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A Quiet Place Q&A - Bryan Woods & Scott Beck
Ignoring Justice second that completely terrible and brutal garnish of this whole situation. What eight the most about these creepy damyean monsters other screwing with my podcasts. It's like fine another planet. The bull your something. My dude podcasting is tough enough already. Howdy. I'm Jeff Goldsmith. And this is the QNA. My gender is simple. Each week. I plan to bring you in depth insights into the creative process of storytelling, folks. Fear. Not I could use my big boy voice because then monsters ain't real. But I'll tell you what Israel. I had co writers, Brian woods and Scott Beck. Join me to chat about their latest film. A quiet place to film was complete success. And a great nail biting horror, flick and woods and Beck were WGN nominated along with their co writer and film's director John Christine Christie. Another fascinating factoid is that woods and Belk have been longtime listeners of this podcast, something they chose to tell me the minute. I shut my mic soft. And that means that they technically cheated because they knew. Over half my damn questions. But it's always great to have podcast listeners reached the stage. And I think this makes them the sixteenth or seventeenth time. That's happened. It might even be the eighteenth. I've kind of lost count. But I was quite pleased to hear that they tune in. So that's a good thing to look their film really resonated with audiences worldwide. And they were quite forthcoming about their creative process. So I know you'll dig this episode and speaking of things to dig we recently published issue thirty five of backstory magazine, and it features a vice cover story with writer director, Adam McKay, he takes us behind the scenes in a forty six hundred words spoiler specific interview, all about his truly original script, and the making of this fantastic film, plus issued thirty five also has in-depth articles on aquaman Mary Poppins returns Spiderman into the spider verse and are huge Nicholl fellowship piece where we meet the 2018 winners, plus so much more. So I hope you look at the table of contents. So you can see everything that's inside issue thirty five. And if you like what you see I ho. Hope you consider subscribing. If you're on the fence, you could read issue number one the free issue in test drive us at backstory dot net as well. So I hope you'll check it out. And hey, if you're in L A or going to visit LA make sure to sign up for my screening series. You could come to these events as we're happy to have you. You could sign up to get on the free Email list at backstory dot net slash events. So I hope to see you at a screening sometime soon. But now without any further ado, let's jump right onto the stage. The Los Angeles film school, right after I introduced co writers Brian woods and Scott back to chat about their WGN nominated film, a quiet place. Is a safe to talking here, by the way. Yes. I know we're safe. Okay. I just I couldn't tell the padding on the room. I didn't wanna get BC's coming at me. All right. Well, so as receive here, the lovely loss ages film school, I guess the question is we guys formally trained. I know your high school friends from Iowa and you loved making films did a lot of short films. Did you go to film school? Our film school was meeting each other in middle school, and realizing we both had a lot of Star Wars action figures, and that we could make stop motion movies together that was kind of film school the best. Were you shooting on where you shooting on video? At that point. Then we evolved through digital. And like we fortunately were up that age where like digital editing. Digital camera. Equipment was starting really come into the mainstream. And so those tools were all at our disposal. And we're we're in the middle of Iowa. So you're sixteen hundred miles away from L A. You think film as a career is never going to happen? But for us, we just had this like, you know, naievety where we're like, we're just going to do it like we're just gonna make these films like higher local actors, and such and write these Iowa stories and just try to put them on screens awesome. I know that you're short films evolved, and there were two films that you made there were feature length there were student films her summer and the bride were blood. Tell us a Bill kind of what the experience was for you kind of gravitating into features because I respect the do it yourself nature of what you guys were doing because you got to kind of have a canvas to experiment on. Well, he's so much. I mean, it was you know, we made a lot of really terrible micro budget feature films when we were in middle school and high school. Well, and then eventually college, but what was cool is it? We kind of learned every single part of the process learned how to shoot around movies at it do sound design. We would premiere are features at the local max and handout like scorecards to the audience and have our. Labor's give us feedback. And they were always to polite. But, but you know, we were just trying to emulate our heroes. We were doing our best imitation of Paul Thomas Anderson, but we're in high school, so we have no life experience. You've got teenagers snorting fun dip off of off of a table. And and they do these days. Yeah. Yeah. Exactly. So so that was that was kind of a process, you know, in in so bright where blood it was one of those. It was like a micro budget feature film in that case, it was it was spaghetti western modern day spaghetti western kind of based on our love of Sergio Leoni and certainly Tarantino and and and his films had huge influences on us at the time with kill Bill and just aping off of all of our heroes and learning how to make movies certain degree like that. That's specific early. Exercise was very much visual one where we're like the same way that surgery Leoni was so brilliant is you're telling stories usually without any dialogue whatsoever. And so that very much was us like trying to figure out how do you communicate, you know, your characters and your emotions through pure visual storytelling, but also through through the sound design to it's kind of a theme in our in our I guess our film appreciation, the the movies that we really love our tend to be visual cinematic experiences. One of our. Favorite movies? I curious if anyone here seen it is Gus van Sant, Jerry, which just it's a ban. All right. But it's it's two people in a desert walking, it's Casey Affleck and Matt Damon. And but it's so cinematic, and if you're onboard for it, and you go on the ride it's also a really beautiful and tragic foam. So we're always looking for those kinds of experiences and both of them were feature length. What did you shoot them on would? You edit them on. And we're we're almost getting too quiet place. I promise. Sure. Yeah. No. We we edited. Or were you shot it on the Panasonic Devi x one hundred rich at the time was like mind blowing emulate twenty four frames per second. Finally, we were like sitting in front of monitor like that blind from boogie nights where it's a real film, Jack like really really true and radios it hard to get that Cameron Iowa. I mean. Yeah, it was just expensive. Like that was one of those things like thank God, we had parents that were really supportive 'cause they were like, yeah, we'll chip in like half the cost to buy this. And so we shot on those. We edited on adobe premiere which we still love doing to this day. And it very much was just the process. Of trying to discover like this is what our heroes. Do. This is the real process that they have and why not make a feature instead of Justice shore. Like, let's figure out what long form storytelling is and so much of those experimentation whereabout about failure. And not doing it correctly urge screening these films in front of audiences in figuring out. Why were they silent? When this moment that we thought was supposed to be scary wasn't really landing. You gotta get work up on its feet to see how it's working. So you can't do it any other way. But by making it by making movies, that's would filmmakers always tell younger folks to do. And and even from when you guys were making films on VHS now people are making films in their phones. So it's really just a process of experimentation, but your your big trial by fire was twenty fifteen night light because it was your first official feature debut. So so give us just a little info on on. How that one worked you you were both writers directors on that again. And it was it was a feature length or fill. Yeah. Absolutely. I mean, it was it was after years of kind of we moved out here. Again, we we came to LA with no. Contacts in the film business whatsoever. So we're just trying to knock knock down doors to the best of our ability. Lots of failure lots of rejection finally wrote the script Nightline, which is a really big swing conceptually kind of like a quiet place, maybe a little silly. And the tends to be the ideas we come up with where it's like if maybe not done perfectly. It's kind of ridiculous. So the pitch for night light was we wrote it in the heyday of found footage, and we were trying to think of what is a way to elevate. What is otherwise dismissed as one of the grunge ugliest versions of cinema just found footage like panel activity or Blair witch project. So we had this ridiculous idea of shooting an entire movie through the point of view of a flashlight that this girl takes into a haunted woods. So in our heads were like, what would you know, Stanley Kubrick do if he made a found footage movie like how do you make it like visual and beautiful? But it's