![]() I wanted something that felt very safe to the audience, so that when the throat slashing happened, the audience would be knocked on their arse." I decided to put the scene in a crowded restaurant. I started thinking, where would be the most surprising place for somebody to sneak up behind you? If you’re in a darkened scary house, the audience almost expects that something’s bad going to happen. ![]() ![]() So, the restaurant scene was born out of that. I was sitting down with my notepad thinking, Okay, how do you exploit invisibility? With each villain you have to think, what are the best ways to exploit this villain? What can this villain do that others can’t? What is the most frightening thing about this villain? And with invisibility it was pretty clear to me that a scene where you realize that someone had been standing over your shoulder the entire time that you're having an intimate conversation with somebody, never realizing that the person you're talking about is right behind you, I mean, that’s how you exploit invisibility. The restaurant scene in The Invisible Man was born out of that process. I just try to fill the notepad with a collage of inspirational stuff. Sometimes I’ll cut pictures out of magazines that are inspirational. I just start doodling, I start writing random things down, bits of dialog, character names, ideas for scenes, sometimes it’s drawings. It has to be a brand new notepad for each new film. I still have them sitting in my office, this pile I’ll sometimes leaf through. "I have a stack of notepads dating back to when I was 18-years-old, my first year of film school. "I start any screenplay with a notepad, that’s my tradition," says Whannell.
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