A Noite das Bruxas: Adaptação de Agatha Christie aposta em terror com compositora de Coringa

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00:00 but it tonally is very different.

00:01 And I think the idea was that, you know,

00:04 we should at this point maybe have a little departure

00:06 tonally from what we've done before

00:08 to A, surprise the audience of the people

00:11 who've watched the previous films,

00:12 but also maybe to bring in some new audience too.

00:15 [dramatic music]

00:16 - I'd give all I have to hear my daughter's voice.

00:19 - If someone wants to be heard, we are here.

00:23 - Listening.

00:25 [dramatic music]

00:28 [gunshots]

00:31 - Mama?

00:34 [upbeat music]

00:37 - I see a difference between "A Hunting in Venice"

00:43 and the previous Agatha Christie movies.

00:45 In this movie, we have the presence of the supernatural.

00:47 So why did you choose this story specifically to tell now?

00:51 - I think you sort of nailed it on the head, really.

00:53 It was to make something different, I think.

00:56 Michael Green, who's the writer,

00:57 talked to me a long time ago about wanting to do something

01:00 with "Halloween Party,"

01:01 which is the book on which this is based.

01:02 At first, I wasn't quite sure what he was getting at

01:05 or why in particular, or what he saw in that story.

01:08 But two or three years ago, I had a meeting with him,

01:10 with Ken Branagh, with Steve Aspell from "20th Century,"

01:13 and he kind of explained it.

01:15 He felt that having done two very traditional,

01:18 quite straight adaptations in "Murder on the Orange Express"

01:21 and "Death on the Nile," he felt we should try

01:23 and surprise our audience.

01:25 We should try and amaze them

01:25 with something a little bit different.

01:27 And you will see in this movie that, you know,

01:29 there are elements of horror.

01:30 It's not a horror movie as such,

01:32 but it has moments that are scary.

01:34 I think it's a splendor thriller,

01:35 and at its heart, it is a murder mystery.

01:37 But it totally is very different.

01:39 And I think the idea was that, you know,

01:42 we should at this point,

01:43 maybe have a little departure totally

01:45 from what we've done before to, A,

01:47 surprise the audience of the people

01:49 who've watched the previous films,

01:51 but also maybe to bring in some new audience too.

01:53 - "A Houchi in Venice"

01:55 makes a mystery plot with supernatural elements.

01:57 So how did you compose the film's soundtrack

01:59 to give this feeling to the audience?

02:01 - Well, I was referencing mostly classical,

02:05 or let's say like, you know,

02:06 forward-thinking classical music of this time

02:09 with how I composed the music.

02:12 So I was looking towards the ways

02:15 that melodies were changing in this time

02:18 and the way the composers of this time

02:20 were raising questions about what is music

02:23 and what is sound,

02:25 and how are we playing our instruments

02:27 and what is melody and how can we break it up?

02:31 How can we break up all the old structures?

02:34 So I was looking at these questions

02:37 as I placed the music in the timeline.

02:40 So whenever they're looking backwards in time

02:44 and to a more melancholic, you know, pre-war era,

02:50 that, you know, we have melody that sweeps in.

02:53 And then the more forward-facing scenes,

02:56 like when the big reveal of "Wu-Tang" is happening,

02:59 then we're kind of, we're breaking up the melody

03:02 and moving forward to the more atonal times, you know?

03:06 So I was looking at it

03:07 from a kind of historical point of view.

03:09 - This is Kenneth Branagh's third adaptation

03:11 of "Agatha Christie".

03:13 So how has it been working with him?

03:15 And do you have plans for new movies

03:17 in a possible "Agatha Christie" cinematic universe?

03:20 - Working with Ken Branagh is just extraordinary.

03:23 I mean, he is one of the most talented people.

03:25 He's incredibly intelligent, harder working than anyone.

03:28 He kind of makes you feel completely inadequate.

03:31 So all I can do is sing Ken's praises.

03:33 You know, he's one of the best actors of his generation

03:36 and having him want to play Poirot is a joy.

03:39 In terms of the future, I mean,

03:40 let's deal with the present now.

03:41 Let's hope people enjoy this film.

03:44 But, you know, if people want to make more films,

03:46 if Ken wants to make more films,

03:48 it's my privilege in life to try and share

03:51 my great-grandmother's stories

03:52 with as many people as possible.

03:54 And I can't think of many better ways of doing that

03:56 than with Ken and 20th Century.

03:58 So yeah, I'd love to make more.

04:00 (dramatic music)

04:03 - Somebody is dead.

04:04 (woman screaming)

04:05 No one shall leave this place until I know who did it.

04:07 (woman screaming)

04:09 - A ghost killed her.

04:10 (dramatic music)

04:12 - How was for you to work on this adaptation

04:15 of "Agatha Christie"?

04:16 Have you previously had any relationship with her work?

04:19 - Yes, I have a huge relationship with her work

04:22 because everyone in my family is a huge fan.

04:26 So when my mother was pregnant with me,

04:27 she read one "Agatha Christie" novel a day.

04:29 You know, she couldn't really get out of bed.

04:32 So I think that the connection with her

04:35 is really, you know, deep, deep in my blood.

04:38 (woman laughing)

04:39 - You won an Oscar for "Joker"

04:41 and you have been quite prominent in recent years.

04:44 So how was "A House in Venice"

04:46 different from your previous work?

04:47 - Well, I think every film is different.

04:50 So every film is, you have to just approach it

04:53 from what this film is saying,

04:54 what this story is saying,

04:56 where this, you know, this period,

04:58 like what the role of the music is within this film.

05:01 And so I think every single project is really different.

05:05 And working with different directors

05:07 and different people is also very different

05:09 because directors, you know,

05:11 their process is as different as people are.

05:14 So you kind of have to,

05:16 you have to start from the beginning point

05:17 on every single process and every new collaboration.

05:22 You know, you have to get to know the person.

05:24 So that's kind of also what makes it exciting, I think.

05:27 - As a great grandson of "Agatha Christie",

05:30 how is for you this experience of working these adaptations

05:33 and manage her rich material?

05:35 - You know, it's an extraordinary thing.

05:37 One of the things I sort of learned from my father,

05:39 actually, who did this job before me was,

05:42 in business, you should pick your partners really carefully

05:46 and then trust them.

05:46 And what is great about this whole project

05:49 is we've had basically the same team from the beginning.

05:51 Michael Green's written all three screenplays.

05:54 Ken's obviously directed and starred in all three.

05:57 And Steve Asbell's been at 20th Century throughout.

06:00 So there is a massive element of trust.

06:02 And with that, actually, my role is diminished.

06:06 It does help that they are all brilliant at their jobs

06:09 and have an incredible respect for my great-grandmother.

06:11 And that means that, actually,

06:13 my need for intervention is very minimal.

06:16 - If you could choose one "Agatha Christie" story

06:18 to take to the big screen next year

06:21 and two actors to star in it, who would they be?

06:23 - I'm never very good at this one.

06:25 Look, I love what we've done.

06:27 I don't really tend to sort of dream in that kind of way.

06:30 I'd like to build off what we've got here.

06:32 I'd really like "The Haunting of Venice"

06:34 to be a massive success.

06:35 And then we'll work out where we go from there.

06:37 So I'm afraid that that's as good as you're gonna get from me.

06:40 - No one shall leave until I find

06:43 if the living have been killed by the dead.

06:45 [dramatic music]

06:48 - You have been hiding here all this time.

06:51 - Who are you talking to?

06:53 [dramatic music]

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