The scene quickly turns grotesque when Gugino's character Jessie has to smash the glass from a shelf above her and cut her wrists to peel back the skin from her hands up to her fingers in order to lose enough blood to free her hands. As you can imagine, not one for the faint hearted and a scene in Stephen King's original book which turned readers stomachs.
In fact, according to the director one person passed out while watching it. He said: "Someone fainted at the Fantastic Fest screening which is the coolest thing I've ever heard. Speaking about he horrific scene director Mike Flanagan Ouija: Origin of Evil , Before I Wake told Slash Film how they were able to add the trauma of the book by including a new element.
Because we weren't really using music in the film almost ever, all that sound design is just front and center.
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That's kind of what makes it so intense. Even when I would look away while we were shooting it and when we were editing, you can't get away from the sound.
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It's some of the most uncomfortable noise and we just crank it right up. We just wanted to hear every little squish and pop and stretch.
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It's gnarly stuff. That said, Flanagan did comment that he thinks the book is still more horrifying,. It was a relief that Netflix wanted to make the same movie we wanted to make. It feels like the changes that you did make, with the ghost "Geralds" and "Jessies," seems like the easiest way to keep the spirit of the thing. Yes, exactly. It let us take so much of the internal monologuing that Jessie does in the book, and put it up on its feet, put those wonderful words into someone's mouth. The book would also bring in these other characters we never really met before, her old college roommate, her psychiatrist, this puritanical wife.
That would have been a little theater-of-the-absurd, I felt, in a movie, considering that some of what the story was about. For me, it was about this marriage, and about Jessie and Gerald. It seemed really natural that even though he'd turned up dead, we'd still be with that marriage and kind of dissecting with them for the runtime.
That's what really opened up the adaptation for me. That's what made me feel like it could be a movie. Let's talk about Carla Gugino's performance. For long, long, sections, she's basically playing off herself in a dual role. It was incredible to watch, even on the day.
One of the most exciting things for me, after all of the discussion and rehearsals, was just sitting and watching the performance that Carla was crafting. From day one, it was hypnotic for me.
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We structured filming unusually, too. You would bring the whole crew in. Carla and Bruce and I would rehearse the day's work, the whole day's work. That would mean Carla running the scene, one chained up to the bed, and then we'd put a stand-in in there. She would stand up, and we would perform the other side of the scene, go at it again. Carla would be acting to her stand-in throughout the day. She always wanted to start the day as Jessie Two.
She wanted to start it powerful, and made-up, and confident. Then after we finished shooting all of the Jessie Two material, we would change her into haggard Jessie and handcuff her to the bed, and she'd have to go do the whole day again. To see her keep track of those two arcs together was amazing. I viewed it from the beginning as, we have these two versions of Jessie, and the movie's about the one on the bed turning into the other one, the one we see at the end in the courtroom.
Then you've got Bruce Greenwood. Sometimes he's the villain, sometimes he's almost kind of silly. Having fun. Oh, yeah, and what was really interesting and respectful of Bruce, he would also work with Carla to craft his performance, because it was clear to us very early on that he only got to play Gerald for ten minutes, but once he dies, he's actually playing Jessie. There was a lot of discussion about where Carla thought Jessie was at that moment, and how she'd remember Gerald at that moment.
Would he be aggressive? Would he be gentle even if he was saying horrible things? There must have been a great pressure once It did so well, to come out with another Stephen King adaptation so soon. Oh, yeah. When we were filming this movie, we had no clue that we would be releasing in the middle of an explosive Stephen King renaissance. As a King fan, I was thrilled and I thought, " Oh!
imap.manualcoursemarket.com/coha-plaquenil-vs.php They finally got It off the ground. I can't wait to see it. Mercedes, great. We didn't think we'd be coming out in the middle of the eye of the storm, but I think it's wonderful. I think it's very exciting, as a fan and as a viewer. Are there any other Stephen King works that you would talk about adapting in the next few years? There are There's the big ones that I think everyone, any filmmaker who grew up on King, is lying if they wouldn't tell you they would run into the room and tap dance as hard as possible to get a crack at The Stand or Salem's Lot , both of which, as Peter said, are proceeding.
They're on their way. I've always wanted to take a shot at Pet Sematary. My favorite of his books, though, is Lissey's Story , which is not one of his most well known books, but I think it is one of his most beautiful. I am also in love with Dr. Sleep , which would be a blast if I could wrap my head around how to get through it without being completely devoured by Stanley Kubrick's shadow.
I think I'll work on a King story again. I'm a fan first. This is, in a few ways, probably a tough film to sell through the lens, literally, of a male director. Oh, for sure. Carla made a huge difference in that; I definitely consider Carla as much of an author of this movie as I am. That issue was something that was on my mind.
It was not on my mind 20 years ago when I put the book down and I said, "My god, I have to make this movie someday. As it got closer and it looked more and more real, what it did more than anything was make me determined to do it as well as I could. I do not have the female experience. I don't, and I strive to understand it, but I'll never truly be able to.