Spoiler alert: This article discusses the plot and ending of “Existence,” now in theaters to enjoy.
As with many ghost stories, the presence in “Presence” is an excellent reason to hang out.
After watching the Payne family turn against each other, Bougie Abode's appearance drifts in with their newly acquired possessions, saving many of the ragtag residents in a huge gesture. It's imminent that drug-fuelled Chloe (Callina Liang) is about to be murdered by her new boyfriend Ryan (West Mulholland), so the ghost is waving downstairs, awakening her brother Tyler (Eddy Maday) from the slumber caused by his personal roofie ). Tyler hurried to the stairwell and down the hall to the bedroom to break up Ryan, who had already killed one of Chloe's partners , and treat it as an overdose. During the melee, the two boys suddenly flew out of the second-floor window. Then, their bodies appear to be seen littering the driveway.
“I don't know where or why the men are coming from here. I do know that it's actually disgusting,” screenwriter David Koepp said, discussing the ending in a Zoom interview. “I have raised 4 young adults – two of them young adults. Over the years, I have discovered that your children are a painful know-how. I have a lot of fears, and maybe those are a little bit in that writing.”
After a sudden reduction to black, the “presence” begins to close. One day, Payne's family was buried again after their son. The house has now been cleared, but mom Rebecca (Lucy Liu) still feels the last of things inside. After being present in the lounge, she burst into tears when she saw her son's reflection in the mirror.
As with the medium shown in the earlier scenes, there is linearity, a confusion of earthly time, and the taking up of previous horrific moments. As the appearance is of Tyler, the film's occasion is reframed from the perspective of the recently departed soul, who once again wants to take action against the callousness he confirmed in his sister's direction and save her, and in a possible act of repentance, sends him Loss of one's own life.
“Presence was there to help them, not hurt them. Was there to save many of his sisters,” Cope said on the finale. “My principle is that every time you make a brand new ghost story, you have to provide a reason why people can see ghosts. One way is through trauma. After one incident in my life that I became proficient in Occasionally, I am more concerned about the world and other people than I would be in other situations. If you encounter your own struggles, you will notice the struggles of others.”
For director Steven Soderbergh, “Presence” represents an effective, recent formal dare: to fully shoot a horror movie from the perspective of an unidentified ghost. However, the preconditions for Koepp's return home are high. His second feature as director, the supernatural Kevin Bacon thriller “Echoes of Echoes,” begins with a shot of a toddler turning to stare down the barrel of a digicam, revealed to be the Phantom.
Koepp has established himself as one of Hollywood's preeminent screenwriters since Steven Spielberg recruited him to work on “Jurassic Park” when he was in his twenties. In between spectacle options, however, he usually returns for extra set pieces, like David Fincher's house-invasion thriller Panic Room or Soderbergh's personal techno-skeptic “kimi” (last three years). However, “Existence” puts science in a dark place rather than an ordinary place. He shared that after starting work on the script, he started dreaming from the ghost's attitude. After waking up from these, he moved to write immediately, placing most of his works in the early hours of 6:00 am
“After I first noticed the film's reduction, I was once struck by the idea of a voyeur and the way it made it feel more real,” Koepp said. “You're literally a fly on the wall. You're It's bugging. You're looking at an item that's not supposed to be, and it brings a level of reality to it that's not relevant to any business.”
How do you write a script accounting for this formal premise? Are you blocking the being or scripting its mental state?
I just use “we” in my scripts on a regular basis. “People start yelling at each other. We get anxious. We leave them alone again.” Or, “We've seen enough and are bored and diverted.” You would write this positively as a personality. How humor is pervasive. The character of the Ghost in this film was played by Steven Soderbergh: He Digitized. He needs to crawl in an acceptable way. The ghost is great, so you'll usually see it again away from cover in a scene or in a closet. Digicam behaves like that character.
Many viewers don't know that the film is shot from the ghost's perspective, rather than seeing it. Did you feel like this required the premise to announce itself to the audience at an unspecified time in the future in the film?
One of the many reasons Steven explores the house the way he does in the opening sequence is that he needs to say, “Look, this is anybody's point of view.” Audiences are savvy. Horror viewers see a lot of formal invention as the filmmakers supposedly try to make the style fluctuate. But when you get 5 or 6 minutes into the movie, you notice, “Oh, there's this whole factor.”
