Behind the Scenes Compilation from the movie Insidious: Chapter 3 (2015).
Insidious: Chapter 3 is a 2015 supernatural horror film written and directed by Leigh Whannell in his directorial debut. The film is a prequel to the first two films and the third instalment in the Insidious franchise. The film stars Dermot Mulroney and Stefanie Scott, with Angus Sampson, Whannell, and Lin Shaye reprising their roles from the previous films.
By September 2013, a third instalment in the Insidious series was announced, with Whannell signed on to return as writer and Jason Blum and Oren Peli set to produce. Screen Rant reported that the third film would not focus on the Lamberts, but on a new family and story, and would not connect to the last scene in the second film. Principal photography began on July 9, 2014, in Los Angeles under the title "Into The Further," on a scheduled 29-day shoot. Filming wrapped on August 18, 2014.
The film was released on June 5, 2015, received mixed reviews from critics and grossed $113 million against a budget of $11 million. A sequel, Insidious: The Last Key, was released in January 2018.
Insidious: Chapter 3 is a 2015 supernatural horror film written and directed by Leigh Whannell in his directorial debut. The film is a prequel to the first two films and the third instalment in the Insidious franchise. The film stars Dermot Mulroney and Stefanie Scott, with Angus Sampson, Whannell, and Lin Shaye reprising their roles from the previous films.
By September 2013, a third instalment in the Insidious series was announced, with Whannell signed on to return as writer and Jason Blum and Oren Peli set to produce. Screen Rant reported that the third film would not focus on the Lamberts, but on a new family and story, and would not connect to the last scene in the second film. Principal photography began on July 9, 2014, in Los Angeles under the title "Into The Further," on a scheduled 29-day shoot. Filming wrapped on August 18, 2014.
The film was released on June 5, 2015, received mixed reviews from critics and grossed $113 million against a budget of $11 million. A sequel, Insidious: The Last Key, was released in January 2018.
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Short filmTranscript
00:00Insidious is kind of the definition of what scares you most is what you can imagine as
00:09opposed to what you see.
00:10Should we try rehearsal for camera?
00:11And action.
00:12I love how creepy they are without being like gory and bloody.
00:17It's more about pain and the anticipation of fear.
00:22It's an incredible story.
00:24I knew the other films, so I, like any fan, when I realize that this is an origin story
00:30or a prequel, it's great.
00:32And patches together a lot of the details that would start the other films.
00:37So it's really kind of ingenious in its own right, just that it is going somewhat back
00:43in time.
00:44We're set.
00:45And action.
00:47As anyone who's seen the first two films knows, the character of Elyse, played by Lin Shaye,
00:52is dead.
00:54The hardest thing was killing her character in the first film, because now I'm like, okay,
00:58I want Lin to be in all the other Insidious films still, but how do I bring her back?
01:03In most scary movies or paranormal movies, there's usually a paranormal expert or someone
01:07who talks to spirits, and it's very hard to make that person feel credible.
01:12And one of the reasons Lin's role is actually a lot bigger in this movie, and we had her
01:17in the first and second movie, is Lin is great at selling the idea that she really does actually
01:23talk to ghosts.
01:24Like, somehow when you see Lin play that part on the screen, you believe she's doing what
01:28she's doing.
01:29Come on.
01:30Wait.
01:31I felt like the best way to kind of dive into her character was to go back in time and see
01:37what she was like before the film.
01:39And the more I was writing the script, the more interesting that idea became.
01:42Oh.
01:43Elyse has become very dear to my heart, and I was very excited at the prospect of reprising
01:50her and developing her more.
01:53That was, for me, the most exciting part.
01:55I started seeing the story as one of the retired gunslinger who kind of comes back out of retirement.
02:00That classic Western story that's been told in so many different genres of, you know,
02:06the former ace who's now in retirement who gets kind of lured out.
02:10When we meet Elyse in the first film, she's kind of, you don't know much about her.
02:15You just know that she's this kind of normal woman, or so she seems, you know, who has
02:19this ability and this gift to help other people.
02:22I was able to unfold who she was and what it is that she goes through to become the
02:29person we meet in the first movie.
02:30Very emotional scene for Lynn.
02:33I know it's not ideal to roll on the first one before you've figured yourself out, but
02:37I just want to do it for Lynn, if you guys are cool with that.
02:41And action.
02:42But now there's someone on the other side who keeps telling me she's going to kill me,
02:51and I think that I have seen her before.
02:53I like the intimacy of what you're saying.
02:55Okay, but was that too quiet what I just did?
02:57Yeah, it's okay.
02:58It's okay.
02:59I mean, I won't make it too quiet.
03:00Yeah, okay.
03:01I want to make sure that I look around and I make sure people aren't listening to us
03:04because they're...
03:05Yeah, exactly.
03:06And I like the way you're pulling her off because it really, it instantly conveys to
03:09the audience that what you're saying is a signal.
03:12She's so terrified by it and she really believes that she's going to die, and we discover through
03:15the course of the film that this figure that's haunting her is the bride in black.
03:19She doesn't know it yet, but she's almost seeing a premonition of her death in chapter
03:23one.
03:29People love the time-travelling element of chapter two, and so I thought if we could
03:33have Elise experiencing these premonitions of her own death, it would give deeper meaning
03:38to the first film because you realise she goes into that first film almost knowing she's
03:42going to die.
03:43She's seen this house before.
03:44After a year of not doing this, it's a big deal.
03:47Big deal.
03:49But everything else is great.
03:50We're going to do it one more time.
03:51It's kind of a contrasting story of Quinn and Elise.
03:54They kind of mirror each other in a way, you know, they're both dealing with loss, they're
03:58both at a weird point in their lives, and I think they kind of both end up helping each
04:05other out.
04:06It's a really hard time in her life being 17, about to graduate high school, trying
04:10to find the right college, any kind of situation that a normal teenage girl goes through, except
04:15I don't have my mum there to talk to about it.
04:17And she just really wants some advice with her mother and she's so desperate to talk
04:20to her that she goes to visit Elise.
04:22Okay, quiet everyone.
04:24Deadly quiet.
04:25And action!
