But what was it like doing that and having some confidence that diehard Halloween fans out there are going to appreciate that and not necessarily go, ‘How dare you make it feel that definitive?’ That's an idea that's very exciting to me. I'm very hung up on the line about how the shape of evil changes. Part two of that is you kill Michael Myers. That's part one of a big risk with a Halloween movie. And I think there's obvious challenges and things that you would bring to discussion with editors, with producers and say, ‘This is what feels right,’ and at a point we all just looked at each other and said, ‘We’re taking a big risk here, but it does feel right and we know we're getting into. And so if you don't have an intuition, if you don't have a vision, you shouldn't be making this movie. So two days ago, and I'm watching it and I'm like, ‘We’re asking a lot.’ But then when we were in the editing room and we would do differently, it felt wrong. I just watched the movie outside of a technical format, meaning in a sound mix or a color correction, for the first time two days ago. What was it like figuring out how long you could pull that off for, and then finding the best way to bring him back into the fold and earn the way you bring him back? Here's another really big question with a movie like this you made a Halloween movie, and you hid Michael for a real long time. For an audience, it just makes it more fun, I think.Ĭan you give me an example of a set of pages you read that made you go, ‘Whoa! I didn't think we were gonna do that, but that's a great idea and now we’ve got to pursue it?’ And typically what wins is the one that I’m surprised by the audacity of doing this, the unexpected version here, the twist there. It’s not just a full script, but it's like here we are now, I know we feel good here, you go here, you go here, you know? And it's fun to do those explorations and then get together and we read everybody's and then we workshop what works, what doesn’t. You go this way, I'll go that way, and then everybody explore an avenue.’ And so we have infinite drafts of the sequences, not just a page one to page 90. And so we'd get to a point and say, ‘Okay, Corey is at the bottom of the staircase. GREEN: I don’t know that we ever have to, but one of the things we did on Ends we had four writers, Danny McBride, Paul Logan, Chris Bernier and myself, and so sometimes we’d get to a point and it would be choose your own adventure. Is there any particular thing that happens in Ends that caught you by surprise, where the plan was to go down Path A, but all of a sudden, you realized something and had to pivot to B? I want to open up that question to spoilers now as well. They certainly wouldn't expect us to make some of the choices we've made. I wanted it to be a love song to the fans, and I don't think anyone's gonna see it coming. And then Ends I just wanted to build to make sure I felt emotional, I felt atmosphere, I felt romance. Obviously Kills is just kind of a chaotic art film middle chapter for me. And to me, that just becomes a discovery you get from workshopping the script with my beloved co-writers and talking to the actors, turning a camera on things that work and work less and then trying to sculpt something you feel like is the most satisfying. But then how are you gonna get this climactic battle out of her? So then we made decisions to evolve it and say, 'Okay, there's a time jump between Kills and Ends,’ and it became a great opportunity and discovery of the fact that we can meet an optimistic Laurie Strode that has gone to therapy perhaps and she's decorating for Halloween, she's inviting this holiday, she's making pumpkin pies, so we can see a Laurie that's in many ways the opposite of the Laure that we met in 2018. There was a period of time where it was gonna be all one linear continuous type of movie. When we were writing Kills and Laurie was bedridden because she would be because she's been stabbed in the belly a few times, I knew we needed to make a time jump. GREEN: I don't know that it changed in any radical form.
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