The Original Intention of 'The Final Girls': An R-Rated and Unapologetically Gruesome Tale

Article Summary

For night 3 of the Scary Perri Horror Series at Landmark Theatres we screened a horror-comedy gem that deserves an even bigger fanbase, 2015's The Final Girls.

Director Todd Strauss-Schulson joined Perri for a Q&A session after the screening. They discussed the screenplay's evolution, the toughest scenes to shoot, and the filmmaker's newfound appreciation for the film's PG-13 rating. In addition, Strauss-Schulson shared his idea for a sequel.

The Final Girls has undeniably cultivated a dedicated group of fans throughout the years, but it deserves an even larger following. This top-tier horror film, directed by Todd Strauss-Schulson, is deserving of recognition. So, when I was tasked with organizing a Halloween screening series at Landmark Theatres to honor the genre, one of the very first movies that came to mind was The Final Girls.

What sets this movie apart is its ingenious core concept - a group of friends find themselves transported into an 80s horror film and must navigate through it to survive. The inclusion of meta elements in the story adds to its brilliance. However, what truly elevates The Final Girls is its heartfelt nature. Taissa Farmiga portrays Max, the daughter of Amanda Cartwright (played by Malin Åkerman), one of the stars of the beloved 80s classic, Camp Bloodbath. Three years after Amanda's tragic death in a car accident, Max reluctantly agrees to attend a Camp Bloodbath screening. As the movie screen erupts in flames, Max and her friends are left with only one escape route - through the screen itself. Unbeknownst to them, this decision plunges them directly into the movie's twisted reality.

Continuing the celebration of The Final Girls and spreading my enthusiasm for the film, I invited Strauss-Schulson to join me for a post-screening Q&A. He graciously attended the event at Landmark Theatres' Sunset location. During our conversation, he discussed the development of the script, the most difficult scenes to film, his decision to give the film a PG-13 rating, and much more.

You can watch the full video interview with Strauss-Schulson at the beginning of this article or read the transcript of our conversation below.

The Final Girls is available on DVD, Blu-ray, and digital.

Image via Stage 6 Films

PERRI NEMIROFF: Let's revisit the beginning of your directing journey. Did you ever envision yourself working in the horror genre?

TODD STRAUSS-SCHULSON: Absolutely. Growing up in Queens, my passion for making movies had always been there. Living next to a video store in my apartment building was a major influence. I had this grand plan to watch every movie in that store, starting from left to right. However, the store's constant rearrangements messed up my plan, causing fantasy to mix with horror. Nevertheless, I managed to watch every film, and my love for horror movies grew. Although they used to scare me at first, I realized that there were people behind the scenes creating all the blood and gore, like Tom Savini and others. I even corresponded with Dick Smith when I was just 13 or 14, experimenting with liquid latex. Initially, I thought I would pursue a career as a makeup effects artist, but then it dawned on me that I simply adored these movies. Nightmare on Elm Street 3 and 4 were personal favorites. So yes, I developed a deep affection for horror movies and all the gruesome elements they entail.

I have two additional questions to ask. Which horror movie was the first to genuinely scare you? Furthermore, I am curious about the first horror film that not only frightened you, but also gave you an appreciation for the thrill it provided, inspiring you to create similar experiences and evoke those emotions in others.

STRAUSS-SCHULSON: One of the great aspects of Q&A sessions is that I am well-prepared with all the answers. I am familiar with the answers to those questions. [Laughs] As a child, I was quite timid and sensitive. Have you ever watched Fright Night? Although it may not be considered scary, it frightened me immensely.

That is one of the reasons why the poster was included in the movie. We had a selection of six posters that were legally allowed to be used, but that particular one terrified me. Now, as an adult, it's not a scary movie, but it had a profound impact on me. House and House 2 also frightened me greatly. However, Nightmare on Elm Street 3 and 4 brought about a change in perception. I found them to be delightful, albeit slightly silly, but filled with boundless imagination. Visually, they were completely off the wall, and I later discovered that they were directed by music video directors. That made me appreciate the films even more, as I was able to enjoy them for what they were and wonder about the technical aspects behind their creation, which was thrilling.

Image via Warner Bros. Pictures

Revisiting the subject briefly, A Very Harold & Kumar Christmas was released in 2011. It seemed that soon after its release, news broke that you would be directing this particular movie. However, the production of this film didn't commence until 2014. What caused the delay, and could you shed some light on the challenges involved in obtaining the green light for a feature?

