Scott Derrickson‘s film, titled The Gorge, explores the extraordinary measures people take in pursuit of love. This action-romance blends several genres, but the core narrative by writer Zach Dean revolves around the long-distance courtship of two solitary snipers, Drasa (played by Anya Taylor-Joy) and Levi (Miles Teller), who are stationed in separate observation towers, a 600-meter chasm apart. Over the course of a year, these skilled professionals are employed to safeguard their respective towers and keep whatever malevolent force lurking at the ravine’s depth from escaping into the world.
In spite of being strictly prohibited by their workplace, Drasa and Levi found themselves unable to resist each other after spending a long time apart. Consequently, they grew closer through indirect communication until Valentine’s Day, at which point everything shifted dramatically. Eventually, driven by his feelings for her that had developed over several months, Levi took a perilous journey across the ravine to finally meet the woman he admired so deeply.
When I got my hands on Dean’s script, the heartwarming love story resonated deeply with me personally.
Lately, I’ve found myself falling in love again and tying the knot, which made the romantic elements in the movie particularly resonant for me. What’s more, it skillfully blended multiple genres, about five or six of them, with an apparent ease,» Derrickson shares with The Hollywood Reporter, explaining the timing of his film’s Valentine’s Day premiere on Apple TV+.
Pondering over the broad risks Levi assumed for Drasa, Derrickson finds himself reflecting on the daring choices he’s made throughout his professional journey.
Speaking about his departure from Marvel, Derrickson admits it was a big move that not many would take. At the time, it felt crucial for him personally. He maintains a strong bond with the team and acknowledges their friendship, but he’s content with his decision. Instead of working on Doctor Strange in the Multiverse of Madness, he chose to direct The Black Phone, a choice he feels was particularly meaningful.
Six years following Scott Derrickson’s successful direction of the blockbuster hit Doctor Strange, he re-entered the cinematic world with his film The Black Phone, earning $161 million on a budget of $18 million. Recognizing that Derrickson and his longtime collaborator C. Robert Cargill had fully adapted Joe Hill’s short story for the screen, Derrickson initially hadn’t envisioned a sequel. However, an intriguing concept proposed by Hill proved too enticing to ignore. Yet, there was a logical reason why Derrickson decided to produce The Gorge prior to any potential follow-up.
Derrickson recognized that if he started on a large project like ‘The Gorge’ initially, the actors from ‘Black Phone’, namely Mason Thames and Madeleine McGraw, would have progressed to high school by the time the first movie was completed. This way, he would have a limited period to work with them during their high school years, allowing him to create a high school-themed coming-of-age film similar to how the original was a middle school coming-of-age story.
After completing «The Black Phone 2», the local from Denver has emphasized that the sequel, which features Ethan Hawke as the chilling serial killer character, the Grabber, will not simply rehash the events of the original.
[The Black Phone 2] features a much more intricate storyline compared to its predecessor. It delves into a complex world and concept, and it was exhilarating not to simply replicate the first movie,» Derrickson expresses. «A subpar horror sequel is one that attempts to rehash the same elements, only in greater quantity. This issue extends across all genres, not just horror. I knew I didn’t want to follow that path, and the most successful sequels are those that deliver unexpected twists.
In a recent chat with THR, Derrickson clarified that the intense chess match and drum battle scenes in The Gorge were a pure coincidence, as seen in ‘The Queen’s Gambit’ featuring Taylor-Joy and ‘Whiplash’ starring Teller.
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Not only is The Gorge set to release on Valentine’s Day, but the day plays a significant role within the storyline. In a similar vein to how The Fugitive and Die Hard are associated with St. Patrick’s Day and Christmas respectively, would you agree that The Gorge could be referred to as a Valentine’s Day movie given its plot?
Absolutely, given the romantic nature of the film’s plotline and a pivotal moment occurring on Valentine’s Day, releasing it on that day seems fitting. Initially, I had my doubts, but upon reflection, it does make sense as the story unfolds around this special occasion.
Typically, you tend to work collaboratively on your own content, but for this project, although your style is evident throughout, you and C. Robert Cargill haven’t been recognized as the main contributors in the writing credits.
As a contributor, I’ve been given recognition for additional literary content – a WGA credit earned by contributing substantially to a script. However, to share the ‘written by’ credit, over half of the script had to be rewritten, making this movie truly Zach’s (Dean) vision. The story structure largely adheres to what Zach originally conceived, and I was captivated by its audacity. The romance resonated deeply with me, as I had recently fallen in love and remarried. Additionally, the narrative masterfully blended multiple genres seamlessly, a testament to Zach’s creativity. Most of our work as writers centered around crafting the unique mythology of the gorge and ensuring its representation was fresh and original.
