Leigh Whannell Reveals Deleted ‘Wolf Man’ Scene & Rejects ‘Invisible Man 2’

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It’s been a painful five-year wait for the sequel to Leigh Whannell‘s critically adored film, The Invisible Man.

The Elisabeth Moss-starring sci-fi thriller was the last box office success before Covid significantly impacted both the entertainment industry and world, earning approximately $140 million on a budget of just $7 million. Whannell’s triumphant return might have been prematurely ended during his movie’s third week in theaters as Americans began to shelter at home, but with hits like The Invisible Man and his 2018 cult favorite Upgrade, the Australian filmmaker solidified his status as a must-watch genre director. He successfully broke free from his previous roles as one of the creators of the Saw franchise and half of the Wan/Whannell team.

During the ongoing pandemic, writers Whannell and Corbett Tuck found solace in turning their difficult situation into a new project – “Wolf Man”. This horror film is another contemporary take on a classic Universal monster, similar to “The Invisible Man”. The story revolves around the Lovell family – Blake (Christopher Abbott), Charlotte (Julia Garner) and Ginger (Matilda Firth) – who move temporarily to Blake’s deserted rural farm in Oregon as an attempt to rebuild their relationships.

Prior to the Lovell family’s moving truck reaching their property, they were viciously attacked by an unusual creature, displaying both human and animal traits. In the chaos that ensued, Blake suffered deep wounds, triggering a rapid transformation into a werewolf-like state. This film carries several significant themes, but the swift onset of Blake’s mysterious illness is intended to evoke the overwhelming sensation of powerlessness as we watch a loved one deteriorate right in front of us.

In an interview with The Hollywood Reporter, Whannell shared that he had a deeply personal friend who battled ALS. This struggle was prolonged, resembling a terrifying slow-motion ordeal that spanned numerous years. It was heartbreaking and gruesome,” said Whannell. “I aimed to create a parallel between what Blake experiences and the reality of such diseases.

In Whannell’s fourth directorial project, we find ourselves in the year 1995, where Blake is being raised by his survivalist father (Sam Jaeger) in a manner reminiscent of military training. An earlier scene, now omitted from the film, introduced Blake’s mother, who was suffering from ALS, serving as a tribute to a friend that the Whannell family had lost. This character was also intended to foreshadow the illness that Blake experiences upon his return home in 2025.

Whannell expresses that the omitted scene in ‘Wolf Man’ was painful to remove, fearing it might reduce viewers’ comprehension of the movie’s true themes. He hopes the audience understands the film’s core message: it’s about illness, losing someone dearly ill, and the impossibility of communication. The scene may have driven home that theme more forcefully, or at least provided a clearer emphasis on it.

In a December 2022 interview with THR, Jason Blum and James Wan mentioned their intentions to consider a sequel for The Invisible Man following the completion of their merger. Given the film’s ending, which hinted at an Invisible Woman storyline, Elisabeth Moss’ character Cecilia donned an invisibility suit to disguise her abuser’s murder as suicide. As she left his home with the suit in hand, feeling liberated for the first time in years, it’s not hard to imagine that Cecilia could take on the role of a vigilante, helping other women trapped in abusive relationships find their freedom.

Despite Whannell’s satisfaction with the ending of “The Invisible Man” and his preference to let it stand as is, he has chosen not to write a sequel. However, being the creator behind successful franchises like Saw and Insidious, he recognizes that the studio might decide to produce an Invisible Man sequel at some point in the future.

Or:

Whannell is happy with the conclusion of “The Invisible Man” and doesn’t plan on writing a follow-up, but as the creator of franchises like Saw and Insidious, he realizes that the studio could potentially produce an Invisible Man sequel at some point.

I find it hard to envision expanding the story of [The Invisible Man]. I was content with how The Invisible Man’s ending turned out and I don’t feel compelled to continue from an artistic standpoint,” Whannell confesses. “The studio might think differently, saying ‘We believe it should continue because we want to earn more.’ However, on a creative level, I feel that the door is nicely closed, so let’s keep it that way.