STRAUSS-SCHULSON: Yeah! It took that long?

I mean, if the internet is correct, and the internet is always correct, right?

Strauss-Schulson: Yes, it's true. I directed A Very Harold & Kumar Christmas before anything else. Three months prior to making that film, my father passed away, and immediately after, I pursued my lifelong dream of making a movie. It was an incredibly intense experience to have happen in my life. While I was editing Harold & Kumar, Mark and Josh, the writers of this movie - Mark, whom I went to college with, and they were a couple, and I was friends with them for the ten years after college before I made a movie - pitched me the idea for Final Girls about eight years before we actually made it. The concept was "What if kids were trapped in a bad horror movie?" That was the basic idea. However, I didn't receive any further information about it at the time. Then, with my father's passing and my own filmmaking, they sent me the first draft of the script while I was editing. Although it was different, the core idea remained the same - kids stuck in a movie and the opportunity to spend time with a deceased parent. When I read it, I instantly connected with the film's theme. It wasn't just a comedy or a horror movie; it explored the idea of having another chance to be with a parent and saving them from death.

Josh, the writer, had a personal connection to the story. His father portrayed Father Karras in The Exorcist and had passed away. For Josh, watching The Exorcist was a way for him to relive memories of his father, even if it involved seeing his character getting killed repeatedly, which was a rather grim way to remember him. This is where the inspiration for the movie came from. After reading the script, I knew I had to be a part of it and I got involved. We collaborated on rewriting the script, which took a considerable amount of time to secure funding. This was before Stranger Things and Happy Death Day existed, so financiers were hesitant about investing in this genre. The self-referential aspect of the film didn't make it any easier either. Additionally, we initially pitched it as a combination of Terms of Endearment and Friday the 13th, but people were confused by the concept. So we had to change our approach, but eventually, we managed to convince someone to give us $5 million to make the film. We had a tight schedule of 26 days to complete it.

Did you make any specific changes to the pitch that caught the attention of financiers?

STRAUSS-SCHULSON: No, we had two potential investors, but neither were ideal. The question about it being rated PG-13 was expected. One of the investors suggested, "Make it PG-13 and perhaps have the characters be aliens who bleed blue, and then we can provide funding." I responded, "Well, it's definitely not going to be you who funds this project." So we decided to go with the other investor and take a risk.

The PG-13 rating has proven effective. I understand that you were initially hesitant about the idea, but this movie can serve as a perfect example of appealing to lifelong genre enthusiasts, while also being a stepping stone for those new to the horror genre.

STRAUSS-SCHULSON: I agree. Did anyone actually hope for more gore? Feel free to be honest. [One person raises their hand.] I had the same expectation. I must admit that when they informed us that we would receive the necessary funding, but had to maintain a PG-13 rating, we were all upset. We did not want to compromise. The original intention was to create something truly stomach-turning, similar to films like Dead Alive and Bad Taste. For example, there was a scene involving Tina's mutilated breasts flying around. It was genuinely repulsive. We were initially focused on pushing the boundaries of gore, but then the ultimatum came: either make it PG-13 or don't make the movie at all. And I chose to proceed because having a movie was ultimately better than having none.

But I will tell you that once we began the production and commenced the editing process, it became evident that for a film centered around grief and the desire for viewers to fully experience each death and develop affection for all the characters, including even the foolish ones like Adam Devine, you are essentially narrating a tale of grief within a genre that tends to trivialize mortality. Therefore, if the filmmakers had approached it with a bloodthirsty and morbid mindset, relishing in the repulsiveness, I believe it would not have been successful. I am confident that even during the editing phase, we would have inevitably molded it into its current format, even if we were not compelled to do so.

Image via Stage 6 Films

Returning to the script briefly, what do you think is the main distinction between the initial draft you read and the final film we now watch and cherish?

STRAUSS-SCHULSON: Numerous differences exist. The primary draft of the film included a higher number of characters, lacked comedic elements, and did not incorporate as much meta content. The notion of the movie becoming an antagonist was absent, so those were ideas that I introduced. I suggested making it funny and meta, imbued with a Back to the Future and Pleasantville vibe. We went through various script revisions, and it underwent multiple iterations. It was briefly in the hands of New Line. The script had countless variations, which likely contributed to its lengthy development process.

