We break down ScreamVI with cinematographer Brett Jutkiewicz, who discusses the legacy of the Scream franchise, working with practical effects, and hopes for ScreamVII
Scream VI is set a year after the Woodsboro killings, with Sam, Tara, Misty, and Chad looking for a fresh start in New York. However, a new Ghostface begins terrorizing them and is once again gunning for Sam. The core four will have to fight to survive this latest string of brutal murders and protect their loved ones with the help of other Ghostface survivors, Gale Weathers and FBI Agent Kirby Reed.
Brett Jutkiewicz on Scream VI Screen Rant: I absolutely love Scream VI. You worked on both Scream V and VI, what has been what has it been like to be a part of the revitalization of such a beloved horror franchise with the next generation of characters? Brett Jutkiewicz: For Scream V, we talked a lot about it as kind of the passing of the baton. It's the first one done without Wes Craven and with these new characters. Obviously, we still had some legacy characters in Scream V. So in that film we really wanted to bridge the gap in a way between putting our own visual stamp on it and getting our own visual identity, but still making sure it fit in the world of films before.
We use the handheld camera work quite a lot for the Ghostface attacks [because we] really wanted to ground these sequences in these spaces and in the experiences that the characters are having in those moments. There's something about that extra intensity with the handheld camerawork and being able to respond to the physicality of Ghostface.
Brett Jutkiewicz: The subway scene was the scene that we talked about a month in prep, in terms of how we were going to achieve it. A big part of that was just the set itself. We went through a few different iterations of ideas of how we would do that and what wound up happening was that the art department actually built that subway car entirely from scratch on our stage in Montreal as well as the platform that they were on.
And then the reveal at the end, that theater space was a practical location in Montreal. A real theater that the art department turned into more of an abandoned looking theater. For me, that space was a big lighting challenge. The characters are moving all over the place and wanting to be able to light in a way that felt dark and moody and appropriate for the scenes, but also gave the actors the freedom to move around.
Brett Jutkiewicz: I'd say generally no. But that being said, because Sam is our heroine in the film, we definitely pay special attention to her hero moments. One that comes to mind is when she is up on the balcony, at the theater, and she's holding Quinn at gunpoint. I had this image in my mind of her being lit by the projector on one side of her face.
Brett Jutkiewicz: I wouldn't want to speculate on what VII would look like, but I would say what I think has been great about V and VI and about what the writers Guy and Jamie did is that they really gave both of those films such a distinct feel and really developed this new cast of characters especially in sixth. We really got to know them better and got to spend more time with them. Which I thought was great.
Scream is very practical effects-driven, especially compared to some of these big blockbuster movies. How do the more practical effects impact your filming process?
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