Unveiling the Hidden Truths: Reptile's Director Speaks on Fan Theories and the Identity of the Killer [Exclusive]

The Big Picture

Grant Singer's debut film, "Reptile," has been a surprising success, claiming the #1 spot on Netflix's top ten for three weeks.

The singer talks about the incredible reaction to the movie, including fan theories and interpretations that even took him by surprise.

Singer's experience in music videos and working alongside renowned artists such as Taylor Swift and The Weeknd have paved the way for upcoming projects and meetings with actors who were captivated by the film.

For three consecutive weeks, the thriller Reptile, led by Benicio del Toro, dominated the top spot on Netflix's top ten list. This visually striking murder mystery features an outstanding cast, including Alicia Silverstone, Justin Timberlake, Michael Pitt, and more. The film has sparked online discussions, delving into fan theories as minute as the colors of the characters' attire. The astonishing reception of this movie is even more surprising considering it is co-writer and director Grant Singer's debut feature film, although we can certainly anticipate more great works from this filmmaker.

Singer recently joined Steve Weintraub and Perri Nemiroff on an episode of Our website Dailies, where they delved into the success of his first movie, his experience in its creation, and his future plans. Throughout their in-depth conversation, Singer expresses his admiration for influential directors like David Fincher, whose work inspired his own vision. He discusses collaborating with Oscar-winner Benicio del Toro on the screenplay and shares his experience directing such a talented and diverse cast, each with their own unique techniques. Singer, much like Fincher, has a background in music videos and has previously worked with acclaimed artists such as Taylor Swift, The Weeknd, and Sam Smith. He explains how his previous work in the field opened doors for him, but also presented some challenges along the way.

Finally, the trio delves into the shocking ending. Spoilers are clearly indicated in both the video above the article and in the transcript, which you can find below. Singer explains why the ending shown in the final film differs from the original draft, and whether del Toro had any involvement in the concluding sequence. We discover how Stanley Kubrick's 2001: A Space Odyssey served as inspiration for a shot that Singer ultimately considered "too self-indulgent," whether the killer was always intended to be the killer, and why Singer's initial ending would have evoked comparisons to David Lynch. To uncover all of this and so much more, continue reading or simply hit play on the video above.

Reptile

Tom Nichols is a resilient detective from New England, showing unwavering determination as he unravels a perplexing case that shatters the misconceptions in his own existence.

Scheduled for release on September 29, 2023, the film is directed by Grant Singer and features a talented cast including Benicio Del Toro, Justin Timberlake, Thad Luckinbill, Alicia Silverstone, Michael Pitt, and Owen Teague. With a rating of R and a runtime of 134 minutes, this gripping drama takes center stage.

GRANT SINGER: It's an incredible experience. Only when the movie was released did I truly comprehend the global impact of Netflix. I received messages in foreign languages expressing how deeply the film affected people and how much they connected with it. It was only then that I fully grasped their broad reach. This is not just a movie released in theaters worldwide. It is available to a vast number of people who have Netflix accounts. The sheer scale and extent of its viewership is truly surreal. "Surreal" is the perfect word to describe it.

SINGER: I received some Twitter threads from people who were analyzing every little detail, and I was pleasantly surprised to see that they were picking up on some of the things we intended in the film. It made me realize that they were thoughtful and observant in their viewing experience. There were also some aspects that they pointed out which I hadn't even considered. People came up with new theories or connected different elements in their own interpretations. While I did anticipate how people would respond to and engage with the movie, there were still unexpected moments and elements that caught their attention. Certain aspects of the script or the filmmaking, such as thematic parallels throughout the movie, intrigued them. It was truly surprising to see how deeply people delved into the intricate details of the film.

Image via Netflix

PERRI: I stumbled upon a small rabbit hole, which I will delve into later in the spoiler section. I'm genuinely intrigued to know if this idea actually crossed your mind. I'll save it as a teaser for later.

Steve: I'm really curious. It can be difficult to secure meetings in Hollywood, but once your movie is successful and well-liked, that can change. How have the past few weeks been for you in terms of people wanting to meet you or discuss your upcoming projects?