04:27Watch your step.
04:31Wow.
04:33I love the style of your house.
04:34It's so cool.
04:35Quinn was an interesting one because I wrote this character of a teenage girl and, you
04:40know, I can't relate that much to a teenage girl.
04:44I remember calling friends of mine and being like, what were you like when you were 17?
04:47I'm not going to school today.
04:48I have an audition for a theatre school in New York.
04:50We went through a lot of different girls and we were pretty demanding and we made them
04:54do a lot of different scenes with different ranges, and I really wanted a teenager.
04:58I didn't want to go for the 24-year-old playing a teenager.
05:02It's impossible to me that she's 17 years of age.
05:06It's impossible.
05:08Quinn's diary.
05:09I was given like a whole box of stuff to first decorate it, and of course it had like jewels
05:13and markers and paint, and it was huge.
05:15And I was just like, oh, I want to use everything.
05:17I was really nervous at first because I was like, oh, what if he doesn't like the doodles?
05:20What if he doesn't like my handwriting?
05:22What if he doesn't like what I'm writing as Quinn?
05:24But, you know, he was really like, this is you.
05:26You are Quinn.
05:27And it's really cool because the journal is a huge part of the movie.
05:30Dad, I have to learn my lines.
05:32When am I going to do that?
05:33I need your help here.
05:34I'm drowning.
05:35He's running late.
05:36You could have done this any time.
05:38I don't agree with the theory that characters have to be likable.
05:41A lot of my favorite films feature psychopathic protagonists, you know,
05:45whether it's Taxi Driver or whatever.
05:47So I wanted to bring this real father who was really not coping with the death of his wife
05:52and was really prickly, could be set off with a moment's notice.
05:55Nobody cares what you're having for breakfast.
05:58Will you just go get your brother ready for school, please?
06:00It's difficult to find an actor who can do that and still be sympathetic,
06:03and I just really think Dermot did that.
06:05I could see the struggle with him.
06:08He just has this inherent goodness inside him that I think translates.
06:12I love a lot of the movies he made in the 90s.
06:15You know, when Lee went with him, I was very excited.
06:18From my point of view, it's a family story.
06:21I mean, that's one of the things that will help this movie be appreciated for what it is
06:25because it's got just more to it than a lot of films in this genre.
06:29It's a broken family that's trying to just get by day to day,
06:33and that part feels really real in a way that it would if I were making a family drama, say.
06:37So on top of that is the fun stuff.
06:54I can't do this.
06:5788 out, we'll take one.
06:58Sound is speeding.
06:59Mark.
07:00B mark.
07:01And action.
07:04If someone gets attacked by a person on the street, they can go to the police.
07:08If they're attacked by something they can't see, something they can't comprehend,
07:13they only have people like us to go to.
07:16We really like his character of Kyle, both James and I,
07:19so it made sense to bring him back as a nod to the other two films.
07:23You know, there's got to be some connective tissue between the other films,
07:26even though it's a prequel.
07:27Originally I wasn't in it, because I kind of knew they were doing a whole different story,
07:31and Carl was connected to more of the Lambert family,
07:34but then I got the call, and it was like Commissioner Gordon, you know,
07:38calling me, and I was like, I'll walk there.
07:46You just slowly back her up, and then start turning her around.
07:51B mark.
07:53One thing James and I wanted to do when we started out making the first film
07:58was strip the film right back down to just the bare bones of horror.
08:04And action.
08:06Setting up the scenes, it's okay to sting a scare scene loud and go crazy, right?
08:11You want the audience to jump and popcorns to fly everywhere,
08:13but you need to understand how to build up into it as well.
08:16It's not just a case of just have someone walk down a hallway
08:19and then just sting the soundtrack with a really loud sting.
08:32Over the years horror has become more histrionic, and there's a lot of false scares,
08:36you know, the classic cat jumping out of the closet scene, so to speak.
08:39James and I wanted to strip all that out, and just go back to the smallest of fears.
08:45Just a floorboard creaking can set you off.
08:48And those are the things that scare you in real life,
08:50and your own imagination freaks you out, and we really wanted to draw on that.
08:59Lee was determined to practically frighten us.
09:02There's a scene with the bell that's supposed to wake me up,
09:05and we rehearsed it a few times, and by the time we shot it for the first time,
09:09he puts this air horn on, and it scared me so bad.
09:15I mean, I guess he got the reaction he wanted.
09:17Lee managed to find a way to make stuff that I thought would feel fakey.
09:22He made it feel really real while we were making it.
09:25Yeah, let's reset the shake. We'll do it from the shake.
09:28And action!
09:33It's almost there's a choreography to it, and there's camera tricks,
09:36like practical camera stuff rather than special effects or visual enhancements.
09:41They're doing really old-school camera stuff
09:44to achieve effects that other people fail at using modern technology.
09:483, 2, 1, lift!
09:50Okay, cut.
09:52Lee really gets the kind of nuances that you need to create your horror scenes,
09:57to create suspense and tension, and I find a lot of filmmakers today
10:02don't understand that, for example, going quiet is important.
10:06That was really nice.
10:09Everything was perfect. Super perfect.
10:12Off was perfect, the angle of the light, the reveal, everything was awesome.
10:17Guys, which take are we matching to, the last one or the second to last one?
10:21Second to last, we're matching to the second to last.
10:29What's that, eye line?
10:31Oh, that's good.
10:3450-50, please.
10:3650-50, please. Tell them to do 50-50.
10:38And then just chin down a tiny bit.
10:41Yeah, good.
10:4350-50?
10:44I think that's it.
10:46Get away from me, then do get away, and then do one where you just scream.
10:50Screaming, it's really hard.
10:52Action.
10:54Get away from me!
10:56Cut.
10:57Okay, I love that. Now we can move on.
10:59Check again, please.
11:00What we love about the Insidious universe is we truly go for the unexpected scare.
11:04Things kind of build, you're being teased,
11:06and you're getting to this point where maybe you can't take it anymore,
11:09and then hopefully we pull the rug out from under you.
11:11We don't want any of the scares to be expected, like, oh, I can see this coming.