still POV. It's still experiential and still scary. Because you have a limited point of view. You can't see what's happening on the edges of the frame. So that's. What we were trying to do. I mean for us. It really was us aspiring to make the resident evil movie. We always wanted to see where it wasn't an action movie. What we had always pitched was we wanna see resident evil done in the style of Gus van Sant very much Jerry last as elephant where it's just these long tracking shots where you're waiting for something to come around the corner, and that's where the horror and the suspense comes from. It's not for things popping out at you all the sudden, and so night light was very much that in our stylistic approach like we shot the film using long long like rehearsal period with actors was like doing theater in the round where you had to stage, basically, ten to twenty minute long takes and just track the camera through the wilderness and underneath freight trains. Right. The whole idea is you go where the flashlight goes. So if the flashlight falls off of a cliff and into a creek, that's where the audience goes. We're gonna fall the way down that cliff into the creek Rostom thing get washed ashore, and so we were trying to do this like like children a man was a weird influence for us because of all the mind blowing. Wonders with stunts and visual effects, and we're can mazing amazing takes amazing Thai one of our favorite films of all time. And and so we were we were trying to do that on a low budget kind of horror level is what we seeing what was your budget is scheduled for late. It was probably like twenty twenty one day schedule and the budget was like a million million five or something like we're shooting, you know, every single day in the middle of the night in the wilderness in Utah, like throwing people in creeks, where it's like, you know, subzero like it just was really really difficult shoot and trying to do the the one is in. There wasn't saying like, you watch the final film, and of course, like just by virtue of the process. It's not all in one is like you. Discover like oh, it's not sustaining the way that should. And so it's just a game like every single film. We're learning how to fail I feel. It's really hard to communicate a character back story and emotion through the point of view of a flashlight. It's great for scaring people. But it's your handkerchief. Offscreen holding the flashlight for the entire fill. Like, how do you get the audience to a moat from behind the camera? That is a trick. I mean, did you have a formal long-term rehearsal period for this because you have to plan out so much to the best of our budget. Yeah, we re week of rehearsals. And then every day was basically rehearsing the sequence and re doing like twelve or hertzel's, and then it's like get the cameras on and just shoot over and over and over again till you have it in the bag the way, you would with any film that shot and wonders essentially, how many shots made up the movie, I think it was somewhere around like honestly like three hundred four hundred maybe it was the most aggressive edited. The film was closer to like forty between forty and eighty. But again, we had to kind of spice it up. We had humble ourselves. We didn't we didn't quite pull it off. And we felt like it wasn't as entertaining as it should be. So we had to eat into some of our things that we were artistically proud of. We'll so we're going to get into a spoiler section a couple of minutes for people that haven't seen the film. I don't know who the hell hasn't seen it. But actually there were a few people tonight. How many people? Were newbies tonight. Okay. Thank you for seeing it in theater. Yeah. Really really appreciate and coming out on a scary rainy night. Well, so when did you guys in so we'll get into the depots later. But when did you guys get the idea for the quiet place? And what was the original idea? I know it's the most boring thing to talk about you've set at a million times. But tell us tell us just to set the record straight. So when we were in college, we were consuming a lot of Charlie Chaplin movies. And Buster Keaton in this French filmmaker Jacques Tati, and what was really fascinating about some of the work that we were consuming. It wasn't there silent film era. But it was once it was post sound, and like these filmmakers were learning how to appropriate sound to tell their stories, very visually. But also with the sound Zayn pallet Great Dictator maybe for chat. Absolutely and shocked IT's playtime where there's these brilliant visual gags rec- all these type of supporting characters come through. And you don't really know anything about these characters other than what they're doing with their their non verbal communication. And that was the other key thing. Two at the at the time. We were taking a nonverbal communicate key communication class at university of Iowa. And that really eliminated. How often we are saying everything without saying a single word. And so these these ideas colest- into this aspiration like can we make a modern day silent movie and immediately like, well, if we do that, let's blend it with our love of the man who knew too much or jaws or alien and all these films that we grew up on just consuming, but we were really hard on the idea for a while. It wasn't we came up with like, okay. So there's a family on a farm, and there's aliens that anytime you make a sound they they attack you or kill you. And we're like, but so what like who cares? What's that's that's not special? Okay. And then we'd put it in a drawer, then we'd pull it back out and be like, okay family on a farm aliens outside the mom's pregnant, she's about to have a baby it's impossible to keep a baby quiet. But so what? So what we put it back in the door. It wasn't until we were like. Okay, family in a farm there. Baby baby is gonna come can't keep quiet, but they've lost someone in their life. They lost a child. They're fractured. This family isn't communicating if these aliens were never here, they still wouldn't be talking. Now, it's a metaphor. Now, we have a story, and then it was win those three layers clicked we were finally like this could be a cool movie, you said aliens, some people originally speculated upon release that were they monsters from the depth of the earth or were they aliens? And I know that there was a draft floating around that actually had crashed species somewhere or something like that. And so are the officially aliens? Can we say aliens for sure we can use it for this conversation? Yeah. I know the there was there was a scene in the in the sale draft and subsequent rewrites kind of honed in on the backstory a little but still without we don't want to tell too much John really didn't wanna tell too much on the page. And there was like the idea of a crater in the distance when when he climbs up really high and you see that in the distance. But that was kind of it like, you're not explaining it beyond that. Because there's still a lot of mystery that we love having there. And also a lot of story that that can still be told we talked a lot about when we're reading the film about how much we love the movie alien. And while we really enjoy the prequel permit IOUs, it didn't enhance our viewing so much of alien in the sense that like knowing more wasn't actually adding to that experience. So we really love the idea of just keeping it simple. And and letting the audience kind of gas in wonder and use their imagination on about what's going on outside yet didn't really enhance the experience at agree with you there. Tell me about your writing habit. When you guys sit down to write. How important is outlining to your process tickets through writing quiet place? Sure any script the very first crack at quiet place was actually writing what we consider a proof of concept or as fifteen pages long. And it basically had the introduction to the farm to the family monopoly seen something weird is happening here you discover what that weird thing is and the mom is pregnant she goes into pregnancy. You have like the fireworks bursting. Then it kind of comes to the conclusion, which I know we're not in the spoiler section yet. But the conclusion that that we all know with with a with a scream, and so that was within fifteen pages. So that we could prove to ourselves that you could write something at least that would last fifteen pages without very much dialogue. I think that's that version had just one single line of dial. Because we were so scared that like, how do you how you can they intent and motivation and backstory without the usual crutch of dialogue with without a character saying, oh, wow. We're really sad about the. The the bad version like we're really sad about the child that we lost. And now what like how do you do that with just facial expressions and and movement and cinema? So we wanted to we wanted to test if it was possible, and we also wanted to see how that would look on the page because as spec writers writing on spec like our job is to sell a vision to producers to studios, so we wanted to make sure that the script has readable that it wasn't just blocks of description after description after description that had a flow and a vibe, and a style must have visual style on the page that that communicated with the movie would be like so that and then a typical process for us. We outline started interrupt. So this fifteen pages was it like kind of outlined form. Or was it was script pages? It was script. Does it was stripped? And we put it in a drawer we put in. He was just like scenes, but because I mean, you were telling your whole moving fifteen. Yeah. Hey was short film. Then