1
00:00:01,835 --> 00:00:06,375
{\an8}As fans of Halloween know, Michael can get
surreal with his art exhibitions.
2
00:00:07,382 --> 00:00:09,874
Those are qualities of his
that I've always admired.
3
00:00:09,968 --> 00:00:12,460
{\an8}Everything is really heightened
in Halloween Kills.
4
00:00:12,554 --> 00:00:13,715
{\an8}There's blood and knives.
5
00:00:14,681 --> 00:00:16,763
{\an8}It starts at about 100%.
6
00:00:16,850 --> 00:00:18,761
{\an8}And then goes to 500%.
7
00:00:19,895 --> 00:00:23,854
{\an8}It's a maelstrom of violence and fear.
8
00:00:24,816 --> 00:00:26,853
There's a huge body count in this movie.
9
00:00:27,986 --> 00:00:31,729
Michael Myers eviscerates everybody.
10
00:00:32,366 --> 00:00:33,731
I feel at the beginning of the day,
11
00:00:33,825 --> 00:00:36,988
I've got so many ideas and shot lists
and storyboards and all these great plans.
12
00:00:37,079 --> 00:00:39,241
And by the end of the day,
I'm just trying to survive.
13
00:00:39,331 --> 00:00:41,948
Mark, I think it's important
that you keep an eye out and look.
14
00:00:42,042 --> 00:00:44,579
Is he there? Is he here?
Where could he be? It's important.
15
00:00:44,670 --> 00:00:48,334
{\an8}We're constantly challenged
by these other creative voices
16
00:00:48,423 --> 00:00:50,130
to see if we can beat things
and elevate it.
17
00:00:50,217 --> 00:00:55,132
For David, his crew on a movie
like this is crucial.
18
00:00:55,222 --> 00:00:57,429
All right, picture, picture.
Here we go.
19
00:00:57,516 --> 00:01:01,635
{\an8}The core of the crew is our first AD
Atilla, Michael Simmonds, our DP,
20
00:01:01,728 --> 00:01:04,311
Ronit, our script supervisor,
and David is there, going,
21
00:01:04,398 --> 00:01:07,106
"This is my vision.
This is what I want to get for the day."
22
00:01:07,192 --> 00:01:10,025
We have Tommy Doyle. He smacks the car.
23
00:01:10,112 --> 00:01:14,071
I feel like every set needs an Atilla.
I've never met an energy like his.
24
00:01:14,157 --> 00:01:18,651
Atilla is there to keep this machine
that we have moving so smoothly.
25
00:01:18,745 --> 00:01:20,736
So that was great. Let's go back to one.
26
00:01:20,831 --> 00:01:22,196
That's no bueno.
27
00:01:22,291 --> 00:01:25,158
Whoo! Let's do this!
28
00:01:25,252 --> 00:01:29,041
Mike Simmonds wants to make sure
the story is being told
29
00:01:29,131 --> 00:01:31,498
to the best of their ability.
30
00:01:31,592 --> 00:01:32,923
[crew member]
Mike, whose idea was this,
31
00:01:33,010 --> 00:01:34,500
- yours or David's?
- It was my idea.
32
00:01:34,595 --> 00:01:37,758
[Curtis] Michael is often
coming up with shots and saying,
33
00:01:37,848 --> 00:01:39,384
"I think we should be doing this."
34
00:01:39,474 --> 00:01:42,341
And it's not like David is saying,
"This is the shot."
35
00:01:42,436 --> 00:01:45,269
Let's check the eyeline for the A camera.
36
00:01:45,355 --> 00:01:49,314
I am so in love with Ronit.
I really-- I love her so much.
37
00:01:49,401 --> 00:01:52,610
Ronit is making sure
continuity is in check.
38
00:01:52,696 --> 00:01:56,030
If you look at her notebook, she's taking
notes on every single little thing.
39
00:01:56,116 --> 00:01:58,778
She puts up with no bullshit, at all.
40
00:01:59,453 --> 00:02:02,320
{\an8}It all trickles down from David.
41
00:02:02,414 --> 00:02:04,530
[Green] If there's not a movement,
progression to light,
42
00:02:04,625 --> 00:02:06,366
then maybe it should
all just start to happen.
43
00:02:06,460 --> 00:02:09,327
{\an8}A lot of these guys have worked
with David for 20 years
44
00:02:09,421 --> 00:02:11,412
{\an8}when they went to film school.
