Back in February, Disney+ revealed that a second season for the Goosebumps series was on its way. What came as a surprise along with this announcement was that the new iteration of R.L. Stine’s highly successful horror novels for young readers, which have terrified millions worldwide, would take the form of an anthology series.
The first season of this YA dramedy isn’t the initial horror TV show to follow an anthology format. However, unlike past adaptations of the author’s works, it adopted a more extended serial approach, focusing on five teens in the Pacific Northwest dealing with their hormones, family secrets, and monsters from various Stine books. Moreover, the surprising cliffhanger ending likely hinted at a continuation of the story for both the teens and their parents.
In the second season of the show, titled The Vanishing, which became available this past Friday on Disney+ and Hulu, we meet a new group of teenagers residing in New York City who are grappling with a fresh set of growing-up hurdles – love triangles, family stressors, and eerie terrors. Starring David Schwimmer and Ana Ortiz as the main adults, Sam McCarthy and Jayden Bartels are also introduced as siblings compelled to unite with local teenagers. After an unsettling incident in a deserted fort in Queens, they find that this disturbance follows them home and invades their father’s basement lab.
Additionally, Elijah Cooper, Galilea La Salvia, Francesca Noel, and Stony Blyden are part of the cast. The series is mainly inspired by five novels written by R.L. Stine, such as “Stay Out of the Basement,” and delves into fresh terrors within the horror genre by incorporating a found footage episode. In an interview with The Hollywood Reporter, R.L. Stine described this season’s adaptation of his books for older audiences as “terrifying.
In an interview with THR in December before the release of “The Vanishing”, executive producers and co-showrunners Winston and Letterman shared their thoughts on transforming “Goosebumps” into a serial anthology series, emphasizing the significance of actors like Schwimmer, their reliance on humor to heighten the horror, their collaboration with Disney, and working alongside Eduardo Sánchez, director of “The Blair Witch Project”.
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As a gamer, I was really looking forward to the Goosebumps series following a continuous narrative like the original books by R.L. Stine. But when I heard about the upcoming season two, it turned out to be an anthology instead. I can’t help but wonder why you decided to change directions and go for an anthology format. Is there a particular reason behind this choice?
HILARY WINSTON One aspect that made our show unique in season one was the ability to maintain its novelty. Rob can delve deeper into this topic, but a key element we relished was the fact that each episode represented a different genre. Rob played a significant role in creating the visual style for our series. Each installment was bold and aimed to stand out on its own. The anthology format allowed us this freedom, mirroring the essence of Goosebumps, both the television series and books, while also incorporating the visual aesthetic we had already developed.
ROB LETTERMAN Initially, it became clear that adhering to the Goosebumps brand was most logical since it is inherently an anthology series. However, we didn’t want each episode to be its own book like they were in the ’90s, as this approach worked well and has a dedicated fanbase. Instead, we opted for a unique approach where each season would tell a separate storyline with distinct characters and creatures, which seemed to be the solution that fit our goals best.
As a devoted fan, I often ponder about the intriguing way characters endure years of harrowing experiences while still managing to keep us hooked. At some point, it feels like, “Ah, here comes the abominable snowman from Pasadena. Time for a coffee break.” It’s challenging to maintain such intensity over an extended period, and yet, this flexibility allows us to venture into various horror genres and discover unique styles. We take great delight in crafting relatable young adult characters who can face these challenges afresh in each storyline.
WINSTON We continue to explore the lives of the beloved characters from ‘Stay Out of the Basement’ for an entire season, allowing us to delve deeper into their stories.
Although there are fresh faces, different scenery, and novel adversaries, the overall plot development in the premiere and broader season seems quite reminiscent of season one. What motivated you to maintain this format?
LETTERMAN We had a couple of key motivations. Our aim was to establish a recognizable pattern for our anthology series, as this would allow fans of the first season to identify elements in the second season. Structuring it this way made sense from a storytelling standpoint, as it enabled us to explore and resolve the mystery hinted at in the pilot’s cold open, while also bringing together characters who live in the same neighborhood and encounter various monster-like occurrences. These characters then converge in the midpoint of the series to discuss events from their past. This approach offered a familiar element to build upon, while still allowing us to introduce a completely new set of stories.
