As a filmmaker who has just witnessed the successful release of “Don’t Move” on Netflix, I feel a mix of exhilaration and relief, much like a new parent watching their child take their first steps. The journey to bring this story to life has been filled with challenges, but seeing it now available for audiences worldwide is an indescribable feeling.
As a movie enthusiast, it’s not every day you come across directing talents hailing from Minnesota like myself. However, Adam Schindler and Brian Netto of “Don’t Move” have set a remarkable precedent, having a legendary filmmaker to inspire them.
In Woodbury, Minnesota, Schindler and Netto, both 9-year-olds at the time, began creating homemade films in their suburban backyard, much like the Coen brothers had done years earlier in Saint Louis Park. As they delved deeper into filmmaking, they followed the Coens’ method of having one person credited as director and the other as producer for better financial appeal. It was said that the Coens adopted this approach to make a stronger impression on potential investors. (It wasn’t until 2004, with The Ladykillers, that the Coens officially shared directing credit.)
In their 2013 debut movie, Delivery: The Beast Within, direction credit went to Netto, while Schindler took charge in their 2015 film, Intruders. Initially, they alternated roles, but this approach ended during the production of an episode for Quibi’s series, 50 States of Fright, released in 2020. Although Quibi didn’t fare well overall, it brought Schindler and Netto into contact with Sam Raimi, leading to their collaboration on Netflix’s latest successful project.
On fifty occasions, Sam Raimi was thrilled with the episode ‘Grey Cloud Island’ to such an extent that discussions took place regarding a standalone film based on this specific episode, as shared with The Hollywood Reporter by Netto.
Although the Quibi episode didn’t progress into a full-length feature, Raimi’s partner at Raimi Productions, Zainab Azizi, later obtained a script for a feature film that Schindler and Netto had written with their Intruders co-writers T.J. Cimfel and David White. Since Azizi wasn’t connected to the project 50 States of Fright, she advocated for Don’t Move to Raimi, who, recognizing his former associates, eagerly seized the opportunity to reconnect.
Netto stated, “Zainab was extremely vocal about her ambition, and Sam responded positively, saying, ‘I admire them; I know them. Let’s proceed.’ His impression of our dedication and the project we created on 50 States likely played a significant role in his decision to agree, as I believe.
This survival thriller follows Kelsey Asbille’s character, Iris from Yellowstone, as she stands on the precipice where her young son tragically lost his life due to an accident. On the brink of jumping, she is halted by a captivating stranger named Richard (played by Finn Wittrock), who discloses his own past struggles. Instead of jumping, Iris hesitates, but little does she know that Richard has planned a trap to kidnap her. He administers a paralyzing drug to make the abduction smoother. For most of the movie, Iris finds herself immobilized in this cat-and-mouse genre piece, causing concern among the creative team, including Raimi, due to the vulnerability of the main character.
Raimi expressed some uncertainty about whether a temporarily paralyzed main character would be effective. He admitted, “I was a bit anxious.” However, after spending a week in Bulgaria and observing our methods on set for a few days, I believe his confidence increased.
The movie was produced independently prior to Netflix purchasing it, after it had been screened by distributors. This streaming service seems an appropriate choice because Sarah Sarandos, the daughter of co-CEO Ted Sarandos, played a key role in its production. However, despite knowing about his daughter’s project early on, Ted Sarandos intentionally did not inform Netflix’s acquisition team to allow the movie to stand on its own merits. (It has since dominated Netflix’s global film chart from Oct. 21 to Nov. 3.)
He ensured a low-key approach. He allowed his team to evaluate and appraise the project independently. Once they had their say, they informed Ted Sarandos, “We’re fond of this piece. We want to acquire it,” to which he responded, “I’m already familiar with it. I’ve viewed it. I grasp the situation.” According to Netto, this was done to ensure that Don’t Move felt untied to Netflix prior to the screening for potential distributors, as there were other interested parties present at that time.
In their latest chat with THR, Schindler and Netto delved into the specifics of Asbille’s demanding physical act, along with the personal motivation behind their desire to debut Miles Morales’ Spider-Man in live-action for the very first time.
