Today, the happy day of death arrives in theaters, the latest film from director Christopher Landon, who follows a young woman (Jessica Roth), who must again and again endure her own demise in the hope of opening a puzzle for her premature death. Landon, who was at the helm of some great genre films, such as "Paranormal Activity: Marked and Scouts, Guide to the Zombie Apocalypse," provides another unique cinematic experience with his latest work.
Daily Dead spoke with Landon on a recent press day for Happy Day, where he discussed the possibility of transferring this project to Jason Bloom and Blumhouse Productions and collaborated with them in a horror comedy. Landon also spoke about the problems they encountered during the filming, as well as their thoughts about working closely with Roth over her unusual character.
Nice talking to you, Chris. Let's start by discussing this scenario and what you initially saw in it.
Christopher Landon: The original script was written by another guy named Scott Lobdell, who writes comics, and I was hired a long time ago to rewrite the script for another director. I fell in love with the concept. I liked this idea of a girl who was stuck in time and should reveal her own murder. I liked that it was a murder mystery; it was really fun and unique because you don’t see much of it for this particular age group.
But the big opportunity that I saw was in this character. I liked that the Tree [Rote] has this really cool journey and this arch, where at the beginning of the movie she is a really selfish, unattractive person. The first rule in most films, especially horror movies, is: “No, the heroine must be cute! She must be cute. She must be innocent. ” And I like that we threw it away and said: "No, she will be selfish and a complete bitch." And then we observe how it develops, gain strength, collide with its past and begin to understand what matters, how you feel about other people.
I was very attracted to the message of the film. And this sounds a bit trite, but I really think this is an important message, especially for children today, who, it seems to me, with the help of social networks and the anonymity of social networks, can be so easy to insult other people. I like what this film says to them: “No. It is important. You have to be kind, and your actions have consequences. ”
So I think this is what really attracted me to all of this. I was so upset that then the film never came out, because I worked very hard on the script, and then this opportunity just happened by chance. He introduced himself. I had lunch with Angela Mancuso, who is another producer of the film, and she said: “What happened to Half to Death?”. This was the original title. And it was then that the light went out.
I picked up the phone, called Jason Bloom and said, “I have something. I have". Because he wanted to do something with me. So I sent him the script on the weekend, and by that Monday he had turned green. And so out of obscurity, sitting on a shelf collecting dust, he moved to "We do it tomorrow."
With this concept of the film and repeating the same time again and again it seems that on paper this can be one of the simplest films, because you are simply repeating yourself again and again. But I actually think it is more difficult, because there is so much continuity to track and the like. What are the biggest problems you guys have?
Christopher Landon: This film was very difficult. Continuity was definitely a big issue. Not only tracking blocking details, for example: “How does a character move around the room? What is he doing? What does he say? "But also their mental state, for example:" How do they feel? And how does this relate to the characters around them? ”
It also influenced the way we played the film, especially the way we shot the film. Because people probably think, “Oh, well, they raised the camera and pointed it in one direction, ran every day, and then moved.” And this is what you can do, and this can be an effective way to save time. But Toby Oliver, who is the director of the photo in the film, we had a lot of conversations with him on the topic: “How can we distinguish this film with time loops from others?” One of the ways we thought we could do was to really tell the story from the point of view of the Tree in a stylistic sense.
Thus, we literally had a whole schedule in which we compiled graphs every day and how the lighting changed. As it begins bright and crisp, it begins to darken, and then begins to acquire a greenish tint as it deepens into this nightmare. We also started changing camera work, where we would