That says a lot.
45
00:02:11,506 --> 00:02:13,213
[Simmonds] You don't feel like
a puppet or a technician.
46
00:02:13,300 --> 00:02:15,712
{\an8}You're creating to
the larger piece of work.
47
00:02:18,555 --> 00:02:24,847
The way that David allows Michael
and allows Atilla and allows Ronit voice...
48
00:02:24,936 --> 00:02:28,304
{\an8}He will listen and take
what fits into his vision.
49
00:02:28,398 --> 00:02:31,481
It's kind of like the best idea wins,
and there's really no ego involved.
50
00:02:31,568 --> 00:02:36,608
The entire group of people--
actors, director and crew--
51
00:02:36,698 --> 00:02:40,692
made this movie and none of it
you can do without them.
52
00:02:40,786 --> 00:02:42,242
Again, give us three in a row.
53
00:02:42,329 --> 00:02:45,742
- [actor] Did Michael kill again?
- Now one very soft.
54
00:02:45,832 --> 00:02:48,745
This is their movie--
very much their movie.
55
00:02:49,628 --> 00:02:52,370
{\an8}[interviewer]
56
00:02:52,464 --> 00:02:54,626
Depends on who we're killing.
Uh...
57
00:02:55,592 --> 00:02:57,549
All right, this looks good. Let's do it.
58
00:02:57,636 --> 00:03:00,924
There are so many kills, I can't even--
You're gonna have to remind me of them.
59
00:03:01,014 --> 00:03:02,049
[Green] Action!
60
00:03:02,641 --> 00:03:06,805
Well, when we first started
the creative process of murdering people...
61
00:03:06,895 --> 00:03:09,182
{\an8}Thinking of a creative way
to murder somebody
62
00:03:09,272 --> 00:03:11,138
is never the happiest process.
[chuckles]
63
00:03:11,233 --> 00:03:13,600
How do you kill somebody
without feeling like a real asshole?
64
00:03:15,278 --> 00:03:17,144
We're seeing more on-camera deaths
65
00:03:17,239 --> 00:03:19,526
and more responses to death,
the aftermath.
66
00:03:19,616 --> 00:03:22,153
Sometimes you want to see
a gross-out gore gag
67
00:03:22,244 --> 00:03:23,530
and have the audience scream.
68
00:03:23,620 --> 00:03:26,954
Other times, you want to be very implied
and impressionistic about it.
69
00:03:27,040 --> 00:03:31,580
{\an8}What's a nice kill, an interesting kill,
a unique kill and how do we do it?
70
00:03:31,670 --> 00:03:34,662
Can we just see everyone
in their approximate positions for now?
71
00:03:34,756 --> 00:03:37,088
Okay, and then open it up a little there
with those guys.
72
00:03:38,051 --> 00:03:40,088
[crew member] What would happen
if I said, "Roll sound"?
73
00:03:40,178 --> 00:03:41,839
We would make a movie.
74
00:03:41,930 --> 00:03:44,171
[Yücer] And picture, picture, picture!
75
00:03:44,266 --> 00:03:45,472
[crew member] We're rolling!
76
00:03:45,559 --> 00:03:49,473
The idea is that we've got
probably four hours of prime inferno.
77
00:03:49,563 --> 00:03:51,895
But we only have one house,
so if we don't get it, we're fucked.
78
00:03:51,982 --> 00:03:53,393
Is that as breezy as that can go?
79
00:03:53,483 --> 00:03:56,145
Whatever they're doing is a waste of time.
Let's bring everybody in.
80
00:03:56,236 --> 00:03:59,900
The artistry of the firemen deaths
is beautiful.
81
00:03:59,990 --> 00:04:01,822
So, Paul, you're gonna be
right here on this lens.
82
00:04:01,908 --> 00:04:05,367
That close-up shot was so fucking awesome
of you emerging in the close.
83
00:04:05,454 --> 00:04:07,161
And then I go wide for the boom.
84
00:04:07,247 --> 00:04:10,239
A lot of it's gonna be in silhouette.
It's gonna be impressionistic violence.
85
00:04:11,084 --> 00:04:12,199
[Green] Action!
86
00:04:17,132 --> 00:04:20,716
There's gonna be a blood spurt.
Do what you want with that information.
