A quiet place12/8/2022 The opening sequence once the "apocalypse" begins is just fantastic. I normally would talk about "the experience of WATCHING a movie," but since I've started reviewing actively and losing my hearing, it's become the experience as a WHOLE - in my ability to be both immersed and entertained.Īnd boy was this entertaining. That personal experience was brought to life in the excellent use of sound - normal sound, no sound and the "sound of silence," sound from the perspective of someone that is completely deaf. Nine months ago I lost a chunk of hearing in that good ear and have since started wearing hearing aids. When I first saw the original Quiet Place in 2018, I could still hear perfectly in my good ear (the other one crapped out on me 20 years ago). Where the original begins in near complete silence, 89 days after the "sound-monster" apocalypse, the sequel starts on Day One with the "noisy" daily routine of the dynamic duo of real-life husband and wife John Krasinski and Emily Blunt, demonstrating their split-second survival instincts as "shit gets real" in a matter of minutes.īut back to the use of sound in both movies. Main image: Emily Blunt in A Quiet Place, co-written by Bryan Woods.That was the biggest impression I had from the opening sequence of A Quiet Place 2. “The first screenplays we wrote were these $200 million dollar Star Wars-esque movies nobody is ever going to let us make. “I would encourage everyone to think in those terms,” Woods said. While Woods preached scalability, he admitted it was something Woods and Beck had to learn themselves. “If Paramount didn’t want to make that movie, we would have made the half-of-a-million version.” “You could make A Quiet Place for a half of a million dollars,” he added. “Scalability is a huge factor in everything we write because every financier, every studio’s job is to say no - so we try to remove those barriers as much as possible,” he said. Woods also shrewdly discussed how scalability should be factored into any screenwriter’s creative process. When it came to A Quiet Place, “there were whole pages that were just blank except for one word in the middle of the page, to communicate that tension,” Woods said.Īlso read: The Beta Test‘s Jim Cummings on How to Make DIY Films and Put ‘Hollywood’ Out of Business “If we’re writing something suspenseful, we like the writing to get broken up… two words… four words… back to two words.” “We’re big believers in the words on the page can tell a story, in the way words hit the page,” Woods said. To express the anxiety inherent in a horror film, Woods and Beck add flavor to their screenplays through formatting. “What’s the note behind the note?” When in need of a more practical solution, Woods suggested, “Filter everything back through the vision of the movie, of the story you are trying to tell.” “You have to do your best to figure out where the note is coming from,” he continued. “You have to get kind of zen about it… Oh, interesting thought, studio - we never thought about it like that!” “We’re almost to the point where no note is a bad note,” said Woods. During the “Creating a Franchise” talk at FilmQuest, Woods stressed the importance of learning to take notes. Woods co-writes and co-directs with his filmmaking partner Scott Beck, which includes A Quiet Place, 2019’s Haunt and the upcoming Adam Driver-vehicle 65, which is produced by Sam Raimi. “Imagining the worst case scenario is a great metaphor for the film business,” Woods told a crowd at FilmQuest on Friday. After working on a wide-release studio picture, it’s not hard for Bryan Woods - co-writer and producer of A Quiet Place - to imagine his characters in high-stress situations.
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