Reshoots & pickups

And so we had about an hour every day at Magic Hour to attempt to get that shot. And on the fourth day, we got it. And this is Abu Dhabi, the empty quarter in Abu Dhabi. And here, of course, is Rebecca Ferguson. This, we went back and reshot, gave her more of a prominent introduction. I had shot it originally in this set and just wasn't satisfied with it. It just wasn't.

12:33 · jump to transcript →

this, you couldn't go back and reshoot. So I just had Tom walk through the airport saying adverbs, probably, maybe, definitely, permanently. And knowing that I could then write the rest of their... And you have to remember, this was filmed at the height of the pandemic. And so...

33:11 · jump to transcript →

If I get them in this corner, I can then reshoot any coverage I need. And a lot of this is, oh, by the way, that camera move. The camera move around Hayley. Going around Hayley. That's Chunky and Hayley working together. She actually is walking at multiple speeds. She feels like she's walking at one continuous speed, but she's actually working with Chunky to give him the time to get around. And it's extremely delicate, delicate dance. The graphics of the sunglasses, by the way, we worked on those for...

45:54 · jump to transcript →

Edward Berger

So obviously, you pretty much immediately know these glasses. Very important. We didn't... This is a pickup shot. These two shots, the glasses on the ground, just to tell you what you can do. Glasses on the ground and this from Loewings, actually shot in a parking lot on a shoot, on a pickup shoot. We had one day of pickup, two days of pickups where we thought we didn't get it quite right. We were missing something. And so we shot this in the parking lot because we were...

31:17 · jump to transcript →

Edward Berger

And I was panicking because I was thinking, I'm going to have to reshoot this. If tomorrow there's no snow of this afternoon, I knew in the afternoon we're shooting inside the barn. So we were safe. But the next day, if it didn't snow overnight, we would have to reshoot this. I can't sort of shoot in the snow and next day everything is melted and you're outside.

1:51:39 · jump to transcript →

Edward Berger

Malte, my producer, and Mark Nolting, the line producer, had thought of a solution for us because they witnessed what we had shot and they said, this is so beautiful, we can't cut it, so we're going to have to keep it. So within those five hours, remaining hours, they came at wrap and I thought, oh, they're going to come. I saw them coming and I thought, oh, they're going to tell me tomorrow we're going to reshoot this. But in fact...

1:52:33 · jump to transcript →

You can rent out the home that they shot Terrifier 3's torturous sequence here. There was a moment in post-production that we had to come back and do a couple days of additional photography. And we weren't able to use Scott's dad's house. And so they built...

1:47:51 · jump to transcript →

to these more mangled hand moments. Her opening this box right here, this moment, it's all additional photography. You know, when you watch a movie, you think that they're

1:50:01 · jump to transcript →