Knock knock ana movie#

REEVES: We’re scheduled to start at the end of October, maybe. So there’s definitely that influence of the other world - the Continental world, the look, the feel, what is about the movie, what made people like it - is definitely being payed attention to and the world opens up in this chapter. I mean, Chad and the writer, Derek Kolstad, they’ve really listened to what people have enjoyed about the work and how they speak about it. Does that hotel, that inner world, is that part of the sequel? It was like a world within the world and it was just really cool. One of the things I loved, and everyone loved, was all the stuff at the Hotel Continental. REEVES: I don’t know if it’s to top that emotional hit, but it’s certainly to have an emotional hit like, “Why tell the story? Why do we need to do this again? How do we do that without doing another dog?” So we speak about John Wick, the next chapter, and what is that emotional hook, what is that? So I think we have a good idea of that. So I guess what I’m saying is, that has a very strong emotional resonance, so is there a pressure to top that emotional hit, if you will? There’s that emotional connection where everyone is like, “Just kill them all”, based on that.

Knock knock ana movie#

One of the things that resonates with everyone who has seen the movie is: you don’t fuck with the dog. What’s he doing?” So it was pitched and then I spoke with Eli, he was in Chile so we Skyped, and we spoke a bit about his vision and I got the script, read it, thought it was awesome, and we spoke again and I was like, “I’ll see you in Chile.” I got a call from one of the producers on the film, Cassian Elwes, who I’d worked with before and he said, “Listen, there’s this project called Knock Knock with Eli Roth,” and right away I was like, “Cool, man. What was it like meeting with Eli? How did he pitch it to you? Was it an immediate “Yes”? Talk a little bit about the genesis of how you got involved. But in terms of the big picture there was no like, “Oh that scene got cut,” or, “Maybe this should go here,” really. We could rehearse the scenes and they could talk about camera angles, etc. It was also a way for Eli and the cameraman, the cinematographer, to work out their shots. Because there was a lot of choreography, there’s like this musical chairs during the seduction scene, we had to work through the violence, and while we were rehearsing the scenes the dialogue was getting tweaked. We rehearsed so much that basically we were all off book and it basically turned into a play. If anything, it was we rehearsed for 4 or 5 days in the house. Is that uncomfortable to film? Because you’re really tied up.įrom when you got the project and when you met with Eli to what people are gonna see on screen, how much changed along the way? There’s a lot of this film that you’re tied up, that you’re sort of in captivity. Was that the take that you asked to redo, was that the one that was used? You’re like screaming, it’s a really good moment. I don’t wanna get too spoilery, but you’re really putting it out there.

we shot it once at the end of the night and I asked to shoot it again and then Eli was cool enough to do that.

Coming to mind, the character that I play – Evan – in a particular moment, he thinks he’s going to die, that the girls are gonna kill him, and he basically pleads for his life kind of saying, “Why? Why? You did this to me!” It’s his kind of plea, his aria of self-defense. When you think back on the making of the film, is there a day or two that you’ll always remember, like a memorable moment? Collider: So let’s jump into why I get to talk to you today.