During a recent chat with THR, Whannell sheds light on why he walked away from Wolf Man when Ryan Gosling was slated to play the lead role, and shares some disappointing updates for fans eagerly awaiting an Upgrade sequel.

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We spoke five years ago before the world ended …

I remember!

Given how remarkably successful The Invisible Man has been, I had presumed that you’ve reached a level where you could produce a fresh film approximately every two to three years. Has the interruption in the entertainment industry due to the shutdowns affected your production schedule?

It turns out that numerous factors can contribute to the delay of a movie’s release. The entertainment industry is often unpredictable and turbulent, as the famous quote by William Goldman suggests: “Nobody knows anything.” Post-pandemic, this has become particularly true, with the sudden shift from movie theaters to streaming platforms. This seismic change in the film industry has impacted careers unexpectedly, making one wonder how five years could have passed since the release of “Invisible Man“. Indeed, strikes played a part in pushing back this film’s release date.

Based on information found online, you had a series of visits to the Wolf Man website. You left and then returned again. Would the reason behind these repeated visits be appropriate for general audience understanding?

Essentially, I had been collaborating with Ryan Gosling on a project initially. However, due to scheduling conflicts, I decided to switch to another production. Later, to my delight, the project resurfaced, allowing me to carry forward with the script I’d already penned. Unfortunately, Gosling couldn’t continue due to his schedule, but the process was more convoluted than usual for me. In contrast, projects like Upgrade and The Invisible Man followed a straightforward path: write the movie, find financiers, assemble the cast, and shoot. This one, however, was more of a labyrinthine journey in filmmaking, but I’m thrilled that it eventually came together.

Did Chris Abbott’s goat in Poor Things point you in his direction? 

During our pre-production phase, we encountered some unexpected sights in New Zealand – specifically, a compelling off-Broadway play titled “Danny and the Deep Blue Sea“. Stefan Duscio and I attended this production at a quaint theater in Wellington, following Chris’ casting in “Wolf Man“. I was already familiar with his work, and he had been my initial choice for “Wolf Man” – we even had a video call discussing the role. Despite my admiration for his talent, it was witnessing his performance in this play that truly convinced me to cast him.

In an unbelievable turn of events, Chris sustained an injury during the performance – he fractured his kneecap on stage! Remarkably, the two-character play worked well with the character using crutches, which only added to its intensity. It was a stormy night in Manhattan’s West Village when I hurried to the theater after my flight. With mere moments to spare before the curtain rose, I arrived just in time and was captivated by Chris’ electrifying stage presence. The impact of his energy on the audience was undeniable, especially when you’re physically present rather than watching on screen.

Inspired by this extraordinary experience, I immediately penned a passionate email to Universal Pictures and Jason Blum, expressing my conviction that Chris was the perfect fit for the role. Therefore, it was the performance in “Danny and the Deep Blue Sea” that sealed the deal.

Is it possible that the reason behind Blake’s family trip to a secluded, potentially hazardous region in Oregon was because this reminded him of the first time he brought his children to visit Australia, their ancestral homeland, where you moved from two decades ago and started a family after being born in a country famous for its perilous wildlife?

(Chuckles.) It turns out that wasn’t exactly the case! I’d say the story was heavily influenced by the lockdown during the pandemic. The Covid-19 situation indeed had a profound impact on elements within the script. Those were such uncertain times, and with three young children at home, my wife and I struggled to keep them entertained while they were stuck indoors. They didn’t understand why we couldn’t go out, and it made me feel like I was falling short as a parent during that period. “Everyone else seems to be getting pandemic parenting right, but here I am, struggling.” So, it was an unusual time filled with uncertainty, and my wife Corbett [Tuck] and I channeled those feelings into the Wolf Man script. During that time, many people were discussing relocation, and since some friends of ours moved to Oregon, we had a conversation about whether we should be living on a farm ourselves. All these factors combined made me write the relocation aspect into the movie.

