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The Haunting of Hill House 1x6 "Two Storms" | Full Reaction (Patreon)

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2024-08-23 15:00:13
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This was a technical marvel!! I couldn’t help but focus mostly on the technical aspects as I was editing. On top of that it still was an incredible addition to the story as it deepened the mystery while bringing a lot of family baggage to the forefront. I’m so impressed. 

YouTube Link: https://youtu.be/_35ekf2ww3Y

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Ryan

The episode is made up of five takes, the longest being 17 minutes. To really get a sense of how complicated it was, watch for the times when a character moves into and out of frame without you ever seen their face, because the actor had to be in position somewhere else so you're seeing a body double. The set also had multiple levels with elevators between to create the illusion of a seamless transition from the funeral to Hill House. But my favorite is the swaps between adult and child actors, allowing for some blocking that otherwise wouldn't be possible (most notably Violet McGraw in the coffin while Victoria Pedretti is in the back as the Bent Neck Lady) while also being perfectly thematically resonant as we enter Hugh's subjective viewpoint.

Charity Konusser (the chonus)
>>147363841

Okay - here comes a LONG series of comments. Mike Flanagan went into intricate detail about how this episode was shot on his Twitter account, but the final two tweets are spoilery, so instead of pointing you to his Twitter account, I'm going to cut and paste all of the text of the rest of the tweets. Every reply after this is text taken from Mike Flanagan's 2018 tweets about ep 6, compiled so as not to be four hundred comments on Patreon.

Charity Konusser (the chonus)
>>147363841

I've gotten a lot of questions about ep 106 of @haunting. Netflix released an awesome little BTS video, but for those that want more information, here's a little thread: Episode 6 was part of the very first pitch for the show, promising an episode that would look like one shot. Most of the camera choreography was actually included in the script itself, which meant that the draft for ep 6 was a really tough read with "camera pivots left/tracks right down left aisle, keeping Steven in [medium shot] profile" breaking up the dialog. The sets for both Hill House and Shirley's Funeral Home were designed with episode 6 in mind. They were built on adjacent stages, and had to accommodate a hallway that would physically connect them so that Hugh could walk directly from the funeral home to Hill House in shot 1. The sets needed to include hiding places for crew & equipment, specific lighting rigs, and even a handmade elevator that would lower into place from the ceiling to bring a cameraman to the first floor for shot 4. We began doing weekly walk-throughs of ep 6 immediately in prep. We initially intended to shoot it last, to give us as much time as possible. Budget issues resulted in the studio moving the episode up to the beginning of our third production block, and rapidly accelerating our prep time. Production was shut down, rehearsals for ep 6 began March 6th, 2018. We rehearsed daily with our second team stand-ins, who performed the entire episode as actors as we learned the camera, lighting, and acting choreography. They were HEROES and made the whole thing possible. The episode was comprised of 5 long takes. 3 took place in the funeral home, 2 in Hill House. We would rehearse one segment while another was prepped/programmed for lighting, and then switch. Sets were still being painted and constructed to accommodate the ep.

Charity Konusser (the chonus)
>>147363841

Massive rain FX were put in both stages, and specialty lights were brought in to create the lightning. The water would sometimes flood the sets, and the studio initially didn't want to pay for the extra "lightning" lights and proposed cutting the storms from the episode entirely. The actors arrived on March 26 to begin rehearsals. On their first day, we sat them down and showed them the entire episode, shot on a DSLR, with second team performing. They could see each shot executed successfully and see the goal they were trying to achieve. Rehearsals began in earnest. The actors would be on one stage, practicing the scene and the performance, while our camera operators worked on the other stage with second team to continue refining camera blocking and lighting cues. There were hundreds of individual lighting cues, not only for effect but also for beauty lightning. If a cue was a late, an actor wouldn't be lit properly. If an actor missed their mark, or if a cue was early or late, it meant actors went dark, or you'd see a camera shadow. We finally began shooting on April 6, 2018. We shot in episode order, so the first shot was 14 pages in Shirley's funeral home. We did tech rehearsals in the morning, and finally just started shooting, in case we got lucky. We only had to get it right once. This first segment involved hiding the younger actors playing the Crain children around the corner in the viewing room, so they could run in and replace their adult counterparts during a 360-degree move around Tim Hutton. The adults sprinted back into place a moment later.