WINSTON We understand that the older Goosebumps fans who read the books as children are now grown up. To ensure our series appeals to everyone, we’re crafting dual storylines that remain engaging for both new and old viewers. If you remember reading these books as a kid, you might find connections with David Schwimmer’s character. You may recognize aspects of yourself in him or see elements that remind you of your teenage years navigating similar challenges. This approach allows everyone to find their entry point into the story.
LETTERMAN We realized this during season one’s release, but our show audience is evenly split between adults without children and younger generations. These individuals grew up reading the books in the ’90s and continue to appreciate them. They are now in their thirties and forties. Consequently, we cater to two age groups. Therefore, revisiting the ’90s with those subtle references and cold openings is fitting, considering our target audience.
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LETTERMAN We found out after season one that our show has an equal mix of adult viewers without kids and younger ones. Many people grew up reading books in the ’90s and still enjoy them today, putting them in their thirties and forties. By addressing two age groups, we delve back into the ’90s with subtle references and cold openings that make sense for our viewership.
In both season one and two, your character moves to different locations. However, it seems like the story for both adults and children is set during roughly the same timeframe. Could it be possible that you might eventually introduce some overlap by bringing characters from various seasons together, if the opportunity arises?
WINSTON We’ve discussed the possibility of bringing back one character for various roles. The concept is certainly floating around. In the series Goosebumps, Slappy made an appearance, reappeared, and even spawned a spinoff, so it’s always a surprise. This opens up the opportunity for us to explore new possibilities.
LETTERMAN What’s wonderful about our work is that it takes time to assemble something like the Avengers. Fingers crossed, touch wood, let’s hope for many seasons so we can achieve this!
So you’re not averse to Goosebumps Avengers?
LETTERMAN (Laughs) Not at all. Hopefully, we can answer that question legit in future seasons.
WINSTON Yeah, you know, Goosebumps is a multiverse. It’s definitely in the books.
In the first season, you selected Justin Long as an actor, while in the second season, you opted for David Schwimmer. Both these actors are renowned for their comedic skills but possess versatile acting abilities beyond comedy. During the New York Comic Con panel, you mentioned the delicate boundary between comedy and horror. Could you elaborate on why a performer like Schwimmer, who can help establish the tone for the second season, was chosen?
As a fellow admirer of the artistry in casting comedians for dramatic roles, I wholeheartedly agree with you on this. Just like us, Executive Producer Nick Stoller is also a firm believer in this approach. We find it incredibly intriguing and real when an actor can skillfully navigate between laughter and terror. Maintaining a single tone is challenging, as it doesn’t reflect the complexity of human emotions.
WINSTON Look at Jack Nicholson and The Shining.
LETTERMAN There are some funny parts in The Shining, but that’s because people tend to joke around when faced with something extremely distressing. It’s a way of coping. We choose actors like Justin Long and David Schwimmer for our show, and we had a great time working with David. We chatted over Zoom about it, and he’s fantastic.
WINSTON He’s an awesome guy and he’s done just about all you can do in a half-hour comedy space.
LETTERMAN He delved deeply into the subject matter, not only considering it from an acting standpoint but also from the aspects of storytelling and directing. He spent considerable time pondering over it. Moreover, as a father of a 13-year-old, he approached the role with a unique perspective, seeking to explore unfamiliar territories in his acting career. This season, he finds himself in several challenging situations, dealing with some serious issues.
In the opening episode, season two seems a tad more unsettling than its predecessor. However, horror isn’t solely about the scariest creatures; it often explores deeply human fears and struggles. Just like Stine in his novels, you delve into these aspects with your teen characters – everything from romantic longings to parental discipline to close calls with danger. How terrifying do you intend for this series to be?
LETTERMAN Goosebumps offers an intriguing blend of horror and humor, which serves as our starting point. The rhythm of fearful moments syncs effectively with the rhythm of laugh-out-loud moments, creating a peculiar harmony between scares and jokes. Disney has been incredibly supportive in this venture, encouraging us to explore the boundaries. They’ve given us the green light: “Push it as far as you can. We’ll let you know when to pull back,” which makes our work all the more exhilarating.
WINSTON It enables us to avoid speaking down to our viewers. We don’t need to explain: “Here’s the young adult version, here’s the all-audience version.” Instead, we prefer to create something thrilling. The found footage episode is genuinely frightening. It’s not a watered-down version; it’s the real deal. We want our audience to feel fully engaged and immersed in the experience, without feeling like we’re withholding anything.