it was exactly like a store we were still like, not sure. If it would work because like in conversations with producers or executives they'd be like, what are you working on next? And we give them like the short pitch of what it was. And you could see their eyes glaze over just imagining trying to read a really really boring script chock full of description. So we got self conscious about it. And we're like we're just gonna put this away. And it wasn't until like both of our wives had read the script and they're like on. We were like doing pitches and TV things and other things jobs more, so yeah, right to the burnings wasn't there. But the passion was always there for quite place. But again, we were like self conscious about it and both of our wives of their credit. Like, they both read it, and they're like, what are you guys doing like drop everything and focus on this project, and that gave us like the necessary boost like we shared the script with our manager Ryan, and he read it, and he was like guys just write this. And we we went off for like three or four months and wrote the first sixty seven page draft, which the one that ended up selling to paramount. And that was a process of like. As Ryan was saying playing with the form on their like, creating a visual roadmap, but also a sonic roadmap where you would have like sounds. We're really loud. You just put like one giant word on a page or like sound start getting softer you'd shrink the font size. And what that was useful for us. At least in the writing. Phase was we could tell are. We tracking this journey enough where you're not hitting the same sound, Hugh after sound Q after sound Q, but you're creating a bit of an arc in its own like storytelling in that shape. It's it's interesting. You also did things like the monopoly board like you had a picture of it. Right. There were images in there, which some people would tell screenwriter don't ever do this. I believe there are absolutely no rules for skier writing. You're either telling a good story or not sure what would you put the image of him Nabi board just France to tell us some of the other images that you peppered in that? I mean, it was just pure, insecurity. I think it was you know. Somebody doesn't know what a monopoly looks like. No. But I mean, like we wanted it was more like insecurity about the premise. And can you do a modern day silent film? And can you write that script and sell it to a studio? But we it's not something we do in any really SCR. It's it's not something we've ever done here. It is extremely gimmicky. But you know, like, I wouldn't necessarily recommend it. But it, but the movie is a gimmick innocence. And we felt like it was the perfect opportunity to kind of highlight the script and say, this is going to be something different than you've seen before that that that was the impetus behind getting crazy. What were some other images that were in there? I mean we had like handwriting in there. Like, let's school. Yeah. Certain things that the production design team in Giannetta putting on like some of the boards and such. We just put like literally our own handwriting. We would scan in there. So it would feel very tangible and real Anna would separate those things from like the normal description on the page. So it pop out a little more. There was like a sequence at didn't end up making like it never was shot at the third act. Kind of sucked it out. But there was a whole sequence that required. Like kind of a to scale like diagram of how tall something was. So it was just it was this sequence. We'll get we'll spoilers. Okay. If you want to tell you, you're still we not when you guys sit down to write how long do you write for or do you give yourself a page count to hit each day? Yeah. So so I guess process wise Scott night to get back to your earlier question. We don't we outline. But it's very loose. Because we love discovery we love having a solid idea where we want to go but having the freedom to take a left turn instead of a right turn if it feels right? And then in terms of sitting down, you know, we have to write every day. We have to force ourselves to do it or slow writers are manager hates us for this reason. But, but you know, we're slow because we love to think through every possibility and we love to enjoy the process of writing. And I think when you take your time sometimes you can let yourself have a bit more fun as opposed to working out of taking clock. So we know the page count that we don't force ourselves to be like, you gotta get five pages today or ten pages. It's great. Sometimes if you get no pages as long as you sit down and do the. Work do the brains to give yourself a certain amount of time to hit for for the day. Great question sometime. I I like to I'm curious we how you feel Scott. I like to just put in a solid like I feel good if I can get in five hours, but I feel great if I can get in an entire day tonight. Whatever extended period, we'll have a kid now. So I feel like I have to force it now a little more than it used to. But yeah, it's like the morning is always the freshest part because your brain is kind of just completely completely. Void of just all the concerns. But it's one of those things to in many screenwriters, I know do this where when you're on a roll though like you wanna stop right there. Like, you don't want to just beat yourself into the ground. So that you're intimidated come to it the next day. And I think that's what I always try working towards like, even if it's it's three hours. Even if it's, you know one hour, and I feel really good about it like just cut off right before you feel you're so excited to get back to it. The next day. You're like, oh, I was like we're onto something something was going to be really cool and fun. And then you show up ready to go. But we. Why juggling like five or six things actively at once? And I think it helps to have something else going on even though sometimes that can confuse your brain a little bit. Like, it's nice. There's two of us that we can be working on independent things and then hand them off. And that keeps ever letter writers say that in in in such that if they get stuck on anything there's always another project to get fresh on. So so that makes a lot of sense. What do you do if you get writer's block? If you get how do you battle it? I think like for us. It's it's not entirely common entire writer's block, but like we can have conversations with each other. And that's one of the huge benefits of working with somebody not just like as a friend to go through the highs and the lows with but to have these creative conversations with if I feel stock I can pitch Brian like five different ideas or five different in different directions of scrip could go down, and he can assess like more, objectively, which is the better idea. It's also great just watch movies and get inspired. So like the other night, I was feeling a little stuck. And I I watched back to back young adult. And up in the air and left feeling inspired and ready to go to work. You gotta see totally though, you're gonna love totally totally totally so great, especially as a new parent. Right. It's a horror movie it is moving zone in. But put so. Okay. Your outline your first one was almost writing it as a short film. Did you ever put it in like the typical beats that we see in outlines? Or did you do it as a treatment? And how long does that process before you sat down to write quiet place straighten your head will Scott we pull out the marker board. You've got this big marker board, which is throwing down ideas on the market board. Like, oh, it'd be cool to have a piece in a silo be cool to have a, you know. You know, here's like we gotta put this nail somewhere. Where's this nail gonna go and plotting out a bunch of random collection of ideas? And then we do start putting it into an outline form and word docs, we keep word docs, while we work. So it's so never fails. Every feature script accompanies like one hundred and thirty page note docked by the time. The script is done. The note doc becomes one hundred and thirty pages of just cool ideas or like outline beat sheets that get revised over and over and over again as we go. But again, it's all about keeping an open mind and being able to go left instead of right is serious question. Do you separate it into sections because I know I know writers take copious notes, and they sometimes have like sometimes it's a handwritten note book to go through and it's hard to find the right note when you wanna find it, and they have to flip through it and go crazy. What's that? Like, I I do I don't know that you do because you keep like the one word document for each. All the handwritten thinks is a freaking mess. But I I find just writing the note helps you commit it to memory. Yeah. Yeah. Exactly. And sometimes you you write those notes like two or three times over translating it from one from an Email draft into something else in that helps you remember it a little more use Microsoft one no which you can create different tabs. So it's like, here's the character tab, or here's the dialogue tab or the theme tab. So anytime, I'm starting to get stock. I'm like, oh, what should the character really be thinking in this moment? Like, I can go to that tab and kind of hone in on that specific like that thing you do then when you're using a screenwriting program, but do you guys use a screenwriting program? Yeah. Final draft. Okay. So do you use the notes and final draft in the same way? Because I don't know what you're talking about. This might be a good feature to look into you. Don't. Okay. Oh, there's these little notes you can embed like in