I'm not even thinking about someone stop Seen from a ghost's perspective.
Steven felt early on that it shouldn't be an extended film, due to the price range, but the idea was a strong one due to the aesthetics. Eighty-five minutes is a lot. After that, we'll really start to really feel the vanity of it and never like it more. My script constitutes a shutter effect. But Steven needs to take advantage of the fade because then he might rely on the long, long length of it or the long, long length of the scene that he feels we want to digest. These are the consequences of every scene needing to be a situation. So always lowering to black will remind you of the time. In any other situation, it might have been too shocking.
Callina Liang, Chris Sullivan, Eddy Maday and Lucy Liu in “Presence”
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I'm half-Asian, so I'm always wary of buying a movie with a half-Asian family. They're rare enough that everyone has a sense of being famous. Is it the race of the character written into the script?
Steven demands: “Can she be Asian?” Maybe he has Lucy's mind and that's why. I believe: “I don't see any reason why not.” He probably feels your job, which is what we see a lot. That was my old “Echo Stirring”. I didn't want to see an upper middle class family in a stunning home because you see that in every ghost story. Couldn't this be working class Chicago? You get to see some completely different individuals in the movie. It makes the problem really feel like an extra practical reality and raises fresh questions.
You talked in an earlier interview about Soderbergh always pushing you to adhere to the concept of the film. This concept?
This is his. My concept became “Kimi”. He saved saying, “You actually bought the try.” We had a new concept and he jogged my memory in many instances. It's just been a busy year. We were having dinner one night and he said, “I want to do something from the perspective of a ghost. I want to do all of this in a home, which is a family.” All of this simply rang a bell for me. I like a narrow story. I like the limitations of aesthetic concepts. I really feel like these limitations really stimulate creativity. They force you to think about the way you've been doing the problem recently.
Did he give you a lot of general stories or paths to identifying beings?
His only problem was, there was a house inside. It starts with a home certified by an actual real estate agent. This family actually needs to be disrupted. I went from there. We do it quickly. The opposite factor is that a strike is coming. I started giving it to him every week well in advance of the writers’ strike. He bought immunity and shot. It's been a real bummer since I can't pin it down. I don't see him doing that, it's so unhealthy. I used to be very curious. However, many things happen quickly. It is those who endlessly resort to means that never discover their own means.
The films won't unfold in a restricted setting, but do you find the excitement of restrictions when writing a long-term property like “Jurassic” or “Indiana Jones?”
These are more durable due to the lack of restrictions. The main “Jurassic” is the dawn of CG. i ask steven [Spielberg]”Effectively, what are my limitations here?” He said, “Just your creativity.” I used to think, “Well, effectively, that's a little hostile.” But, no matter what we felt, we always In making up, then he sees if we can determine it. These are big movies, so there's a lot of expectations, there's some huge cash. The level of stress and tension around you has increased a lot. In this regard, due to its smaller price range, Steven himself paid a lot, so there is a whole range of approvals that are not up to date.
Jonathan Bailey and Scarlett Johansson in 'Jurassic World Reborn'
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You've returned to the “Jurassic” franchise to write “Jurassic World Reborn,” which will be released this summer. What was the impetus behind that homecoming?
The main two movies are two of my favorite experiences. Steven said, “What about starting from scratch? Let's try all new things.” I said, “Oh, that's a cool concept. What if, wait, wait, wait,” and then I came up with one again concept. That's it. It caught. You can try this regularly with your people and collaborators: throwing concepts forward and backward. Usually, they catch, usually not. Since it's going to be priced at some serious cash, there's going to be huge expectations, and blah, blah, blah. However, there was no pressure at first – just pursuing our concept.
You don't even have a supply novel, is that suitable?
no. I reread both novels, though allowing myself to reacquire myself in this mode again. We did take some questions out of it. There's a sequence in the novel that we always need in a real movie, but there's no room for it. We always thought, “Hey, we could take advantage of this now.” But just to get to that headland again 30 years later – was it enjoyable nonetheless? And the answer is yes, but it is. Still, the dinosaurs are enjoyable.
This interview has been edited and condensed for readability.
