‘Speak No Evil’ Director Explains Why His Remake Changes the Original Ending and How Trailers Keep Showing ‘More Than Filmmakers Want’

As a film enthusiast with a keen eye for directorial vision, I must say that watching the interview with Joe Cornish was a delightful experience. His insight into the creative process, particularly when it comes to working with talented actors like James McAvoy, is truly enlightening. It’s fascinating how he describes the best actors not as those who act, but rather those who are.

SPOILER ALERT: This articles discusses plot details of “Speak No Evil,” in theaters now.

When it came time for “Speak No Evil” director James Watkins to draft a screenplay inspired by the 2022 Danish horror film of Christian Tafdrup, there was a specific individual he envisioned embodying the role of a distraught, mad father.

When I envisioned the leading role in that movie, I found myself imagining James McAvoy in it. Although there are undoubtedly many other talented actors who could have excelled in this part, I couldn’t shake off the feeling that he was the perfect fit for my vision.

The reimagined story revolves around a British clan, consisting of James McAvoy and Aisling Franciosi, who extend an invitation to an American pair, Mackenzie Davis and Scoot McNairy, for a tranquil getaway at their secluded rural residence. However, the American visitors soon discover that not everything is as it appears, leading to chaos and turmoil.

In this piece, Watkins explains his reasoning behind selecting “Cotton Eye Joe” for a choreographed sequence, shares insights about the process of re-creating a foreign movie, and talks about his choice to alter the grim, exceptional finale of the original production.

What made you decide to remake a foreign film?

Previously, I’ve been presented with opportunities to remake films, but I didn’t find appeal in them. It seems that a genuine affection for the source material is crucial. Yet, there must also be a chance to infuse your unique perspective or introduce something new into it. If not, I don’t find merit in recreating the exact film as it already exists and is well-received; people can simply watch the original. It was more like, “Alright. I admire this narrative, I appreciate these themes. I can envision ways to expand upon it, replace it, approach it from a different angle, whether that be stylistically, culturally, thematically, or in character development.

Do you remember the first time you saw the original Danish film?

After not having seen it before, I received the movie from Blumhouse with a suggestion to take a look and see if there might be something beneficial for me. Upon watching Christian Tafdrup’s film, I was deeply impressed by its haunting bleakness – almost like a refreshing palate cleanser. The relentless nature of it left quite an impact on me, and the ending was incredibly powerful. Interestingly, I made a movie called “Eden Lake” with a similar bleak and unforgiving conclusion, which also served as inspiration for Christian’s work. Thus, there seems to be a recurring theme or cycle in our creative processes.

I initially proposed altering the finale’s setting, with the U.K. being the first suggestion I shared with Blumhouse. I explained, “If I can pull this off in the U.K., I believe it will feel authentic.” The characters and settings there are familiar to me, and they aren’t just stereotypical. However, I also wanted to incorporate American characters. Having lived in England and America, I thought, “Since these Americans would be involved, the cultural clash they experience would significantly impact Christian’s themes.

The original film focused on the cultural differences between a Dutch and Danish family. How did you try to translate those themes and cultural disconnects to a U.K. and American family?

There’s a kind of a cliche that Americans are very open and Brits are very repressed. But I think also there’s a sort of tribe of Brits, like Paddy, who are very Falstaffian, and really in your face. And there’s a type of Harvard educated-East Coast American that is quite repressed.

What was the writing process of building off of something that already existed?

Admittedly, it wouldn’t be truthful to deny its significant impact. Every step, you find yourself pondering, “Why did they do that? I think I’ll go this way instead.” Much of the hard work has already been accomplished. I felt compelled to inject more humor into the mix. Christian’s film carries a certain minimalist charm. Just the other day, I mentioned to McAvoy that Christian’s film is like an acoustic song, while ours is electric rock. Essentially, it’s a reinterpretation, shifting the musical tone slightly. Enhancing the humor made the horror more bearable for me. In much the same way as directors I admire, such as Ruben Ostlund, they appreciate the uncomfortable humor, the social awkwardness. “White Lotus” does this too. It’s that feeling of, “How would I react in that situation?

What made you choose to change the original ending?

In Christian’s movie, the theme of how refined societal norms can restrict individuals is explored fully. I aimed to reach this climactic point during the second act. Afterwards, I wanted to delve deeper into this concept because of the imminent peril. Scoot McNairy portrays a character who feels discarded and sees Paddy as a flawed mentor offering traditional masculinity. Ben is drawn to this and believes that this unconventional couple will provide therapy for him, envisioning it as an unusual weekend retreat.

