For Universal's 'The Invisible Man,' star Elisabeth Moss and writer-director Leigh Whannell modernize the classic movie monster with a female-forward and tech-centric storyline that brings back the scares.
“That was the missing puzzle piece of the script,” Whannell said. “I was happy with the screenplay but I needed that collaboration with Lizzie. We would dissect scenes for hours and we would rewrite the script and kind of do an autopsy on these scenes. I feel like the film became stronger because we were like copilots.”“Yeah, exactly,” said Whannell with a laugh.
“I should have perhaps trained a little bit,” she said. “And then once I got there I quickly ordered an elliptical machine for my apartment. Warming up before takes is different for me. I don’t usually do the plank before a take on ‘Handmaid’s Tale.’ So that was a whole new thing, but it was fun. I felt like I was Jason Bourne, basically.”
“It’s very mechanical,” said Whannell. “A lot of the fight scenes that Lizzie had to do were almost like dance choreography. This disembodied voice would be booming over the set counting out the motion control camera like, ‘And one and two and ...’ and Lizzie knows that on three, she has to be here. And I remember thinking, ‘God, I couldn’t do that.’”
Whannell’s earliest memory involving the Invisible Man dates back to elementary school when he played hooky one day to watch the 1967 stop-motion animation “Mad Monster Party.” Following “Upgrade,” about a quadriplegic who gets a computer chip implant that allows him to walk again and spurs a bloody quest for revenge, that low-humming anxiety many of us feel about the encroaching tech evolution has become a common theme in Whannell’s work.
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