‘Invisible Man’ flips the script
Remake of 1933 horror film, based on the HG Wells novel, flips the story for this take
When writer-director Leigh Whannell was approached to update the horror classic
The Invisible Man, he basically spitballed the entire plot on the spot.
Fresh off the modest success of his low-budget 2018 sci-fi thriller Upgrade, Whannell found himself in a room with executives from Blumhouse Productions and Universal when “they floated this title to me like, ‘What do you think about the
Invisible Man?’” he said. “Which was weird to me because it was a bit Mad Libs. I was like, ‘Not really sure? Never thought about the Invisible Man too much.’
“But one of the guys in the meeting said, ‘Well, what would you do with the character?’ And purely to fill the airtime I was like, ‘I guess I would probably tell the story from the point of view of a victim, like a woman escaping a relationship.’ I sort of vomited out the entire movie.”
Whannell conceived of the character as a wealthy scientist (played by Oliver Jackson-Cohen of The Haunting of Hill
House) who is charming and controlling in equal measure. After his girlfriend manages to escape the glass prison they share together, he stages his own suicide just to continue to torment and control her under the cover of invisibility.
In a departure from the original HG Wells novel and its 1933 film adaptation — and despite the character’s title billing — this invisible man is a distant secondary character.
“I think it’s really obvious that the way to make the Invisible Man scary is to not focus the film on him,” said Whannell. “Once you put the monster in the spotlight, you demystify it. Not showing something is always the scariest thing.”
Instead, he shifted the narrative focus from the titular antagonist to his intimate partner Cecilia Kass, a woman who is gaslighted to the brink of insanity, played by Emmy- and Golden Globe-winning actress Elisabeth Moss. “One of the things
I liked the most about this movie is that it’s a real-life monster,” Moss said during a joint interview with Whannell earlier this month. “That’s what really curdles your blood when you watch the movie.
“That feeling of not being believed, not being heard or being scrutinised for believing something you know in your heart to be true is something I think on varying levels we can all identify with,” she added. “When I start telling people what this movie was about and how it was being used as an analogy for gaslighting, I was really surprised by how many people would get this look in their eye. It’s a commonality that I think deserves to be explored.”
“I think the 1933 film is a classic horror movie with an important place in the history of horror, but it’s not terrifying to modern audiences,” said Whannell. “I saw an opportunity to reframe it in a way that could be scary.”
Upon finishing the script, Whannell quickly realised that the success of the film would hinge on its central performance. “I realised that the whole movie rested on this one character’s shoulders,”
he said. “The list of actors that can [carry an entire film] is short. And I remember everyone at Universal was really excited about Lizzie because they had just done Us with her.”
In a stroke of kismet, Moss had been hankering to revisit the horror genre after her experience working with Universal and Jordan Peele on the filmmaker’s sophomore outing, which was produced by Jason Blum and starred Lupita Nyong’o as a woman battling her shadow self.
“I’ve always loved horror but I really wanted to do one after the experience of watching Lupita and how absolutely magnificent she is in that movie,” said Moss. “I could see, ‘Oh, my god, OK, that’s what you can do with a role like that.’ She went so far and it was just the coolest thing, so I couldn’t wait to get the script. They said, ‘You’re going to get an offer for The Invisible Man. And I was like, ‘OK, that’s amazing,’ because I loved working with Blumhouse. But I also was like, ‘ ...
The Invisible Man?’”
“’I guess if they can’t see me, it’s fine,’” Whannell joked.
“Yeah, ‘If they can’t see me, I guess I can play any gender?’” said Moss. “But they said the woman was the lead and when I read the script, it was not only a horror film but this incredible character piece. It had a really challenging arc that you don’t get in some of your best dramas. So I said yes immediately.”
After Moss was secured, Whannell leant on his leading lady to authenticate the female perspective. It’s the latest in a successful series of creative collaborations for Moss, who has helped shape many of her strongest roles, from the heroine of Hulu’s The Handmaid’s Tale to her partnerships with indie filmmaker Alex Ross Perry, including last year’s grunge rock drama Her Smell.
“That was the missing puzzle piece of the script,” Whannell said. “I was happy with the screenplay but I needed that collaboration with Lizzie. We would dissect scenes for hours and we would rewrite the script and kind of do an autopsy on these scenes. I feel like the film became stronger because we were like co-pilots.”
“There were times when a scene would only exist on our scripts,” said Moss.
“Yeah, exactly,” said Whannell with a laugh. “And everybody would be like, ‘Scene what?’”
“It would just be written in the margins,” said Moss. “And some of it would be written in mine and some of it would be written in yours.”
“The funniest thing was watching the reactions of the other actors,” said Whannell. “They just had to roll with it. Because there’s a certain sense of impostor syndrome that happens if you’re writing a story about a woman’s point of view [as a man]. And I didn’t really start feeling comfortable with it until Lizzie and I had all these conversations. She gave the film authority.”
Though the script required Moss to stretch her imagination by fighting against an invisible adversary multiple times, the actress says the biggest challenge of all was the amount of running the role demanded.
“Let’s just say I underestimated it,” she said. “And the speed at which Mr Whannell would require me to run, which was basically faster and faster and faster. I am not a particularly physical person, I do not really work out. And I got there and was like, ‘I’ve made a terrible mistake. I absolutely should have gone to the gym.’”
But thanks to her background in dance, the choreographed fight scenes were a lot less arduous, Moss said.
“It was so much fun. We had such a great stunt team and they took really good care of me and made sure things were safe. Leigh called me when I was in Toronto shooting season three (of Handmaid’s Tale) and said, ‘Look, I want to talk to you about the stunts and I would like you to do as much of it as possible.’ And I basically was like, ‘I want to do as much as I can. We should just always decide by what looks best on camera.’”
“It’s very mechanical,” said Whannell. “A lot of the fight scenes that Lizzie had to do were almost like dance choreography. This disembodied voice would be booming over the set counting out the motion control camera like, ‘And one and two and ... ‘ and Lizzie knows that on three, she has to be here. And I remember thinking, ‘God, I couldn’t do that.’”
“I thought it was so fun, the idea of having to follow the counts,” said Moss. “For my brain, that’s perfect.”
“I was happy with the screenplay but I needed that collaboration with [Elisabeth Moss]. We would dissect scenes for hours and we would rewrite the script and kind of do an autopsy on these scenes.” —Leigh Whannell, writer-director