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When you're designing any creature,
everyone's like, "I've seen it before."
2
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That is really hard to do.
3
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So, I said, "These are all my ideas,
but let's do it together."
4
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John has put together a movie
where the audience can scream together,
5
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giggle with nervous tension.
6
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The whole idea,
that's a new spin on things.
7
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- Lock it up.
- All right, settle down.
8
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Getting a visual effects company like
ILM was going to be a huge win for us.
9
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That was one of the best experiences
of the whole process.
10
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When you get somebody like ILM,
that is a magic moment
11
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because they're as good as it gets
in this business.
12
00:00:51,467 --> 00:00:53,719
One of the best bits of advice
my dad gave me was,
13
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"One of the most confident things you
can say as a person is, 'I don't know. "'
14
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Certainly, with a movie like this,
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I'd never done horror,
I'd never had visual effects before.
16
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There were a lot of "I don't knows".
17
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Wait for it, and action.
18
00:01:05,231 --> 00:01:08,359
Scott Farrar who had done all the
Transformers movies jumped on the movie.
19
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He was on the set with us
and really helping with this creature,
20
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which was incredible to have.
21
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Everybody thinks, "Well, you have
to have great visual effects."
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They're not gonna be successful
23
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unless you have a great story
with interesting characters,
24
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and this had that.
25
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I was quite impressed.
26
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The first meeting I had
with John was basically,
27
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"How are we gonna do this movie?
28
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"What do we need to do on set
if we have a creature?
29
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"What are the technical issues?"
30
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But the first thing he said
that I really liked was,
31
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"Don't show too much.
Be kind of cryptic.
32
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"Keep 'em in the dark. Tell as little
as possible until you have to
33
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"because then,
your imagination takes over."
34
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We all know in our business,
35
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right off when we're tasked with putting
as much as possible in the shot,
36
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and I love the idea of, "Just hold back.
37
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"Build the tension and build the scare."
38
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"When is it gonna jump?
39
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"Do I... Should I look?
Is there something...
40
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"Is there something behind me now?"
41
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We kind of came up with this whole
backstory and mystery together,
42
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and it was all this really fun stuff of,
43
00:02:08,419 --> 00:02:09,920
"How did they evolve?
Where are they from?
44
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"Why do they look the way they do?"
45
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It was a conscious decision
not to let the audience in on it
46
00:02:13,883 --> 00:02:16,093
because the family doesn't have
a lot of information.
47
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They're living in a world where they're
trying to figure things out.
48
00:02:18,888 --> 00:02:22,767
The creature design originated
with Beecroft and his team.
49
00:02:22,850 --> 00:02:24,143
It's not just designing sets,
50
00:02:24,226 --> 00:02:27,438
it's also if creatures or certain
important pieces are involved,
51
00:02:27,521 --> 00:02:29,857
there might be a thing that,
on the set, has to be made.
52
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You have a story about
people who can't speak.
53
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We decided to make him blind.
54
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Creating the creature,
we started seeing,
55
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"What kind of environment
did he come from?"
56
00:02:42,203 --> 00:02:44,455
An awesome mentor of mine
is Drew Goddard
57
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who wrote and directed
The Cabin in the Woods.
58
00:02:46,374 --> 00:02:48,876
I remember his advice to me
on the creatures was,
59
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"Start your creature now.
60
00:02:50,044 --> 00:02:52,421
"Long before pre-production,
start thinking about him now. "
61
00:02:52,505 --> 00:02:53,631
At the end of the day, you're lucky
62
00:02:53,714 --> 00:02:55,549
if it's the third of fourth creature
you use.
63
00:02:55,633 --> 00:02:58,511
It's usually the 12th or 13th
or 20th creature design
64
00:02:58,594 --> 00:03:00,388
that you come up with
that you'll use in the movie.
65
00:03:00,471 --> 00:03:01,931
I'd written stuff, I'd drawn stuff,
66
00:03:02,014 --> 00:03:04,308
I even got on the floor
and video-taped myself
67
00:03:04,392 --> 00:03:05,851
crawling like I thought they would.