certain places to remind yourself of things. It's just like you'll be looking at a script page you'll see like a little square. They changed look sometimes, and you touch the square and opens like a little new window of all your notes you had filled in on this. All right. You are using your love does not gonna do to writers who used this program called script wear for the better part of our our early writing days script, where is a defunct program you had to use a floppy disk, and it's they had this feature where you had to register the, of course, the thing, and I and we paid for it. We we bought the three hundred dollar whatever script wear program, but you had to call this number in order to get the code to register the software and every time we called their office was always shut. So we could never get the thing. So you have to wait two minutes for the program to cycle out of its registration thing in order to start writing. And we just lived with that for ten years. We're just like fuck it. You must love final drafts. You touched on it earlier. And, you know, just a former a few more questions before we get into spoilers. But like there is a stigma attached to long bits of silence and screenplays executives that the I read short bits of dialogue faster. So as as a good writer to get someone to read your work, especially in the case of quiet place. You would probably need to do some tricks on the page, which you've already eliminated with putting in the different fonts for the sound fading out using images will were the tricks for writing your action blocks or even your description blocks to keep people invested in the script that you sit with sixty nine pages. I think I'd read somewhere that it was seventy nine pages with the. How many drafts in between that didn't float, but it never went over? Right. Right. Utah's for like, the description is just like like a rule of thumb from Stephen King, his great book on writing like just use the words that are necessary on the page and don't be too flowery. And so for us, it was very much honing in every time we would open up the final draft like looking at what we adjust written. Is there? A more economical way of saying that that still packs the punch and really choosing the words appropriate in eye-opening moment for us was we started thinking about two thousand one A Space Odyssey, which is one of the most peer cinema cinema experience ever. And we're like, how do you write that? And we had heard that for the docking sequence in two thousand one space odyssey Kubrick, and Arthur c Clarke had five blank pages of white. And then just a sentence that said the ship docks. And that was it. And we were just like Eureka like, that's it. That's all you need to say. Because that is that will be cinema when it's ready. So so we took that's a har-, and we also. So you know, as remember hearing David Cup talk about on the world's and drastic park, which a very action heavy movies about how you know directors oftentimes get credit for blocking and action and set pieces, but that he takes a lot of pride as a writer in imagining those and putting those down on the page, and that was always really inspiring to us the the Cohn brothers. Of course, also wrote a script that's still in produce to the white sea. And it's it's a an American soldier in Japan who's landed during a vision, and there's there's no dialogue. I mean. He there's no one to talk to doesn't speak Japanese. And it is a craziest scripted. We have to read this. You got it. You gotta get my gosh. But, but that's that's that's what reminds me of a little. So as you're getting it out there. What were some of the notes you were getting because I'm I'm I'm guessing that you got I would think some pretty funny notes of executives not real happy about not a lot of dialogue in this thing. And realizing that you're making a silent film to an extent, I hate to say it, you would think so but we didn't like. Those crazy like the like pretty much the first company that our manager and agent said we should take it too was Michael Bay's company platinum tunes, and we were like we're gonna take the quietest movie of all time to the loudest filmmaker that litter that makes no sense less, but we sat down with with with drew form. And he just started pitching. Like why they fell in love with the script and wasn't just because it was a horror film, and they were steeped in horror, but it was very much home about family, and what it meant to be apparent. And so for them. They connected to it emotionally. And that was one of the most important things for us. So with them on board, we took it into paramount. And that I like meeting sitting down with like paramount and getting the notes it's that dreaded thing of like how much talking are. We going to add into the script now, and how much backstory do we have to put in and was really beautiful is they embraced the film for for really the intent of what it was and those notes for for like the rewrite draughts only made it stronger like the. The amount of care that they've had throughout the process to is just like really treating this as something special which was always what we were. We were expiring towards like we love franchise movies. We love sequels, but we also love original filmmaking. Like that is what we grew up on. And now, it's so rare today, you know, like, we came of age filmmakers like in the year of nineteen ninety nine where the biggest films of the year were the matrix, the six cents American Beauty like these things that were original those were the like blockbusters of the year, you know. And it's like so weird to think now that it is a lot of comic book, movies, and sequels and remakes. So we feel lucky that we had a studio that embrace the uniqueness of the film in in terms of like the writer's journey Joseph Cambell, you guys then came to the fork in the road because it's it's every writers dreamed of a studio embrace their work, and you guys are writer directors. But at the same time, John Christine ski fell in love with your script. And you had to decide do you try and pursue directing and on your own or. Have a completely bankable adept star take it onto direct tell us about the difficulty in that Joyce 'cause I'm sure there was a moment of hesitation somewhere. Maybe there wasn't. I mean, it also is like you go on a journey like John had directed to incredible character dramas, but it wasn't necessarily like the obvious choice that you would think to direct the film, but what was great about both John. And Emily when they read the script was the idea that they connected to it on a very visceral level like they just had a kid. Who was they were three weeks into parenting their second child at the time. And so they connected to it so strongly and so there was that aspect, but there was also the aspect like before they even came on board. We were we were talking to platinum dunes are like who's your dream gas for this like if you could have anybody it's like, well, we're not going to get her by Emily blonde is pretty good, you know, and maybe somebody who similar to Emily blunt who would do this type of move. He's like really kind of like beating around the Bush like when we got the phone call that they had read the script, and they were all. In it was so confusing. We were just like wait, John Kaczynski, Emily blunt. We're like hanging out together because they're both famous actors, and they were just like passing scripts over to we didn't get it. They're like, no, they're married like, oh, okay. That's interesting. They're married and they wanna play the married couple. And it would just like, you know, it's like how do you turn that down? And it just felt like and even like when we started watching the film. It's just like the authenticity that they bring as a real life couple. And also as two of the most talented actors of their generation is, you know, ultimately, it's a blessing. What was the budget scheduled for this? And they were going to get into the spoiler. Right. I mean, the the budget is report is somewhere between seventeen to twenty. So it's still, you know from a studio standpoint, it's still pretty nimble in the shooting schedule. I think was around like thirty two thirty six days all told so again like that all things considered on a big studio movie. Like, that's not the same resources that you have. And the other thing that we were really impressed by with all production team as they went into production. They wrapped. November twenty seventeen and the film premiered at south by southwest like five months later and the post production process of that was breakneck speed considering all the sound design all the via fax of the marketing that you have to do. So we weren't sure is it going to come together. But we are Hughes came together it it made one hundred eighty eight million dollars domestic one hundred fifty two million dollars foreign for three hundred forty million dollars worldwide cume so it really touched a nerve with audiences. It went fantastic. And as we sit here tonight now that we're going to get into the spoiler section you guys with John who came on as a writer as well ended up getting WGN nominated. So congrats on your nomination as well. Thank you. Thank you so much. We still can't believe it when when I first moved out here. And my dad came out and helped me move out. We were at the grove at the farmer's market eating food, and I remember like pointing across the street to the writers guild building. And I was like dad one day, my dream is to be a part of the writers guild like that would be so cool. So we didn't even dream this big. It's we're very grateful. We'll get grits SU Tillis this. I'm