As a seasoned traveler and enthusiastic Airbnb host myself, I can say that the chilling tale of “Speak No Evil” has left quite an indelible mark on me. The film’s portrayal of the complex dynamics between Paddy and Ciara, with their twisted love story intertwined with moments of horror, has struck a nerve in a way that resonates deeply with my own experiences.
As a gamer, let me tell you, I’ve come across James Watkins’ “Speak No Evil” and it’s going to make you think twice about hosting house guests, just like his directorial debut, “Eden Lake,” changed my view on camping back in 2008.
Eden Lake follows the story of Kelly Reilly and Michael Fassbender’s characters who are on the brink of getting engaged during a peaceful weekend camping trip in the English countryside. However, their tranquil getaway is disrupted by a group of cruel local teenagers, leading to a series of events that escalate from uncomfortable to life-threatening. In an unexpected twist, Watkins’ film concludes with a haunting finale that contrasts sharply with typical Hollywood endings.
14 years after its original release, Watkins, working for Blumhouse, decided to re-envision the Danish psychological horror-thriller “Speak No Evil” (2022), a movie that subjected a couple and their child to intense tension during a holiday trip. Like “Eden Lake,” Christian Tafdrup’s “Speak No Evil” concludes in a chilling, ominous manner. When Watkins met with Tafdrup to discuss his American adaptation, it was revealed that “Eden Lake” had inspired some aspects of the 2022 film.
I’m quite fond of the 2022 film ‘Speak No Evil’. I appreciate its gloomy atmosphere, which had a slight resemblance to ‘Eden Lake’. Interestingly, before creating my 2024 film, I conversed with Christian Tafdrup, and he mentioned that ‘Eden Lake’ was one of his inspirations. This created a strange sense of connection.
Eden Lake played a significant role in Watkins’ decision to alter the conclusion of Speak No Evil. He wished to avoid repetition by presenting another grim, artistic finale, although some critics might argue that this new ending leans more towards a Hollywood style. However, he maintains that his decisions were grounded more in American behavior, which resonated with his American actor, Scoot McNairy, during their discussions. In these conversations, McNairy shared with THR that the conclusion of the 2022 Danish film didn’t align with his personal beliefs because his character failed to act when his wife and child were in danger.
During my initial discussion with Blumhouse, I expressed that I had crafted a particularly grim ending for a film and suggested we deviate from this for the characters and third act. This wasn’t out of a lack of sincerity or a desire for mainstream appeal; it was simply an idea born from my own creative instincts. The approach to the third act in ‘Candyman’ contrasts starkly with Christian’s satire of Danish passivity, reflecting how Americans might react to immediate danger compared to the compliance depicted in his original work.
In a chat with THR, Watkins delved into his initial hesitation in casting McNairy and Davis as a married couple because of their established on-screen camaraderie through Halt and Catch Fire. He later shared reasons behind adjusting or eliminating certain significant scenes from the Danish movie.
For many Halt and Catch Fire enthusiasts like myself, the sight of Mackenzie Davis and Scoot McNairy as a married couple in the first trailer for Speak No Evil was quite unexpected. Did you also find this intriguing? Were you aware that their casting would create such an impact?
I’d seen the show. I haven’t watched it deeply, but I admired it. It was interesting because I thought, “Are people going to think I’m being lazy because they’ve both been on the same show?” But I really wanted to cast them both, so I kept thinking, “Oh God, is it problematic that they’ve worked together? Are people going to have those associations?” But then I just thought, “Look, they’re two such brilliant actors. I’m just going to go with this.”
Could you sense any awkwardness between them and their new dynamic in the early days of shooting?
Absolutely, it’s clear they’re masterfully playing characters who are at odds with each other, and that discomfort is what makes it great. They’re so proficient, and while Ben and Louise aren’t exactly Scoot and Mackenzie, they really embraced that dichotomy. There’s a palpable chemistry between them as a married couple, and they skillfully portrayed the staleness and underlying issues in their relationship. They both did an outstanding job delving into those complexities.