11:15Get away from me!
11:17That is a craft, a lost craft, that not many people,
11:21not many filmmakers understand or maybe care about.
11:25The fact that Lee really does makes me feel very good
11:29that he's taking over this franchise.
11:31Lee has really become the triple threat.
11:33He's the producer, writer, actor,
11:36and I think he didn't realize how hard that was going to be.
11:39Roll sound.
11:41Rolling. Very quiet, please.
11:44And action.
11:46So this whole journey of writing and directing Insidious 3
11:49started for me right after Insidious 2.
11:52When we weren't able to have James direct it,
11:54definitely everybody's first choice was Lee,
11:56and at the beginning, Lee kind of had one foot in and one foot out,
11:59but he did agree to write the script.
12:01Quiet, please.
12:03Satisfied? Satisfied.
12:05The interesting thing about Lee
12:07is not just that he's the writer and has a passion for the material,
12:11he knows every word of his own script.
12:13So it's like sometimes I see him back there going...
12:16laughs
12:18And if I got a word wrong, it was like I'd be in real trouble.
12:21And then attached to that memory of what's written down
12:24is the visual that he has attached to it.
12:27It's the most incredible thing to watch
12:30because nothing gets by him,
12:32and he's got a meticulous quality to what he wants to achieve,
12:36and even the smallest scenes, he has a vision for it,
12:39and that's how it goes.
12:41Here we go.
12:46I got a lot of respect for the guy.
12:48I was reading up on it and how he's just an auditioning actor
12:51and then wanted to make work for himself
12:53and just went and wrote this thing
12:56I think it's really inspiring and cool,
12:58especially being a young actor myself.
13:02Specs. Tucker.
13:04What's great about Specs and Tucker is Specs and Tucker.
13:07Lee has created this friendship between the two guys
13:10that is so delicious and so real.
13:12Now this custom-made camera of mine is outfitted with a small lens.
13:16Basically a hidden camera.
13:18It's not basic, and it's not hidden.
13:20In real life, they're such good friends.
13:22I guess they've known each other forever.
13:24In between takes, it's like Lee isn't even the director anymore.
13:27They're just, like, goofing off.
13:29One second. Pulling a mark that we see.
13:32He has to direct the movie, but at the same time,
13:35he's, like, writing lines for him and Tucker in between it.
13:39Just up until that point. Let's run it.
13:41Yeah, but why not run the scene with you backing into the door?
13:44I'll say, go, Angus.
13:46I'm waiting. We've just...
13:48We've probably been chatting.
13:50We've probably taken down a case of our own.
13:52You're taking down the heaviest case.
13:54I'll be saying, good job.
13:56I think your backpack's on, and just leave it on.
13:58But, yeah, this will be open.
14:00You'll be kind of, like, there.
14:02So I'm just sort of, like...
14:04Yeah, exactly.
14:06We needed something to sort of indicate
14:09that this was pre-them getting their lives in order somewhat
14:15with the overseeing of Elise.
14:18There's a great line at the very end where she says,
14:21Have you ever seen a ghost?
14:23Lee originally had written It Gets Easier,
14:26and I said, I think it should be It Never Gets Easier.
14:30It's always hard to see the ghost.
14:34Is that the first time you've seen a ghost?
14:37Yes.
14:39You never get used to it.
14:41He's given me all the seeds,
14:43and that's what I think a great writer does.
14:46The ideas fill what he's written,
14:48but what the actor does is fill it with their own heart and soul
14:52of what that means to them personally.
14:54I was very grateful that Lee was able to discuss things like that,
14:58thoughts like that, with me.
15:00In general, it's just a fun set.
15:02To be on the energy is really positive,
15:04and there's just a lot of passion behind everything he does.
15:07He really is passionate about horror.
15:09Action!
15:11Hi there, Quinn.
15:13Thank you for coming in.
15:14I love that James is making a cameo in the film.
15:17I think it's testament to Lee
15:21and the love they have for one another
15:23and warmth they have for each other.
15:25Well, it was good directing James as an actor,
15:27so I can get back at him for all his years of abuse and poor treatment.
15:32Are you kidding me? I was like, this is the easiest thing as an actor,
15:35just sit there, just say my lines,
15:37and then go back to my trailer, go to the craftsman's table.
15:40It is pretty easy, I'm not going to lie.
15:42I was ruthless with him.
15:44I think his performance was poor, but I saved it in editing.
15:46Have you prepared something for us?
15:47Yeah, I have.
15:51I guess I've had the best horror film school that anyone could wish for,
15:55just sitting just to the left of James all these years,
15:58watching him direct, you know?
16:00What I learned from watching him was just priceless.
16:03I couldn't think of anyone better to take over this film
16:06but Mr. Whannell here.
16:08You did have a few thoughts, and when they didn't return your calls,
16:10you called me.
16:11That's true, I went through a whole list,
16:13I was like, maybe I have to settle for Lee Whannell.
16:15Exactly.
16:16The thing with Lee is that he studied filmmaking at university with James.
16:20They were both studying to be directors.
16:23That's where they met, how they met.
16:26He would offer little bits of advice like,
16:28you know, have the ghost walk backwards and then run it forwards,
16:32because it looks strange and inhuman, you know?
16:35The next day I think I had Stephanie walk backwards and run it forwards.
16:38Oh, cool.
16:39So, you know, it's cool to have that.
16:41I would text him, you know, with scare tips,
16:43and he would text me back with how to blow up cars and gunfights and explosions.
16:48It was great, we were helping each other out on our films.
16:57I feel like there's a lot of goodwill for the Insidious films
17:00that he is responsible for instilling in people.
17:03If I can just utilise that goodwill and do a half-decent job,
17:07I'll be good.
17:08You should apologise.
17:09I apologise.
17:10What would you have us wear instead?
17:12I think a shirt and tie would be nice.
17:16OK, cut.
17:17I think the scariest part of Insidious is that this stuff could happen.
17:22I would like to think it doesn't.
17:27But, again, I think that's what makes it so scary,
17:29is, like, this stuff that just is wrong.
17:33For me, the scariest part of the Insidious films is...
