00:00Peter Gray from the AU Review. Hello, Adam. Hello, Zach.
00:02Hey, good to see you.
00:04I just want to quickly say thank you so much for bringing the series back after 14 very long years.
00:11I love these films so much.
00:13And then hearing your pitch story, how you killed yourselves during the thing,
00:18I was like, that was great. I knew I was in good hands.
00:21And it made me sort of think, like, I wanted to ask both of you, like,
00:24I guess, how do you choreograph, you know, one of these big tense death scenes
00:31when, like, the audience knows that something bad is going to happen?
00:34So, like, how do you still come up with a way to, like, to surprise audiences?
00:39Because we all know something's coming, but we also sit there going, what's going to happen?
00:43So, how do you choreograph that sort of stuff?
00:44That is exactly the hardest part and the thing that kept us up at night.
00:48You know, we wanted to make sure that every sequence felt surprising,
00:52even though you know that the characters are going to die.
00:56So, how do you do it? It's an incredible challenge.
00:58You know, sometimes we thought of it like a magic trick.
01:01You know a magician is about to do something wild, and you're watching their every move,
01:06but then they still manage to surprise you.
01:08And so, we learned a lot from the other movies by studying the details of how they did it.
01:12A lot of it has to do, like magic, has to do with misdirection,
01:16where you make the audience think that something else is going to happen,
01:19and then you surprise them with this other thing that was also set up.
01:24But it's an incredible challenge, an incredible joy to figure it out and keep the audience guessing.
01:31I think, obviously, one of the big set pieces for this is the MRI scene.
01:37Like, was that, like, when you read that, are you, like, did you, like, the way that it's set out in the script,
01:44did you kind of have all the pieces already knowing what it was going to look like,
01:47or was that something that presented itself more to you when you were putting it together?
01:51Because that scene was, in the best way possible, so disgusting.
01:54Like, I loved it so much.
01:56But yeah, like, I just want to know, like, when you read that on the page,
01:59did you kind of immediately see it, or did things sort of start showing themselves to you?
02:03Yeah, I mean, I think these movies in particular are highly iterative over the course of a very long time.
02:11So, you know, your audience might think that a finished script appears,
02:16the director opens it, and then just figures out how to shoot it.
02:19But this is a very different process.
02:21This is years of people going, what would be a great set piece,
02:24and then together with the writers and the producers researching all the things that could go wrong with an MRI machine,
02:29figuring out how all those things could be within a geography of each other,
02:34how they're lined up, where the doors are,
02:37why is there metal objects inside of a room that shouldn't have metal inside of it?
02:41Why are they there in the first place?
02:43Why are they there in the first place?
02:44What are they talking about?
02:45Where's the clipboard?
02:46You know, why is the clipboard falling off the pin?
02:49You know, like, and it just goes on and on and on.
02:51And it takes years of it not working for a very long time.
02:56You write a bad version of the scene, and then you show that to people.
02:59You get feedback.
03:00You do iteration.
03:01You meet with people that are in charge of making objects move around the room,
03:04and you realize that they have really good ideas that are different than what's in the script.
03:08And you change the script, and then you do storyboards.
03:10And it just goes around and around and around for years.
03:13It's not something that just kind of is written in its final form that's perfect.
03:18It's like everything.
03:18It takes a huge amount of effort from hundreds of artists to continuously figure it out.
03:25And even some of the details on the day we came up with just when we realized we needed extra little moments
03:31once we saw it all kind of taking place.
03:34But a big part of it as well was the physicality of it.
03:37A lot of the things that you see in that scene, we did practically.
03:41We had people flying through the air.
03:44Even when one of the characters gets bent in half, we did that practically
03:47by having two different people be the two different parts of his body.
03:51Like an old-fashioned magic trick.
03:53There's a double-decker apparatus inside the MRI machine with two platforms.
03:57So trying to figure out all the different ways that we could do these things for real
04:00so that it felt as visceral as possible.
04:04I mean, visceral is the right word.
04:06Everything I sort of thought was going to happen kind of happened but then happened at like 11
04:13because I was just like, oh, you're not actually going to show it coming through.
04:16And you did.
04:17And it's just, you know, this movie has been absolutely worth the wait.
04:22Like these are the reasons that we love these movies.
04:25But you've done it in a way that like subverted expectation in a lot of ways.
04:30There's so much emotion in this film as well, which is a really nice thing to have,
04:35obviously, with Tony's appearance.
04:38So I'm just, I'm so stoked for every fan to see this film, every horror fan,
04:43because it's like the genre is killing it and we need these films.
04:47And as I said, like, I just, I've loved them from the very beginning.
04:50So thank you.
04:51Thank you so much.
04:53Thanks for getting the water.
04:53Thanks for telling everyone about it.
04:55Oh, there's one Easter egg you might not have caught.
04:59Final Destination 5's poster with the metal coming through the skull.
05:04That's exactly how Eric is torn apart in the MRI machine.
05:08Every piece of metal is in the same place as FD5's poster.
05:12So check it out.
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