All language subtitles for vercin2

I'd done a horror film called All the
Boys Love Mandy Lane with friends from

AFI and Adam, he and I had been on a
couple of panels together for

micro budget horror films because You
know, Mandy Lane was under 200 ,000. He

was on sort of the festival circuit for
Popskull.

And we became friends and then, you
know, just hit it off.

And then one day he asked me, you know,
he said, doing this movie called You're

Next, would you be interested?

I said yes, and here we are.

Adam just has this really easygoing way
about him and this very calm demeanor

that just allows him to get these great
performances out of actors.

And he just puts in the time and the
planning in that he can be so specific

about what he wants and needs to tell
the story that he can chisel away all

other stuff and that allows us to be
really ambitious for those, you know,

really focus our money.

for a production designer that's great
because you know what to concentrate it

on and that what you're concentrating on
is going to make the movie and will

make the movie better you want

to try sure

the um i mean the first time the guest
came

up is Adam told me he and Simon were
thinking about this

Halloween movie, but they'd just seen
Terminator.

And they wanted to somehow combine the
two, but they had no idea how to do it.

But they were thinking about it.

Really, it's when you've got it, you've
broken it down, and then

Adam and I will generally...

go out to lunch and we'll just start
talking about whatever really inspired

about that script. And honestly, in the
case of the guest, it was color.

Like we really started talking about
Halloween.

What are the colors of Halloween?

What makes it so special? And what can
we kind of take from that as a base and

then keep adding to it? And can we make
this horror film that's really

wonderfully colorful?

we knew at that point it was going to be
shot in new mexico we're talking about

embracing kind of the new mexico of it
all the the colors the light the

big skies and then we were getting you
know really excited about what could we

do in camera as far as the shootouts and
how big could we make them if we were

really really careful with it and that's
when you know you start thinking about

things in a practical sense and figuring
out how to make it happen and that's

just when it all started coming together
well there's a lot more logistics

involved because you're moving places
constantly you have multiple crews

up striking taking things down getting
you place to place but you're just

to find all those little pieces that
build that very, in this case, odd world

and just building out that world as a
single sort of cohesive entity.

I don't blame you.

The vibe really was that so before we
even did our first location scout, Adam

already had like a mix put together and
was already composing music.

So is he and I driving around New Mexico
scouting. He's like playing this mix

constantly, which really Adam does a
lot. It's how he works.

And so very much you're in the vibe
early on, and then the thing is it

right? All of a sudden the location
manager who's there is hearing it, and

the location assistant.

And then it's playing in the background
as you're interviewing people because

Adam's blaring it in his office that's
next door to you.

Everybody gets the vibe of a Wingard
film.

We set it ahead of time and part of that
is all those things came from such a

wide variety of places that they had to
be gotten.

way in advance to be able to put that
room together.

But I do, I love that room. It's one of
the favorite sets I've ever done, even

though it's such a small, small thing.
But something about the colors and the

lighting and the detail, you know, like
the butterfly lampshades and the odd

hand -hammered, you know, metal end
tables from India.

And a comic artist friend of mine, Megan
Hutchison, did all of the original art

and etchings for that room.

We had a lot of antique Japanese paper
masks in there, just tons of fun

You know, you have it all set up and
Maike came in and we kind of ran through

all and she moved stuff around, you
know, took some stuff off the shelf, put

in her purse, like...

put things in her pockets and even if it
never made the movie it it all helps it

all helps with the character so that
that room was a blast

Terminator

and Halloween are way up there also Lady
from Shanghai in terms of figuring out

you know reflections are really
difficult to do well like to get that

-layered part of the maze.

So we really studied Lady from Shanghai.

And then we also spent some time looking
at In the Mood for Love for colors,

patterns, that kind of thing.

And so those, I know it's a bit of an
odd group of references, but it all sort

of slams together in the end. You know
that weird scarecrow from it that Adam

and I built that on a Sunday weekend
just for fun for the shootout you're

oh man if we could make it with wooden
arms I bet special effects could just

explosives on it just blow it to hell at
the end of the shootout sequence it's

what happened you know the big point
obviously is color and lighting and both

Susan and Robbie are great and what it
would do is we because Practical lights

are so important to Robbie.

