Which, as he pointed out, is a dream for a sound designer. Rehwald truly went for it, and Gates had a great horror movie scream to play with in post-production. We felt confident moving forward with it." It was harsh, grating, dirty, and visceral. We did record some ADR for the moment, which we sprinkled in for the peripheral perspectives, but she nailed it on the day. They did several takes of it on the set, so we had some variations of her screaming, to place in and around when we cut back to the characters at the lobster tank. "The screaming from Kate was performed by her on the day," Gates said: I know they had to enhance it with visual effects and more blood splatter, but it was elaborate."įirst and foremost, Gates wanted to give credit to Rehwald. We want to see the slicer with all the blood and guts. We wanted to do it practically, as far as getting in-camera elements of a prosthetic head going through a bread slicer. It's a prosthetic mold of her head that was made, which was quite elaborate and full of blood. "And then, you have to get it right again with Julia. "You gotta worry about the cake continuity and matching how a stunt actor's face falls in the cake," Heymann said, referring to how Rehwald's character is covered with dessert during her demise. We knew the audience would be devastated."Īs for making the actual kill happen: in the words of Nancy 's complicated. "Shooting something like that was crazy," Heymann said. It's impressive on a technical level, but for the team behind the skull-chopping, it's Julia Rehwald's performance that makes it sing. The scene is a satisfying mix of practical and CG. It showed that this super outlandish scene she came up with we could justify doing." Everyone was jumping around and high-fiving. "The logic was, could a bread slicer actually cut through a human head? The melon was devised that, if it could cut through a melon, it was in the range of possibilities.
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