I believed I had found the perfect version, filled with intriguing meta elements and captivating content. Within its pages, there were remarkable components that greatly impressed me. Towards the conclusion, an epic showdown unfolded, resembling the dramatic finale seen during the credits. Filled with adrenaline and suspense, the characters were suspended from falling letters, skillfully wielding machetes as they distanced themselves from the ground. I couldn't help but think, "That would make for an incredible scene."

It's feasible to create such a scene within the constraints of your budget, isn't it? [Laughs]

STRAUSS-SCHULSON: Absolutely not. Another idea we had was that in the middle of the movie, when the final girl dies and the car explodes, everyone else would also die and the movie would restart with our children as the counselors. I thought it was a brilliant concept, very cool. We put a lot of effort into that version and submitted it, but people didn't like it. They felt that it lacked emotion, that it was just clever without any heart. So we went through a long process to find the right balance between comedy, meta elements, and genuine emotion. We wanted to make sure that by the end, the audience would feel something and maybe even shed a tear, which was our goal.

It was a huge success. I've lost count of the number of times I've watched this movie, but every time I reach the end, I'm not just tearing up, I'm practically a puddle of tears.

Now, let's discuss the cast. Among all the characters in this movie, who was the easiest to cast, as if the right person just appeared out of nowhere?

STRAUSS-SCHULSON: The easiest to cast were Adam and Thomas [Middleditch]. I personally knew Adam and Thomas, and when I gave Thomas the script, I asked him, "Who would you like to portray?" He replied, "I'll be that guy." It was a simple decision. Similarly, I knew Adam from another project and it was clear that he would be perfect for the role. He immediately agreed. So, these were the two characters that we found the easiest to cast.

Finding the perfect fit for the most difficult role was what I needed next.

STRAUSS-SCHULSON: The mother and daughter roles were incredibly challenging to cast. We went through countless versions and faced difficulties due to the lengthy process of securing funding. As a result, we had actors come in and then have to leave, making it necessary to find combinations of people that worked well together. The whole casting process was a rollercoaster - the movie would come together, only for someone to leave, and then another person wouldn't work out. However, we eventually found two actors who were absolutely perfect for the roles. It was truly amazing because Taissa was quite young and hadn't been in many movies. Yet, she became the emotional anchor of the entire film, portraying her character with a delicate vulnerability. When I watch the movie, her grief feels palpable. I believe she truly grounds the story.

And then there's Malin, who is both funny and sweet. However, in her real life, months before filming the movie, she had just given birth to a child. She brought her infant onto the set and became a single mother after her marriage fell apart. This was her reality when she stepped onto the set, so she didn't have to act much. When she says goodbye to her daughter in that blue room, expressing her love and the ability to be anything she wants to be, all the hope and pain portrayed in that scene are real, not just for her but for all of us. This movie holds a special and unique place in my heart. It's crazy that it is still being screened after all this time. But there was definitely something alive about it, and I still talk about it all the time. When they are together, you can feel that connection as you watch the movie.

Image via Stage 6 Films

I am deeply intrigued by the diverse approaches of actors in the ensemble cast. It is fascinating to witness the unique methodologies each actor brings to their work. As an actor's director, I thrive on the challenge of adapting to the distinct demands presented by two members of this ensemble with contrasting approaches. Can you identify two performers who exemplify this contrast and elaborate on how it influences your role as their director?

STRAUSS-SCHULSON: The tone of the movie was woven into the casting, with a mixture of humor, sweetness, and groundedness. Nina and Alexander added a touch of melodrama, while the comic actors and Malin and Taissa brought in some soap opera elements. Thomas, Adam, and Alia were constantly improvising, with a lot of the content being made up on the spot, such as the "gay dads" reference.

Nina approached her role thinking it was a comedy, even though she had never done comedy before. She came prepared with a binder full of highlighted accents and it didn't really work. Her performance sounded forced, and I had to tell her to throw everything away and be more natural. I told her not to try to sell a joke because it wasn't her job, and it would actually be funnier if she didn't.

And she’s so good in the final film, and I just saw her do another comedy with Adam.

STRAUSS-SCHULSON: Yeah, she’s funny now!

The Out-Laws. It’s fun!

