It Chapter Two’s Wildest, Scariest Scene, Broken Down

It Chapter Two’s Wildest, Scariest Scene, Broken Down

For better or worse, a huge portion of It Chapter Two is spent following our characters’ descents into their own personal hells: Beverly again confronts her issues with her father and the abusive upbringing in her small apartment; Eddie must once again fight off the leper.

Most tellingly of all, Bill (James McAvoy) must once again face his guilt around the death of six-year-old brother, Georgie, having seemingly put the issue to rest 27 years ago. That’s not how life works, though, and returning to Derry in It Chapter Two reawakens the torture Bill put himself through the day his brother was eaten by Pennywise.

Perhaps sensing this, Pennywise lures Bill and another child into a messed-up carnival funhouse complete with a swirling, gravity-defying tunnel, a gauntlet of life-size swinging clown dolls, and a hall of mirrors. Bill knows it’s a trap, but can’t help but right his perceived wrong and save the next kid he has to save. GQ talked to both McAvoy and the director of both It movies, Andy Muschietti, to find out how it all happened.


GQ: Tell me about how this scene came together.

James McAvoy: It wasn’t in the script at first. It was originally just a scene with Pennywise and the kid. I was very concerned we were missing a couple of things from the book. I didn’t want all of them put back in, but I felt we were missing a moment where Pennywise attacks Bill by going for his Achilles heel. There’s a scene where he gets scared, but not for any reason. I thought we were missing something massive.

So we were sitting in the bar having a glass of tequila and I told Andy, and he just started riffing. It was like Minority Report with that big screen; he was pulling pieces from other scenes and putting them into this new one we were creating right there in his head—just during a chat. Eventually, we had this sequence that would probably cost another few million dollars and add another week to the shoot.

I take my hat off to Andy because I’ve been on set before, saying, “We’re missing something,” and you have these incredible conversations and then… nothing happens. They move a couple of punctuation marks about. You come back in and they’re pulling handkerchiefs out their arse thinking they’ve won the fuckin’ Nobel Prize for screenwriting. And I’m like, “No! You’ve done nothing.” But Andy, over a glass of alcohol, fixed it. And fixed it superbly.

Andy, is that how you remember it?

Andy Muschietti: Yeah. It’s a tough story because there are so many characters; It’s a balancing act. That sit-down was Bill’s—sorry, not Bill, he’s Bill to me—James‘s concern, that Bill’s story wasn’t really paying off. So we sat down with Jason Fuchs, who was writing a draft. We started spitballing, and I came up with the funhouse, but the essence was about delving more into Bill’s journey.

A lot of this film is based around physical manifestations of psychological trauma. For Bill, obviously that’s clowns, but it’s also facing himself. Hence, the mirrors.

Muschietti: Yeah, Pennywise really takes it to the limit. He’s basically telling him, “Yeah, I killed Georgie because you weren’t there. Now watch this: I’m going to do it again.”

McAvoy: It’s a scenario tailor-made for Bill’s trauma. And then we get it again! This scene informs that later scene where I’m in the basement confronted by Pennywise/Georgie again. That scene changed massively as a result of the hall of mirrors scene. It becomes way more complex and maybe a bit meta.


Source : Tom Philip Link

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