87
00:04:20,802 --> 00:04:24,921
It's definitely a new thing for Michael
to be taking down 10, 12 people.
88
00:04:25,015 --> 00:04:26,926
[grunting]
89
00:04:29,144 --> 00:04:30,225
[grunts]
90
00:04:33,648 --> 00:04:36,561
[interviewer] How much of the house
will be in flames when that's happening?
91
00:04:36,651 --> 00:04:37,686
All of it.
92
00:04:37,778 --> 00:04:39,143
- [interviewer] Oh, okay.
- Yeah. [chuckles]
93
00:04:39,237 --> 00:04:40,693
No, it's gonna be a weird night.
94
00:04:41,490 --> 00:04:45,358
It was a stressful day because
there were just a lot of pieces adding up.
95
00:04:45,452 --> 00:04:47,363
So, Atilla, a longer lens.
96
00:04:47,454 --> 00:04:49,616
I need everyone to bugger off that way.
97
00:04:49,706 --> 00:04:51,617
[Turek] Like, this house
is not going to catch on fire
98
00:04:51,708 --> 00:04:53,665
by the time the sun comes up
over the horizon.
99
00:04:53,752 --> 00:04:56,870
And I turned around
and then I hear a bigger whoosh.
100
00:04:56,963 --> 00:04:59,546
And this whole house is ablaze.
[laughing]
101
00:05:00,717 --> 00:05:05,632
The house, within like an hour, hour ten,
was down to the ground.
102
00:05:08,350 --> 00:05:11,468
We're all just stepping
in muck and blood and body parts.
103
00:05:11,561 --> 00:05:12,847
It was hilarious.
104
00:05:12,938 --> 00:05:15,225
By the end of the night,
everybody was just super pumped.
105
00:05:16,107 --> 00:05:18,269
- [Green] Cut. Beautiful.
- [crew member] Yeah!
106
00:05:18,360 --> 00:05:20,317
[crew member] That is locked. We are cut.
107
00:05:21,988 --> 00:05:25,731
Phil and Sondra have a house
that's near Laurie Strode's.
108
00:05:26,868 --> 00:05:30,156
Of course, they are on the path
of Michael Myers.
109
00:05:30,247 --> 00:05:31,578
The fuck was that?
110
00:05:34,417 --> 00:05:35,828
[screams]
111
00:05:35,919 --> 00:05:37,330
We see him get his head smashed here.
112
00:05:37,420 --> 00:05:41,584
He grabs me and pins me.
Boom. Boom.
113
00:05:41,675 --> 00:05:42,881
That's fucking perfect.
114
00:05:42,968 --> 00:05:44,129
A mark.
115
00:05:44,219 --> 00:05:45,459
Call the cops!
116
00:05:46,471 --> 00:05:49,429
[screaming]
117
00:05:52,519 --> 00:05:55,932
Two very intense kills. [chuckles]
118
00:05:56,022 --> 00:05:57,387
[Green] Grab your neck with your hand.
119
00:05:57,482 --> 00:06:01,476
{\an8}He said, "Hey. Come on down to North
Carolina. It's warm. You'll have fun."
120
00:06:01,570 --> 00:06:03,777
[gasps] Sondra!
121
00:06:05,824 --> 00:06:07,690
[Green] Cut! That was amazing!
122
00:06:07,784 --> 00:06:09,320
[Sondra screams]
123
00:06:09,411 --> 00:06:13,029
I came up with the idea of stabbing her
in the neck with a fluorescent light bulb.
124
00:06:13,123 --> 00:06:14,454
- You're armed and he's not.
- Okay.
125
00:06:14,541 --> 00:06:17,158
And then it's a little curious
that he's going for the light bulb.
126
00:06:17,252 --> 00:06:21,621
Utilizing things that are in your home
or things that you have access to
127
00:06:21,715 --> 00:06:25,049
and trying to imagine like, "What if
someone pulled that fluorescent tube out
128
00:06:25,135 --> 00:06:26,876
and jammed this down your throat?"
129
00:06:26,970 --> 00:06:28,711
It's like, "Yeah, that would suck."
130
00:06:28,805 --> 00:06:29,761
[groans]
131
00:06:29,848 --> 00:06:33,182
- Just make a big opera out of it.
- I was like, "That would be cool, right?"
132
00:06:33,268 --> 00:06:35,509
And David's like,
"Yeah, that'd be great. Let's do that."
