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The conversation has been edited and condensed for clarity. With Fear Street’s third part, set in 1666, now streaming, Slate talked to director Leigh Janiak, who had the massive task of directing and co-writing all three movies, about the horror favorites that inspired her, filling the genre’s blind spots, and why it was important that the movies be a lot gorier than the books. Stine-traces the origins of an ancient evil that menaces the doomed suburb of Shadyside, a witch’s curse that turns out to be much more complicated than it seems.

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Over three movies that hop backward in time from the mid-’90s to the late ’70s to the 17 th century, the trilogy-loosely inspired by the bestselling series from young adult horror maestro R.L.

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Horror movie franchises are notorious for dragging on long after the spring has gone from the machete-wielding killer’s step, but the Fear Street trilogy now streaming in its entirety on Netflix is a delightful exception.

Teenagers and young adults have these fun, breaking voices.This interview contains spoilers for the entire Fear Street trilogy. We got a few really good pieces from those players, but a lot of the screams we felt from the cast, they did a good job. 'A part of our loop group ADR focus was to get a couple of screamers that could really belt. 'With the screams, there's a mythical quest for the perfect horror scream,' he said. Which, as he pointed out, is a dream for a sound designer.

Rehwald truly went for it, and Gates had a great horror movie scream to play with in post-production. We felt confident moving forward with it.' It was harsh, grating, dirty, and visceral. We did record some ADR for the moment, which we sprinkled in for the peripheral perspectives, but she nailed it on the day. They did several takes of it on the set, so we had some variations of her screaming, to place in and around when we cut back to the characters at the lobster tank. 'The screaming from Kate was performed by her on the day,' Gates said: I know they had to enhance it with visual effects and more blood splatter, but it was elaborate.'įirst and foremost, Gates wanted to give credit to Rehwald. We want to see the slicer with all the blood and guts. We wanted to do it practically, as far as getting in-camera elements of a prosthetic head going through a bread slicer.

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It's a prosthetic mold of her head that was made, which was quite elaborate and full of blood. 'And then, you have to get it right again with Julia. 'You gotta worry about the cake continuity and matching how a stunt actor's face falls in the cake,' Heymann said, referring to how Rehwald's character is covered with dessert during her demise. We knew the audience would be devastated.'Īs for making the actual kill happen: in the words of Nancy 's complicated. 'Shooting something like that was crazy,' Heymann said. It's impressive on a technical level, but for the team behind the skull-chopping, it's Julia Rehwald's performance that makes it sing.

The scene is a satisfying mix of practical and CG. It showed that this super outlandish scene she came up with we could justify doing.' Everyone was jumping around and high-fiving. 'The logic was, could a bread slicer actually cut through a human head? The melon was devised that, if it could cut through a melon, it was in the range of possibilities.

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