17:36I love ghost stories and paranormal stories,
17:39but how realistic they are and how, like, you know,
17:42when you hear a noise and you're just like,
17:44oh, it's nothing, nothing is happening.
17:46But in these films, it is something.
17:48It's something trying to get you.
17:50And that's frightening.
17:51What I find scary is when you've got a helium balloon in your house
17:57and it's kind of deflated and you go to bed
18:01and you walk out in the middle of the night
18:04and the helium balloon's, like, halfway down the corridor
18:09or it's not where you left it,
18:12the more you think about it, you're like,
18:14what if someone's moving the helium balloon around
18:17and leaving it and then wakes you, you know?
18:21Real life scares me, like paying bills and taxes
18:25and signing forms and doing things on time.
18:28That's scary to me.
18:31I'd like to retreat from that world
18:33by writing films about demons that are trying to kill people,
18:36which is my happy place.
19:01B mark.
19:03And back row.
19:05Tonight we are shooting the scene where Quinn gets hit by a car.
19:09We're, like, low-key eating street tacos and then boom!
19:13This is a huge stunt. This is going to be awesome.
19:15I get to have blood all over me.
19:20This is one of the top three scenes that I've been so excited to shoot.
19:23I'm kind of nervous because I, having never directed a film before,
19:28I'm always curious what's about to happen.
19:31It's not like I have three car hits to compare this to on other films.
19:34So this is my first car hit and I hope it goes well.
19:37Here we go. And back row.
19:40My mum on the way out today, she was like, OK, drive, be careful.
19:43I was like, Mum, either way, I'm getting hit by a car.
19:45And she just looked at me with death in her eyes.
19:48She was so mad at me.
19:49We've got this street locked off. We own the street.
19:52You can see the car down here.
19:54It's kind of one of the first big jumps in my career.
19:57It's kind of one of the first big jump scares of the film.
19:59What's a little bit unique about this one is, in the film,
20:01we really want to see the actress get hit by the car.
20:04So visual effects is helping us out and morphing a couple of different plates together.
20:07So we're going to do a piece where Stephanie, who's playing Quinn,
20:10is going to walk across the street.
20:12And cut.
20:14We're going to put a line on her and pull her out of frame into some pads.
20:18You're landing on this side.
20:20Three, two, one, action.
20:24Here we go. Roll sound.
20:28We're rolling.
20:32Ready, and three, two, one, action.
20:40Stephanie, good?
20:41Yeah.
20:42Very good.
20:43One more for safety.
20:45I was just on a crane and got yanked really, really hard.
20:50Yeah, it was really frightening.
20:53I know I had such a terrified look on my face before it happened.
20:56I couldn't stop the tear from my face.
20:58I know I looked really scared.
21:00Picture's up.
21:01Picture's up.
21:03Lee, was the look at the beginning okay?
21:05Yeah, it was good.
21:06I just want to do it right.
21:11Okay.
21:12Here we go.
21:13Remember to breathe.
21:15And we're set?
21:16Set.
21:17Ready, and three, two, one, action.
21:22Nice.
21:24All right.
21:25Good job, Stephanie.
21:27I don't even know what happened.
21:28It happened so fast.
21:29They were like, do this with your head and try to do this with your knees.
21:32And by the time you do it, you don't really know what's happening.
21:36You're just being flung in the air and somehow landing.
21:42Ready, and three, two, one, action.
21:46Breathe there. Breathe.
21:48Go ahead.
21:50Cut.
21:54Check the gate, please.
21:56Very nice.
21:59Good gate, lads.
22:01Good gate.
22:02We're going to put an articulated stunt dummy in place where she was
22:06and hit that at about 25 miles per hour.
22:09And I've got three different dummies tonight,
22:11so in case one blows apart, then we can put another one in place.
22:14I just saw the dummy, and it's so freaky.
22:17It's so freaky.
22:18It's fake.
22:20It's a fake person, and it's not alive, and it's really weird.
22:23Did you see the dummy?
22:24The dummy is, like, super real and terrifying,
22:27so I think it's going to be a very traumatic experience to see.
22:30But it's a really fun thing to shoot when it's fake, obviously,
22:35so I'm excited to see it.
22:36It's going to be creepy when it's standing in the middle of the street
22:39getting hit by a car and you see it get flung down the street.
22:42I love it.
22:43That'd be fun.
22:44Lovely.
22:45All right, I'll see you in a little bit.
22:47Most films you see where a car hits, you know, it's always a cutaway,
22:50a wide shot where you see the stunt double.
22:52You can pretty much tell it's a stunt double, you know,
22:54going up on the hood.
22:55This is going to be much more authentic.
22:56We're kind of taking a bit of inspiration from a few other films
22:59where that's happened in the past.
23:00We're about to hit a dummy off of this rig.
23:03First thing we're going to do is Terry, our stunt driver right here,
23:06is going to drive the Subaru right through here.
23:09He's going to hit his mark.
23:10He's going to skid into place without hitting the dummy.
23:13We're going to do a couple drive runs without hitting the dummy,
23:16skidding into place so our camera can kind of see
23:19where we're going to land and where the camera's going to land.
23:21We've got two different cars, so if one car gets beat up, we've got a spare.
23:25We've got an amazing stunt driver, Terry Jackson,
23:27who doubles Bruce Willis for his whole career.
23:29So, yeah, he's one of the best in the business.
23:34It always amazes me how much precision the stunt drivers can have.
23:37They can stop on a dime right where you want them to.
23:41All right, that's a cut.
23:43We're going to hang up this dummy here.
23:45We're going to have a trip wire hit the dummy, and it's going to land.
23:48When it hits, when it lands, when the car stops, nobody moves.
23:54We'll figure out if we like it, we love it, we're going to stick it there.
23:58The car will be traveling 25 miles an hour as our target.
24:02We're hoping that our dummy will get about 20 yards, 15 yards before that plus mark.
24:08All right, we're bringing in this dummy.
24:16Too far. Too far?
24:20When you're working with dummies and stuff like that,
24:22you just never know how anything's going to land.
24:26God is the true director on such occasions.
24:29All right, guys, we're hitting this dummy.