I had a conversation with a director not long ago who, due to circumstances beyond his control, hadn’t directed a movie for six years. He mentioned that he was making up for lost time by producing more films. This reminds me of your situation because you’ve made three movies in the last four years. Was this a deliberate effort on your part to counterbalance the five-year gap between Doctor Strange and Black Phone?
The question you’ve asked is indeed insightful, and it’s understandable why one might ponder that. However, to clarify, the motivation behind creating this film wasn’t due to any sense of obligation, but rather the opportunity to develop a sequel to «Black Phone.» The writer of the original short story, Joe Hill, proposed an idea that resonated with me, serving as the foundation for our script.
Initially, I was concerned that if I were to create a large-scale film like «The Gorge» first, the child actors from «Black Phone,» Mason Thames and Madeleine McGraw, would have grown past their middle school years by the time production wrapped up. This realization led me to the decision of making a high school coming-of-age movie during their high school years, mirroring how the original film was a middle school coming-of-age story. These two films are quite distinct in nature.
When organizing the production, I discovered everyone’s schedules were tight, especially Ethan Hawke’s. As a result, the sequential nature of the project was primarily influenced by the children’s ages rather than any compulsion to work without pause or make up for lost time. I’m comfortable taking breaks between films, and what truly matters to me is that each film I create is the one I am most passionate about making at that specific moment. The number of films isn’t as significant to me as their quality.
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The story focuses on two solitary, sleep-deprived snipers who establish a connection from towers that are approximately 600 meters apart. How did you portray their distant exchanges during filming? Were Anya and Miles physically close to each other on set, only ten feet apart?
On our initial attempt during filming, we discovered that interacting as required was impractical due to the towers being actual structures. Actors were 40 feet up on balconies, making physical interaction impossible, even on a large stage. This scenario was not feasible, and given the need for actors to use binoculars and maintain a specific performance style, it didn’t add up. Consequently, the actors had to rely on my direction.
Every time we fired a shot, I’d tell Anya, «Alright, when I killed Miles on Tuesday, this was our approach.» Occasionally, I’d point out intricate details in our shared scenes, but they seemed to grasp every word and action I demonstrated. They were remarkably inventive with the decisions they made, which was quite challenging to achieve. The enchantment of those scenes can mostly be attributed to the actors’ creativity and their thoughtful choices.
Did Drasa and Levi’s chess match and drum battle occur in the script before you cast Anya Taylor-Joy from The Queen’s Gambit and Miles Teller from Whiplash?
I can assure you, those scenes were already part of the film’s script before we selected our actors. They had been there all along, and I realized this quite quickly after the casting process. (Chuckles.) Initially, I thought, «Hold on a second.» But then I decided, «I won’t alter it just because they are part of the cast. Others might think I added it for them, but that’s not the case.» Now that it’s done, I find it endearing and somewhat humorous. It provides a refreshing change in the movie, and it was there all along.
Did they both have memorable responses to those career callbacks?
Indeed, they seemed quite familiar to me. Initially, they expressed uncertainty, saying something like «I’m not sure,» but soon changed their tune to «This is enjoyable. Let’s go for it.» Consequently, we enjoyed filming both scenes.
Speaking of something related, there’s always a thrill when one of your characters discovers an enigmatic film reel and projects it. Did the day of unveiling that reel bring back nostalgic feelings for you and Cargill, as the creators of Sinister?
Absolutely! Instead of using digital video, we opted for an authentic 16mm film for our production. The fusion of digital cinema with tangible film is something truly captivating to me. There’s a unique charm in the dynamic between these two mediums. Whenever I was working on the film and reached the parts involving film projection, I couldn’t help but think, «Ah, perfect! Here I am, watching someone enjoy a movie. This setup suits me just right.
![](https://www.hollywoodreporter.com/wp-content/uploads/2025/02/Apple_TV_The_Gorge_Photo_0105-EMBED-2025.jpg)
In your films, you’ve typically worked with different cinematographers for each project, except for «Dreamkill» in «V/H/S/85» (2023), which was shot by Brett Jutkiewicz, who also worked on «The Black Phone.» Are you intentionally seeking to innovate or experiment with a different visual style from one film to another?
The question you’ve asked is insightful, but my response is negative. I didn’t intend to continually evolve and reinvent myself in the way you’re suggesting. In each film I’ve made, I’ve aimed to collaborate with my cinematographers, however, good ones are often busy. Therefore, coordinating our schedules can be challenging. I wanted Brett [Jutkiewicz] to shoot the Black Phone sequel, but he was working on Stranger Things and they were running late, so he couldn’t take part.