Charity Konusser (the chonus)
>>147363841

We also had to swap a dummy of Victoria Pedretti from the casket, and help young Violet McGraw climb inside and be still. We did this change while the siblings talked about Hugh flying in coach on the airplane. At the end of the shot, we follow Tim through a hallway that leads directly through the doors of our other stage, onto the Hill House set. The shot ended a moment after the chandelier fell in the background. Length: 14:19 We began shooting the second shot the following day, which was seven pages long and took place in Hill House. Our initial worry about putting this much pressure on the youngest of the actors proved to be a non-issue, as they knew their lines cold (and even the adults' lines) Lots of ALMOST complete takes on this segment, but the technical issues of this segment were pretty daunting, particularly timing our Bent Neck Lady with the lightning and making Nell disappear. We finally got a complete take late in the afternoon. Length: 7:25 The third segment was the most brutal. 18 pages, shot in the funeral home, and requiring thunderous emotion from the cast. They started seated, which meant we had to keep the camera on a peewee dolly to handle the height differences. We pushed a dolly through this entire shot.

Charity Konusser (the chonus)
>>147363841

It was a BEAST. We could never make it to the end. And the dolly was slowly getting harder to push, because (we found out later) the wheels weren't meant for carpet, and carpet fibers were getting inside through all of our rehearsals, putting enormous strain on the transmission. We went to lunch without getting a take, and the grips told me that the dolly had a big issue. The transmission chain was strained and close to breaking from the rigors of rehearsal. They figure we MIGHT have one more take before it could break. There wasn't a replacement dolly. We didn't tell the cast, I didn't want it to get in their heads. We came back from lunch, I said "I've got a good feeling about this one" and we held our breath. Believe it or not we got it. We got the take. They took the dolly, turned the wheel and the chain broke. Length: 17:19 The next day we did segment 4, which was our most difficult from a technical point of view. Lots of swaps, windows breaking, the elevator gag, etc. We ran this all day, the pressure was on Carla and Henry. Time and again we'd make it all the way to the elevator and mess up. The smashing windows in this segment are a digital creation, but we had to "teleport" Carla around the set. This was done using a photo double for some moments, and having Carla run through secret crew access portals in others. We got the shot late afternoon after dozens of aborted attempts. Length: 6:13. The next day, we did the (relatively easy by comparison) 5th segment, which timed in at 5:31. Production was murder and almost killed us all, but it was the easiest edit of my life. Took 10 seconds.

Charity Konusser (the chonus)
>>147363841

So the ep is 53:38. About 51:00 is comprised of 5 shots. Shot 1: 14:19 Shot 2: 7:25 Shot 3: 17:19 Shot 4: 6:13 Shot 5: 5:31 It was the hardest thing most of us have ever done, and the result of the combined efforts of hundreds of people. Mad respect for the cast & crew. @netflix, @ParamountTV and @amblin rallied to give us what we needed to pull it off, even though it was a huge risk for them and there was no guarantee that it would work. On a final note, @k8siegel and I learned she was pregnant with our second child the night before we filmed segment 3. Made me really nervous every time I saw her fall down. Added a special layer of nerves to the stress of the ep.

casualnerdreactions
>>147363841

That is insane!!! Thanks for sharing. Segment 3 though!! What a risky choice to not tell the actors. So glad it worked out. 😅

Charity Konusser (the chonus)
>>147363841

yeah it's a wild ride, but *so* interesting. I do love that the change from the children to the adults in that circular shot was just a very practical matter of "yeet the kids in, yoink the kids out." Reminds me of Sense8 (not in any other way -- they couldn't be more different) and their practical shenanigans with the actors just crouching under the camera and popping up on cue.

Holly

Okay, so I waited for you to finish this entire series before I decided to watch your reactions to it, because I'd been meaning to get around to watching Haunting of Hill House for a long time and just never got around to it - kept putting it off. Once I saw that you were reacting to it, I figured that would be a perfect time for me to finally watch it, but I also had to watch the whole series on my *own* first before I could watch your reactions to it... So I'm just catching up with it now. A lot of the comments that I could make, others have already made. (Big thanks to Charity for her bts info) But there is one thing that I feel I have to remark upon that no one else has mentioned. Maybe you caught it when you went back to edit, but, at least in your initial reaction..... Episode's 41:00 minute mark - You've been waiting the whole freaking show for those damn statues to move, and then when one finally does you don't even notice 😆😂😆

casualnerdreactions
>>149479571

WHAT?! Pulling up my copy to watch 🤣 of course I don't. The amount of things I don't notice is amazing. Honestly, full buildings have been built along my drive to work without me noticing. Thanks for sharing! I hope you enjoyed the series!

Holly
>>149479571

😂 LOL I noticed it right away only because I, like you, was kind of expecting it to happen at some point, so every time those statues were in the shot I always had my eye on them. And then when it happened I was like "Ahh, there it is! There it is! He's been waiting for that! I wonder if Chris saw that"... Then I watched your reaction and...nope Me: *sigh*🙄 😆😆