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If reaching the top of Netflix’s global movie chart symbolizes the pinnacle of your journey thus far, where did the simple start originate?
ADAM SCHINDLER Brian and I have been friends since we were both nine years old, having first met in the back of a fourth-grade classroom. Our bond was formed over shared interests such as comic books, television shows, and movies. This took place in Woodbury, a suburb located outside Saint Paul, Minnesota. Around fifth or sixth grade, we acquired a camcorder and began creating short films in our backyard for amusement. Our parents likely thought it was just a passing fad, but it persisted, leading us to where we are now.
BRIAN NETTO There’s nothing more down-to-earth than growing up as friends since the 4th grade, playing outdoors together in our backyards throughout much of junior high, and all this happening in a place like Minnesota that feels so distant from the world of photography.
Were it not for the fact that you individually helmed movies titled “Delivery: The Beast Within” in 2013 and “Intruders” in 2015, one might think your roles were separate. However, it appears that you both contributed significantly to each other’s productions during this period. Did the Directors Guild of America initially deny co-credit or were these films truly solo endeavors in their eyes?
NETTO We didn’t embark on individual journeys. The saying goes, “Don’t outsmart the room.” Yet, I believe our actions were more akin to that than anything else. As fellows from Minnesota, we encountered an intriguing tale about why the Coen brothers initially assumed roles as director (Joel Coen) and producer (Ethan Coen), rather than co-directors. They sought funding from investors and feared that two directors might confuse them, giving the impression of no one in charge. Instead, they presented themselves as a director and a producer. The investor, they reasoned, would see the producer as the one responsible for keeping things under control. This was the story we heard about why [Joel Coen] held sole director credit for so long, and we thought, “What a clever strategy! Could we do the same?” This approach allowed us to essentially supervise ourselves.
As a passionate collaborator, I’m proud to say that I share the directorial reins with my partner. When we worked on our Quibi episode for 50 States of Fright, we decided it was only fair to give credit where it’s due. Now, with Don’t Move, we’re credited equally for the first time on a feature film. Together, we’ve co-directed all three of our movies and an episode of television.
In our previous two movies, the actors never experienced a division, nor did we. It was always about Adam and Brian. We’ve consistently worked as a duo since we were 9 years old, and that’s just how we operate. Honestly, we don’t know any other way. We tried to be clever early on, but then we thought, “Enough of this silliness. Let’s make it official and get married.” Now, we are officially co-directors.
I recently had a conversation with David Leitch, one of the co-directors of John Wick. He expressed his disappointment that he didn’t receive official co-credit, despite the DGA (Directors Guild of America) leading him to believe he would. This is because they both worked closely together on set with Chad Stahelski, a collaboration they had been doing for many years in different roles.
NETTO I don’t blame him.
SCHINDLER We’ve discussed our roles with the Directors Guild of America (DGA) and were recognized by them as joint directors. At that point in time, this movie didn’t meet the criteria to be classified as a DGA production. However, we presented our personal stories, such as growing up in Minnesota, to the board members, just as we’re sharing it with you now. As a result, they endorsed us, and I am confident that our next film will qualify as a DGA project.
After you brought up the Quibi show produced by Sam Raimi, “50 States of Fright”, could you tell me what events transpired afterwards that led him to support the project called “Don’t Move“?
In this scenario, Zainab Azizi from Raimi Productions discovered the project titled “Don’t Move”. She strongly advocated for it and eventually drew Sam’s attention, leading them both to join forces. However, we had no prior relationship with her. On “50 States”, Sam managed nine separate episodes alongside his own, and he was particularly fond of our episode, “Grey Cloud Island,” which sparked discussions about a possible spinoff feature. When the script for “Don’t Move” arrived, Zainab was adamant about bringing it to life, and Sam, reminiscing about “Grey Cloud Island”, agreed enthusiastically. Our episode of “50 States” was essentially a tribute to the movies we grew up watching, such as those directed by Sam or Peter Jackson. Essentially, our 15-year-old selves created that episode, and Sam seemed to appreciate it. This appreciation provided us with an opportunity to propose “Don’t Move”. Despite being different genres in many ways, I believe Sam agreed due to the dedication we demonstrated on “50 States”.
