Unleashing Mayhem: Chucky Season 3's Mind-Blowing Blood Bath

Summary

Chucky season 3 features the doll terrorizing the White House and the first family, continuing his murderous plots for power.

The season is split into two parts, with the second part releasing in 202

Returning cast members reprise their roles and Devon Sawa joins as a regular.

Special effects supervisor Jeff Skochko delves into the utilization of practical effects and the collaboration between different departments to bring Chucky to life. Season 3 will surpass all previous records with the highest amount of blood ever utilized on the infamous doll.

Continuing the narrative of the possessed doll inhabited by the notorious serial killer Charles Lee Ray, Chucky now sets his sights on Washington. With Jake Wheeler, his best friend turned boyfriend Devon Evans, and their companion Lexy Cross determined to thwart Chucky's sinister plans, the malevolent doll makes himself at home in the White House. Unleashing terror upon the first family and all other residents of the iconic residence, Chucky ruthlessly executes his murderous schemes, driven by an insatiable hunger for power.

Chucky season 3 will be divided into two parts, with the second part premiering in 2024. Don Mancini, creator of Chucky, expands on the world established in the Chucky films. The series is set after Cult of Chucky, the seventh installment in the franchise. Returning for the third season are Jennifer Tilly, Zackary Arthur, Bjorgvin Arnarson, Alyvia Alyn Lind, and Fiona Dourif, reprising their roles, along with Brad Dourif as the voice of the murderous doll. Joining the cast is Devon Sawa in a new recurring role.

Special effects supervisor Jeff Skochko discussed the third season of Chucky with Screen Rant. He provided insights on the use of practical effects, his first encounter with Chucky, and the deadly nature of the traps featured in the Saw franchise. Skochko also hinted that season 3 will feature the highest amount of blood ever used on Chucky.

Jeff Skochko Talks Chucky Season 3

Screen Rant: Chucky season 3 is taking things to an extraordinary level, adding to its incredible blend of genres. Can you share which horror influences were used for the special effects in this season?

Jeff Skochko: Season 3 has just scratched the surface of our capabilities. The initial episodes may have been a bit slow as we focused on our usual techniques such as smoke and wet downs. However, the real highlight was the chandelier. We dedicated weeks and a large crew to meticulously craft each crystal and construct the entire chandelier. It was not only built to perfection but also designed to break apart convincingly when it fell.

You are basing your work on Don's vision and working closely with the director. We have a strong collaborative team on the show, so you are incorporating elements from your previous experience. However, when it comes to influences, we need to align with their guidance.

Understood. Now, could you explain the creative process involved in bringing Chucky to life in the third season and how it has developed compared to previous seasons?

Jeff Skochko explained that the process for each project is similar. They start by receiving the scripts and then have a concept meeting with all the department heads. During this meeting, they read through the script and then break off into separate department meetings. There are times when the stunts effects, prosthetics, puppeteers, and visual effects departments have a joint meeting due to their interconnected work. During these discussions, they determine the best approach for any specific actions or challenges that Chucky, the puppet, may have, such as flying across the room.

Once these details are ironed out, they collaborate with other departments to assign tasks and responsibilities. Occasionally, they conduct tests and share the results with everyone involved to ensure a clear understanding of how the planned actions will work on set. Feedback is welcomed, and any necessary adjustments are made accordingly. Once everything is finalized, special effects requirements are communicated to every department, and the process moves forward from there.

How many Chucky dolls do you typically go through in a season?

Jeff Skochko: It varies. The puppeteers have their own Chucky dolls that are designed to speak and perform specific movements. These dolls have interchangeable parts. Additionally, for season 2 when we had the army of Chucky, the props department purchased around 75 or 80 dolls. So, it really just depends. We sometimes have a surplus of dolls in the shop that we use for preparations, such as when we had all the Chuckys on top of the van in season 2.

Content is often destroyed at various times. We have intentionally removed a number of limbs, including arms and legs, as well as other body parts. The quantity may vary, but on average, we estimate around five instances per season.

Absolutely fascinating! What really captures my admiration about this show, and perhaps Chucky as a whole, is the commitment to practical effects. There is a significant emphasis on using tangible techniques in this production. However, I'm curious to know how you strike a perfect balance between practical effects and digital effects, ultimately creating a seamlessly horrifying experience for the audience.

Jeff Skochko explains that when determining the division of tasks, particularly for a practical joke with multiple components, the visual effects team will often suggest shooting as much as possible using practical effects. They will then enhance or tidy up the footage in post-production using the most suitable methods. The show prioritizes capturing as many practical elements as possible on camera, be it through prosthetics or featuring Chucky. Visual effects are only sought for additional assistance when necessary. It is acknowledged that there may be some shots that solely require visual effects, unrelated to Chucky, as each team member excels in their respective area of expertise.