curious about lift turns. Now that we're in the spoilers will tell us something that was maybe on the page that never was shot. Either what you were referring to earlier or something that you can talk about that was an early idea that you really wanted to do ranging from maybe other people in the movie because we do encounter the one older couple where the wife is somehow died, I guess she was killed by by one of the beasts and the husband screams to to end himself. Yeah. Well, hesitate to get into too many specifics with like set pieces because there might be another movie, and you never know. But what ends up there by one thing? I will say that was part of the original vision. And then we. Changed it and then certainly John embrace kind of the later duration. But the the original idea was can you do a movie with no dialogue at all? In. The only words in the entire film. We're supposed to be the I love you at the end. And so that would be like that will always be aversion our minds that would have been interesting to see that we that. We didn't get to do. And then other than that. I mean, I don't know. There's just there's other. There's like certain suspense sequences that could have been different flavor. But I don't know better worse. Just just kind of different. Yeah. One of one of the changes that all all all all proceeds John for for making. This change was in the script that we had been working on the tragedy of the family with with the death of the child happened kind of sporadically as a mystery. So you didn't really have it up front. It was all these like four or five flashbacks where it starts carving out a little more of that narrative and a little more a little more. And you're wondering as the story goes. Along what tore this family apart? But but to John's credit like he came on board. And it was like no you have to tell the audience right away. What the stakes are. And so you have to kill that fucking kid right away in the first ten minutes. And it's it's great because it sets the rules. It sets kind of everything that the family is up against and then it sets the cork court tragedy to it. So it's a movie that that has rules. And I want to talk about that. Now that we're in this is what we're so many important rules that you set down because there's so many things going on him. They're walking on sand which would have taken forever to poor. They have the soundproof room. But there's there's the red lights all the other codes going on. So what were some of the important rules to you? Well, you know when when talking about the rule is like Scott Nyerere sound junkies. Like, our heroes are the people that work at Skywalker ranch. And like some of the first readers of the script were sowed designers that we know to get feedback on. But the the big the core rule is you make a sound you die pretty simple and for us. It was always about. Making sure that not only did that track. But also that the movie worked as a metaphor metaphor for broken communication, a metaphor for trying to protect your family. So we had almost more conversations about that than specific. Like, what sounds are worse than others? But I guess one core rule was we always felt like a human sound was more dangerous than you know. Like a like a whatever like a vault. Did exactly. Thank you so much kind of inanimate object fine. So that was that was a rule, and you know, we would talk about that stuff. But for us, we're we're emotion guys we care about how movie makes you feel perhaps maybe more. So than what the what you're thinking about it when you're watching so no suspension of disbelief, please in a big part too. And he sort of a horror movie or scifi movie, and you hear some people were debating like like would the the kid. No in the beginning that that turning on the spaceship and making a noise would maybe resulting. Some bad news for him. Because because I think what was it was a day. What was what date eighty nine eighty nine eighty nine? So it's it's still fresh enough because the movie jumps forward in time. And I'm just curious about what were some of the suspension of disbelief issues. You guys had to come up with because again catering to your rules. You came up with the great idea of the waterfall as well. You know, there's other sounds to throw off his sound. So there was a lot of thought put in this. And I'm just curious what suspension of disbelief issues, you were you were dealing with. I mean in in like the early drafts their stuff on the page that you just don't put on screen because it'd be really boring to show like these underground generators that are buried so they're not making sound. But that's all the lights are power. Who's gonna ask about that? Okay. Right. Yeah. Because people some people have misinterpreted that wise, the electricity is still on all these places. You know, if the beast of have killed them, we I'm gonna sub CNBC's what the hell did you guys? Call them on the page. We call them, we call them creatures creatures monsters creatures. Okay. Then towards the end aliens an audit got it. All right. Try to change it up a little bit. Tell me tell me more. So so generators buried underground. Generators. There would be sound noisemakers that you could turn onto temporarily very briefly like distract them. But after a while come white noise, especially couldn't just keep blasting fireworks or music because the would figure it out pretty quickly. There was a point where there was no animals whatsoever. That basically all life had ceased to exist, and you saw like carcasses of animals that were completely gone, and then that kind of evolved to like animals that could survive would be like birds because they fly it's harder for the nailing that we see those raccoons guild early on. Yeah. Yeah. Yeah. Yeah. It's interesting because you know, the the the the loudest one of the loudest things you could do is print newspaper, but but you have a bunch of newspaper exposition, which I love because you not only printing the newspaper in the in the loud in the loud in the rollout room where the printed. But also delivering it shrug. I think that'd be interesting story in and of itself like what's that newspaper looked like after they had the print. Exactly. But I mean that was that was another good way that you had exposition what were some of the other important things exposition. I mean newspapers were mandatory again that came early like realizing like if we're not going to have dialogue. We have to be able to visually show what's going on here. But you know, like your point about the newspapers, it's just this different. This situation has escalated to a certain level at different places throughout the earth. And so we don't really know what's going on out there. I mean, again stuff that we talked a lot about, but but wanted to keep mystery for the audience to talk about the death of journalism, but oh, okay. When when did you come up with the idea of Reagan being being death because I I thought that was that was a really interesting touch that of course, plays into the ending heavily as well. But, but it's it's interesting because the family can communicate via sign language, so although there's no dialogue spoken they're they're communicating. The the whole time when when did that come about well before we were writing a quiet place? There is this the script that we're working on again on spec. Whereas selves, I was an adaptation of the pied piper is like a modern day retelling, and the story the pied piper is that he lures these children are way through through sound. And we're like what would be kind of the kryptonite like what would be the one kid that would not be susceptible to this. And it was a kid that had coke Leary implants. And so we were thinking what if later when we had ditch that project we were like what if we had that character in the world of quiet place to a certain degree like that could function the same way that we were hoping it would. And it would also be not only like showing the strength of the family like the fact that before this incident went down they already had to find a way to communicate within the confines of their own family construct, but beyond that it could become like a very interesting journey for that character that just seems like like, she's got this broken relationship with their father to finally come back at the end of the day and kind of saved things, and it was also personal too. To us as well. Because we one of our close friends growing up in Bettendorf Iowa where we grew up was hearing impaired. And so it's kind of always trying to draw from real life and talk about you know, who the people we know that we grew up with and who does this care to remind us of and who do they, you know, who's an emblem for that like our biggest rule to ourselves as writers as that the work should be embarrassingly personal that we should be it should be so personal that were almost embarrassed to share it with each other because we're revealing something private about our own lives or on experience. But I I'd also like to add the fact you can write this stuff. But like the fact that John and his team had the decision to actually hire a deaf. Actress like Millicent Simmons like she wrote so much of that character in the way that she brought her own life experience to that like things that we can't necessarily really impart on what that character is like, and what that that family dynamic would be like, and that's something that she really was able just to bring her own DNA too. I mean, I think again from a personal level. That's that's what spoke to the actors. Read it, and what made it get a greenlight so fast, folks, I'm jumping in really