Were it T.J. Cimfel and David White from Don’t Move who you collaborated with on the project “Intruders” (2015)? Was it they who initially provided you with the script?
The concept for the film “Don’t Move” was brainstormed by Brian and myself. We wondered if it was possible to create a feature film where the main character is paralyzed for most of the movie. This idea, along with the title, had been floating around until the pandemic hit, when everyone was working from home via Zoom meetings. During this time, we collaborated extensively with T.J. and David, who we worked with on “Intruders” and are close friends as well as exceptional writers. They excel at developing characters within a genre setting. As the pandemic continued, we used this opportunity to develop a genre project together. We wanted to ensure that the film would be more than just an interesting concept; it needed to have compelling characters and a meaningful journey. Once we developed Iris, our protagonist, the antagonist character of Richard became clear, and the rest of the story followed suit. T.J. and David then took this idea and wrote a script, which was largely consistent with what we ultimately filmed.
In our discussion with T.J. and David, it became clear that our script featured a main character who was immobile for much of the movie, and we aimed to create a straightforward narrative without relying on voiceovers. Following our initial pitch meeting, it seems they had a private conversation where one expressed reservations, saying “We won’t do that,” while the other countered with enthusiasm, “Absolutely, we will!
In essence, they found a method and were equally apprehensive as we might have been regarding its feasibility. It was an arduous task, and their choice to develop it using merely a small set of characters didn’t make matters any simpler. These few characters needed depth beyond the norm for such a film, making their accomplishment even more impressive. Primarily, they managed to create something engaging with just four key characters.
I distinctly recall the moment when the draft of the script landed in my email. Upon reading it, I couldn’t help but feel emotional tears welling up. Initially, I thought it was a genre film, but by the end, I was emotionally drained. I immediately phoned Brian and told him, “Drop whatever you’re doing and read this.” It turned out that he shared my sentiments, and we both felt this could be our next project. Making movies is always challenging, but there was a sense of certainty about this one – it just seemed destined to happen.
We aimed for a harmonious blend of idea and practicality, but at times, one aspect may be missing. This strategy, we believed, would appeal to potential talents.
Initially, Kelsey Asbille’s character, Iris, was persuaded not to jump by Finn’s character, Richard, but it turned out this was just a trick to administer a substance that would make Iris unable to move. Did any measures on set help portray her character’s immobility convincingly?
SCHINDLER We did not give her a paralytic.
In Bulgaria, the action may have been legal at that moment, we found humor in this. A friend of ours, whose wife is an anesthesiologist, scrutinized the script, being her first time reading one. Her perspective was unique, as she provided comments from a medical standpoint. She validated the script’s accuracy and consistency, noting that the onset of the drug mentioned would be slower due to its older nature. The character, Richard (or so he is named), doesn’t reveal much about the substance itself, only explaining its function. After discussing this with us, we consulted actress Kelsey to visualize and embody the loss of mobility. She collaborated with a movement coach, presumably practicing in front of a mirror to perfect her portrayal. Upon arriving in Bulgaria, we examined the script together to determine the character’s limitations in each scene.
SCHINDLER On that particular day, everyone was well aware of our objective, leaving no room for speculation. It fell upon us to ensure we adhered to those boundaries. If Kesley’s eyebrow subtly flickered without her noticing, it was our responsibility to point it out. We placed a significant demand on Kelsey and Finn; they were both put through their paces. However, Kesley displayed great courage in accepting the task before her.
At certain instances, she might have pondered, “Is this sufficient? Am I overdoing it?” However, what truly mattered was her faith in us to place her in the spotlight, and it felt effortless as she delivered what she did.
Richard provides her with a clear timeframe for the effects of the drug, stating it takes approximately 20 minutes for it to take effect and an hour for it to wear off. In response, she sets a timer on her watch for 20 minutes. Have we ever talked about a version of the film that plays out in real-time?
