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[This story contains mild spoilers for Final Destination Bloodlines]

It’s commonly believed that overnight success in Hollywood often takes a decade, and this seems to hold true for directors Zach Lipovsky and Adam B. Stein. Their breakthrough came with the release of Final Destination: Bloodlines, which surpassed expectations this past weekend by earning the highest opening for an R-rated movie since the pandemic, raking in $51.7 million domestically. The film also received favorable reviews from critics, who haven’t given such positive appraisals to a horror sequel since James Cameron’s Aliens (1986). What made this achievement even more impressive was that it was their first studio feature, and the franchise had been inactive since 2011.

Lipovsky and Stein spent their weekend immersing themselves in various experiences. On Friday evening, they socialized with New Line’s head honcho Richard Brenner and production chief Dave Neustadter at AMC Burbank. They unexpectedly greeted a few groups of spectators with an introductory speech. Additionally, they managed to sneak into several screenings over the weekend and were thrilled by the audible responses during numerous scenes in the movie. They even treated themselves to 4DX tickets for a unique viewing experience of a film they had seen many times before.

Initially, they were optimistic about the weekend’s performance, but they didn’t anticipate such a fantastic outcome. However, on Sunday, Warner Bros.’ distribution head, Jeff Goldstein, contacted them to share the news that the film had surpassed $100 million worldwide. On Monday, they received another call from co-chief of Warner Bros., Michael De Luca, who commended the quality and intelligence of the movie, and also expressed excitement about their successful revival of the franchise.

After years of nurturing the dream of creating a blockbuster film, Lipovsky and Stein found themselves basking in the limelight following what appeared to be an instant success. Their journey began with directing Disney TV shows, while simultaneously investing countless hours into the low-budget cult sensation, Freaks, which premiered in 2019 to critical acclaim and became a sought-after title at the Toronto International Film Festival. The positive reception of Freaks provided the catalyst for them to leave their television jobs behind. Subsequently, several studios approached them to develop various projects, though unfortunately, none of these materialized. Even a TV show adaptation of Freaks for TNT never saw the light of day. As a die-hard fan, I eagerly await their next project!

They became acquainted with the New Line team several years back when they were contemplating another venture, and discovered that the studio was considering a sixth ‘Final Destination’ film, pitched by producer Jon Watts. Watts aimed to focus the narrative around a family for this project.

After several months of competing for the position, they ultimately secured it following an impressive virtual presentation reminiscent of the scene from ‘Final Destination’.

In contrast to the characters destined to perish in a “Final Destination” movie, this sixth installment of the series seemed predestined to survive, surmounting one challenge after another that could have spelled doom for other films. Now that Lipovsky and Stein have realized their dream of becoming established blockbuster directors, they spoke with The Hollywood Reporter about their journey.

Following numerous attempts at persuasion, you ultimately secured the position as director for Bloodlines. However, in Tinseltown, nothing is ever set in stone. Did you manage to take a moment to savor your success?

ADAM B. STEIN We were extremely excited, yet there was a considerable amount of doubt about whether the project would be approved. It seemed like the production of this film was a delicate dance around an intricate Rube Goldberg machine, as we faced numerous hurdles that we thought might have prevented the movie from being made at all. However, against all odds, it continued to progress. There were shifts in leadership at Warner Bros. Initially, it was intended for HBO Max, but the strategy changed and it was moved to a theatrical release instead. And as we advanced in production, we found ourselves right in the midst of the strikes.

ZACH LIPOVSKY Just a week before we were set to start filming, the actors staged a walkout. We had constructed enormous sets and gathered numerous intricate details for the production, only to have everything halted abruptly.

Therefore, since the studio needed to spend money on storing the sets and other items, it essentially has two options: either increase the overall budget or deduct the cost of the delays from your current budget.

STEIN Working on “Freaks” and creating a movie with a minimal budget provided us with numerous strategies for maximizing our limited funds. In times of financial constraints, we were able to collaborate effectively with the team to ensure that every dollar was visibly spent on screen.

For the film “Freaks”, since there was no room for mistakes, you began evaluating the movie even during the scriptwriting stage. This involved hosting gatherings with friends and relatives over pizza to read through the script and discuss their opinions. Was there a similar approach taken in the production of “Final Destination”?

LIPOVSKY For the film Final Destination, we extensively incorporated ideas from our earlier project, Freaks. We brought many of these concepts to life in the set pieces of Final Destination, particularly by script-reading throughout the development process. Additionally, we did some pre-visualization (pre-vis), sharing it with crew members regularly. During editing, we would screen the film for a small group, usually every two weeks, accompanied by pizza. New Line helped us host several larger screenings for friends and family, inviting around a hundred people at a time.

In terms of capturing extra footage for the film, we were meticulous about selecting only those elements that would significantly enhance the movie. We aimed to transform something that was already performing exceptionally in testing into an even more outstanding version.

So, that opening. You spent about half of your shooting days on it?

STEIN About half the days.

During our production meetings, it was a regular occurrence that our discussions on the script’s initial segments would consume the entire meeting. This meant that we would frequently need an additional meeting to cover the remainder of the film, as this pattern always held true.

In our production, we constructed an impressive stage setup measuring 110 feet in diameter. This setup included a circular restaurant encircled by a custom-designed wall known as Volume for the backdrop. This was just one of several sets – approximately five or six – that formed part of the Skyview sequence. We created distinct sets for when the set was tilted, another where characters could fall from, and yet another for the climactic scene where she hangs on.

For your low-budget independent film titled “Freaks,” you featured several familiar faces like Emile Hirsch and Bruce Dern. In contrast, when directing your debut studio movie, you worked with a largely unknown cast.

