The film is not just about making an impossible choice, but whether to believe the strange messengers presenting the choice in the first place. It’s what he calls a “jury movie,” a thriller with a more nuanced take on the mind-bending final twists the Sixth Sense filmmaker became known for early in his career. “I love when a question is asked of a protagonist that makes you put yourself in their shoes to make a decision,” he says. The story, Shyamalan says, reminded him of iconic films like Sophie’s Choice (1982) and Indecent Proposal (1993). “So when it organically came back to me to consider, it felt very exciting.” “I wasn’t really thinking of it for myself,” he says. “This was a 10 on both scales.”īefore Shyamalan put his own spin on the source material, the screenplay was initially floated to him as a producing option. “Even when I’m thinking about my own ideas, they have to meet this criteria of the form is thrilling but at the center there are human beings grappling emotionally with something,” he says. Despite the rarity of films coming to him largely, if not fully, formed, this one immediately hit home. When this story was originally presented to him, it was in the form of a screenplay by Steve Desmond and Michael Sherman that he describes as a “very straight” adaptation of the book. In a career spanning more than three decades and grossing over $3.4 billion at the global box office, Shyamalan was the sole writer on 13 of the 14 films he directed before Cabin, and the co-writer on one. Do we find purpose when we define ourselves not only as individuals, but as part of a greater collective?” Now, here we are at the lowest point of our mental health as a species. Technology really accelerated that and then the pandemic was the final nail in the coffin. “Our culture has moved toward individualism. “It’s a fascinating moment in our ethos,” he says. Knock at the Cabin, according to Shyamalan, is a dramatized exploration of why the way we define ourselves in relation to others is meaningful.
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