Shyamalan's spoiler-free explanation of 'Knock at the Cabin'

was. How do you make sure, as a filmmaker, that you're building up both dread and claustrophobia in such a confined location without it getting stultifying for the audience?I could not repeat myself, visually, at any moment. So you’ll never see the characters framed the same way with the same lens in this film. It was an evolution from scene to scene. If I returned to the same shots, you would inherently feel like the movie hadn't progressed.

It's gotta be like a knife. My last three screenplays were so long, I felt like I was getting undisciplined. I’d end up shooting and cutting so much that the [finished] movie felt a waste in so many ways. And so with this one, I was like,"You're not writing over a hundred pages. It's this razor-sharp thriller, in a cabin, for a hundred pages."And ultimately, I got pretty close: 101 pages, and the movie's a hundred minutes long.

Magary: Did you have to plot out the progression of how the shots would evolve inside the cabin? I noticed at the beginning that we have a lot of tight close-ups, particularly on Dave Bautista and Kristen Cui .You have to be careful to not impose inorganic techniques on a story. You can definitely vibe and have concepts about what the language should be. But to sayYou're gonna be fighting the material.

Magary: The novel had a more open, ambiguous ending than the movie does. Did you change it because you felt like a more definite ending would be more satisfying for audiences? Or did you have a deeper motive in mind?Well, there's an event that happens in the book , prior to that ending, that you can't recover from. You made a premise that's so unbelievable, and so thought-provoking andand then you did something that eradicates that.

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