{"id":250047,"date":"2021-05-14T22:30:28","date_gmt":"2021-05-14T19:30:28","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/darren-lynn-bousman-film\/"},"modified":"2021-05-14T22:30:28","modified_gmt":"2021-05-14T19:30:28","slug":"darren-lynn-bousman-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/darren-lynn-bousman-film\/","title":{"rendered":"#Darren Lynn Bousman \u2013 \/Film"},"content":{"rendered":"

“#Darren Lynn Bousman \u2013 \/Film<\/strong>”<\/p>\n

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\"\"<\/p>\n

Director Darren Lynn Bousman<\/strong> didn\u2019t create Saw<\/em><\/strong>, but he arguably defined it. Following the success of the first film, Bousman was handed the reins of the series<\/a> and transformed it into a decade-defining horror franchise with Saw II<\/em>, Saw III<\/em>, and Saw IV<\/em>. The elements we remember most \u2013 the increasingly gruesome traps, the ensemble of victims ensnared in a series of brutal challenges, the shockingly tight continuity \u2013 were all born on his watch.<\/p>\n

And after over a decade away from the world of Jigsaw, Bousman is back with Spiral: From the Book of Saw<\/em><\/strong>. Less of a direct sequel and more of a separate story set in the world of the previous films, the ninth entry in the series is a police procedural starring Chris Rock as a detective on the trail of a Jigsaw copycat killer targeting cops. This new app<\/a>roach allowed Bousman to make a Saw<\/em> movie without making a Saw<\/em> movie, keeping just enough to tie the film to the larger franchise while forging its own identity.<\/p>\n

\/Film sat down with Bousman to discuss the meeting with Chris Rock that got him back in the director\u2019s chair, the film\u2019s big shift in style from the rest of the series, and the one scene that had to be trimmed to appease the MPAA.
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\nThis interview has been edited for length and clarity.<\/em><\/p>\n

The opening scene is big departure from past Saw<\/em> movies. Fireworks, open city streets, crowds. The first eight movies, even when they open up a little bit, turn claustrophobia into an aesthetic. They very intentionally lean into that low-budget style. Was this a chance to reinvent the language of what a Saw<\/i> movie could be?<\/b><\/p>\n

Yeah, I think when you end up with Chris Rock<\/b> or Samuel L. Jackson<\/b> in a movie, you\u2019ve gotta change it up. I left Saw 4<\/i> and I said I was done because I had felt that I\u2019d done everything. I had done the claustrophobia, I did that. Having a chance to come back and do Spiral<\/i> was a way for me to come back and basically reset everything I thought it needed. I had been watching all of the Saw<\/i> movies since I left, and they maintain basically the same look, the style, the editing \u2013 except Jigsaw<\/i>. Jigsaw<\/i> is its own thing. I wanted to reset it again and say, \u201cThis is a different Saw<\/i> universe.\u201d So it\u2019s got familiarity. You\u2019re going to see the traps, you\u2019re going to see the blood, you\u2019re going to see all those crazy whip-pans. But it\u2019s also going to be bigger. It\u2019s going to be more outdoors. It\u2019s going to be in the daylight, it\u2019s not going to be at nighttime. So yeah, it was a chance to reset the look and the aesthetic of the film.<\/p>\n

There are certain elements that remain, like the speed-ramps. There are just enough touches in there to feel connected to the style of the previous movies. Did you ever sit down and say, \u201cOkay, these are the five things that make a Saw<\/i> movie that have to be in here\u201d?<\/b><\/p>\n

It one hundred percent was. But it was actually the other way: what are the things we\u2019re not<\/i> bringing back? Knowing that this was its own thing, and I say this a lot: this is not Saw 9<\/i>. It\u2019s the ninth installment of the franchise, but not Saw 9<\/i>. I didn\u2019t want to put Jigsaw or the Billy doll in it because they are so iconic to Saw<\/i>. They are Saw<\/i>. So you take those away, and what are you left with? What are the most important things? You\u2019re left with the traps, you\u2019re left with the kind of twisty-turny plot, and you\u2019re left with the Charlie Clouser<\/b> music. So I knew I had those three things. That was how we started the palette off. Charlie Clouser, the traps, and the twisty-turny kind of \u2013 hopefully we do a twist you didn\u2019t see coming. Those are the three things you\u2019re left with, and then we kind of build on top of that.<\/p>\n

The structure is a crime procedural. It has a lot more in common with Seven<\/i> than it would with a traditional Saw<\/i> movie. I know Chris Rock was involved with the story. Was that sort of his angle, to tell this as a detective story?<\/b><\/p>\n