In relation to Cobalt, Upgrade and The Invisible Man share a connection. Both characters, specifically Wolf Man and the invisible man, have San Francisco in common. Is it the same San Francisco where Elizabeth Moss’s Invisible Woman (Cecilia) lives?

In simpler terms, I’ll affirm for this particular case, yet it won’t lead to a future collaboration as one might expect in a connected universe scenario. Over time, filmmakers often create movies that share themes or ideas, even if they don’t directly connect. For instance, Martin Scorsese frequently revisits certain themes, such as his affection for New York City. The films “After Hours” and “Goodfellas” could be seen as having a conversation with each other. In this context, San Francisco seems to echo that relationship for me. There’s an unconscious connection tying all these elements together, but it’s not direct or explicit.

In the movie Wolf Man, there’s a scene where I mimicked Leonardo DiCaprio by pointing at the screen. A character is trapped and is forced to amputate their foot. Was this a tribute to Saw, which celebrated its 20th anniversary?

(Laughs.) To be honest, when I penned that particular scene, it wasn’t really Saw that was on my mind. Instead, it was the intriguing world of animal behavior that occupied my thoughts. In this movie, I wanted to take a unique approach to the character, given how often the werewolf myth and Wolf Man character have been portrayed in various forms before. So, I pondered, “What can I bring fresh to this character?” This question consumed me as I wrote the script. Rather than the stereotypical moon-howling behavior of wolves, I wanted to focus on something less conventional: their hunting strategies and communication methods. Additionally, I contemplated what a desperate animal might do when ensnared, which is something humans tend to shy away from. It wasn’t until the props team brought out the chain on set that I realized, “Wow, this is quite direct! This is more of a direct reference than I had considered during the writing process.” It’s fascinating how it all comes together like that – a full-circle moment for me.

Initially, James Wan and I were the fresh faces in the horror genre, having created a daring film that graced Sundance. Over time, I may have clung too long to that label of being the newcomer. However, it’s quite an eye-opener when I realize that James Wan and I are no longer the up-and-coming talents; we’ve become the veterans, the seasoned figures in horror filmmaking. This truth becomes especially apparent when a fellow horror director approaches me, expressing gratitude for my work, stating how my films inspired him to pursue horror filmmaking. In those moments, I am reminded of our longevity and impact on the genre, which is both humbling and gratifying. Perhaps that scene served as a subtle acknowledgment to the younger version of myself, saying, “We’ve done well. We’re still here.

Initially, I thought the stunning close-up was merely for show, but it turned out that Chris mentioned the Wolf Vision had a certain level of usefulness too. Can you explain how that works?

In our scriptwriting phase, Stefan Duscio, the cinematographer, and I had numerous discussions about how we could make this happen. Stefan shared footage captured with infrared cameras, and we experimented with various UV lights. However, after considering multiple possibilities, we decided on a more straightforward approach: adjusting the lighting manually by the crew as we filmed while moving. This process was quite amusing to watch behind the scenes, as you can imagine, with numerous crew members huddled together out of camera view, shifting positions to avoid being in the frame. It took considerable effort to get it right, but that’s what we settled on despite all the available technology. In the end, our solution was surprisingly simple, much like a magician’s trick – you assume there’s an intricate secret behind it, but when you learn the truth, you realize how deceptively straightforward it is. Sometimes, the most uncomplicated filmmaking solutions prove to be the best ones.

I took your advice and read the production notes.

(Laughs.) 

Blake’s mother is referenced as having ALS, but I can’t recall any moment with her in the movie.

Indeed, that scene was cut from the final version of the film we produced. It’s intriguing how it managed to end up in the press materials. I suppose I should have examined it more closely. I collaborated on this screenplay with my spouse, but typically, I work independently within a secluded space in my office. It’s challenging to predict which themes will resonate with audiences, particularly when they are more subtle and not explicitly stated. I trust that viewers, including critics, are intelligent enough to comprehend them.