24:31Pay attention, please. Pay attention, everybody.
24:34All right, let's roll sound.
24:36Rolling.
24:38Rolling.
24:39Sound is fitting. Action, Terry.
24:47I definitely love practical effects.
24:50I mean, I grew up watching 80s horror movies
24:53that were all done with prosthetics and latex makeup effects.
24:57You know, I love Rick Baker and all these guys,
25:00Stan Winston, who cultivated this industry of practical effects.
25:03Obviously, today, visual effects and CGI is much more prominent,
25:07but I still love it, and I love the idea of doing things practically where possible.
25:11But at a certain point, the visual effects guys are actually awesome at covering your tracks.
25:16You know, they can paint out wires and things,
25:18and I think they're really great at augmenting a mostly practical stunt.
25:25But in the chaos of how quick it is, we're framed by framing it.
25:30Who's normally lining up the two in back frame?
25:35Yeah, yeah, it looks awesome.
25:37Yeah, it was definitely awesome.
25:39There was a few hits that looked almost too brutal.
25:42They would have been deaths.
25:45But I think we found the right one.
25:47You happy with that, Matt?
25:52I'm about to get all bloodied up and get blood everywhere and just look awful.
25:58And then to film a little piece with me post being hit by the car.
26:06Her arms should be up this way more.
26:13Hollywood glam.
26:14So you run around here.
26:17Then come right in and lean down.
26:19And you want me to curl like we had last time by the head,
26:23or do you want me to be more in that position?
26:27I'm probably going to have a dramatic scream.
26:30Potentially slow-mo blurriness.
26:33So I'm preparing for that.
26:35But I don't get to jump out of cars or do anything crazy.
26:39All right, guys, so we're doing last looks, pictures up.
26:45You ready, set?
26:47Set.
26:48Here we go. Ready, and action!
26:52Oh, God.
26:55Quinn!
26:56Quinn!
27:01Quinn.
27:03Somebody help us!
27:07Just go up to Maggie. Once she's there, go up to her a little bit.
27:19Hello.
27:22A couple of different combinations and visual effects,
27:25or morph all those together to get a final shot
27:28where Stephanie's walking across the street and gets hit by the car,
27:32and the camera's going to go nice and close to her face
27:34so it'll look like it's pretty authentic.
27:37Stephanie's very excited. She was a real trooper.
27:40I mean, the stunt guys are so great, and they're really understanding,
27:43and they sort of talk her through it, and everyone's so safety-conscious.
27:48I mean, that's the trick.
27:49You watch a movie, and everything's supposed to look so dangerous,
27:52but once you get on the set, you just realize how safety-conscious everyone is,
27:56how slowly you step through it, and it looked great.
28:00Yeah, it was really scary.
28:02I have a couple of battle scars, and it was fun.
28:20Oh, no!
28:25Someone help us!
28:41Say mark.
28:44And action.
28:47I knew that Insidious 3 needed to exist in the same universe as the first two films,
28:52but I didn't want it to be a carbon copy of what James did.
28:55Say mark.
28:57And action.
29:01Come on in. This is like a nice girl and her dad,
29:04all these sort of elements that invite you in,
29:06and then they just bring you out.
29:09Action.
29:11This is how to die.
29:14James had a very distinctive style to his ghosts,
29:18wearing the white with the makeup, and he loves that gothic style,
29:21and I love it too, but when I was thinking about what would be different about this chapter,
29:27I was thinking that the ghosts could be more horrendous and sickly in a way.
29:31Our very first meeting was just the tone that he wanted to create.
29:36He just wanted something with this script to feel more filthy
29:40and saturated with grime and dirt and disgust.
29:45In an Insidious film, your demons are your bread and butter.
29:52Well, Fractured is a group that we've worked with before.
29:54They did the first two Insidious films. We love them.
29:57They're just so good at what they do, so passionate about it,
30:00and they've created some pretty iconic ghost figures for us.
30:06Lee had a specific vision of just someone that's trapped,
30:11and one of the ways to create that was taking away your senses,
30:15so taking away the eyes, taking away the mouth,
30:18and the way we created that, we did some concept design work,
30:21brought the actors in, did life casts of them,
30:24and from that, we actually sculpted prosthetic pieces that matched their skin,
30:29but completely covered their eyes, completely covered their mouth,
30:32and we did a little bit of visual effects augmentation,
30:35so we could actually keep the eyes slightly open so they could see.
30:38They would just transition this flesh right across those small blends.
30:42So this is one of the eyeless appliances.
30:46So this would be blended down, all this flashing gets melted away,
30:50so it's her nose, her mouth.
30:54It was a great idea Lee came up with. He wanted these jump scares,
30:57you know, these really shocking kind of elements that we could put in there,
31:00and there's a lot of that in the first Insidious and the second Insidious as well,
31:04so he wanted to carry that along.
31:06And how we actually created that, we created almost like a vacuform shell
31:10that fit onto the actor, and had the wig, everything onto it.
31:15They're actually facing the wall, so it looks like they're facing the wall,
31:18but when they reach up and pull it out, there's another face that's hidden inside there.
31:24Get away from me!
31:26All right, so this is the template, the red pattern template,
31:30actually created for the very first Insidious.
31:33So when we have a reprise of Red-Faced Demon in this one,
31:37we were able to pull this back out of our archives.
31:39And this is Joe Bashar's face underneath,
31:43with his prosthetic nose that he wears there.
31:46Once the prosthetic is on, this pattern would go on,
31:49and we could airbrush the silhouette so it matched every single time,
31:53so there's always consistent continuity to it.
31:57And this is the new prosthetic that he wore,
32:03which this one, I just wanted to give him a little more expression.
32:06So originally, he basically wore just a nose like this.
32:10For this one, we ended up giving him a little more cheekbone
32:14and a little more of a furrow to his brow.
32:23One of the tricky things in horror films is how to accurately represent
32:26really scary images, and I think our make-up and effects team
32:31has done a terrific job in creating a demon here that's very, very scary.
32:35And I think when the audience see the demon for the first time,
32:39they'll definitely get a serious jolt.
