John Krasinski explica la escena inicial de A Quiet Place 2

Name: John Krasinski explica la escena inicial de A Quiet Place 2 | GQ México
Uploaded: 2025-12-02T20:20:28+00:00
Duration: 10 min 38 s
Channel: GQ Mexico

GQ Mexico

John Krasinski, uno de nuestros actores y directores favoritos, nos muestra las anotaciones, comentarios y oservaciones que realizó durante el filme de la película A Quiet Place 2, en la cual también aparece junto a Emily Blunt. Si querías la visión del director, aquí la tienes.

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00:00Hey, are you asking that I put a child that's under six years old in a moving car that had stuff flying on it?

00:04Yeah, I did and I'm probably going to jail for it, but before I go to jail at least we all know why and it's pretty rad.

00:11Hey, I'm John Krasinski the writer-director of A Quiet Place Part 2 and this is Notes on a Scene.

00:16Ronny, what do we got? We got units headed out there now. EMS and fire.

00:33I think our bi-walk is fine.

00:35I got into the sequel world by saying I didn't want to do it. There was an immediate response from the studio

00:46that they wanted a sequel and I think I realized in the process that I am an audience member first

00:50before I was a writer-director or actor in the movie and as the audience member I've always been weary of sequels.

00:55Why would you do another one when the first one was so good? How are you going to expand the world?

00:58I had all those same questions. I had no intention of doing it. I told them to find another writer-director

01:04and while they were sort of contemplating that I had this tiny idea. My producing partner on the movie,

01:10Andrew Form, said, well, can you just write out an outline to give to any writer-director we hire?

01:15And I said, yeah, sure, no problem. And as I was writing the outline, I was halfway through it typing

01:19and I went, damn it, I'm directing this movie. If I could continue the metaphor of the first movie,

01:24if I could continue the themes and pick up right where we left off, I could actually tell a continuation

01:29story of the first movie and that's what it became for me. The key for me, my in as a writer and as a

01:35director for it was making Millie the lead of the movie. Now when you make Millie the lead of the movie,

01:39two things happen. One, you engage one of the most talented actresses I've ever worked with,

01:44but much more than that thematically, she opened all and unlocked all these themes and metaphors

01:50that I was dealing with in the first movie. And so the beginning of our movie takes place on the day

01:54that the creatures came down to earth and how that happened. So this is the family that you know and

02:00that you've experienced, but obviously the town that they walked through in the first movie to get

02:05supplies is now alive and well for the moment kicking. My goal was to do most everything in the

02:11opening of the movie in one take so that it would actually drop the audience into the movie so you

02:15would actually be walking with my character. You'd be in the car with Emily and that we'd never cut

02:19and therefore never break the energy so you always felt like you were a part of it. So in order to do

02:23that every single department had to be perfect that day. So what's about to happen is uh this was a one

02:29take where we came from up the street and in the movie it's all in one take getting us into the truck. In order to get us out of the truck and into this stunt that's about to happen,

02:37we obviously had to replace the cop car that's about to be hit and that takes a whole lot of reset. It also takes a whole lot of stunt people and a whole lot of safety issues.

02:45So I couldn't just get out of the car and have a police car fly through the air and it doesn't really go well.

02:49So what we ended up doing is hiding a stitch and a stitch is actually something where you're cutting into a new shot but just hiding it and this is the only stitch we did in the opening of the movie and I'm about to show it to you right here.

02:59So as I'm getting out of the car you will see right here the camera and ILM break the plane of the two shots. So this is one shot here and this is another shot and you're going to see my head go from one shot into the next shot and this shot is the shot that has the stunts and this shot is no stunts just a dumb actor.

03:18If you guys like Hamilton, Oak is in Hamilton, the original Hamilton. That's Hercules Mulligan y'all. He's in my movie. That's right.

03:31So what I was meaning about having to do safety, right here there are massive flippers under the car. The car is secured by all these wires to make sure that when it flies through the air it won't hit any people.

03:43All that has been painted out by ILM, which is industrial light magic. This is ILM here, their creation of this meteor and so what you're about to see obviously is a creature coming through and this is all secured and ready to go up into the air and we just paint everything else out that made it happen.

03:59A little tidbit, this is Brody's Pizza, the biggest reference for me in making Quiet Place. I said to my wife early on when we first met, she said what would you want out of your career? What's your dream? I said I'd love to direct Jaws. So this is my Jaws and so Brody's Pizza I named after Chief Brody.

04:19This is technically not the town we shot in in the first movie. It is actually the creation of this amazing production designer, Jess Goncher.

04:26This is a real town that everything you see on the front side of it will be Jess Goncher and his amazing team. So all these signs are ours, this sign's ours, this hairpin's is all ours. We designed the entire thing to feel like small town America.

04:39This is one of my favorite parts of the opening. In the first movie we did this a little bit. We have now come into Millie's envelope and what we do is anytime you're in a close up shot of Millie, I established that you can get into her envelope and by that we mean you hear the world the way she hears the world.