STRAUSS-SCHULSON: She’s funny! She’s good! [Laughs]

Okay, let's move on to Billy now. The mask in a slasher movie is incredibly important. Can you describe the process of finding the right look? Did your initial vision stay the same or did it change over time?

STRAUSS-SCHULSON: It was quite a challenge to create a mask that hadn't been seen in other horror movies. We looked at films like The Burning and Friday, which had iconic masks, and we wanted to create something similar but unique. We thought about incorporating elements from totem poles, such as wood. We had a fantastic production designer and art team assigned to the task, but they weren't familiar with the horror genre. Initially, the mask looked quite silly and it took a lot of work to make it scary. We had to make sure the eyes appeared lifeless and limit the number of features, which is what makes Jason's mask effective. We went through a series of show and tells, and at one point, the mask had big eyebrows and resembled Eugene Levy. I immediately knew that it wasn't right. So, we simplified the mask, adjusted the lighting, and focused on making it truly frightening.

Is that version of the mask in the movie? Isn't there one alt version that is actually in a shot here?

STRAUSS-SCHULSON: Oh man. [Laughs] How do you know that?

I have obsessed over your movie since 2015.

STRAUSS-SCHULSON: I think that I didn't know that until you just said that.

I think I actually know the specific shot, too.

STRAUSS-SCHULSON: It's in the window.

It's in the window.

STRAUSS-SCHULSON: Because we had to shoot that before they fixed the mask. [Laughs] That's the Eugene Levy version. That's so funny. That's why he's behind those curtains.

So now you gotta watch the movie again so you can overanalyze it like I did.

STRAUSS-SCHULSON: It’s out of focus and behind the curtain because you're like, “We can't put this in the movie.”

Image via Stage 6 Films

Now turning to a wider query. Prior to the start of filming, which among the grandiose sequences in this film did you anticipate to be the most challenging to execute, and in the end, was it truly the most demanding or were you caught off guard by another one?

STRAUSS-SCHULSON: Great question, Perri, and I have the answer. Believe it or not.

I've been waiting for you to say that to me since 2015. [Laughs]

STRAUSS-SCHULSON: [Laughs] What a great question! You're doing amazing. Isn't she doing amazing? She's doing so well. She really loves movies!

The operation booby trap sequence, where everyone is dying and it feels like a panic attack in the cabin, was a challenge for us due to the limited budget. We had to be strategic in how we used our funds. This particular sequence marked a significant turning point in the film, where people are losing their lives, nightfall approaches, and the crew is diminishing. It was important to visually capture the intensity of the situation. Therefore, I decided to use a motion control camera for long, dynamic shots that seemed almost impossible. It involved using a robotic camera on tracks, and getting everyone on board with this idea was quite an undertaking.

We constructed the cabin from the ground up, ensuring that it was precisely designed to accommodate the motion control camera. Initially, I anticipated this to be an extremely challenging sequence. However, with pre-visualization and extensive rehearsals, we successfully executed it within a single night despite the unfavorable weather conditions in Baton Rouge. While each day presented its own set of challenges, defying gravity became a routine occurrence. Surprisingly, the fire sequence proved to be more difficult than expected. I had assumed it would be relatively effortless, considering the fearless Cajun stunt team we had. Nevertheless, the explosion surpassed our expectations, resembling napalm and creating a larger impact. On our final night at the all-girls sleepaway summer camp, which also happened to be a Christian camp, chaos ensued. We inadvertently caused damage to the camp's infrastructure with our trucks driving over pipes and causing septic tank leakage. Our objective for that night was to film the fire scene, which soon turned into a nightmare. The Cajun stunt team had forgotten the necessary firefighting equipment, resulting in only two opportunities for the burn. Despite my astonishment, I had no other choice but to proceed with what we had. The first burn involved the actor jumping out of the window, which we captured from three different angles, producing excellent footage. However, we still had to complete the running sequence as the sun began to rise, intensifying the pressure. Failing to capture the scene meant we would lose it entirely. Eventually, we had no choice but to leave the camp behind.