32:45We spent a lot of time, I think we did at least seven or eight variations of design.
32:50I enlisted the Aaron Sims company to do illustrations for us.
32:54Aaron Sims also worked on the very first Insidious, creating the red-faced demon.
32:59Once we started dialing it in, I think the final couple passes,
33:04we were close, what are we missing?
33:07We need something that's got a tone or something.
33:10So that's where the weird oxygen mask came in.
33:15So that was the final little piece to create something that was really unique.
33:19The idea was to try and make his wardrobe, skin, the mask, everything
33:25just feel tattered and kind of webbed together.
33:29But this was the final look that Lee signed off on,
33:34which had kind of this almost like bedsore sort of feel to it,
33:38just completely rotten.
33:40Looking at prosthetics, I have a couple of the prosthetics here.
33:44These gel-filled silicone appliances, once glued to the face,
33:48were sculpted exactly to his form.
33:51Once glued, they're painted.
33:54This outer edge here, which is called flashing,
33:57this stuff actually gets melted away.
34:00I don't know if you can see it, but that little translucent edge
34:03gets melted and blended into the skin, so it becomes a seamless blend to him.
34:07But this material, it's basically a gel, silicone skin on the outside,
34:13so it has a membrane, and then there's a gel fluid inside.
34:17So when you feel it, it moves and wrinkles just like real skin.
34:20The makeup guys showed me pictures and mock-ups
34:23of what the character looked like,
34:25and they told me what I was going to be expected.
34:28And it was a matter of gluing prosthetic pieces on my body,
34:31and then after that, it went into the color,
34:34and then more color on top of that,
34:36then the mask and the tubes and everything,
34:39specifically placed and everything, so it was processed.
34:42Where we're coming into this,
34:44they have the silicone chest piece already applied,
34:47they have the neck applied, cheeks are on, chin and nose are on,
34:50and they're just kind of putting the final forehead piece on at this point.
34:54They just finished blending off the flashing that I talked about earlier,
34:58where that melts and disappears right into the actor's skin.
35:03Starting to base out the skin.
35:05Bart Vixen's down on the legs, kind of blotching up the legs,
35:08working out at least the initial undertone
35:11while Tom is working on the face and kind of basing it out.
35:15Starting to work out some of the black tones
35:17and those disgusting, dirty tones to it.
35:20This is about a 3 1⁄2 to 4-hour makeup
35:23with 2 to 3 artists involved with it.
35:26I'm starting to add all these kind of drips and stains.
35:30Blending them into the wardrobe at this point.
35:33Tom's kind of adding final touches.
35:35Starting to add the hair pieces.
35:37Bart Vixen's in there with the hair pieces right now.
35:40Each hair piece is a, it's a lace piece,
35:43so for continuity, we did it in a bunch of little patches.
35:46And instead of hand-laying the hair,
35:48we would actually have a little lace piece,
35:50so we'd have all the patches that could lay down,
35:52and we had a template for everything.
35:54Once they got that process down,
35:56it was like 45 to 50 minutes they got down to.
36:00I remember saying to Terry, the casting agent,
36:02I was like, you know, I want someone like that guy from Seven.
36:05He should look like he's on the verge of death.
36:07Remember that guy Sloth who was tied to the bed?
36:09Well, that's the guy. We had that guy.
36:11The same actor who was tied to the bed in Seven
36:14is the guy who plays the demon in this film.
36:19I love these roles where I'm like totally opposite.
36:22I was powerful and mean and scary.
36:25Five, four, three, two, one, action.
36:31And I love that because I'm not that way.
36:35It is just great.
36:37And I just like to like really wet loose.
36:39I loved how much he put into it,
36:41and I really think he just embodied
36:44that pure evil of that character.
36:47Ah!
36:49Oh!
36:51Ow!
36:53When I saw it in City, it's just like,
36:55yeah, this is the scene that's coming, yes.
36:57I know.
36:58But it's like when it happens, like,
37:00I jump myself, so I scare myself,
37:02and that's very, very cool.
37:04I love jump scares.
37:05That's really cool. It's really scary.
37:07I think it's always better to have something
37:10for your imagination, you know,
37:12and hide it and not put something right in front of you,
37:15right in your face.
37:16I think the best horror movies are,
37:18you keep it in the dark, you show a little bit,
37:20and let the imagination of the audience go from there.
37:46Check, check, two, two, two, check, check.
37:55Thanks for letting me come listen to you guys.
37:57It sounds really, really cool.
37:59How did you guys get involved with the movie?
38:01We were asked to do this song.
38:04It's a cover of a Tiny Tim song,
38:06Tiptoe Through the Tulips,
38:07and they used it in the first movie,
38:09so they just kind of wanted to bring it back.
38:12Tiptoe...
38:13When we found out we were going to cover
38:15Tiptoe Through the Tulips,
38:16it's not a song that a band would normally cover,
38:20but in some respects, it's not too different
38:23from the type of songs we write.
38:25The original song is interesting
38:27because structurally, like, how the chords are laid out,
38:30it's kind of meant to be kind of cheery in a way.
38:33I think just, like, certain elements,
38:35like, just the ukulele
38:36and sort of the bare-bones style of it
38:39makes it, makes it eerie and makes it weird.
38:42Tiny Tim sings in falsetto.
38:44It's weird.
38:45Yeah, it's almost a song
38:46that, like, you can't take it seriously.
38:49Yeah.
38:50And, which is,
38:51when it's playing in a very serious movie,
38:54it makes you uncomfortable.
38:56Tiptoe through the tulips
39:00With me
39:01We've just taken it and just added
39:03kind of a more wall of sound to it.
39:05Yeah, I really like your take on it.
39:08Yeah, Hannah's drums are very epic.
39:10That definitely makes it a lot different.
39:13Mm-hmm.
39:15This studio is excellent.
39:17It's the biggest, most comprehensive studio
39:20we've ever had the chance to work in.
39:22Probably 60 microphones, like, put up around the room.
39:26So there's just, every little whisper is getting picked up.
39:31Ah, sorry, I think it's a little bit too fast.
39:35Maybe just a tiny bit faster
39:38So how'd you guys actually, you know, come together as a band?