68
00:03:05,935 --> 00:03:08,479
Where I came up with all this stuff,
to be really honest,
69
00:03:08,562 --> 00:03:10,648
is David Attenborough documentaries
and all that stuff
70
00:03:10,731 --> 00:03:13,192
that I nerded out on
for all these years.
71
00:03:13,275 --> 00:03:15,319
I started remembering all these
creatures that he talked about,
72
00:03:15,403 --> 00:03:18,197
and I kind of stole
from a bunch of real life creatures,
73
00:03:18,280 --> 00:03:20,241
a lot of prehistoric fish
and stuff like that,
74
00:03:20,324 --> 00:03:23,077
that just look so crazy, they don't look
like they could be from this planet.
75
00:03:27,623 --> 00:03:29,166
I took it from a nautilus shell.
76
00:03:29,250 --> 00:03:31,043
A nautilus shell cavitates.
77
00:03:32,545 --> 00:03:34,714
Sound affects them in such a way that
78
00:03:34,797 --> 00:03:37,007
they will destroy
anything that makes noise.
79
00:03:44,598 --> 00:03:48,728
What was cool about working with John is
he had a lot of specific reference.
80
00:03:48,811 --> 00:03:50,771
He had a very clear idea,
but he was very open
81
00:03:50,855 --> 00:03:52,940
to letting us explore
what that was gonna look like.
82
00:03:53,023 --> 00:03:56,360
Even though we're working within a box,
he let us jump out of it here and there.
83
00:03:56,444 --> 00:04:00,865
First, it was, "What if we make it
move around kind of like a bird?"
84
00:04:00,948 --> 00:04:02,283
Got these weird sharp movements.
85
00:04:02,366 --> 00:04:06,162
Pose, pose, pose,
opposed to smooth motions.
86
00:04:06,245 --> 00:04:08,038
"Yeah, let's try that."
"Well, that's..."
87
00:04:08,122 --> 00:04:11,625
It didn't work so well
because this is a big hulking creature.
88
00:04:12,710 --> 00:04:15,588
We have all these flaps
all over the head
89
00:04:15,671 --> 00:04:19,800
for how it listens to where things are.
90
00:04:19,967 --> 00:04:23,095
John always had this idea
that those flaps would flow.
91
00:04:23,179 --> 00:04:25,931
Like school of fish,
and how they all behave together,
92
00:04:26,015 --> 00:04:27,975
and how the ear works in general,
93
00:04:28,058 --> 00:04:29,351
how it captures sounds,
94
00:04:29,435 --> 00:04:33,105
how our ears are curved,
we try to mimic that in the platings.
95
00:04:38,611 --> 00:04:40,613
The audience is gonna think
the ears are here.
96
00:04:40,696 --> 00:04:43,783
Let's just start here, and we had
flaps on the head that open
97
00:04:43,866 --> 00:04:47,077
so that the sensitive area of hearing
is just the head.
98
00:04:47,161 --> 00:04:50,790
We boil it down to that,
and then, it worked.
99
00:04:51,916 --> 00:04:53,793
For the functionality,
"What would it look like
100
00:04:53,876 --> 00:04:56,295
underneath these plates or whatever?"
101
00:04:56,378 --> 00:04:58,506
We were playing around with
a lot of inner ear stuff,
102
00:04:58,589 --> 00:05:01,175
and it was weird creepy design to that.
103
00:05:01,258 --> 00:05:03,719
So, that lent itself
really well to this.
104
00:05:10,351 --> 00:05:13,145
It was really hard to crack what that
creature was going to look like.
105
00:05:13,229 --> 00:05:14,438
You don't have a creature on set,
106
00:05:14,522 --> 00:05:17,566
so you have a guy in a motion capture
suit, or you have nothing.
107
00:05:17,650 --> 00:05:19,652
The time was ticking
and all that sort of thing.