NETTO No, we didn’t portray it as real-time. Instead, we assumed there would be brief moments of missing time, notably near the river and after she emerges. Thus, our narrative wasn’t meant to be an exact representation of real-time, but rather very close. To indicate this, certain scenes include her checking on remaining time, and we acknowledge that time is passing faster than it would in reality.
SCHINDLER The primary focus was ensuring both the audience and the character knew their location. The aim was to create an authentic, real-time atmosphere while progressing the story using brief pauses or cuts.
Did Richard deliberately abandon Iris on the mountain as a ploy for her to follow him to his vehicle, or was he genuinely discontinuing his plans to kidnap her at this point?
In our discussion with Finn [Wittrock], it was clear that he’s like a seasoned hunter. He may not always catch his prey, but he’s always ready and well-equipped. So, he presents his finest tactics, and he’s incredibly adept at reading people. This is why he’s so skilled and has managed to escape from many dangerous situations before the start of this film. At this point, he has her exactly where he wants her, but he needs to move down because he couldn’t do it up there. He’d have to carry out his plan further down. Therefore, you could say that he’s like a spider who has set a trap and is now patiently waiting for his prey to fall back into it. He knew exactly what was going to happen, and if you watch again, you can see a gleam of satisfaction on his face when he realizes she’s behind him. It’s a subtle look, almost unnoticeable, but it reveals his triumph. However, at that point, he couldn’t give himself away completely, but there’s a hint of a smile or smirk that gives us a clue.
Just as he’s about to depart, a captivating glance from him leaves her spellbound. With his hook set, he’s certain of his catch, and the excitement is building. Finn exudes an uncanny ability to switch between endearing and intimidating. Indeed, we couldn’t have asked for better.
On our initial day of shooting, capturing that breathtaking clifftop scene proved no simple feat. After all, it’s quite challenging to tackle such a crucial part on your very first day. Perched atop a genuine mountain, we were securely fastened and harnessed for safety. Quite the journey to reach our vantage point with all our gear!
SCHINDLER There were no trees for our DP, Zach Cuperstein, to use. It was all sun.
In essence, we needed those subtle details and brief instances to guide us through the movie as well as Richard and Iris’ relationship. Consequently, we faced a daunting challenge on our very first day, and completing it left us with a great feeling of achievement.
Is there any instance in real life similar to the scene where Iris is positioned beneath Richard and a swarm of ants climbs onto her face during filming? Did something like this ever happen to Kelsey while she was acting?
For Kelsey’s luck, there were no mishaps during her takes. No spiders or crawling insects disturbed her while she was in the grass, although ants can bite, and we couldn’t risk them on our main actor’s face. A blend of visual effects and real ants were used. Working with Kelsey in the river presented the toughest challenge regarding natural conditions, and several precautions had to be taken. Two days before, divers measured the current while the stunt crew prepared for safety measures. However, heavy rainfall occurred that night, causing the current to speed up by 15 miles per hour compared to two days prior. This meant we needed to improvise a bit as some planned actions became impossible due to the fast-moving water and safety concerns. Therefore, the only surprise in terms of nature was the sudden increase in the river’s current.
As a passionate admirer, I can’t help but notice that Sarah Sarandos, the daughter of Netflix co-CEO Ted Sarandos, is part of the production team for this film. Given her extensive background in filmmaking, where she’s worked tirelessly on various roles behind the scenes, it’s impressive. Yet, I can’t help but wonder if it felt a bit unusual to have the boss’ daughter observing your work?
To clarify, it’s important to remember that this was an independent movie production, so while she might be the big boss’s daughter, her role may not have been influenced by her family connections in the same way as a mainstream film.
Oh, that’s right. Netflix acquired it later.
Initially, they hadn’t appeared beforehand. Later on, we managed to sell it to them during a screening. She had a professional connection with Hammerstone Productions’ Alex Lebovici, and he facilitated her presence as he couldn’t make it to the set himself. We are incredibly thankful for her joining us, as she and our other producer, Zainab Azizi, played crucial roles in managing the production throughout the entire filming process in Bulgaria.