39:42Well, Clem and I met through our school Wildwood.
39:45We met in 8th grade.
39:47Clem and I met in Hollywood at a music program.
39:50Yeah, and then it was 2012 where Clem
39:54had started releasing the music she's recorded
39:58with a mentor of ours, Joel Jerome,
40:01and Burger Records liked the music,
40:05just found it through word of mouth.
40:07On my SoundCloud.
40:08The first tape came out in January of 2013,
40:12and it came out before the band had actually, like,
40:17formed in practice, so the band sprung out of necessity
40:21and the chemistry clicked.
40:23Where'd you get the name Cherry Glazer?
40:25Cherry Glazer is the name of a, also the name of a KCRW
40:29news reporter.
40:30She does Morning Edition.
40:31She's a hip lady.
40:32We did an interview with her for NPR.
40:35She knows what's up.
40:36She's great.
40:37So you guys are still in high school.
40:39Yeah.
40:40Yep, the two of us are.
40:42It's hard to balance, like, you know.
40:44Yeah, how is that?
40:45Really hard.
40:46I took my SAT in the beginning of summer.
40:48It was awful.
40:49It was the worst experience.
40:50I embarrassed myself so badly, I dropped a pencil sharpener,
40:53and the guy who was, like, reading the directions,
40:55like, just, like, stopped and, like, came out, whatever.
40:58It was terrible.
40:59I'm about to, too.
41:00I'm in my senior year.
41:01Yeah, that's true.
41:02It's so hard to balance everything with work and school.
41:05How do you do it?
41:06Clearly, I'd rather go shoot a movie than do schoolwork.
41:08Yeah.
41:09Yeah.
41:12So I hear you guys did some research on Tiny Tim,
41:15who sings tiptoe.
41:16Yeah, a little bit.
41:17What did you find out?
41:18He showered every day from, like, 1985 until, like, the day he died.
41:22And he also wore adult diapers.
41:27Yeah, he was super OCD about his hygiene.
41:30He wore adult diapers, which he thought was more hygienic.
41:34Yeah, that's what I'm...
41:36That's disgusting.
41:37Yeah, it was really gross.
41:42We're pretty excited to be a part of the Insidious series.
41:46I think it's really cool to be part of a horror movie.
41:49It's a scary one, too.
41:51Yeah, it just covered new ground for both the song and for us as a band.
41:55We're happy to be a part of it.
41:57Yeah, we're so psyched.
41:58When people hear it for the first time,
42:00I want them to feel like they should have brought an adult diaper with them
42:04to the movie theater.
42:05Like Tiny Tim would have.
42:07We're trying to Tiny Tim this bitch.
42:09Tiny Tim this bitch.
42:29Oh, shit.
42:40Awesome, guys.
42:41Thanks.
42:56My name is Michael J. Curry,
42:59and I'm a parapsychological investigator
43:02and a psychic medium.
43:07A psychic person, or everyone is psychic to some degree,
43:10intuition is a psychic gift.
43:12That is a person who can sense spirit
43:15and can sense the energy of humans and everything living.
43:20A medium is someone who can actually sense and or see
43:25and or communicate with the disembodied spirits
43:29who are on the other side, as we call it,
43:32in other realms or other dimensions.
43:34In relationship to Insidious 3,
43:36there's only one medium in the story.
43:39And that would be the medium herself.
43:42Spex and Tucker are what we know as ghost hunters
43:47in the paranormal community.
43:48And of course, in the movie,
43:49you realize that they've never really seen a ghost.
43:52Wannabe ghost hunters, so to speak.
43:56Now, this is a room where I always see the same spirits.
44:01This would have been the outside porch,
44:04and originally there would have been no windows here.
44:07So that ventilation of air could flow through the porch
44:10and go into the actual lobby of the hotel.
44:13But ever since I have been coming here,
44:15I've always seen two women sitting at that table,
44:19but the women are always playing cards.
44:22Their clothing looks resplendent of the Victorian era,
44:26which would have been the 1890s.
44:28Now, if we were to ask questions of the people
44:31who currently live in this building,
44:33if they've ever seen the spirits,
44:35some might say they have,
44:36some might say they never have.
44:38Other people, though, might say
44:39that they've seen a deck of cards
44:41laid out on the table or a spread of cards,
44:44and they look old-fashioned,
44:45and they don't understand where they came from.
44:47And they turn their back, and they go to look again,
44:49and the cards are gone.
44:53I do use tools.
44:54If I have a team with me, they use all kinds of tools.
44:57But we use, like, a magnetometer,
44:59and we use dowsing rods,
45:01and we use crystal pendulums and things like that.
45:05We really don't use a lot of the electrical equipment
45:08that's shown in 90% of the reality ghost hunter shows,
45:11because those aren't really designed for ghost hunting.
45:14They're really designed for plumbers to use
45:17for looking for electrical wiring in the wall
45:20so that they don't cut into a wall
45:22and either, you know, get killed
45:25or, even worse, get a 1970s perm or something, you know.
45:28But really, truly, most ghost hunting is done,
45:31these are my tools, my hands, my mind,
45:33and my entire being is what I use,
45:35and I relate to the spirits through that mechanism,
45:39if I can use that.
45:40There are differences between a ghost and a spirit guide,
45:45a poltergeist.
45:46A poltergeist, for example, really is not a ghost.
45:49It comes from the energy of a living person.
45:52And so that energy seems to revert outward
45:56in a way that can make curtains move or paper move,
46:00and it's very real.
46:04A ghost is someone who has lived their life
46:08and they have died,
46:09but they don't know why they're still here.
46:12Or they do know that they're still here,
46:14they weren't ready to move on,
46:15and so they go back to places that they loved in their life.
46:19But some ghosts, and I would say the majority of ghosts
46:22that wander the Earth, are the latter.
46:25They are the type of spirits that were not ready to go,
46:28they don't understand where they are,
46:30they're sort of stuck.
46:31A spirit guide, on the other hand,
46:33is a spirit that has evolved as a spirit.
46:37They know they're deceased,
46:39but they want to help the living to be able to move forward.
