![]() I mean, I think for me I’m interested in what happens to the guy and in this world. I guess I have one more question, do you envision this for you as a new franchise? Because the first one was so, I mean critically, people loved it and it did very well, and if the second one performs, is this something that you’re really down with the character, did you think this could be a franchise? 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. One of the things that resonates with everyone who has seen the movie is: you don’t fuck with the dog. What was unexpected is that he had. they call it “Chilewood”, him and Nicholas Lopez, and their company Sobras, they had a house, actors, performers, they work with technical crew, actors, actresses, directors, writers, they have a whole community down there, which was really cool to be embraced by and to work with. REEVES: It certainly wasn’t an impediment or anything that was like, “Oh, no, not Chile!” I like to travel, so I like going to other places to work. Was that one of the appeals of the project, being able to film down there? 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. Because the girls use it in a way I think it’s hinted at that they surveil him, and they know more about him than he’s expecting them to know, and it’s because of how he’s using or misusing social media, I guess.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? I mean, I think it’s the Fatal Attraction with social media.
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