Or:

In the indie production “Freaks,” you had actors who are well-known such as Emile Hirsch and Bruce Dern. With your first studio film, however, you collaborated primarily with lesser-known artists.

LIPOVSKY Beyond simply selecting an exceptional cast, it was crucial that they interacted as if they were long-time relatives, effortlessly creating a sense of familial bond on screen. Additionally, we aimed to innovate the format of the Final Destination series by deviating from the stereotypical or one-dimensional characters who subsequently perish, eliciting audience disdain before their demise. Instead, for this installment, we wanted many characters to initially appear as such, only to reveal unexpected complexity and depth as the story unfolds.

Jon Watts, the producer, deserves significant recognition for both originating the initial concept and preserving the soul of the movie. His Spider-Man films are renowned for combining the grand spectacle and fun associated with Spider-Man, while simultaneously maintaining a distinctive touch of heartfelt and character-driven humor. This unique style was also evident in this particular film, as Watts continually proposed jokes throughout the production process. The idea of Paco the Turtle can be attributed to him.

Paco was wonderful, and there was an insightful remark by Erik concerning the reason behind his neighbor’s frequent requests to throw a ball.

In our film, we boast a team of fantastic writers, yet we still can’t resist the chance to encourage our actors with improvisation. We follow the script as it is, but then we suggest, “For this next scene, feel free to improvise, say something fresh.” About 90% of what results isn’t usable, but the remaining 10% can be gold. In one such instance, Richard Harmon, our remarkable actor portraying Erik, was requested to step out and provide a variety of lines about Jerry Fenbury. We gathered numerous impressive takes. It was quite challenging to make a decision.

Did you create a detailed chart for all the Final Destination films, analyzing each one as if it were a mathematical equation?

AS A GAMER: I recently revisited all the ‘Final Destination’ films, dissecting every unique type of death scene that unfolded in each movie. From analyzing what worked, what didn’t, the number of omens involved, whether viewers knew the character was doomed or not, and the twists that kept us guessing, I meticulously charted it all out. It turns out, there are various ways a ‘Final Destination’ death sequence operates independently from the initial events.

For instance, we categorized some deaths as “escape deaths,” where the character realizes they’re destined to die but can’t escape their impending fate. Then there are instances where the audience knows the character is doomed, but they remain blissfully unaware. Lastly, there are the infamous “bus hits” – both the viewers and characters are caught off guard by sudden, unexpected deaths.

STEIN Zach’s spreadsheet was definitely something to behold.  

In our shared scene, the late Tony Todd delivered a powerful performance. Were you conscious of his circumstances during our collaboration back then?

ZACH LIPOVSKY During the entire production of the movie, we were aware that he had been unwell for some time. As we approached filming, it became evident that he was well enough to take part in the film, albeit likely his last acting role. We recognized that his mortality would play a significant part in the storyline and he played a key role in shaping this narrative. His eagerness to be involved was palpable, and his enthusiasm on set was noticeable. In contrast to other ‘Final Destination’ movies, his character is enigmatic, appearing only sporadically without much backstory.

We knew Zach Lipovsky was sick while we were making the movie, but he managed to join us anyway. It was clear that this might be his last film. He helped create a storyline that centered around his mortality. He really wanted to be part of the project and was very happy on set. In other ‘Final Destination’ movies, his character doesn’t have much history.

The crowd has been eagerly seeking explanations about this character’s identity. We aimed to delve deeper into his backstory, provide insight into his motivations for all his actions, while simultaneously handling him with care and giving him a fitting conclusion and farewell.

This unique and poignant moment allowed his character’s dialogue to resonate deeply, discussing topics like mortality and life’s meaning. It provided an actor with a rare chance to engage the audience on these profound subjects and bid farewell. It was a heavy burden we all shared, and he was an invaluable ally in this endeavor.

In the climactic instant of the scene, we asked him to temporarily discard the script and express from his heart the essence of the story, since it was something he was personally experiencing. The final shot used in the film is him spontaneously saying, “Life is precious, cherish every moment.” This was a genuine sentiment that flowed naturally from him. He then gave a playful wink, smiled, wished us luck, showcased his signature charm, and exited with grace. It was an incredibly moving scene to observe on set.

Have you considered having your primary characters survive instead? This goes against the usual pattern for franchises, but it seemed like things ended well for them in my opinion.

LIPOVSKY The majority of movies conclude with the protagonists not escaping, but it’s quite challenging to achieve this effectively. Making a film like Final Destination is particularly tough due to its well-known structure. Our task was to keep the films feeling fresh and unpredictable despite the audience anticipating the outcome. This was one of our main hurdles, so it’s delightful to know that it surprised you. We constantly tried to maneuver in unexpected ways to keep viewers guessing about what would happen next.

At the end, I wasn’t left feeling sad. Instead, I found myself in an odd mix of emotions, bordering on being uncomfortably amused.

I believe what sets this film apart is its playful nature. From the start, our goal was to create a movie that leaves viewers on the edge of their seats, unable to look away despite the suspense. Simultaneously, they find themselves grinning and chuckling throughout.

As a gamer, here’s how I might rephrase that: “Hey there! What’s your next move? I bet you’ve got some exciting gaming projects lined up that you can’t wait to dive into!

STEIN Creating films brings us immense joy, and every opportunity to do so is thrilling for us. What truly makes it worthwhile is witnessing the audience’s response. The energy in a theater during a screening is simply electrifying. We can’t help but find ourselves seated at the back, listening to the subtle whispers of anticipation as they echo throughout the room.

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2025-05-20 20:31