SCHINDLER They stayed with us from the initial preparation phase right up to the end. They stood by our side throughout the entire process, providing valuable input, ideas, and encouragement.
Sarah was present as an unattached party. Later on, following our initial review, we engaged with representatives from Netflix, who expressed surprise that [Ted Sarandos] was already acquainted with this movie. He maintained discretion, allowing his team to evaluate it based on its own merits. After they had viewed it, they informed Ted, “We appreciate this piece. We wish to acquire it,” and he replied, “I’m familiar with it. I’ve watched it. I comprehend.” It seems that this was all done to ensure that [Don’t Move] didn’t feel in any way connected to Netflix prior to the screening, as there were other potential bidders present during the same viewing.
SCHINDLER Indeed, the wholesale viewing attracted all significant potential buyers, and we were informed that the movie sparked considerable curiosity. Therefore, I’m appreciative that Zainab and Sarah stood by us just as steadfastly. Despite being continents apart, it would have been easy to disengage, but they were present throughout, braving the harsh weather conditions in forests and atop mountains.
What was the most illuminating note you received from the Sam Raimi side of things?
Schindler encouraged us to create our own movie, not dictating it as a seasoned producer who could have simply instructed “We’re making my movie.” Instead, his approach during our work on Don’t Move and the [50 States of Fright] Quibi episode was to empower us to produce our own vision. Later, he expressed some uncertainty about a key aspect – a temporarily paralyzed main character – revealing his apprehension with “I was a little nervous.” However, after observing our methods for several days in Bulgaria, he seemed more assured and would ask questions about our strategies, offering guidance when we explained them. Ultimately, he gave us the green light to proceed, demonstrating his support and confidence in our abilities by the end of his stay in Bulgaria.
DURING THE PREVIEW OF THE DIRECTOR’S CUT FOR THE PRODUCERS, SOMEONE WAS CHATTING ALOUD FROM THE PRODUCER SECTION BEFORE US. WE WONDERED, “WHO’S TALKING DURING THIS SCREENING?” It was a relatively small gathering, and it wasn’t long before we realized that Sam was the one talking. He was deeply engrossed in the movie, moving about excitedly during the fight scenes. His reaction to the film was intense, and his expression afterwards was simply priceless – something we won’t forget anytime soon. He was thrilled with it and appreciated our work. Since it was a directors’ cut, we knew there would be further refinements. However, Sam complimented us several times, expressing surprise at what we managed to achieve given the story’s simplicity. I’m not referring to budget or resources here. Instead, I’m talking about how the narrative is minimalistic and raw. This is a small, intimate story, and we succeeded in making it engaging and watchable despite its limitations.>
If we were living in an ideal world, what would be the next thing you both wish to accomplish together? What ambitious project would you approve for yourselves if given such authority?
In other news, we’ve got another exciting collaboration with Sam on a project that dives back into a beloved genre niche. Looking forward to it! As for future plans, this might be the next one, but if we’re discussing ideal projects…
Regarding Sam, the character that resonates with us is Darkman. We’ve had discussions about Darkman in his presence. There’s a strong bond and fondness we share for Darkman.
For quite a while, “Darkman” was the movie that I found most captivating. It stood out as an exceptional film, making each viewing of “Darkman” intriguing. Eventually, there are plans to bring Miles Morales to life on screen through live action.
SCHINDLER We talked about that [with Sam] too.
What a fantastic thought! My wife hails from Puerto Rico, making my son multiracial. He’s Black and Puerto Rican, much like Miles Morales. The expression on his face when he first encountered Miles Morales mirrored the one I had when I first saw him, and it was a truly exhilarating moment. So, to see Miles brought to life on the silver screen someday would be amazing. Realistically, they likely won’t do it right away, so we have some time to prepare for that exciting prospect.
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Don’t Move is now streaming on Netflix.
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2024-11-13 01:27