 Like what I'm trying to do something completely different. 00:04:55.500 --> 00:05:03.900 It's invisible. CGI defocus it to look less crystal clear for 00:05:03.900 --> 00:05:06.800 the sake of realism, which is not the first instinct of a visual 00:05:06.800 --> 00:05:09.600 effects out if they want their beautiful work to be clean and 00:05:09.600 --> 00:05:11.300 Crystal clearance. Like I go the other way, 00:05:11.300 --> 00:05:15.500 I'm like throw it out of focus anything to make the audience 00:05:15.500 --> 00:05:18.100 think that what they saying is actually in front of the lens. 00:05:20.900 --> 00:05:21.600 Where are you? 00:05:21.600 --> 00:05:23.400 Where are you? 00:05:24.600 --> 00:05:28.100 Necessarily think that Jara has changed. 00:05:28.100 --> 00:05:29.900 I think it's always evolving, you know, 00:05:29.900 --> 00:05:33.800 what goes through these little micro-trends any Deb's inflows 00:05:33.800 --> 00:05:37.700 and then they so many different subgenres of how each one has its 00:05:37.700 --> 00:05:41.400 moment in the sun in the nineties suddenly screen came out 00:05:41.400 --> 00:05:44.300 and it was these ironic slasher movies with a characters 00:05:44.300 --> 00:05:47.300 were all aware that they were in a slasher film in that was kind 00:05:47.300 --> 00:05:50.900 of minutes and then in the wake of sauce and they had these 00:05:50.900 --> 00:05:54.800 intense R-rated gory films and then it finished and then it was 00:05:54.800 --> 00:05:57.000 Supernatural films. And then with The Walking Dead suddenly 00:05:57.000 --> 00:06:00.100 zombie movies were having a moment and it always mystifies 00:06:00.100 --> 00:06:08.000 me when somebody says a horse's back and never goes away what 00:06:08.000 --> 00:06:11.500 what appears and then disappears of the various Cubs owners 00:06:11.500 --> 00:06:16.000 will be popular for a while year or so and then I'll leave 00:06:16.000 --> 00:06:19.700 but then ghost movies will come in in zombie movies and you know 00:06:19.700 --> 00:06:21.800 pretty soon be a monster movies are going to have a moment. 00:06:21.800 --> 00:06:22.900 It really depends on which 00:06:23.900 --> 00:06:27.900 Which sub-genres Hora is having its moment on this Carousel 00:06:27.900 --> 00:06:31.500 popularity something that's been talked about a lot right now 00:06:31.500 --> 00:06:35.700 is the so-called elevated Hara which is code for her that it's 00:06:35.700 --> 00:06:38.500 okay to like but if anyone tried to present that to me is a 00:06:38.500 --> 00:06:48.600 new thing. It's not a new thing. 00:06:48.600 --> 00:06:51.200 I think that in the seventies and eighties Mahi filmmakers 00:06:51.200 --> 00:06:54.300 like William friedkin and Richard Donner and then in the early 00:06:54.300 --> 00:06:56.900 eighties Stanley Kubrick making horror films and then all the 00:06:56.900 --> 00:07:01.800 sudden the VHS Sierra there was a slumping in quality in production 00:07:01.800 --> 00:07:06.000 quality, you know, I grew up going to sleep over this way. 00:07:06.000 --> 00:07:08.100 We would be watching Nightmare on Elm Street 5. 00:07:08.100 --> 00:07:10.700 The thing that is talked about right now. 00:07:10.700 --> 00:07:14.600 Is that a new type of filmmaker is making horror films movies 00:07:14.600 --> 00:07:18.500 that have one foot in Sundance and one foot in the multiplex 00:07:18.500 --> 00:07:22.600 and I like that as a horror fan I want 00:07:23.800 --> 00:07:27.600 Deeper and more challenging horror films out there.