Interestingly enough, in the final act, the very model that Ben holds dear is exposed as flawed, while his understanding of masculinity also proves false. Instead, it’s his wife who emerges as the true hero, and the traditional concepts of masculinity associated with strength are revealed to be hollow and misguided. This isn’t about gender roles; it’s about true strength and character.

In addition to Ant, the young boy, I aimed to explore that recurring theme, mirroring Philip Larkin’s poem about violence being cyclical: “One hand claps another in misery.” There’s a complex feeling regarding Ant taking Paddy’s life. While some may seek the emotional relief from this act, it certainly isn’t a typical Hollywood ending. Instead, it resembles a European interpretation of such an ending. It’s not triumphant; rather, it’s somber and does not offer a simple resolution like “Our troubles are over.

Although your version doesn’t necessarily have a fairy tale happy ending, did you ever think about making it even bleaker than it is?

People may have varying perspectives on whether their relationship has truly healed or not. Yet, the underlying melancholy cannot be ignored – it resonates in the music and is clearly etched on Dan’s face. They’ve managed to endure, but things are far from being ‘back to normal’. It’s not as if everything is fine and dandy again.

The Danish film came out in 2022. What was the reasoning behind remaking it so quickly?

It was just a good story. I try not to look outside. For me, if it’s a good story, is it worth telling? Can you add things to it? I mean, Christopher Nolan made “Insomnia” not very long after the Norwegian original. The two films can and should co-exist and have a conversation with each other. If they’re both doing exactly the same thing. This film’s brought something slightly different, but honors Christian’s film. Sometimes people go, “Well, why the hell did you do that?” But if you watch the film with an open heart, I think it answers the question.

What was it like working with James McAvoy, directing him and seeing his acting process?

James stands out as a true gem in the acting world. He’s arguably one of the most skilled performers I’ve had the pleasure to collaborate with. Our cast was exceptionally refined, allowing us to continually uncover fresh layers and interact dynamically, much like a game of tennis. However, James is remarkably laid-back on set. But once he’s in character, there’s no mistaking his dedication. He seems fully immersed in the role, yet there are moments when you might comment on something he’s done, and he might respond as if it were an unexpected action, saying, “Oh, did I do that?” The most gifted actors, they don’t merely act; they embody their roles.

Was he at the top of the list for actors you wanted?

In essence, it’s rare for people to land the top choice on their list, but I found myself in that position. I often collaborate with Jon Harris, an editor who has worked extensively with James, and when I was drafting my script, I felt compelled to send it to John for his feedback. He reacted by saying, “It seems McAvoy is the one, doesn’t it?” To which I agreed, as I hadn’t really considered any other options. Although there are undoubtedly many talented actors who could have played the role, while writing, I visualized James McAvoy embodying this character. His performance in “Filth,” where he portrayed a despicable character yet managed to evoke such profound sadness, solidified my choice. Despite his reprehensible portrayal, there’s something about James that keeps you invested.

There was a lot of buzz around using “Cotton Eye Joe” in the film, especially from the trailer. Did you write that specific song into the script?

It’s unclear if the script specifically mentions “Cotton Eye Joe,” but it was definitely stuck in my mind. I considered using “Crazy Frog” instead, but it’s simply too grating. The catchiness of “Cotton Eye Joe” and the farm setting made it appealing. There’s a rustic feel to it that fits well with our theme. I can dress the kids up in appropriate outfits for this song. It also tells a certain story, and with Paddy, there’s a nostalgic element. He seems like someone who listens to music from the 80s/90s. That era might have been his prime time. I envision that period as being significant in his life.

Part of the big reveal is shown in the trailer. How do you keep a balance between drawing people in, but also keeping things hidden?

As a filmmaker, you don’t create the trailer; instead, you observe it and react to its impact. In today’s world, trailers often reveal more than filmmakers intend, aiming to attract viewers towards the movie. They do this remarkably well. It can be tempting for a filmmaker to insist on a particularly stylish poster, but then realize that such focus may not draw audiences. These professionals are highly skilled and knowledgeable about their craft. The way they analyze and strategize is truly remarkable, offering a unique perspective on the creative aspects of our field.

This interview has been edited and condensed.

2024-09-14 20:47