The “Invisible Man” seemed singularly focused on one topic – domestic abuse, stalking, gaslighting, etc. However, the “Wolf Man,” penned during the tumultuous year of Covid and lockdowns, appears multifaceted. It encompasses a myriad of emotions related to parenting, disease, illness, marriage, and more. So, Corbett and I deliberately layered these themes throughout the movie, causing me to wonder if it might seem disjointed thematically.

I once had a deeply cherished acquaintance who was afflicted by ALS, a grueling battle she endured for years. It was like a haunting, drawn-out nightmare, where each stage of her deterioration was more heartbreaking than the last. She initially managed to walk with assistance, but soon found herself confined to a wheelchair and lost all ability to walk. This ordeal spanned over several years, leaving an indelible mark of sorrow and horror in my memory. The intention behind this recollection was to establish a parallel between Blake’s experiences and real-life diseases. One scene that served this purpose, featuring the mother character, was later removed during editing. Although difficult, I had to let go of that scene, which left me with a sense of loss. I hope that the audience doesn’t miss the essence of Wolf Man, as the removal of that scene might have reinforced the themes of illness, losing someone to illness, and the inability to communicate with them anymore more forcefully. If anything, that scene could have driven home the theme with a sledgehammer or at least made it clearer.

I frequently revisit “Denouement” by Benjamin Wallfisch, which was featured in The Invisible Man. The emotionally satisfying climax of that piece perfectly concluded the film during the closing credits.

It’s so good to hear you say that. That’s my favorite track as well. I listen to it a lot.

So, it made me really pleased that you all decided to echo the “Goodbye” scene from Wolf Man in its conclusion. Could you share with me what the dialogue was during this interaction?

It’s great discussing Ben with you! His work on “Invisible Man” really resonated with me, especially its powerful emotional conclusion. I often find myself seeking such endings in films. The source of this preference is a bit mysterious to me. When composing a movie script, I usually create a playlist with tracks that share a similar tone. As I approach the final stages of writing, I’ll be listening to a particularly impactful piece of music, aiming to evoke and replicate that emotion in my story.

Previously, Ben penned an ending that felt somewhat somber and eerie. I remarked, “I adore your take on Invisible Man, so much so that I wonder if there’s a variation, simply to experiment, where we conclude with a more impactful note.” Ben seemed proud of his work but being such a team player, he responded, “Let me give it a go.” Later, he phoned me and exclaimed, “Impudent fellow! I’ve grown fond of this [new] piece.

Among the most memorable experiences, arguably the most unforgettable one, of my career as a filmmaker, was finding myself at AIR Studios in London, where I heard a full orchestra perform “Denouement” live for the first time during the recording of the score for The Invisible Man. It sent shivers down my spine. Later on, I had the privilege of experiencing the same sensation while hearing the final track played by an orchestra in the very same London studio for the film score of Wolf Man. I truly hope this music leaves a lasting impact.

At one point, I had conversations with Jason Blum and James Wan, and I shared my idea about how the ending of Invisible Man could be a great setup for an Invisible Woman vigilante movie. They both agreed to consider it once their companies’ merger was finalized. So, why not explore this concept further?

As a movie enthusiast, crafting an impressive finale is the most challenging yet rewarding aspect of screenwriting for me. It’s the pinnacle of storytelling, and films with outstanding endings are truly treasured. Recently, I had the pleasure of watching Se7en at the Chinese Theatre in IMAX format. Despite having seen this movie numerous times before, experiencing it on a grand scale emphasized once more the brilliance of its ending. As a screenwriter, I can only admire and envy such a powerful conclusion.

In discussing “Invisible Man,” you mentioned the final track “Denouement” which left a lasting impression on me. I find it hard to envision expanding the story after such a poignant ending. Often, sequels are motivated more by Hollywood’s economic interests than artistic vision – “We succeeded, let’s do it again and draw audiences back.” As someone who has penned two films, “Saw” and “Insidious,” that have grown into lengthy series with varying degrees of creative achievement, I won’t feign that every film in the “Saw” franchise is a masterpiece. At this point, I stand on the sidelines, watching as that movie evolves into something independent from my original vision.