05:02Where I got that in the first movie was actually based on something Millie's mom told me about Millie. One day when we were first getting to know each other I said can Millie hear anything and her mom said she actually can, it's just all dimmed down as if it's been really muffled so if there was a big sound behind her she'd hear it and she can hear laughter and things like that but very very low.

05:22So I thought wow what if I tried to put that in the movie actually as Millie heard and one of the greatest moments of my career as a director was when Millie's mom saw the movie she burst into tears because she said that I gave her something that she never thought she'd be able to do was to actually experience the world like her daughter does and I still to this day get choked up talking about it.

05:42So erase this before I cry. Millie's insanely smart and insanely talented so she had a lot of ideas going through. I personally being an actor know that actors have a lot to say about the scripts they read so I am willing to throw the script out the window if it means that the scene sort of shifts and changes as it goes along.

06:02Kelly Murphy actually had a bunch of lines put into the movie that he had notes on and he thought would be better for the movie and they worked.

06:08We fired him quickly after that but he did have ideas. We definitely shot this entire sequence first so this sequence is pretty much shot in chronological order.

06:16Something like this we had to do at certain times of the day so our incredible DP Polly Morgan the sun would have been right here in the morning so she wanted the sun behind us very smart.

06:25It's still incredibly hot and the sun sort of above us but we got bumped around due to rain so we were trying to do this earlier and then it rained and so we had to push this to another day which threw the whole schedule out of whack.

06:36It's one of those things where weirdly making movies and this just sounds so pretentious but making movies is a little bit like jazz and the best work I think comes from when people are asked to do things a day before they were supposed to do things again working on pure instinct.

06:51I'm hearing something on the radio that is now transmitting to Emily's radio and now we're into this car shot so this is a crazy thing there is a giant camera and a weird robotic arm that's doing this.

07:05So this robotic arm is in the back of the car and it has a camera basically right here that can shoot at all angles.

07:12Problem with this is you have to program it so there is no changing the shot midway so we had to rehearse this shot for about three weeks with stunts, extras, set design, props, everything.

07:24And what happened was you have to program the camera exactly where it's going to be so no one can improv or change anything on the day.

07:31That was extremely terrifying because the one thing you want is for a scene like this to feel alive.

07:36The great news is we blew up a car right in front of them and then had my wife racing through the street at top speed basically avoiding traffic and avoiding getting hit.

07:46And then have a bus fly at her at 40 miles an hour. So I got a pretty organic performance from her.

07:51So the camera got to do its thing. This was a group called Mocos from Germany.

07:54And they I guess used this camera and this arm on movies like Transformers and things like that but it had never been used like this.

08:01It's okay, honey. It's okay, honey. It's okay, baby. It's okay, baby.

08:07Mom. Yeah. What is happening?

08:12Mom. Mom. Mom. Mom. Mom. Mom. Mom. Mom.

08:21It's okay. It's okay. We're okay. We're okay. We're okay. That's okay. That's okay. That's okay. Where? Where? Where? Where? Where? Where?

08:27Mom. Mom. Mom. Oh my God.

08:29Mom. Mom. Mom.

08:32I can't go. Mom.

08:36My inspiration for shots like this was Children Men, which if you've seen it, it does an incredible

08:41job of putting you right in the moment where terrifying things happen. And so I wanted to take that and push it a little farther.

08:47The roof was taken off the car. There's a stunt driver on top of the car. It's called a pod car.

08:51So it just looks like a little dune buggy in a roll cage and he's actually driving the car.

08:56Emily is not driving the car. They disengage all the steering wheel and everything so Emily can make it look like she's driving.

09:02But instead she's on the best rollercoaster ride of her life. I remember her favorite quote in this scene was she looked up at the driver and said, your life is quite literally in my hands.

09:12And this guy leaned forward, the nicest guy in the world. He leaned forward and went, I'm the best. And that's kind of what you want to hear before you do a shot like this.

09:19One of my favorite parts about what happened today, the camera broke and started to slide forward and perfectly went into a closeup of my wife. This is a mistake. It's the best mistake I've ever made before.

09:30It's the best mistake I've ever made in my career. There's a lot of me that loves being an actor in the movies. I am not just because I'm conceited, but also because it's super helpful for me to direct.

09:41There's this weird magic that you can do when you're on set with your actors because you could sort of shape the energy of the scene as you went, whether it was whispering to someone to do it again just like that or something like that.

09:52Or weirdly, if you wanted someone to be emotional and you're on the other side of their scene, you can actually get emotional and they will learn that they should go more emotional in the scene because you're getting emotional.

10:01So you can weirdly direct through your acting, which is really fun. That said, I would say it should have been less stress to just direct.

10:09But I very stupidly wrote a much bigger movie, which had a lot bigger sets and a lot more special effects and stuff like that.

10:16So it was a brand new learning experience for me and I was sort of living by the edge of my seat, which I now hope people watch the movie at the edge of their seats.

10:24That creature is real. Don't let anybody tell you otherwise. We had to train it. No, I'm just kidding.