The crew gathered for the final night, emerging from their trucks, hair and makeup in place. Everyone arranged their chairs, armed with popcorn and sodas as the clock struck four or five in the morning. It felt like we had an audience, as if they were spectators watching the final scenes being filmed. The atmosphere was incredible and leaving the camp felt bittersweet. We had all become like campers ourselves. With only two lights, the call for action was given, and they began running. Did you know what a focus puller does? In Los Angeles, amidst the darkness, with just four people and fire, trying to keep a sharp focus while the actors ran at full speed seemed like an impossible feat. We weren't sure if we would capture it successfully. But they did it. The moment we viewed the playback, the focus puller sat at the edge of their seat, holding their breath, and they nailed it. We were in awe. That shot was flawless, usable from start to finish. The entire crew erupted in applause, acknowledging the incredible talent of the focus puller. As the sun rose, four buses loaded with excited seven-year-old girls arrived, signaling the end of the shoot. It was time to go home, concluding the shooting of the movie.

I appreciate your recognition of the focus puller. Focus pullers, along with assistant directors, deserve more credit than they typically receive. They truly possess a magical skill.

STRAUSS-SCHULSON: They need more credit. He was a hero that night.

Image via Stage 6 Films

Here's a question I've been eager to ask you. I always appreciate the opportunity to clarify the misconception surrounding reshoots and additional photography. They are actually a crucial and valuable part of the filmmaking process. So, I'm curious, what is something you discovered during early test screenings that you were able to address and now, in the final version, it has made the movie even better?

STRAUSS-SCHULSON: We didn't have much budget for extensive reshoots, and we only conducted one test screening. In that test, we learned something quite helpful. We discovered that the audience really connected with the friend group in the film. As a result, we only did one reshoot, which involved the ending. Initially, the ending depicted everyone dying, with only Max and Alexander Ludwig surviving. They would end up in the hospital, setting up the sequel. However, we realized that audiences found it quite sad if everyone actually died. They wanted to see them reunited. So, we decided to reshoot the hospital scene with the friends and also added a moment with the mom in the real world. And that's all we did for the reshoots.

Great choice! If anyone is interested in viewing the original ending, it can be found as one of the deleted scenes in the movie, which is available for purchase. Additionally, the DVD is packed with a plethora of content. And if you don't have a DVD player yet, you can even get one for just $40. [Laughs]

[Laughs] I mean, you could buy it digitally and get access to the bonus features, too, if you prefer!

Speaking about that ending, has there ever been an actual conversation about making a sequel?

STRAUSS-SCHULSON: Surprisingly, the movie was not financially successful enough to justify a sequel. However, it has developed a cult following and continues to be screened in venues like this every year. Nonetheless, we had a fantastic concept for a sequel and all the actors were enthusiastic about it. Unfortunately, not many people are familiar with "Final Girls."

During interviews like this, I view them as an opportunity to possibly create something tangible. Therefore, I would personally love to see a sequel. Additionally, I find the idea of a meta-sequel, set many years later, intriguing. It would allow us to explore a new generation of horror movies and present fresh perspectives.

STRAUSS-SCHULSON: Yeah, I mean, Josh and Mark had this vague concept where Josh's character, Billy Murphy, and his real-life father would navigate the real world together. While the other actors have aged and lost their shine, real Billy finds himself battling it out with actor Billy in the real world. It would be a chaotic mix of horror conventions and all the other crazy stuff. So, yeah, that.

Image via Stage 6 FilmsThe Final Girls

The core concept of The Final Girls is absolutely brilliant: a group of friends find themselves walking into an 80s horror movie and must navigate through it in order to survive. What sets this film apart are its genius meta elements, but it is the emotional depth that truly takes The Final Girls to the next level. Taissa Farmiga shines as Max, the daughter of Amanda Cartwright (played by Malin Akerman), who was one of the beloved stars of the 80s classic film, Camp Bloodbath. After Amanda tragically dies in a car accident, Max reluctantly agrees to attend a screening of Camp Bloodbath. Suddenly, the theater is engulfed in flames and Max and her friends are forced to escape through the movie screen, unknowingly stepping right into the world of the film.

Editor's P/S

As a Gen Z netizen, I have a deep appreciation for horror movies, and "The Final Girls" is one of my favorites. The film's unique concept of being transported into an 80s horror movie is brilliant, and the meta elements add an extra layer of enjoyment. The heartfelt story and strong performances elevate the film beyond just a simple horror-comedy.

I also appreciate the director's original intention for an R-rating and extreme horror elements. While the PG-13 rating may have made the film more accessible to a wider audience, I believe the R-rating would have added an extra level of intensity and made the film even more memorable. Overall, "The Final Girls" is a must-see for any fan of horror-comedy, and I highly recommend checking it out.