quick to pitch you about what's in the latest issue of backstory magazine. But before I do I can't believe it's already been a year since we launched the desktop laptop version of backstory magazine over at backstory dot net. You asked for it, and I took forever to build it but finally triumphed over the technological limitations to bring you back story in all its glory on desktops, and laptops. You can experience are awesome, art direction, interactivity and in-depth interviews. So I hope you'll support us by purchasing a single issue or a subscription at backstory dot net. If you've never read us, I hope you check out the free issue over there, which is a double issue filled with great content. You can of course, rita's on Google play on an Android tablet, or via our pad app where it all started in the great news is if you subscribe at backstory dot net, you're logging will work on all those devices. So I hope you consider digging in another reason why now is the perfect time to subscribe is because we just released. Issued thirty five of backstory with our vice cover story. That's right. We have got a fantastic interview with writer director, Adam McKay on all the wild structuring and non traditional writing he did on vice plus since it's Christmas, although we already did he very cool die hard podcast that you've probably heard by now co writer, Stephen desouza wanted to share what he considers to be the most complete version of his diehard screenplay and the only place you'll find it is an issue thirty five it's one hundred and thirty three pages long and has all the different shooting draft color pages. So you will definitely want to check that out backstory issued thirty five also features are huge Nicholl screenwriting fellowship piece where we interviewed this year's fellows and run excerpts from their scripts in honor of mission impossible fallout hitting home video good old Christopher Macoris shared some of the cool storyboards from the films. You could get an idea of the kind of visual prep. He was walking into these sequences with. And I know you'll dig looking at him. And in our Spiderman into the spite of recipes, not only did we interview writer rod. Any Rothman, but also co writer, Phil Lord, and it's a really fun interview. Even cooler since Rodney was kind enough to supply us with the script pages of his unused and hilarious. Australian Spiderman concept you could read them in the magazine as an excerpt. And we're also putting them up there for everyone to see as a blog post at backstory dot net. So you could read them there, even if you're not a subscriber. Plus, we've got a huge spoiler Centric aquaman article, featuring the film's co writers a Mary Poppins returns peace with writer. David McGee writer director, Barry Jenkins, chats about if you'll street could talk you could read a full blacklist screenplay and a full bloodless TV pilot plus interviews with each of those respective writers. We also interviewed mystery science theater three thousand creator, Joel Hodgson and director rob shrub about making this season's the gauntlet and speaking of schlock cinema. We've got the writer director of the newly uncovered silly ass kicking flick ninja zombie. Yes. It's a lost film. It is exactly what it sounds like a ninja. Who's also his ambi-, and there's so much more in issue. Thirty five I'm not even doing Justice. So I hope you will check out the table of contents over backstory dot net. Look it really means. A lot to me to have my podcast listener's support my passion project. So thanks for considering. But now, let's jump right back into my chat with co writers, Brian woods and Scott back to chat about their passion project that WGN nominated film, a quiet place the baby sequence I mean, again, you're you're right on the boundary of suspension of disbelief. Right. But you've done so much planning with, you know, the the baby oxygen tank in the padded crib box, or whatever you wanna call it. But it was really the great performances by both of them to sell the scene. What were the challenges of writing that scene because you know, she saved by the fireworks, which is a brilliant idea. And it kind of comes out of nowhere as little surprise to distract them. Tell us tell us the the dynamics of her not having. In the padded room, etc. It was you know, was such a fun sequence to right and in devolved a little bit. So the the first of the pregnancy. Our idea was she had they had she had gotten pregnant before this event happened before there are monsters. And so they weren't they didn't know that the one's a bad idea, and as a script evolved, John got really attached to which we love got really attached to decide of they know the event happened, but they're just trying to make a normal life, and they're just trying to do their best like this is the world. Now, this is how things are. But that's not gonna stop us from enjoying life from raising children and from living normal life, and it's one of those things like in post pop apocalyptic movies. Like, you always see kind of the the depressing side of life. And what it looks like? And we felt that to show this family, and why they're still around and why they persevere is they have something in Natan them that wants to continuing continually go, and so the fact that they chose to have this baby. And key. This baby along kind of became the beacon for that idea. But that whole pregnancy sequence was just us sitting around thinking like how can we torture them as much as possible? Like, what is the like worst possible thing we can put these people became like finally figuring out where you deliver that one nail moment. And it became like, oh, of course, at the worst moment, she comes back in and the creatures standing oversight over the baby. So it was just really trying to figure out like how do you get your characters as climb up a tree they're stuck there. And then you like that tree on fire. Exactly, the silos sequences another great example, tell us about the pollution of that. Because it's a great bit of suspense. It's kind of a big sequence but against small because so many of the things that you did were so great in which if you weren't fortunate enough to have John come along you guys could have easily directed this. It's a one location drama or movie. It's you know, what I mean like it's a son-in-law cast. So there's so many things that are working. And I think the simplicity and the very clean lines that you painted here are. Are what worked so? Well, well, thank you for saying that we always write everything to be scalable, just because we like to get movies made and we don't like the develop forever. So we always try to keep in mind. Like this be made for one million dollars twenty million dollars one hundred million dollars in every project needs to check all those boxes. I'm sorry. What was the silo decide? But yeah. So the silo came from Scott nice sitting in a room and Scott being like thinking about Iowa were thinking about farmland where we grew up in Scots like silence, a really dangerous people just fall in silos die. And I was like, really. And so I did some research and sure enough that is exactly that one hundred percent. They're the most dangerous you can suffocate inside of a grain silo in like less than a minute. It's just like terrifying. So that just like one of those weird pieces of Iowa trivia that lingers around in our brain and decide to put screwed it felt like a cool like a battleground location where not only are your characters stock, but like the creature essentially could be stuck in there too. And it's not really like it's just going to devour them. So we felt always trying to throw in like a wrench. The keep the action going would be interesting to let alone like you. Don't really see many silos sequences outside of witness perhaps nice witness witness. Yeah. That's true. I thought it was a great sequence. But you are continually upping the stakes which is another thing that works. So well about it in which the room is flooding, and it just simply a broken pipe from when one of the monsters was thrashing about earlier. I tell us how the monster got in there, though, because there was the covering did it just no to you the covering all over us on this logic style. I let John answer that one. I was curious other monster got in there. The flood alone works, great, the foot, alone straight. So when did the flood idea come along? I mean that again that was just always in the early process of just again trying to figure out how to up the stakes like, I think about one of our favorite movies when we were kids, and it's speed like we love speed how it just kept getting more and more absurd in the best way possible. And so to us it just was what is the location that we have there? It's kind of like we were talking about how they build the mission impossible movies where you find a location, and then you figure out the blocking in the setpiece. So it's very much like, okay. You have a farmstead. You have a house. You have water. Sources the water starts leaking down. It starts ruining things. It's making noise. So it's going to track things it just becomes very organic and the writing process. So I'm not sure like really in terms of breaking that down other than once you are on the page. You start figuring out what the sandbox looks like and just digging deeper and deeper, and I think John deserves a lot of credit on that sequence in particular. Like, he he did he wrote the hell out of that. With the with the water and directed the hell out of it, really. That's one of my favorite moments with the the alien dippy under the water with the baby there and again grateful as screenwriters for