Yes and no. Chris\u2019s big desire going into this was, he wanted more of the tone of 48 Hrs<\/i>. I remember 48 Hrs<\/i>. being a comedy, but it\u2019s not. 48 Hrs<\/i>. is gritty. It\u2019s a gritty crime cop drama that happens to have Eddie Murphy being funny in it. But if you were to take Eddie Murphy out, it\u2019s balls to the wall vicious violence, with Nick Nolte being a badass and drug dealers and prostitutes. So we wanted to lean into the 48 Hrs<\/i>. aesthetic a little bit. But I\u2019ve kind of come to this realization over the past couple of days: Spiral<\/i> is three different movies. It\u2019s 48 Hrs.<\/i>, it\u2019s Seven<\/i>, and then it becomes Saw<\/i> at the very end. So you start off in the 48 Hrs.<\/i> world and it\u2019s kind of like a buddy cop movie. It becomes Seven<\/i> through the investigation, and it ends with Saw<\/i>.<\/p>\n

Spiral<\/em> was initially Chris Rock\u2019s story idea and he\u2019s a producer on the film, so how did you enter this? Was it a case where they said, \u201cWe need a Saw<\/i> guy here,\u201d or did you say, \u201cI want to come back\u201d?<\/b><\/p>\n

No, I didn\u2019t even know it was happening. I got a phone call one afternoon from Mark Burg, who is the producer, and said, \u201cHey, I need you to come in town and meet Chris Rock.\u201d I was in New York, and I was like, \u201cChris who?\u201d I didn\u2019t even process that it was that Chris Rock. My mind just couldn\u2019t wrap around that he would want to do a Saw<\/i> movie. So I flew in town and met with him, and I realized Chris was an actual fan of the Saw<\/i> franchise. He was a big fan. So I talked to Chris for like two hours, left, and got a text message right away from Mark that said, \u201cChris demands you direct this movie.\u201d I was like, awesome. That is so crazy that Chris Rock, probably one of the world\u2019s top living comedia<\/a>ns, was asking me to direct a movie. It was something I couldn\u2019t pass up.<\/p>\n

On the set, were you deferred to as the guy who was there for Saw 2<\/i>, 3<\/i>, and 4<\/i>? If anyone had a Saw<\/i> question, you\u2019re the guy?<\/b><\/p>\n

You know what\u2019s funny is, I\u2019ve been out for fifteen years. So there\u2019s a lot of things that have taken place from when I left to now. Dan Heffner, Mark Burg, and Oren Koules are the three guys who have all been with it from the very beginning. They were all on set every day. So there were a lot of times where I\u2019d want to do a trap, and they\u2019d be like, \u201cOh, we already did that in Saw 6<\/i>.\u201d And I\u2019d be like, \u201cWhat about\u2013\u201c \u201cNo, that was in Saw 8<\/i>.\u201d \u201cFuck!\u201d But I think that they did trust me to do something different. I think Saw<\/i> had been either so much the same or so much different in Jigsaw<\/i>, they knew that I would bring the right aesthetic. I\u2019m a fan over a director. I am a Saw<\/i> fan, I am a movie fan, and I\u2019m a fanboy. I hang out on the chat rooms, the Discord servers, the reddits, and I read what people want, what they like, and what they don\u2019t like. So I think I\u2019ve got my finger on the pulse not only as a Saw<\/i> fan, as a reddit person that\u2019s into horror, as well as a director. I think I was the perfect mix for them to know that I would change it just enough but still have enough of the DNA of Saw<\/i> that fans would still like it.<\/p>\n

Speaking of the traps, this is the first time in a while where a some madman could have gone to Home Depot, bought the supplies, and built these. Was that your goal?<\/b><\/p>\n

A hundred percent. I remember sitting in the theater and watching Jigsaw<\/em>, and I was like, \u201cThat\u2019s not a fucking laser. Are they using fucking lasers? God damn it, you can\u2019t use lasers in a Saw<\/i> trap!\u201d What made Saw<\/i> cool to me, in the first one \u2013\u00a0I mean, I got kind of ridiculous towards the end, but in Saw 1<\/i>, 2<\/i>, and 3<\/i>, they were anything that a person with an engineering background could go to a scrapyard or a Home Depot and build and construct. Then as later films started going on, they started getting more complex and more sci-fi. I wanted to go back to the basics and say, it\u2019s a clamp. It\u2019s just a clamp on a guy on a ladder. The wax is just hot wax being poured on someone\u2019s face. The glass thing is a real thing that exists in glass factories. We just took off the tube and the chute the glass goes into. These are all real things. I think that was important for us, to try to bring it back to more of a basic Saw<\/i> trap. Today, I still think the needle trap holds up to be everyone\u2019s favorite trap because it\u2019s simple. You look at it, you know exactly what it is.<\/p>\n