108
00:05:19,735 --> 00:05:24,281
Sometimes, the work itself guides you
into what you should be doing.
109
00:05:24,365 --> 00:05:25,366
Unreal.
110
00:05:25,449 --> 00:05:27,785
- Two things. Look back more.
- Yeah. "Look back more."
111
00:05:27,868 --> 00:05:29,495
Keep that light up and look back more.
112
00:05:31,413 --> 00:05:32,790
John, he loves classic films.
113
00:05:32,873 --> 00:05:35,459
He loves Jaws,
and he loves Hitchcock films,
114
00:05:35,543 --> 00:05:36,627
so, we'd be doing things...
115
00:05:36,710 --> 00:05:39,922
Emily's in the bathtub,
creature's coming up the stairway,
116
00:05:40,005 --> 00:05:41,924
and it's, so often, not the technology.
117
00:05:42,007 --> 00:05:45,302
It's portraying something
that really creates a mood.
118
00:05:46,178 --> 00:05:48,514
So, at first, there wasn't going to be
much monster at all,
119
00:05:48,597 --> 00:05:50,516
but then, the monster
started looking so cool,
120
00:05:50,599 --> 00:05:52,017
we're like, "Yeah, yeah,
it's a good idea.
121
00:05:52,101 --> 00:05:53,561
"Let's show more of it at the end."
122
00:05:53,644 --> 00:05:55,980
There's a sequence where the creature
goes into the water,
123
00:05:56,063 --> 00:05:59,024
which is one of the most
effective moments of the film
124
00:05:59,108 --> 00:06:01,694
because the creature could be
anywhere under the surface
125
00:06:01,777 --> 00:06:03,487
It's like a shark in the water.
126
00:06:03,571 --> 00:06:06,657
That was one of our first
really good finished shots.
127
00:06:06,740 --> 00:06:09,326
We had a guy on set.
He really went under water.
128
00:06:09,410 --> 00:06:12,538
All the objects on the water,
they moved away from him.
129
00:06:12,621 --> 00:06:14,164
I talked to the animator, Alberto,
130
00:06:14,248 --> 00:06:17,835
I said, "We can interact with any
of the props that are already here.
131
00:06:17,918 --> 00:06:20,462
"We don't want to add CG props,
132
00:06:20,546 --> 00:06:23,257
"so make sure that the creature
gets in the water
133
00:06:23,340 --> 00:06:26,510
"the same way that the actor does,
but make it look creepy."
134
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The actor's head came out of the water
and caused the ripples.
135
00:06:31,390 --> 00:06:34,351
We had the creature's head come out
of the water, the same timing.
136
00:06:38,105 --> 00:06:39,773
Come on. That's scary stuff.
137
00:06:41,650 --> 00:06:44,194
It's a subtle performance
from these creatures.
138
00:06:45,112 --> 00:06:48,365
People are developing a keener eye
for what they're seeing on the screen.
139
00:06:48,449 --> 00:06:50,242
We have become more disciplined
in trying to
140
00:06:50,326 --> 00:06:52,411
create something that appears
real or believable.
141
00:06:52,494 --> 00:06:53,746
That can be a bit of a challenge.
142
00:06:53,829 --> 00:06:57,166
It's a very unique take on a creature,
and it's unique take on a movie,
143
00:06:57,249 --> 00:06:59,710
and it's really fun to be a part
of something like that.
144
00:06:59,793 --> 00:07:01,712
I've been doing this for 20 years,
145
00:07:01,795 --> 00:07:05,090
and I absolutely love scary movies.
146
00:07:07,301 --> 00:07:10,304
ILM doesn't get a chance
to work on them very often.
147
00:07:11,180 --> 00:07:13,307
A Quiet Place is it's own thing.
148
00:07:13,390 --> 00:07:15,601
Working on this film was a real treat.
149
00:07:16,226 --> 00:07:20,064
They ended up delivering us a creature
I couldn't be more happy with.
150
00:07:20,147 --> 00:07:21,774
It really hit a home run for us.
13121
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