46:45Why they are able to go back to a place that they lived in,
46:48like this beautiful building, or a church,
46:51or their place of business.
46:53Why is it that they can go back there?
46:55And that's where I come in.
46:57I'm able to help the spirits identify
47:00where they are, why they're still here,
47:03and I help them to make peace with the memories of their life,
47:07their last incarnation on the Earth,
47:09so that they can move on to wherever it is we go after death.
47:23So here we are in the restroom of the building,
47:26and this is a very interesting place,
47:28because I've encountered a ghost here 14 different times.
47:31It's always the same spirit.
47:33A gentleman, very tall, about 6'5".
47:37He has a satchel of music under his arm.
47:40You can see the sheet music.
47:42When I first saw him, he looked as solid as I was to you,
47:47and you are to me.
47:49But it was pretty frightening when I went over to the sink,
47:52was washing my hands,
47:53and I noticed in the reflection of the sink,
47:55this man walk from here and walk right through this door.
48:01Pretty amazing.
48:02I wouldn't say I was scared, but I was certainly startled.
48:06How did this career find me?
48:08It really did find me.
48:10I've been able to see spirits since I was about 4 years old.
48:13I saw my first ghost in the Catholic Church,
48:16where my family attended,
48:18and I've been able to see them and hear them
48:21and communicate ever since that time.
48:24When I was a child, of course, I was deathly afraid of the dark,
48:28and when some of the spirits would appear to me,
48:30it was a horrifying experience,
48:32not unlike what we're seeing in Insidious 3 and the characters.
48:36But one nice thing was that my mother is also very psychic and sensitive,
48:41so was her mother,
48:43and my mother was able to explain some of these things to me,
48:46which helped me to not be afraid as much.
48:49I realized that they were people too,
48:52and they're sort of stuck in another side, another dimension.
48:56And I've always loved helping people.
48:59I was taught that you always help people if you can,
49:02and so I wanted to help the spirits.
49:05Now, I didn't know they were spirits at first.
49:08The difference is their aura.
49:10An aura is an electromagnetic energy field around the body.
49:14Anything living has it, humans, animals, plants,
49:17and it's that energy that surrounds the being
49:21that helps me to identify whether or not a person is alive or a person is deceased.
49:27You know, you think back to ancient paintings,
49:30and you see pictures of Christ and saints and holy people,
49:34and they had halos around their heads.
49:37Well, I've always wondered if those halos were reflective of the aura
49:40that those people would have had when they were on the earth,
49:43or if the mediums were able to see them in spirit,
49:47did they have golden auras, and did they have white auras?
49:50And why is white always associated with ghosts?
49:53Well, it has to do with the aura.
49:55So it all goes hand in hand. It's all in conjunction.
49:58And so when I see a spirit, I look immediately to see what their aura colors are.
50:03This is probably one of the oldest parts of the apartment building,
50:09and through this fire door is the landing of the original elevator
50:14that, as you can see, still works to this day.
50:18The elevator shaft itself isn't haunted,
50:23but a child ghost has been seen running around this very area.
50:28And wow, if you could see the hair on my arm standing up right now,
50:32I feel that child is nearby.
50:34Certain dates of the year, they've heard a child crying.
50:38They hear sobbing, and they've heard screams coming from this very elevator shaft.
50:43When they come to investigate,
50:45nothing can be found to explain the screaming or the crying.
50:55I have worked with evil spirits in the past, not by choice,
50:59but like in Insidious 3, many times,
51:02as the people are trying to understand what's happening,
51:05they realize that the spirit they're dealing with is an evil demon from the underworld.
51:09And I have had to do that, too, and it's a very difficult thing to experience.
51:14One time, I had a negative entity at a famous hotel in San Diego, California,
51:21where I was doing a show, and it kept interrupting the camera.
51:25It would turn off the cameras, and it would turn off the sound equipment,
51:29and it would make the ceiling fan spin opposite of the way it was going.
51:33And in my room at night, there was an armoire with a television inside,
51:38and the spirit would literally, I turned off the TV, I wanted to go to sleep,
51:43and it would turn the TV back on, and the channels would roll,
51:45and the doors to the armoire would slam open and slam shut like this,
51:49in and out, in and out, just causing all kinds of, you know, wreaking havoc with the room.
51:54The interesting thing was, I finally just said, stop, enough,
51:59and it stopped, and then it started again.
52:02And as I thought about the tapping of the window
52:06and the movement of the in-out of the doors of the armoire,
52:10it was tapping out SOS in Morse code.
52:13So in essence, the spirit was asking for help,
52:17and that's how I was able to help this spirit that had been causing all kinds of problems,
52:22which seemed negative in the hotel, and in the 24 hours that I was on the property,
52:27I was able to communicate with that spirit and help her to move on.
52:32So I do, I will work with some negative entities if I feel I can help them,
52:38but if I can't, then I refer them to people who only work with negative entities.
52:46Oh, right here, I feel a cold spot right here.
52:49Many times when spirits appear, the temperature changes from a warm day to freezing cold,
52:57and right in this area, I do feel that it's cold.
53:00I wish you could feel it too.
53:02It feels good, because today it's about 102 degrees outside,
53:05so this old building warms up with the outside temperature.
53:09I was very impressed in watching Insidious 3 that the writers and the actress
53:16must have done a lot of research and must have interviewed a lot of mediums
53:19to know that mediums, we do have to pull back, and there are times where we have to turn down cases.
53:24I don't take every case that calls me. I'm very selective.
53:28I want to make sure that I'm healthy enough to handle, mentally, physically, spiritually,
53:33the energy of the entity that I'm going to be dealing with, because it is very difficult work.
53:39So people just have to realize that we are living with spirits,
53:44just as we're living with microwaves, television waves, radio waves.
53:49They're all moving around us in particles, and the same thing is true of spirits,
53:53because spirits are electricity.
53:59It's been really fun today having you along with me
54:02as I give you a tour of this beautiful, old, historic building,
54:06where I've been able to show you what I do on a daily basis as a psychic medium.
54:11Thanks for joining me on this historical parapsychological investigation.
54:28www.circlelineartschool.com