the vision to be executed swiftly and the and the use of water all throughout I mean, just using it as a place where there's a motion release behind the waterfall when the father could sunk at talk and scream that that was great as well. Speaking of John, I mean, I'm curious because you know, anytime director tries to rewrite act tries to rewrite writers triggers, a WGN arbitration, which director needs to prove at least fifty percent material to get credit. John definitely got credit. Tell us about your clever. Ration- did you clever with them? Or did he kind of go off his his own version where you guys ever brought back on rewrites worked arbitrations though different to in this race because we're exact producers. So we are all production executive. So it's not not a MAC thing. But yeah, John, basically, we were when John came on. We were hopping onto another movie that we wrote and directed and John had a very. Strong vision for what he wanted to do with the film, and and he's a talented writer. He wrote gossiping stands promised land. I think he's done some other stuff. So we were very happy for him to just kind of do his thing. And and and kind of do his directors pass basically and again beautiful job. And we love there's so many things I'm trying to think did assuming. Did you ever sit in a room with them? Did you ever do any rewrites that he needed from you or not really really just kind of went with? Yeah. And also like the pro like where in production and Kentucky like they are in New York. And like there's just that virtue of it just has to get done. And what was really cool is like having John Emily on board. There are also imbuing that with like their own family DNA. And so it becomes a very special special set and special moment, we remember hearing like one of the the most beautiful things in pre production was John and Emily had like a backyard party with them and their kids. And then they brought Millicent Simmons and Noah Joop, and their parents, and they were all able to see how each family functions, and then build that into the execution of the script putting it on screen. And so being able to really bring the reality of what it is like to be a family on their editing is the last stages storytelling. I'd love to hear about the deleted scenes or things that we're kind of modular that were removed around. I know for instance, there was a scene when there. The river checking their traps that Sandra Bullock was blindfolded in a boat down river joking. I'm joking tell tell us about deleted scenes, and the editing process there. Unfortunately, there's really nine there's there's probably like slight moments that might be left on the editing floor. But again, one of the crazy things about this process. Was there was not that much time to really experiment, and they had shot really what the movie is. And Christopher the editor who edited one of our favorite movies of all time. The village just really hones in on how to get characters across again, not using any dialogue in this instant. But just trying to figure out how to get that across in the most economical way. And you know, the film has a short running time like ninety minutes in the script was final script with Seventy-nine minutes. So there wasn't much like left. I was going to say one of the things that this movie does. So so well, and it does many things well as the pacing. I mean, there is not a lot of time to mope about this movie. And but at the same time, it's character. Building world building because it's not like wall-to-wall action, and that's to its to its benefit by the way. So I'm just kind of curious when you were writing scenes, did you always kind of have a sense in your mind of keeping the scene short kind of getting in and getting out. So there wasn't a longtime spent any one particular place because maybe the silo is the longest we wanted an escalating pace, obviously like we wanted to kind of keep ratcheting up. And it's very nice of you to say that it doesn't feel slow or long because the first act of the movie is pretty meander. It really is just like let's follow these characters on this farm, and and they're they're going about their chores and doing their daily life, and and John really takes his time with it. And I think we get away with it. Because the there's just that late and suspense of if someone makes a sound than where you show the danger, Fisher, exactly. So so something we're proud of the the pacing was great tells about the death of Lee the of John because you know, I it's not just. An outright sacrifice. It's a mistake in which he's grabbing an ax. And and something else makes the noise, and he gets, you know struck, but he's not dead. And he knows that his kids are in trouble. And then he sacrifices himself. And it's it's it's a good moment is a callback to the neighbor sacrificing himself as well with the scream was that in every draft that that cap in late tell us about it. Yeah. I mean, the idea that he would sacrifice himself was like one of the very first ideas. I remember us saying to each other like can we really kill the main character here on screen like, yeah. Why not like this whole movie is experimental? And so for us it felt like there is an added weight to show the ultimate sacrifice of of what it means to be a parent to a certain degree and also completed his arc. We always felt like what he needed to do is finally communicate to his children that he loves them. Like, they just needed to hear it, you'd be you know, in this world where you can't say anything they needed to hear that from him and by doing especially Reagan and she needed and exactly. And then it completes her are simultaneously. Because she. Needs to hear that she needs to be able to forgive herself. So that was always a part of it. And then one of the ideas John brought to the table was the setup in the forest with with the old man kind of with the scream that was a setup that he put in to help the ending pale the payoff again, he didn't want her going down into his his work area. Was it because he didn't want her to see the hearing devices that he was building for her. Maybe it was going to be like a surprise or wind your minds. Did he not want her going down there so vehemently it's like an emotional vulner- vul- mobility that he was not opening himself up to her really in the wake of this tragedy that kind of broke their family apart? And we felt there is always that that latent tension that existed between the two, and so the fact that they could not open up to each other. I don't think they really wanted to show like Lee didn't really wanna show that he did necessarily care for for his daughter and the way that he does that he loves her again, I think it goes back to just observing human nature in general like the things that we. I wanna say are rarely the things that we do say tell us about that ending of crafting that the feedback which you've been setting up a different places is affecting the monsters. And then how Reagan is able to capitalize on that. It was the always the idea that the monsters the creatures aliens greatest strength, perceived greatest strength would become their greatest weakness. And we wanted to echo that with the character of Reagan, where her perceived weakness was actually her strengthen and how they overpowered it. So that was that was always the idea. And and was basically kind of the story retelling. It was a good thing in which you know, on one of the whiteboards. It was written armor, you know, somewhere near where it said, what's the weakness, and essentially it's exposing itself by opening its armor when when it's wounded by the sound. So I thought that was a very interesting way to to get that across to to show that what was your toughest seen? What was the scene? It could be different for each of you. But the scene on the pay. Those writers you came back to again, and again or you sweat of your nervous about writing. And how'd you creatively rise to the challenge? Why ironically, I think it's the the one seen that actually changed in the final form that we were talking about earlier where it's figuring out. How do you unfold? A tragedy that has befallen upon this family because you wanna make sure it lands. You wanna make sure that it sets up all the stakes for the rest of the family. So for the longest time we were trying to figure out like how do you end up killing that kid, and it went through incarnations where I was just like a car accident. And then it was the arrival of the creatures and figuring out how to fold everything together. So it felt like an invasion sequence. Originally. Yeah. So we just wanted to make sure everything felt as tight and clean as possible. Like, some of our favorite scripts that were reading like alien like the the Walter hill and David Guiler draft like it's so clean. Like, you can't really pluck a thread out of that. It just is so totally woven. And so I think it always came back to get in this into nice compact ball, and I'm coming up short here. Because this and I'm sure this is just like revisionist history in my own mind like rose colored glasses. But like the script was such a joy to write. And I really mean that the the most exciting part of this process was not the movie doing well at the box office or getting nice reviews. It was honestly being able to write. It was such a such a joy everyday like just coming up with weird ideas and chasing down were there any other ending concepts? He played with that. Obviously, we're never shot just early on figuring out how you were gonna end it because you hear the visceral pump. The shotgun and waiting for them to invade was fantastic. But just curious if there was