I’ve collaborated with exceptional Directors of Photography (DPs), and each encounter has been rewarding. However, there’s something truly exceptional about Dan. He’s incredibly talented. I must admit, I learned a great deal from him, perhaps more than any other DP I’ve worked with. Just observing his work has been an enlightening experience, as it gave me insights into the intricate ways he approaches lighting. Thus, working with him was an outstanding learning opportunity.
Did you have to court Trent Reznor and Atticus Ross, who created the music for The Gorge, as they are not simple choices?
It was clear to me that if I attempted it, success would elude me. Upon sending the script, they expressed their intrigue and requested a Zoom meeting. As far as I recall, we only had one such meeting, during which I aimed to be as truthful as possible. They appreciated the script and my work, and I shared with them: «What stands out about your scores is that they always contribute an additional layer to the film, and the movie wouldn’t be the same without it. Your scores offer something unique, rather than enhancing elements that are already strong, such as visuals and sound design. That’s the kind of score this movie needs.» Trent posed a question: «So, what do you think that third element is? Can you explain?» I replied, «I believe the score should embody the soul of the film.» At that moment, I could see them both comprehend my words. Somehow, they seemed to grasp my meaning.
After I provided them with a visual reference, they initially composed numerous pieces of music. Specifically, they created around eight to nine extended tracks inspired by the screenplay. From these compositions, I selected the ones that seemed most fitting to capture the intended mood of the film. Subsequently, they refined and developed those selected pieces further, incorporating them into specific scenes according to my instructions. Essentially, a substantial amount of music was generated for this particular movie.
They were incredibly detail-oriented, taking charge in every facet of the project. Their involvement extended to more mixes than any other composer I’ve encountered, and they wanted to contribute and oversee everything. It’s evident that they take pride in their work. Not only are they highly collaborative, but they also possess a warm, humorous demeanor. Overall, it was a delightful collaboration.
As a die-hard fan, I’ve always wondered if these composers have ever had the chance to work directly with a full orchestra. Have you ever been privy to any of their sessions where they bring their compositions to life with an orchestra present?
I’ve already skipped their recording sessions before. That experience, though, was quite different when I was at Abbey Road for the recording of Doctor Strange. Paul McCartney just strolled into the studio, and it felt like a dream to me. It was truly bizarre. However, Reznor and Ross have their unique way of working, which I was more than willing to adapt to. They never extended an invitation, and I didn’t feel compelled to ask either.
Has there been a time in your professional journey when you dared to push beyond the limits, discovering just how much further you could go?
Yeah, I’ve had my fair share of tough calls as a gamer, especially when it comes to restarting my gaming career from scratch. Leaving the Marvel universe wasn’t an easy decision, and not many would understand why I made it. But looking back, it was crucial for me at that time. Those guys are awesome, and we have a great bond, but stepping away from Doctor Strange in the Multiverse of Madness to work on The Black Phone was the best move. It might not seem like much, but making that choice has shaped my gaming journey significantly.
As a gamer diving headfirst into a new challenge, I found myself accepting a $3 million project with complete creative control, a rare opportunity that had been on hold for three or four years. This film wasn’t just another level; it was a unique, challenging boss battle. With every fiber of my being, I believed this might be the final stage of my filmmaking journey. So, I pushed myself to create the movie I truly wanted, a film that echoed that sentiment of potential last-chance brilliance. And if every gaming level should be a test of skill and originality, then shouldn’t filmmaking be the same? If we’re not striving for something extraordinary, something that pushes boundaries or offers a fresh perspective, then what’s the point? Whether it’s an animated adventure for kids or a side-splitting comedy, every movie should leave us awestruck and inspired. Filmmaking, at its core, is about reaching for the stars and setting the screen ablaze with passion and creativity.
Previously mentioned, The Black Phone’s antagonist, known as Grabber, will reappear in the upcoming sequel later this year. Unlike the first movie, there were no Joe Hill-written scripts to follow for this project, but it seems he provided valuable guidance. So, I’d like to discuss your take on navigating your own path during this creative process.
The screenplay for «[The Black Phone 2]» is significantly more intricate compared to its predecessor, «[The Black Phone].» While simplicity can sometimes be challenging to achieve, «[The Black Phone 2]» is not a simple reiteration of its predecessor. Instead, it delves into a much more complex narrative and conceptual realm. It was exciting not to follow the same path as the first movie. The most tiresome type of horror sequel is one that tries to recreate the same events, but just with more intensity. This observation applies to any sequel, regardless of genre, in truth. So, I aimed to avoid this pitfall, and the best sequels are those that surprise us. They venture into entirely new territories and offer a novel experience, even though they continue the story of characters we’ve grown fond of from the first film.
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The Gorge premieres Feb. 14 on Apple TV+.
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2025-02-12 00:27