133
00:06:35,604 --> 00:06:37,845
Doing it, I was like,
"This is harder than I thought."
134
00:06:37,939 --> 00:06:40,522
It takes precision to pull those gags off.
135
00:06:40,609 --> 00:06:43,601
There's the artistry and then
there's the mechanical side of it,
136
00:06:43,695 --> 00:06:46,983
which is getting blood to pump through
and flow and explode the way you want it,
137
00:06:47,073 --> 00:06:48,984
the texture of the blood, et cetera.
138
00:06:49,075 --> 00:06:52,739
So we had this full prosthetic appliance
with bladders underneath it
139
00:06:52,829 --> 00:06:54,945
and fluorescent light bulbs
out of plastic that retracted
140
00:06:55,040 --> 00:06:56,656
that had
a little gun-shooting thing in it.
141
00:06:56,750 --> 00:06:59,117
- It's just a slight bit lower.
- Go lower?
142
00:06:59,210 --> 00:07:00,200
I'm gonna do a countdown.
143
00:07:00,295 --> 00:07:02,662
That is the cue for the actual stab
and for your blood gag.
144
00:07:02,756 --> 00:07:03,746
- Roll sound.
- [crew member] Rolling.
145
00:07:03,840 --> 00:07:05,672
- [crew member] Stab.
- [groans]
146
00:07:07,093 --> 00:07:10,882
[groaning, gasping]
147
00:07:12,265 --> 00:07:14,427
There's a pretty amazing sequence
at a playground.
148
00:07:16,311 --> 00:07:18,552
- I'm sure it'll be very bloody.
- A mark!
149
00:07:19,731 --> 00:07:21,438
- What the hell is that?
- It's Michael!
150
00:07:22,108 --> 00:07:25,601
[Turek] When I first heard the idea that
David wanted to bring back Nurse Marion,
151
00:07:25,695 --> 00:07:28,403
I was like, "Yeah, that's natural.
We should just do that."
152
00:07:28,490 --> 00:07:31,573
Hey, Michael!
This is for Dr. Loomis.
153
00:07:31,660 --> 00:07:32,650
[hammer clicks]
154
00:07:32,744 --> 00:07:34,360
She gets stabbed to death.
155
00:07:34,454 --> 00:07:36,570
[screaming]
156
00:07:36,665 --> 00:07:38,497
Over and over and over...
157
00:07:39,709 --> 00:07:41,791
- [Green] Cut.
- One more time.
158
00:07:41,878 --> 00:07:43,835
Three, two, one. Bang.
159
00:07:44,839 --> 00:07:45,829
That was great.
160
00:07:45,924 --> 00:07:50,339
One of the kills that gets me the most
is Vanessa's untimely demise,
161
00:07:50,428 --> 00:07:52,385
when she tries to come
at Michael Myers with a gun
162
00:07:52,472 --> 00:07:55,089
and then he turns the tables
on her, quickly.
163
00:07:58,561 --> 00:08:02,646
First shot hits the headlight.
Second shot hits the hood.
164
00:08:02,732 --> 00:08:04,518
Third shot skips off the roof.
165
00:08:04,609 --> 00:08:07,146
{\an8}Everyone's apologizing that we die.
166
00:08:07,237 --> 00:08:11,526
{\an8}"So sorry you gotta die." I'd rather die
by Michael Myers than anybody else.
167
00:08:12,826 --> 00:08:14,191
[grunting]
168
00:08:16,705 --> 00:08:18,912
It's shocking and effective.
169
00:08:18,999 --> 00:08:21,036
You're always trying to one-up each other.
170
00:08:21,126 --> 00:08:23,663
So the script will say,
"And Marcus gets stabbed in the face."
171
00:08:23,753 --> 00:08:26,211
Well, that's pretty vague, right?
Let's be more specific.
172
00:08:26,297 --> 00:08:29,130
"How about we stab him in the mouth
and it comes out the back of his head?"
173
00:08:29,217 --> 00:08:30,423
"No, let's not do that one."
174
00:08:30,510 --> 00:08:32,842
"How about we do the..."
And then it evolves.
175
00:08:32,929 --> 00:08:33,919
[Green] Action!
176
00:08:34,014 --> 00:08:35,721
[Nelson]
As opposed to just doing a fake head,
177
00:08:35,807 --> 00:08:39,141
we did a really cool appliance
with a half blade sticking out,
178
00:08:39,227 --> 00:08:41,889
blood tubes, everything.