I was incredibly satisfied with the ending of “Invisible Man,” and from an artistic standpoint, I don’t feel compelled to continue the story any further. However, financially, there might be a push for more because the studio wants to earn additional revenue. But creatively, I see that concluding point as a well-sealed door, and I prefer to keep it that way.

or

The ending of “Invisible Man” left me contented, artistically speaking, so I don’t feel the urge to proceed with the story. Financially, there may be pressure for more due to potential earnings. However, creatively, I view the final scene as a closed chapter, and I prefer to keep it that way.

Over the past two years, there has been much debate about AI that echoes the concerns Grey Trace (Logan Marshall-Green) expressed in the movie “Upgrade” seven years ago (“Look at that gadget and you see the future. I see a line of ten men out of work.”). Although a TV series based on this film was once in development, could this deeply rooted fear of technology be enough to revive “Upgrade”? Is Grey Trace the kind of hero we need in today’s world?

The last two years have seen many arguments about AI that mirror the concerns expressed by Grey Trace in the film “Upgrade” seven years ago. Although a TV show based on this movie was once planned, could the current fear of technology bring “Upgrade” back to life? Is Grey Trace the hero we need today?)

The humor lies in the fact that the movie Upgrade shares a similar plot twist with Invisible Man. It concludes on an open-ended note, leaving viewers wondering about its continuation. I find it astounding how the science fiction portrayed in this film has become commonplace. Recently, while walking with my brother from Australia, we encountered a self-driving car, a Waymo vehicle. This reminded me that autonomous cars were once considered far-fetched sci-fi concepts in movies. Now, they’re something people don’t give a second thought to when they see one on the road. This shows how quickly humans adapt to technology that was once science fiction. It’s amusing to observe how reality is catching up to Upgrade. However, when it comes to making a sequel, I feel content with leaving it as it is and allowing the movie to thrive as a cult classic. If people continue to view it as somewhat prophetic, that would be fantastic.

Did Patrick Wilson remind you and James that his movie, “Insidious: The Red Door” (2023), has become the top earner in the Insidious series?

(Laughs.) He’s far too modest for such behavior. In fact, he couldn’t be more different from that individual. During my visit to the set while he was filming, he was incredibly inclusive and open about his lack of experience. He made a point to ask for help and ensure everyone was aware that he was new to directing. Unlike some directors who may feel the need to show off, he’s content with his acting career and doesn’t feel the need to boast or behave arrogantly. Therefore, he couldn’t be more unlike that person, and I’ve never received a text from him bragging about his successes in such an ostentatious way.

Five years ago, you asked me to query you about this when your next film was released, so here it is: Have you grown cynical or disillusioned with the process of filmmaking?

I am grateful for not having experienced the disillusionment that many face in our industry, given the numerous reasons to become cynical about current events. We handled the sound mixing for the film “Wolf Man” at Warner Bros., where I would arrive early each morning just to wander around the lot. One memory that stands out is reading the plaques on the soundstage walls listing all the movies filmed there. Stage 15 at Warner Bros. was a treasure trove of ’80s classics from my childhood, like “Ghostbusters,” “The Goonies,” “Gremlins,” and “Body Double.” While “Body Double” may not have been the ideal companion to “The Goonies,” I couldn’t help but think, “What an incredible era this was.” It was a time when Los Angeles was the undisputed hub of studio filmmaking, and being on these lots would have been a transformative experience. They would have resembled movie studios as portrayed in films about the movie industry – filled with extras in costumes and stars zipping around in golf carts. But I also felt a pang of sadness because it seemed that moment had already passed. However, this feeling didn’t linger for long. Eventually, I found myself thinking, “I still adore making movies.” No matter how the culture evolves or where the industry is based, no matter the method of distribution, my love for creating films remains unchanged.

Well, I hope you get back out there soon. Five years was too long a wait.

I assure you, I’ll make an effort to expedite the process. For the sake of my mental well-being, I intend to work diligently towards completing tasks more swiftly.

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Wolf Man is now playing in movie theaters. 

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2025-01-17 23:26