I mean, he was a fantastic gaffer in
addition to being a great

So we'd lay out all the practical
lights, the paint chips of all the

then we'd worry about how do you make
those practical lights as good and

as possible.

And that's where lots of the
collaboration really came from.

And then also figuring out What do you
do with the window treatments? Because

the light is so bright in New Mexico.

So you're sort of constantly trying to
cut stuff down. And Susan is really

about understanding the shooting needs
and just what has to happen to get a

great image.

Silks were handmade to go inside
lampshades to like take the lamps down.

lot's going into those, you know, little
tiny rooms.

I think we shot for four weeks.

pretty fast considering it's a film with
car crashes and the big shootouts and

frankly doing that on practical
locations is pretty complicated from my

things so it's like for instance the
front of the house for the shootout like

the whole front of that house is coated
in steel and then a whole fake front of

the house is built on top of the steel
that's fitted with charges so that's how

we're able to blow the hell out of a
real location that's a family's house is

you have that thick steel that protects
the house the charges go off and just

blow the hell out of the front of the
house so all of that it's all real

similarly you're taking out their real
windows you're putting in breakaways

building a fake front of the diner so
that can be blown up so Again, tons of

fun. It's made out of balsa wood. It's a
very soft breakaway wood.

And then it's covered with plaster.

And so that's what's blowing out. And
then similarly, when you're inside the

house, there's both shootouts in
practical rooms and a stage set.

But so when David first jumps through
the window, he's jumping into a

room. So the whole back wall of the
room, again, is covered with steel.

And then the closet doors or breakaway
doors that are set with charges, but the

back wall is also covered with steel
with fake drywall over the top. So all

that's blowing out for real in camera.

But then when the machine gun opens up
and David's leaping into the hallway and

crawling along, that's... That's all a
set, and you can tell from the slightly

stylized choice where instead of the
wall blowing out and there being black,

it's light behind every bullet hole, so
you can see it really well.

But that's fun. That's part of the world
of the guest.

You know, I should say one of the things
that's really going part of the way all

of that looks so incredible is the
construction coordinator, Bill Holmquist

his team. All you really need to know is
Bill did There Will Be Blood.

He built...

all that in -camera oil Derek blowing up
and blowing apart, and here he is

coming out to do this little tiny movie.

But man, he's great at what he does.

What are you doing?

I'm going to a bar.

That time of year we were shooting, the
weather was really rough, so we had to

shut down for a lot of lightning storms.

And crazily enough, we had huge dust
storms that blew down parts of sets.

That was trying.

And one of the strangest oddities is
just that

we had to have pumpkins for a Halloween
movie.

pumpkins are not available out of season
there you plant them one at the last

frost and they're barely ready for
halloween and we couldn't do it with

pumpkins so we literally called every
agricultural university in the southern

u .s and paid people to walk greenhouses
anyone who had a pumpkin research

project going on searching for pumpkins
for us. And we ended up getting like

eight pumpkins sent to us.

And that's why those pumpkins are so
precious in the carving scene.

The two pumpkins in the background,
those are like carved foam.

But you know, David's really ripping
through those things with his butterfly

knife. So when we ran out of pumpkins,
we ran out of pumpkins.

The car wreck was actually really hard
to do in camera, and part of it was that

even though the road looks dry, there
had been these crazy flash floods.

And so the road was absolutely slick and
muddy, and we'd use torches to just,

like, dry out the top of it for camera.

But the cars were speeding toward each
other, hit the mud, slid, and, like,

scraped down the sides.

And they were the only two.

cars we had, and so body work, repaint,
start from scratch

on a whole new, that was a little
trying, but you know, you get through it

in the end the car crash is great.

We really scaled down the number of days
we got to shoot to really,

really focus, and there was just,
everything you're seeing, there aren't

on the cutting room floor.

like everything you're seeing is what
was shot and what made the movie so it

to be razor sharp basically to free up
the money to do everything in camera

was that was the goal something just
hits with this one and audiences love it

it's all the other movies you know
they're great it's so much fun seeing

with an audience but something about
this one

The humor just lands, the action just
lands, the scares just land.

It's the best live film experience I've
ever been a part of.