Do you find that everywhere you go people wanna talk to you and is there a certain film that everybody wants to talk about? How is it when you travel the world? Because you’ve been in so many, I’m gonna use the term “iconic” movies, so many huge films that resonate with a lot of people. 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. He said exactly: “ Fatal Attraction in the age of social media.” Do you agree with that? But yeah, after a few hours you’re kind of like, “Can I stand up?” but other than that, it’s a great obstruction to perform with.Įli mentioned this in his director statement and I would agree, it’s like a Fatal Attraction for the social media age. How about over his…?” but that’s part of the reason why I did it. He was like, “No, put another wrap around here. But yeah, it took two people to do it because it was artistic, right? It had to look real, but then it also had to have a pleasing aesthetic to it, which Eli designed. It would have been tough to get out by yourself.
Is that uncomfortable to film? Because you’re really tied up. 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.
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