SPOILERS and EASTER EGGS with FINAL DESTINATION BLOODLINES directors Adam Stein and Zach Lipovsky

The AU Review

The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice with FINAL DESTINATION BLOODLINE.  Returning audiences to death’s twisted, often blackly comic design are directors Adam Stein and Zach Lipovsky, who knew that after over a decade since the last FINAL DESTINATION film that they’d have their work cut out for them.  Talking to Peter Gray ahead of the film’s releas, the duo noted the challenges of surprising savvy audiences after all this time, serving as movie magicians as they crafted physical thrills for the film’s grand set pieces, as well as revealing some neat tricks and Easter Eggs for the fans  #FinalDestination #FinalDestinationBloodlines #interview #horror #movie #sequel #AdamStein #ZachLipovsky #TonyTodd

Transcript

00:00Peter Gray from the AU Review. Hello, Adam. Hello, Zach.

00:02Hey, good to see you.

00:04I just want to quickly say thank you so much for bringing the series back after 14 very long years.

00:11I love these films so much.

00:13And then hearing your pitch story, how you killed yourselves during the thing,

00:18I was like, that was great. I knew I was in good hands.

00:21And it made me sort of think, like, I wanted to ask both of you, like,

00:24I guess, how do you choreograph, you know, one of these big tense death scenes

00:31when, like, the audience knows that something bad is going to happen?

00:34So, like, how do you still come up with a way to, like, to surprise audiences?

00:39Because we all know something's coming, but we also sit there going, what's going to happen?

00:43So, how do you choreograph that sort of stuff?

00:44That is exactly the hardest part and the thing that kept us up at night.

00:48You know, we wanted to make sure that every sequence felt surprising,

00:52even though you know that the characters are going to die.

00:56So, how do you do it? It's an incredible challenge.

00:58You know, sometimes we thought of it like a magic trick.

01:01You know a magician is about to do something wild, and you're watching their every move,

01:06but then they still manage to surprise you.

01:08And so, we learned a lot from the other movies by studying the details of how they did it.

01:12A lot of it has to do, like magic, has to do with misdirection,

01:16where you make the audience think that something else is going to happen,

01:19and then you surprise them with this other thing that was also set up.

01:24But it's an incredible challenge, an incredible joy to figure it out and keep the audience guessing.

01:31I think, obviously, one of the big set pieces for this is the MRI scene.

01:37Like, was that, like, when you read that, are you, like, did you, like, the way that it's set out in the script,

01:44did you kind of have all the pieces already knowing what it was going to look like,

01:47or was that something that presented itself more to you when you were putting it together?

01:51Because that scene was, in the best way possible, so disgusting.

01:54Like, I loved it so much.

01:56But yeah, like, I just want to know, like, when you read that on the page,

01:59did you kind of immediately see it, or did things sort of start showing themselves to you?

02:03Yeah, I mean, I think these movies in particular are highly iterative over the course of a very long time.

02:11So, you know, your audience might think that a finished script appears,

02:16the director opens it, and then just figures out how to shoot it.

02:19But this is a very different process.

02:21This is years of people going, what would be a great set piece,

02:24and then together with the writers and the producers researching all the things that could go wrong with an MRI machine,

02:29figuring out how all those things could be within a geography of each other,

02:34how they're lined up, where the doors are,

02:37why is there metal objects inside of a room that shouldn't have metal inside of it?

02:41Why are they there in the first place?

02:43Why are they there in the first place?

02:44What are they talking about?

02:45Where's the clipboard?

02:46You know, why is the clipboard falling off the pin?

02:49You know, like, and it just goes on and on and on.

02:51And it takes years of it not working for a very long time.

02:56You write a bad version of the scene, and then you show that to people.

02:59You get feedback.

03:00You do iteration.

03:01You meet with people that are in charge of making objects move around the room,

03:04and you realize that they have really good ideas that are different than what's in the script.

03:08And you change the script, and then you do storyboards.

03:10And it just goes around and around and around for years.

03:13It's not something that just kind of is written in its final form that's perfect.

03:18It's like everything.

03:18It takes a huge amount of effort from hundreds of artists to continuously figure it out.

03:25And even some of the details on the day we came up with just when we realized we needed extra little moments

03:31once we saw it all kind of taking place.

03:34But a big part of it as well was the physicality of it.

03:37A lot of the things that you see in that scene, we did practically.

03:41We had people flying through the air.

03:44Even when one of the characters gets bent in half, we did that practically

03:47by having two different people be the two different parts of his body.

03:51Like an old-fashioned magic trick.

03:53There's a double-decker apparatus inside the MRI machine with two platforms.

03:57So trying to figure out all the different ways that we could do these things for real

04:00so that it felt as visceral as possible.

04:04I mean, visceral is the right word.

04:06Everything I sort of thought was going to happen kind of happened but then happened at like 11

04:13because I was just like, oh, you're not actually going to show it coming through.

04:16And you did.

04:17And it's just, you know, this movie has been absolutely worth the wait.

04:22Like these are the reasons that we love these movies.

04:25But you've done it in a way that like subverted expectation in a lot of ways.

04:30There's so much emotion in this film as well, which is a really nice thing to have,

04:35obviously, with Tony's appearance.

04:38So I'm just, I'm so stoked for every fan to see this film, every horror fan,

04:43because it's like the genre is killing it and we need these films.

04:47And as I said, like, I just, I've loved them from the very beginning.

04:50So thank you.

04:51Thank you so much.

04:53Thanks for getting the water.

04:53Thanks for telling everyone about it.

04:55Oh, there's one Easter egg you might not have caught.

04:59Final Destination 5's poster with the metal coming through the skull.

05:04That's exactly how Eric is torn apart in the MRI machine.

05:08Every piece of metal is in the same place as FD5's poster.

05:12So check it out.

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