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Hi, Im Leigh Whannell. Im the writer and director of the film, The Invisible Man. A lot of the film deals with paranoia and whether or not Elisabeth Mosss character is really seeing something. And this is a scene where shes actually dealing with physical presence and a physical threat. We dont get to meet our antagonist, Adrian. You dont have to learn a lot about him as the film goes on. And so I wanted the threat to suddenly become very real. And I thought it would be an interesting way to shoot a scene like this where two people are fighting, but you can only see one of the participants. [RUNNING WATER] And I could see that in my minds eye. I could see what that would look like if we pulled it off well. Turns out it was quite hard to achieve. It took a while to get there, to get the thing on screen that I could see in my head when I was writing. But we got here, eventually. [LOUD NOISE] Theres obviously moments in this scene that Elisabeth Moss could not perform. Shes not a trained stunt performer. She cannot be thrown across a table. So then the question becomes, how do we shoot Elisabeth Moss and then cut to somebody else? So in the middle of the shot, we have to match frame a stunt person in. And then, so shell do the actual throw and shell get thrown, and then shell land, and we have to freeze her and then match frame Elisabeth back in. And it was very technically difficult when she was interacting with the stunt performer in a green suit and when she wasnt. Because as we found out when we did visual effects, its kind of easier to add something to a frame with CGI. Its hard to remove something, especially a human body in a bright green suit. Like if this person is moving and blocking the other actor, and what are we going to do with that moment where the stunt performers arm is blocking Elisabeths face. But I know that the visual effects guys, a company called Cutting Edge, in Sydney, had a lot of sleepless nights to get it looking amazing. [BREAKING DISH]

Recent episodes in Anatomy of a Scene

Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.

Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.

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'The Invisible Man' | Anatomy of a Scene - The New York Times