Absolutely, it’s true that they offer exceptional acting performances. Mackenzie, Scoot, James McAvoy, Aisling [Franciosi] transform into completely different characters when the cameras roll. And interestingly, Scoot, who owns a ranch in Texas and is fond of guns, bears little resemblance to his character Ben.
How did you manage to take on the task of reinventing Christian Tafdrup’s Danish movie, which was released over two years back?
Although I hadn’t seen the movie, I was familiar with the talented team at Blumhouse, having interacted with them for numerous years since the release of “Eden Lake.” We had some intriguing close calls, and when they shared a link to the Danish film with me, asking for my opinion, I was captivated. Firstly, I admired the movie; it resonated with me in a way that echoed “Eden Lake,” as its bleakness reminded me of that film. Interestingly, before I started working on the project, I spoke to Christian about “Eden Lake,” and he mentioned it was one of his references, creating a strange loop.
Typically, I tend to avoid projects like these, but this 2022 film has captured my interest and sparked an idea for a potential film of my own. The premise, the themes, all of it resonated with me deeply. I felt compelled to delve deeper into those themes and explore them from my unique perspective. Additionally, I wanted to infuse my own style and approach the subject matter in a distinct musical tone. It’s not about replicating someone else’s work; rather, it’s about adding my own twist, and this seemed like an exciting chance to do just that.
Was there an added sense of nervousness for you, considering that the original version of “Speak No Evil” was released just last year, as you embarked on this remake or reinterpretation project?
Absolutely, I understand what you’re saying. You’re creating something that already exists, but you also make an effort to focus on the story itself. Questions like “Is the story engaging? Can I steer it in the direction I want?” come into play. During our initial discussion with Blumhouse, I asked if I could place this project in the U.K. Instead of setting it in America, where I might feel apprehensive because I’m not familiar enough with that world to portray it authentically, I preferred the specificity offered by the U.K. environment. I’m comfortable with characters like Paddy, I understand the culture, and I know the landscapes. Additionally, I can depict Americans who are part of this world, and this change in DNA influences the characters’ behavior and perspective.
In the third act, the behavior and reaction of Americans versus Danes in the face of immediate danger is starkly contrasted in Christian’s satire. America is characterized by its pioneering spirit and ‘can-do’ attitude, which was a topic I discussed extensively with Scoot. He emphasized that it’s unthinkable for an American not to at least make an attempt. This cultural distinction has led to the creation of a Dutch-Danish film and an English-American film that can engage in a thought-provoking dialogue.
It seems you hinted at the fact that the original movie’s ending was incredibly dark and perhaps it was wise not to touch it. I’m pleased you chose a different path. Was it a consensus from the beginning that it would be pointless to reproduce that ending?
Instead of making a cynical choice, it was my personal preference not to follow the same path as with “Eden Lake.” In my initial discussion with Blumhouse, I expressed that while the film was impressive, I had already explored a grim ending in “Eden Lake.” I desired to steer the characters and third act towards a different direction. It wasn’t about catering to mainstream audiences or following orders; it was simply my choice. The underlying theme of compliance arises when everyone is maintaining a veneer of civility, but once someone points a gun at you, societal norms drastically change. At that point, we’re dealing with a new dynamic that isn’t about politely escaping any longer; it’s evident they can’t. However, I believed the characters should retain control within this world, and I thought American audiences would appreciate that sense of agency.
I recall vividly shouting at the screen during the original version, urging the characters to act, whether it was something or nothing, and your observation on their agency is certainly well-taken.
Thank you.
Were you against remaking the shower scene scenario? Could this potential repetition be seen as an additional warning sign for Louise, given her past encounter with Patrick/Paddy in the original where he brushes his teeth without speaking first while interrupting her shower?