In simpler terms, To truly empathize with your character when you write or perform, you must first understand and care about their personality. If you don’t, it will be challenging to make the audience feel the same emotions as your character when placed in a difficult situation. We set boundaries for our comedy, such as avoiding breaking the fourth wall, being subtle instead of overly dramatic, and avoiding silliness. This way, if the character is scared, the audience shares that fear. In essence, we establish guidelines to ensure our work flows smoothly, and this season we’re dealing with real-life traumas beyond the monster storyline.
One key aspect we aim for is ensuring an engaging narrative even without the presence of monsters. The characters’ interactions and their storylines should be captivating on their own. If the audience is only eagerly anticipating the appearance of a monster, it might signal potential issues with the plot or character development.
Could we discuss the ‘found footage’ episode that you hinted at during the NYCC panel? Can you share how this idea originated and what it was like collaborating with Sanchez on this project?
In our planning, we considered creating an episode in the style of found footage. Yet, we were unsure about the execution. (Chuckles).
WINSTON Exactly. We knew enough to know, we did not know. (Laughs)
Ed, who directed “The Blair Witch Project,” graciously agreed to consult with us, and he was incredibly insightful. He shared his thoughts, saying there were many aspects to consider for our project. He offered to assist us, which we greatly appreciated. I believe Hillary kept in touch with him frequently, even during the times when we were all busy working on other tasks.
WINSTON Making sure we craft the narrative correctly by focusing on the structure and details.
LETTERMAN Observing him at work is truly captivating, given his extensive background with it. Once you peel back the layers, it becomes downright chilling. Danny Boyle’s film, “28 Days Later“, was filmed using a DV camera, and it sent shivers down my spine just by its format alone. The medium itself is bone-chilling. Thus, we opted to have Ed do the shooting for us. We either bought or rented old 90’s equipment.
WINSTON Sony camcorders.
LETTERMAN We filmed it on Hi8 video, but we never managed to get the settings correct, creating quite an ordeal. (Laughs) However, this imperfection lends a unique sense of authenticity that’s intriguing. Towards the end of episode six, a scene from the found footage episode, is particularly chilling and intense.
LETTERMAN We used Hi8 video for filming, but we struggled to adjust the settings properly, making it quite a challenge. (Laughs) Yet, this technical flaw adds a layer of realism that’s captivating. In episode six, especially the found footage scene at its conclusion, is downright terrifying.
WINSTON It’s brilliant, and it feels like only Ed could have shot that.
DAVID LETTERMAN During a FaceTime call with him, I found myself in a different episode and asked, “Ed, how are you going to pull this off? This confuses me.” To which he replied casually, “I’ll just do it for you.” On the video call, he flipped the camera around and performed the entire act without any edits. He was on set, taking deep breaths, and then said, “Now I’m scared” (heavy breathing). As I watched him, I saw his foot and hand, then he accidentally dropped the camera and picked it up again. I exclaimed, “Go for it, man! That’s amazing! That’s incredible!” He had everything planned out perfectly.
In a recent interview with THR, actors Sam and Jayden hinted at the monsters Weta FX worked on during this season, including Schwimmer’s transformation. Can you share how you connected with them and explain how they contributed to enhancing this season for you through your creature designs?
Weta has significantly helped us recently. Filming began on April 1st, and we finished on July 20th. Today marks the final day of filming for the show, and we will be delivering the final product at the end of this day.
WINSTON Incredible pace! The team began in the final week of January, so this project is quite a feat to accomplish.
In our quest to accomplish this task, we encountered numerous individuals who expressed doubt, claiming it was unattainable. Weta Digital, however, took on the challenge, stating that while it seemed impossible, they would make it happen for us. Having a visual effects company of such magnitude proved crucial in our predicament. Yet, they were not just technicians; they were artists as well. They boasted teams dedicated to concept art and creature design, which worked seamlessly with ours.>
WINSTON They loved the pitch for the show.
LETTERTAKE They were captivated by season one. We presented an entire sequence of episodes, explaining each one in detail. Their enthusiasm mirrored ours as they became engrossed in the storylines.
WINSTON Artists. They became such a part of the process.
We found something extraordinary, which originated from New Zealand. Unfortunately, we can’t reveal more details as it might disclose its identity.
WINSTON But they developed a lot of things.
LETTERMAN And performed some cool stuff for us.
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Goosebumps: The Vanishing premieres Jan. 10 on Disney+.
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