It was a really elaborate makeup.
179
00:08:43,732 --> 00:08:45,222
Very carefully.
180
00:08:45,900 --> 00:08:47,140
Watch your face.
181
00:08:47,235 --> 00:08:50,944
We did a reverse kind of gag
and shot parts of it in reverse.
182
00:08:51,031 --> 00:08:52,066
[Green] Again.
183
00:08:52,907 --> 00:08:54,489
[screams]
184
00:08:54,576 --> 00:08:57,739
So we went back
and used a lot of old-fashioned tricks.
185
00:08:57,829 --> 00:08:58,819
When we were filming it,
186
00:08:58,913 --> 00:09:01,245
it was almost just for our own
sick pleasure and entertainment,
187
00:09:01,332 --> 00:09:03,539
honestly never intending
to put it in the movie.
188
00:09:03,626 --> 00:09:05,458
But then when we tested it
for an audience,
189
00:09:05,545 --> 00:09:08,913
we heard the screams and we just thought
it was too delicious not to include.
190
00:09:13,178 --> 00:09:15,795
{\an8}[crew member]
191
00:09:15,889 --> 00:09:18,347
That's part of the whole fucking problem
with fucking angles.
192
00:09:18,433 --> 00:09:20,424
[laughing]
193
00:09:22,270 --> 00:09:24,181
Wanna get high and dance?
194
00:09:24,272 --> 00:09:26,980
I was trying to think of who would be
unexpected, surprising...
195
00:09:27,067 --> 00:09:28,523
[doorbell rings]
196
00:09:28,610 --> 00:09:30,100
{\an8}We're in kind of our own little world.
197
00:09:31,112 --> 00:09:32,193
Did someone just go in our house?
198
00:09:33,281 --> 00:09:37,240
...characters that would be fun to watch,
so it wasn't just oppressive, melancholy.
199
00:09:38,036 --> 00:09:39,117
I got this knife.
200
00:09:39,204 --> 00:09:40,444
I got this knife.
201
00:09:40,538 --> 00:09:43,030
- They do a zone defense.
- Yeah, they zoned it up.
202
00:09:43,124 --> 00:09:45,035
A little upstairs-downstairs, 2-3 zone.
203
00:09:45,126 --> 00:09:46,241
Little John?
204
00:09:46,920 --> 00:09:48,126
Big John?
205
00:09:51,633 --> 00:09:53,920
[groans, screams]
206
00:09:54,511 --> 00:09:55,501
Big John!
207
00:09:56,429 --> 00:09:57,885
- [Green] Cut.
- [crew member] Is everybody okay?
208
00:09:57,972 --> 00:09:59,087
No, no, it's good.
209
00:09:59,182 --> 00:10:01,890
That's fucking terrifying.
I'm not going to look at that.
210
00:10:01,976 --> 00:10:04,434
We kill Big John.
211
00:10:04,521 --> 00:10:06,432
We were just gonna reveal him
and find him dead.
212
00:10:06,523 --> 00:10:08,105
But we're actually shooting a thing
213
00:10:08,191 --> 00:10:10,353
where The Shape's gonna come up
and gouge his eyes out
214
00:10:10,443 --> 00:10:13,231
and then shove his fingers in through
his eyes into his brain and kill him,
215
00:10:13,321 --> 00:10:14,231
so that's cool.
216
00:10:14,322 --> 00:10:18,190
[screaming]
217
00:10:23,331 --> 00:10:24,321
Michael.
218
00:10:25,250 --> 00:10:26,365
You've come home.
219
00:10:26,459 --> 00:10:28,200
[Little John screaming]
220
00:10:29,337 --> 00:10:32,625
I hope we're showing something
that's going to stay in someone's head.
221
00:10:33,216 --> 00:10:34,502
It's got a high body count.
222
00:10:37,303 --> 00:10:39,670
{\an8}The blood and the guts and the killing...
223
00:10:41,599 --> 00:10:44,682
[Laurie] I always thought
Michael Myers was flesh and blood.
224
00:10:46,104 --> 00:10:48,937
This movie is savage. It's bedlam.
225
00:10:50,525 --> 00:10:51,560
[Laurie] The more he kills,
226
00:10:51,651 --> 00:10:54,814
the more he transcends
into something else.