Watch a heartbreaking escape in ‘Run’

Hi, I’m Aneesh Chaganty, and I’m a co-writer and director of Run. OK So the scene that’s playing out right now takes place in the second act of the movie. Without saying too much, the basic setup is as follows. So our daughter, played by newcomer Kiera Allen, has been locked in her bedroom by her misaligned mother, played by veteran Sarah Paulson, and is convinced she needs to escape. Formally, I think what you’re about to watch is actually one of the few sequences that breaks the film’s aesthetic model. Much of the style of the movie is kind of borrowed from the Hitchcock and Shyamalan movies, and these movies don’t just choose shots because something can happen. They’ve designed frameworks where, say, four or five things can happen. So, to borrow a page from their book, I scripted every frame of this movie by hand before we started filming. You can actually compare the boards to the final movie. Everything is quite the same. So right now, we’re looking at Chloe, who’s this super ingenious, smart, inventive girl, kind of MacGyver a fix out of her bedroom. Chloe uses a wheelchair, so a solution that an able-bodied person could have found won’t work for her. She’s got to get over it with just some kind of pure intelligence, and she does. Every shot inside that room here is repeated from a previous shot in the film. I wanted to be super free with the visuals in this movie and still design frames that could be repeated so that when things start to explode narratively, like right now, it feels like real catharsis. [MUSIC PLAYING] So it was all shot on a stage in Winnipeg. We basically created the second story of her house on a stage, and the first story and the exterior – what you’re looking at now – are all spot on. So we’re sort of getting into the most complex filming process in the whole movie, where this whole sequence is about to bring together so many different skills and elements and days of filming into one. . So she just goes out on her roof. We land on a shot of Kiera in a scene on a set where the roof is actually flat and the walls are tilted to the side. It sounds like kind of really cool – it’s hard to describe, but only movie magic makes it work. So the camera is just tilted. It is in fact perfectly flat on the ground. We just tilt her hair a bit and sometimes blow the wind to the side. And it’s her face pushing forward a bit, and a sort of blue screen behind her. The next shot you’re going to see will be sideways, and that’s a double. But it looks like Kiera because we’ve replaced Kiera’s face on it. And that shot was actually the first shot that we did on the first day of filming. And we had to shoot it the first day, because we shot in Winnipeg, Canada, which is, like, the coldest place ever, and we had to shoot our exteriors first before that. everything is starting to snow. We started filming on October 31, 2018. By the way, the house was chosen because we felt like when we saw it it looked like – you could put it on a movie poster and draw it. and put Sarah Paulson. face up, and it had just the vibe of that old school, the Hitchcock house, so there’s just like secrets inside and everything. It’s a cliché on set, again, on that little false roof made. This is another hit on the set. Obviously, we didn’t put Kiera on a real rooftop with danger. But this whole sequence, we shot over several days. And she still has a bunch of water in her mouth that she swallowed earlier. She plugs in a soldering iron, heats the soldering iron, and places the soldering iron on this glass in the cold, where it immediately begins to crack because the heat expands, then immediately spits water onto the glass. , where it breaks the rest. It’s actually a technique. One of my best friend’s dads is a glassblower and taught me this over the phone. So that’s the end of one of the biggest sets in the movie, which honestly tries to do what we were trying to do with this whole movie, which is take a normal house and turn every part of that house into one. huge Burj Khalifa. -obstacle to scale.