Director Michael Giacchino on how color affects the gore, where it takes place on the MCU timeline, if the characters will continue, & more!
The Big Picture If you missed out on Collider’s theatrical screening of Werewolf by Night in color, fear not, readers! Following the very first big screen showing of the Disney+ Marvel special, Editor-in-chief Steve Weintraub sat down with the director, Michael Giacchino, for an extended Q&A.
Now that has been out and the reaction has been so positive, what was it like for you when it first came out and all the reviews were positive, and everyone was like, “Oh, this is really good?” You know, I had been talking to Kevin Feige over the years. He knew, not necessarily about directing, but he knew I wanted to do that, he knew I wanted to get back into that. One day, we were just talking, and he just said, “Well, if you wanted to direct something here, what would you want to direct? What would it be?” And I was like, “Werewolf by Night.” He's like, “What? Werewolf by Night? Everyone always asks for Spider-Man or, you know, the giant stuff.
The funny thing was, when you're making this stuff, you do test screenings, and you show it to people, and you see what the reaction is, and the first time we showed it, no one got it. No one got it. So many of the responses were, “Where's Doctor Strange? Is Captain America gonna show up? Doesn't Spider-Man…?” And I was just like, “What?” And I remember Kevin looked at me, and he goes, “Did we break the audience? We might have broken the audience.” I was like, “I don't know.
GIACCHINO: Yes. I wanted to do it in black and white. They were not sold on that immediately, so they said, “Shoot it in color, and then we'll see.” Now, when you're shooting something for black and white, you light it very differently than you do when you're lighting for color, so it was a little tricky. Our DP, Zoë White, who was incredible, she set up a special monitor just to have the black and white so we could review black and white as we were shooting.
GIACCHINO: Raiders of the Lost Ark is one of my favorite movies of all time for so many reasons because it was made for a price made on a schedule that was really tough, and it was where Steven really learned how to juggle and get things done on time on budget.
GIACCHINO: We did it as we were finishing the black and white one. It was always planned as a thing to, after we finished the black and white, “Let's go back and let's see if we can make a color version. Let's see what would that look like to us.” We were all interested in what that would be, and especially as a fan of Hammer and horror films.
You obviously have to make this on a budget, and so I'm curious: you have moments where you can quote-unquote spend money, so how did you figure out, especially in the writing process, “Where are we gonna spend money? Where can we play?” GIACCHINO: There's always talk. But, you know, until somebody decides to spend a penny, nothing happens yet. So, hopefully. My wish is that, yes, there will be more with these characters. I would love to, and I have ideas of what I would love to do with them, and it's all crazy and nuts, but I think that's the only way to go about it. So, hopefully, one day. Hopefully, one day.
GIACCHINO: There's a really good shot that that'll be the next one that goes, yes. Them! was a film in the 1950s about giant ants.
GIACCHINO: Oh, yeah, always. There's a million things I could have done better, but I didn't. And those things will always haunt you, but it's okay. As long as everyone has fun with it and enjoys it, then I can let some of that stuff go. GIACCHINO: I think, like the music I write, I like to try a lot of different things. I love this genre. I think it's awesome. It's really the best, and I wanna try other things, and then obviously, with them, that would be something. But yes, I want to try different things, as well. I like small stories, too, human stories. I like stories about growing up and things like that.
The issue is that Raiders is here, and no matter what they do, it will never beat Raiders. Raiders is just a masterpiece beyond a masterpiece. GIACCHINO: It's emotional. It's very, I would say, also scary and slightly terrifying but also uplifting in a way.
AUDIENCE: I'm a director-editor, and while I'm shooting something, I always like to think about the edit in my head while we're shooting, so I was wondering what your process was like when directing something like this? Are you thinking about the composition while you’re shooting? AUDIENCE: How did you approach composing this score as the director, as well, for a project of this size?
GIACCHINO: I thought we had just had an hour of classic, it was time to shake things up and just do something slightly different. And also to say that, “Look, while the story feels like it's set in an older time, it's actually a modern story.” This is a modern story being told about people who need our sympathies and people who need our help, and to look out for the people around you in your life that may not be asking for the help but may need it.
GIACCHINO: I mean, we have an idea of what that was, that there was someone that he loved very much at one point in his life, and who knows where it falls in his timeline if he's 400 years old. I don't know. But I can imagine there was a time where he lost somebody and maybe this worked one time for him. I don't know. The idea was that whatever it was, it was a painful memory.
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