Yeah, that's one thing I really appreciate about this show. It seems like they genuinely put in effort to ensure that they try everything with practical effects first, which truly highlights the show's creativity. It's truly amazing. Did you encounter any notable or unique challenges this season in Chucky season 3 that necessitated an innovative approach to special effects?

Jeff Skochko: Well, there was the chandelier. It was the first time we had to tackle a chandelier, so that was the biggest highlight of season 3 so far. There are even bigger things coming up. We were already familiar with most of the other tasks. There's always something new and it's always exhilarating to venture into uncharted territory. So as I mentioned to another reporter, this season of Chucky will have the highest amount of blood ever used. There are more surprises to come.

I was completely blown away by season 2 and couldn't imagine how season 3 could possibly surpass it. However, right from the start, it seems like season 3 is really stepping up its game. Specifically, I'm curious about how the horror genre, particularly with regards to Chucky, is pushing the boundaries of special effects this season.

Jeff Skochko: Well, it depends. When we work on the Saw movies, we're creating these elaborate traps that don't actually exist. They only exist in someone's imagination. On top of that, we also have to ensure that these traps function properly. They're not just mere props. The level of creativity and research and development we have to undertake is mind-boggling. In fact, some of the traps in Saw could potentially be lethal, as I mentioned to another reporter.

That's the way they are designed, and many of them need to be operational. Safety measures are implemented, and we exercise cautiousness throughout the process. With Chucky and similar cases, the comedic elements are significant, yet manageable. There is a lesser emphasis on the mechanical aspects found in Saw's traps and more focus on techniques such as spraying, liquefying, or causing explosions. Each of us draws from our personal experiences as a foundation for our creative approach.

It's amusing how I recently had a conversation with the Saw team a few weeks back, and it's quite mind-boggling to consider that these creations come to life despite the potential terror they impose due to their harmless nature. It's crucial to approach them with caution.

Jeff Skochko: Absolutely. We have worked on three Saw movies so far, and it's astonishing how intricate and massive these steel contraptions are. The process of constructing and assembling them alone is quite something. Typically, we build them in our workshop and then have to transport them to the designated studio or location where we are filming to install them.

There was a significant workload involved, particularly with the Jigsaw and Spiralizer scenes. Creating the cone for the interior alone required substantial effort, as it had to be made from steel rather than the usual foam and latex materials. The goal was to ensure that everything functioned properly and looked realistic. While the process was highly creative, it also posed challenges and was mentally demanding.

As a specialist effects supervisor, how has your experience working on Chucky influenced your growth in the field? Have you gained any valuable insights or lessons that you have been able to apply to other productions?

Jeff Skochko: The collaboration on Chucky is fantastic. We have the freedom to pitch ideas and see them come to life. There's a friendly atmosphere where we can make suggestions like shooting in the rain for added drama. As we spend more time on the show, everyone becomes more comfortable sharing their ideas. It's a comfortable environment to work in, and we're often challenged to bring their wild ideas to fruition. Have there been any instances where we couldn't make something happen as written on the page?

Jeff Skochko mentioned that in season 2, there was a rain sequence in an episode directed by Dawn. However, due to budget constraints, the rain had to be cut, which was disappointing for the cast and crew who were excited about it. Despite this, Jeff acknowledged that budget limitations exist in every project. Moving on, he asks about the interviewee's initial encounter with Chucky. Did they watch the films before joining the project, or did they familiarize themselves with it after being hired?

Jeff Skochko: When I was younger, maybe even before my teenage years, I watched Chucky and some of the first few Child's Play movies. Although I haven't seen all of them, I've seen most, so when I got the opportunity to work on the show, I was excited. Working on a project involving Chucky is great because it's a well-known character, and I don't have to explain it in detail to people. They already have an idea.

Seeing Chucky on screen always leaves me impressed because, even though I know it's a doll, it moves so fluidly like a real person. What surprised me the most about working on Chucky was getting a glimpse behind the scenes and seeing how these dolls actually function. It was fascinating to see the inner workings of Chucky and discover what makes it come to life.

Jeff Skochko: It's fascinating how Chucky evolves with various parts and sizes, some of which appear unexpectedly larger than expected. The puppeteers' expertise in bringing Chucky to life adds another level of skill and realism. It's enjoyable to stroll around the set and encounter Chucky.

About Chucky Season 3

Chucky, driven by an insatiable hunger for power, ventures into new territory in season 3 as he infiltrates the White House – the residence of America's First Family. How did Chucky maneuver his way into this prestigious position? And what sinister agenda does he harbor within?

Check out other Chucky season 3 interviews here:

Alex Hedlund

Sid Armour

New episodes of Chucky season 3 air Wednesdays at 9/8c on SYFY.