When you're shooting sequences like that, you're just trying to create some approximation of that and you really feel it when it's working. A lot of that is just about finding ways to create so much tension and to keep tightening the screws that you're sort of laughing and waiting for that big reveal to happen.
There's something in it that almost feels like you're shooting a comedy. I think for us, we talk often about how when you're a scare or real specific horror moment, that oftentimes for us, we know it's working when it actually feels really funny. I think the other sort of part of that is they're really fun. I think that we know when we're shooting a sequence, whether it feels like Scream or not. So much of what that intuition is for us is is because of our love of these movies. I think for us too, though, there's just a feeling of excitement. Gillett: Well, when you have a good line producer and a good producer, they signal right away if you don't have enough time or money to do what you want to do, which is a very valuable relationship to have.
You mentioned in prior interviews that some chase/kill scenes changed once you were on set - which happens! - so I would love to know, how do you know when a kill scene is working? And what are some signs for you when even though you really want it to work, you know you have to scrap it and do something completely different?
0 kommentar(er)