I talked to horror director Mike Flanagan about why he likes to injure hands in movies, and how it\u2019s because everybody\u2019s hurt their hand. Not everybody\u2019s been in a massive trap that twists your body. When a needle goes into your skin, you know what that feels like. It\u2019s more visceral, even though it\u2019s smaller.<\/b><\/p>\n

A hundred percent. Those are the scariest. I still remember one of the most graphic scenes in a cinema that I saw that sticks with me was a very small moment in a movie called Stir of Echoes<\/i> with Kevin Bacon. A girl is getting pulled on the floor and she reaches in, and as she gets yanked, her nail comes off. I can feel that in my gut, what that feels like, a lot more than you can getting all of your organs ripped out and dumped on the ground. But you know what getting a fingernail ripped feels like. I think those are the ones that always resonate with me the most.<\/p>\n

The most effective gore sequence in Spiral<\/i>, without spoiling it for people who haven\u2019t seen the movie yet, is a scene involving fingers being stretched. I think we\u2019ve all slammed our thumb in a car door, so we have a frame of reference for how this may begin to feel.<\/b><\/p>\n

Yeah, that was a scene that was much longer. That was a big problem with the MPAA. Originally you saw every finger break, every knuckle crack, every bone come out. That was a rough one. Again, I love that trap because it\u2019s all practical. We had this amazing designer, Fran\u00e7ois Dagenais<\/b>, <\/span>who has done Saw<\/em>\u00a02<\/i> through this one, build the hands. So they actually all broke apart the way we show them doing, which was just gnarly.<\/p>\n

Was there ever any pressure to use CGI for the blood? The movie feels very practical, it feels very gooey.<\/b><\/p>\n

We use very little CGI in this. It\u2019s only there to augment \u2013\u00a0we\u2019ll remove blood lines, for example. We will get rid of some beauty touches. But it\u2019s all practical, and we have a great effects team that does it all real. Even the guy getting hit by the train, that\u2019s all real. He has a prosthetic tongue that he\u2019s biting on to, and when he gets hit, that\u2019s a real guy exploding. We have a mannequin that we built that actually is hit that explodes. So I\u2019m really excited about that. We try to stay away from as much CGI as possible.<\/p>\n

We recently ran an article on the site about\u00a0Saw<\/i>\u2019s legacy, and our writer astutely pointed out that when people were saying Saw<\/i> is just violence fifteen or twenty years ago, we were living in a post-9\/11 world. People were thinking about torture. People were thinking about feeling trapped. Saw<\/i> was reflective of its times in a way that people didn\u2019t give it credit for at the time. Spiral<\/i> is wearing its social messaging on its sleeve, with its story about police corruption. How much did you lean into that in this movie, having your message on your sleeve in a more vivid way than the original movies did?<\/b><\/p>\n

It\u2019s crazy how timely the movie has become in the last year. We wrote it in 2018, we shot it in 2019, and it sat on a shelf in 2020. In that time, we have all these insane tragedies take place, whether it be Breonna Taylor or George Floyd, that none of us could have imagined. But then again, maybe we could have imagined it, because it was happening back then as well. In any of the messages of the early Saw<\/i> films, it was Jigsaw [and his apprentices were] trying to reform. They would say, \u201cYou\u2019re a drug addict, and we\u2019re going to put you in this horrific situation and show you to appreciate your life, individually.\u201d We wanted to elevate that message and progress it\u2026in an institution. So we said, \u201cWhat are corrupt institutions we can look at?\u201d Instead of taking an individual, we\u2019re taking an entire institution. So even though it is individual cops, it is all the police now who are putting up a mirror: have I done anything? Am I a target for this? I think that was a much more interesting idea as we move forward: moving away from individuals and looking at institutions. Whether that be Big Pharma, or Wall Street, or banking systems, or the church. I think that, to me, is where we will see Saw<\/i> going, hopefully if this thing continues.<\/p>\n

***<\/p>\n

Spiral: From the Book of Saw is in theaters now.<\/em><\/p>\n

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Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

“#Darren Lynn Bousman \u2013 \/Film” Director Darren Lynn Bousman didn\u2019t create Saw, but he arguably defined it. Following the success of the first film, Bousman was handed the reins of the series and transformed it into a decade-defining horror franchise with Saw II, Saw III, and Saw IV. The elements we remember most \u2013 the…<\/p>\n","protected":false},"author":1,"featured_media":250048,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Spiral-Director-Interview.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1568,35387,1570,1406,10294,14746,30493,70613],"class_list":["post-250047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-featured-stories-sidebar","tag-darren-lynn-bousman","tag-features","tag-horror","tag-interviews","tag-lionsgate-films","tag-saw","tag-spiral-from-the-book-of-saw"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/250047","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=250047"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/250047\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/250048"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=250047"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=250047"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=250047"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}