anything else, there's there's like a little bit softer of an ending that existed even up to like the final shooting draft to a certain extent where you get past. This this final like bad ass blunt moment, and then they are able to go outside and you hear like the baby make like a soft like cry or it's a soft laugh, and it's the idea of ARCHE to the point where okay at least for the time being they're safe, right? Because it said on the Bill were on their whiteboard that there was three in the area. Yeah. Spotted so. But that's one of those things like, you know, prompts with production team, and John and Drouin Brad who were talking about like, why don't we end it on this moment of the shotgun. And you know, you wonder before you see it with an audience like is that going to be enough like is an audience going to want more does that feel like an anti-climax? But the first time that like we saw the final final film was at. South by south west in front of twelve hundred strangers because the movie had just been finished like twelve hours prior because everyone was racing through the final finish line, and Brian and I are like bracing ourselves, right? Oh, you're comes that ending like is this going to work and all the sudden like people just got up, and they clapped and they bought into it. And that was one of those great lessons to see like in. This instance, like that can be enough for for some people. It's something that's also a benefit of having a small cast of characters because people get so invested in them that sometimes the movies that have a broader scope, not always by any means. But but you don't get that investment in here. We're ready to go. We're gonna take a question from the crowd all the way up there with the actors using ASL Americans. Yeah, they were and they had a teacher that taught them through there. And one of the coolest things was Noah who played the son. He he fully like learned ASL. So he and million they're together. Like, they totally communicate our salary quarters. Jackson has a question Jackson. Greg question. The monsters looked great how much. Of that was on the page, and how much did you leave up to John and the team it's a great marriage of collaboration. So like an example beyond the page. Like, we knew that they will be daft that they would be blinds that they you know, they had four feet that they were kind of walking around on you can describe that as much as you want. But it alternately is up to the production team to really take that on. And I know that during production, they had an entirely different design for the creature was like really a lamb was working on it. And they got to a point impose production where they just were like this isn't. This isn't scary enough and props I'll for bringing it home because they were like, look we're going to do this, right? Like, we don't care that we have a deadline looming in like eight weeks. We're just going to bring it home. And so they went back to the drawing board created what you see on screen there. Tell us what the original style. It's like because this has really long legs. That's propelling it around. It also has the head opening up and different pieces of armor, skin, or whatever you wanna call it. Yeah. So it's still had the armor and plates. But it was it's hard to describe it in my head. It kind of looked like. A little bit more like a transformer or something like it. Just it just different. You know? It's just a different take on it as a metallic. Then. No, it was still. I mean, it was just. It was just like. Yeah. I think like, yeah. The broad strokes are the creature the same, but the design and how it looked in the shape and the legs and the arms completely different. What's next? What are you guys working on next? Well, we had the film that we were we were directing simultaneously a win. Win quiet place was going on which is a film called haunt which we keep saying like if quiet places the script that we wrote that's influenced by like Shamlan and Hitchcock like haunt is very much like our throwback. John carpenter movie. Also that that's a film. We did with ally Roth produced it who is who is a great guide on that journey really imbuing. The fact that like we really have to care about characters more than necessarily what the horror is because hopefully, the horror will come easy. So that's a film that should be coming out this Halloween and okay. Great Halloween nineteen. Yes. And then we're we're writing a Stephen King adaptation for Twentieth Century, Fox. It's called the boogeyman which is short story of his from his nightshift collection would have thought all the things in night shift had been made by now. It's crazy enough. This is our favourite piece of writing that he's ever done. And it was something that our manager kind of protected for a very long time for us for when the time was right. It's a very short scary special story. So we're excited was it. Was it hard to get the rights like it was before quiet place that come out that you got the rights. We actually it was quite places sold. But it hadn't been made yet ahead of been shot yet. But we were then like basically trying to get the permission like one hundred percent for like Twentieth Century Fox like right around like opening weekend and king was a fan of quiet place. So that certainly help the synergy of it. But yeah, I don't know beyond that like what what we loved about. It was a short story. So you can play in king sandbox, and it's great setup. But there's also a lot of unknowns that you can bring to the story. And so for us, it's a way to approach something that's established. And it's the boogeyman everybody is scared of the boogeyman. But also try and tell an original story in that in that context. Which is like the most important thing for us. Like, that's the reason we wrote quite place in the first places we wanted to see something totally different onscreen that that we were. We were we had an appetite for and so moving forward like the biggie man is a fit in that IP world. But like the next thing that we're working on which we haven't even pitched our wraps. We just told them there's something like in the hopper is the next big original idea that we just wanna go off the same way. We did quiet place. Like, we don't want to sell a log line to paramount or to Twentieth Century Fox like we just want to write the script. Yes. Is it horror genre? Or is it a different genre? If I answer that question, you had no more than my reps. Do it's it has a conceptual quiet place. It's it will be scary. But it will be emotional, and it will tiptoes around in a few different genres. But I think it just all comes back to like wanting to protect the process, and this is like the greatest lesson. I think we've learned throughout this this journey is just like you want to create something that you're so passionate about. And so you want to also create. Something that you can you can scale and not get stuck in development hell to with three hundred forty million worldwide. It's such a great response. I'm sure there's been chatter about quiet place to where where is the world going on that? Where are we on that? The John is John has a really cool idea for it. And he is putting pen to paper right now as we speak, and while we're working on boogeyman and a few other things, and it's one of those things where I don't think any of us John included ever thought that this film needed a sequel wasn't on any of our minds. Nobody wanted to just kind of cash in on this movie was such a special foam for us. But it is a really cool world. And and so who knows who knows there might be a quiet place to I think, it's look you guys have been very generous with your time. I can't wait to see what you do next and grassy your WJ nomination. Give it up again for Brian and Scott make you so much. Thank you as and that's other QA went down special. Thanks again to co writers, Brian woods and Scott back for coming down to chat about their WG, a nominated film, a quiet place. And folks, we recently published issue thirty five of backstory magazine, and it features a vice cover story with writer director. Adam McKay chatting about his truly original screenplay plus issued thirty five also has in-depth articles on aquaman Mary Poppins returns Spiderman into the spider verse and are huge Nicholl fellowship piece where we meet the 2018 winners, plus so much more. So I hope you look at the table of contents. So you can see everything that's inside issued thirty five. And if you like what you see I hope you consider subscribing if you're on the fence, you could read issue number one the free issue in test drive us at backstory dot net as well. So I hope you'll check it out. And hey, if you're in L A or going to visit LA make sure to sign up for my screening series. You could come to these events as we're happy to have you. You could sign up to get on the free Email list at backstory dot net slash events. So I hope to see you at a screening sometime soon to QNA with Jeff Goldsmith is a copyright of unlikely films Inc. In twenty nineteen all rights reserved. And hey, if you'd like to show your support and donate to this free podcasts. So it can continue to buy new equipment and use these. Funds to pay all of my podcast hosting fees. Feel free to send a pay pal virtual tip to yoga Smith at g mail dot com. Any amount is greatly appreciated as for your social networking needs. You could follow yoga Smith on Twitter or check out my Facebook fan page. I'm Jeff Goldsmith the publisher of backstory in the host of the QNA thanking you for tuning in and telling you to stay out of trouble till next week.
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