There is someone inside your house Interview
Director Patrick Brice and screenwriter Henry Gayden discuss their upcoming Netflix slasher adaptation There’s Someone Inside Your House.
Director Patrick Brice and screenwriter Henry Gayden talk about their next film There is someone in your house. Adapted from the 2017 novel of the same name by Stephanie Perkins, the slasher follows Makani Young of Sydney Park, a high school student whose group of friends are targeted by a masked killer who bears the faces of his victims. Brice has already produced independent horror hits Crawl and Creep 2, with a third on the way, while Gayden’s credits include Shazam! and Shazam! The fury of the gods. There is someone in your house arrives on Netflix on October 6.
Screen cry sat down with Brice and Gayden to talk about how There is someone in your house brings something new to the slasher genre and what it was like to work on a horror film on a much larger scale.
Screen Rant: I’m a huge fan of Crawl and Creep 2 and Company animals. These films are set in a central location with a smaller cast. What was it like to go from those movies to a bigger playground and a bigger set with There is someone in your house?
Patrick Brice: It was very liberating and fun. You know, with all of my previous films, I think I had to make creative decisions under the tutelage, decisions that either came from lack of time or money to make the film. I think it can sometimes bear really wonderful fruit, but I think the actual experience of going through this is very stressful. I usually lose a lot of weight when doing my movies and then usually put it back on afterwards. [production].
This movie, however, I think I have the support system of my producers, my writer with me, and obviously a place like Netflix that is willing to support the movie to the end of the world and support me so that I can make a movie. as precise as I wanted to do. And also have the time to plan.
I worked with James Wan’s screenwriter John Fox, who is just a genius. I was able to create these sequences a month or two before making the film. So when it came to the actual production of the movie, I was the least stressed I’ve ever made because a lot of those decisions were the ones we made and put in place, whether in the storyboard, the casting or in the conversations we had going back and forth about the script. It was just a matter of capturing it at that point and it was just endless fun for me because I had never had that experience of being able to do it at this level.
Henri gayden: Have you lost or gained weight?
Patrick Brice: I did both. [Laughs]
People say we’re in the middle of this horror revival, but teen slasher strangely missed it, though they arguably peaked in the late 90s and early 2000s. Why do you think it is and what did you want to bring to There is someone in your house to say, “Teen slasher may be back”?
Henri gayden: After watching 152 slashers and reviewing them before starting the script, I think, and I don’t know, but I think the 90s cycle ran out of ideas. They basically had Scream and then they were like, “Let’s just kind of do Scream. “Then they had Cherry Falls and Valentine and then all the wheels came off and they kind of collapsed and no one saw them. All of these movies had some great moments, but none of them had the clarity of Scream.
So, for me at least, when I read the book and started thinking about how I might adapt it, just the idea that the settings could be emotional for the victims and not just the fear. Like there are stakes – if they die, that thing about them comes out and the world knows it, so now it’s a layered scene. So they are fighting for their life and the fact that they don’t want anyone to know about their life. That, and the mask where the killer wears a mask of their face, making them face each other. It was new to me and it was exciting.
Patrick, what was your favorite murder scene to shoot, and Henry, what was your favorite scene to write?
Patrick Brice: When I was first sent the script, I was immediately captivated by this opening sequence, by the cold opening of the film. It was just such a gripping sequence and I was addicted as a reader in terms of genre, I wanted to read the rest of the script to find out what was going on in this movie. It was something I had never really seen before and I was surprised I had never seen it before. Because, I don’t mean simple, but it was clear in terms of all the elements that were used there.
For me, as a filmmaker, it was exciting to think, ‘Oh, I can look at that like – that’s a character in a house – how do I create that and lay out these breadcrumbs to make it feel. as scary and visceral as it gets? ”For me it was really that opening sequence and then filming that opening sequence I had my hands on my head [mimics dancing] just clapping all the time because we found this actor [Markian Tarasiuk] who was just fantastic and he’s relatively unknown and passed that archetype of this guy so well and quickly.
I once saw these footage as we were filming as if it were the footage I saw in my head when we were scripting and even when I first read the script. The whim when the knife comes out was in my head when I first read it. So the excitement of seeing that materialize is still, to this day, the juice that runs me as a filmmaker.
Henri gayden: That first scene I wrote – it was me trying to figure it out because I had never written a slasher before. Honestly – and no one is going to want to hire me after saying that – but I probably spent a good three to four weeks working on this scene and doing forty versions until I figured out how to make it work. It was a big kind of testing ground. The most fun, however, and the most exciting because I have to go to a crazy place, was the second murder. The fact that I went to that place was like, “Can I do that?” Can I actually do this? And then I did it and it was like, “Great!”
Patrick Brice: Well, and the fact that I got this script and read that second murder and was like, ‘Oh, Netflix is okay with us doing this? Okay, I’m in a movie now. “
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