Indeed, in essence, we included that scene, but it mirrored an earlier one. Throughout the film, there are numerous scenes and instances where I chose to omit repetitive content. For example, when both pairs travel to the seashore and visit Mike’s coastal cottage, they share a tense dinner, and Paddy and Ciara’s sexual tension is palpable for Ben and Louise. Initially, we filmed over two-and-a-half minutes of Paddy and Ciara dancing to “Black Velvet” before Ben and Louise joined them. The dance culminated in a near three-way embrace between Paddy, Ciara, and Ben. (Chuckles.) I adored it and thought it was some of the best parts of the movie, but it was repetitive. Essentially, it repeated the same rhythm we had experienced previously.
After Ben and Paddy’s exhilarating yell on the hillside, during their bonding moments, I captured a sequence I adored – Ben and Paddy spinning their car across an open field, reminiscent of the iconic “Dukes of Hazzard.” They engaged in high-speed antics, exiting the vehicle, then passing the wheel. However, Jon Harris skillfully crafted a montage set to Spandau Ballet’s music, but it seemed repetitive. Consequently, I’m mindful of our viewers, and while such scenes are entertaining, one can’t help but sense that the narrative isn’t progressing.
Could it be that you found it appropriate to turn Paddy’s “I’m not a doctor” statement into a jest, given that Louise seemed eager to depart anyway, and in the Danish movie, he confessed to lying for an impressive start?
Indeed, I believe that’s correct. It’s quite challenging to recover from such a situation. Similarly, when Ben and Louise return for Agnes’ bunny, there arises this complex scenario involving Paddy and Ciara losing their daughter. This shift in mood causes [the Daltons] to ponder over their actions, leaving them with questions about how they would react. A hint of ambiguity was necessary to maintain credibility. At that moment, Ben and Louise begin to wonder, “Oh dear, have we been the inconsiderate ones?
The way Paddy and Ciara’s marriage is portrayed raises some troubling questions, particularly the “17 years” reference and certain other instances. Could their relationship be an extreme case of Stockholm Syndrome amplified?
Certainly, their relationship seems complex, doesn’t it? There appears to be a troubling element, such as manipulation or abuse, but there’s also genuine affection between them. I believe these contrasting aspects are intentionally portrayed in their story by the creators, serving as a reminder that good and bad can coexist. The paradox lies in the fact that this problematic pair, who undeniably exhibit harmful behaviors, find joy and intimacy in their relationship. Meanwhile, a more stable couple is grappling with their own issues, looking up to the troubled pair as an example, despite their flaws. So, indeed, life’s not always as straightforward as we might wish, and this narrative doesn’t shy away from depicting the complexity of human relationships, even when they involve elements of darkness.
In my view, this film explores the benefits of psychotherapy. The scenes featuring the stuffed animal and the primal scream, along with Louise’s confessional moment by the car, all serve therapeutic functions within the storyline.
Indeed, you’re correct. The concept of honesty is central in that work. Is it apparent that individuals are truthful with one another? Therapy serves as a significant aspect, encouraging self-examination to ask, “Does my portrayed persona or what I present align with my true feelings?” Paddy explores this idea in various ways.
How will this experience inform whatever it is you do next? What will you take with you?
Indeed, my future actions are uncertain, but the aspect of “Speak No Evil” that captivates me is the engaging dialogue it allows with the audience, providing a thrilling emotional journey. I’ve found immense satisfaction delving into the depths of everyday life struggles, particularly in this era of widespread anxiety. The story not only presents a serial killer element but also embodies the underlying tension and apprehension that pervade our current lives and relationships. This is a topic I find intriguing and wish to continue exploring deeply.
By the way, were there any personal experiences from your time as a host or guest that may have influenced the creation of Speak No Evil?
I’ve found myself in circumstances where I wasn’t a houseguest, yet I’ve experienced situations with individuals reminiscent of the Irish stereotype, or “Paddy” type. They can be entertaining for a short while, but prolonged company is not appealing. It’s common to encounter the lifeblood of gatherings, but as time passes, people often think, “Oh dear, I could use some distance from Nathan.” I don’t personally know anyone named Nathan like that, but yes, I’ve definitely felt that energy.
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Speak No Evil is now playing in movie theaters.
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2024-09-14 23:55