Singer: Yeah, I've had some meetings with people who have seen and enjoyed the movie. We mostly talk about the film and the experience of making it. I think when you make your first film, people are naturally curious about not just the movie itself, but also your plans for the future. Do you want to create something similar? Are you interested in exploring different genres? They want to know what kind of projects you're considering, whether they have something in mind or if you have any original ideas you'd like to pursue. Additionally, I feel that most of the meetings are focused on getting to know me as a person and understanding the director behind the movie. Making a movie definitely opens up more opportunities to expand your horizons and collaborate with studios, producers, and actors.

It was also surprising to receive messages from actors expressing their enjoyment of the movie and their desire to discuss it. Recently, I had the pleasure of meeting an actor whom I greatly admired. These meetings with actors hold a special significance because, ultimately, the relationship between an actor and director is perhaps the most sacred when it comes to filmmaking. As a director, it is essential to have talented individuals on screen who can evoke emotion and create a compelling story. Therefore, I thoroughly enjoy meeting actors and hearing their interests and thoughts on the movie. Undoubtedly, these actor meetings are truly remarkable.

PERRI: I truly resonate with this approach to collaborating with actors.

Steve: I need to follow up. What have you been discussing in these meetings regarding your plans for the future?

Singer: Well, it varies depending on the meeting. I'm not being secretive or hiding anything. I'm currently working on a project that I would like to pursue, but I'm also open to other possibilities. I don't want to be too definitive and say, "This is definitely my next movie," or "This is exactly what I want to do." I want to keep an open mind. Each meeting is unique, and sometimes people can surprise you with a compelling story. It's possible that something unexpected could pique my interest or inspire me to pursue a movie that I initially didn't consider. So, I just want to remain receptive to whatever opportunities may come my way. I believe that's the most appropriate approach.

PERRI: Before we delve further into your background, let's acknowledge that this is your first feature and many of our viewers will be introduced to you through this interview and movie. So, let me first ask you to pick your favorite music video. If our viewers could only watch one, which one would you recommend?

SINGER: That's a fantastic question. I would choose "Call Out My Name" by The Weekend. It was the last video I made for Abel [Tesfaye], and by that time, I had already created several videos for him. We had a great creative connection, and the collaboration felt freeing for both of us as artists. The visual aesthetics are appealing, with influences from Mark Romanek's photography. I adore the chosen color palette and the overall presentation. Moreover, I had a blast working on that project. It was visually striking and simply an enjoyable experience.

PERRI: I'm really into "Red Hearse" and "Half Love" these days. You should definitely check them out.

SINGER: I'm a big fan of those songs too. Jack Antonoff, who is part of Red Hearse, is amazing. I actually got to know him through working with Lorde on her "Green Light" music video. He reached out to me and asked if I wanted to collaborate on a video for his side project, and we've been friends ever since. Making those videos was such a great experience. They were really enjoyable.

Image by Jefferson Chacon

PERRI: You work with some really cool people. Alright, Steve, you want to take us into Reptile?

STEVE: Alright, go ahead. I've been hearing that I may have some questions. So, for your directorial debut, did you go back and forth on what you wanted to create? And why did you ultimately decide on Reptile?

SINGER: I always knew I wanted to direct a crime thriller. Throughout my life, as a film student and a lover of movies, contemporary noir films have had a lasting impact on me. With your first film, you're not only trying to make a good movie, but also trying to showcase who you are as a filmmaker. Reptile had this unsettling, suspenseful tone with a touch of warmth and playfulness that felt like the perfect fit for my debut. It just felt like the right film to make. In regard to your earlier question about what I want to do next, it's all about intuition. I don't want to approach it from an overly intellectual or cerebral standpoint, saying, "This is what I want to do." I want to remain open and embrace new artistic endeavors. Being open is vital for my growth as a filmmaker and allows me to explore new creative paths. Being too rigid and fixed in my mindset doesn't yield the right results for me personally.

PERRI: That makes a lot of sense. On the topic of music videos, since you've had a lot of success in that field, is it difficult to convince the necessary people to allow you to direct a feature film? Or is it a situation where you have to prove yourself and say, "I'm good at this, but I can also do this"?

SINGER: Unfortunately, I believe you have to start from scratch. You may get your foot in the door by showing that you can direct something visually, but there seems to be a negative perception towards music video directors. It's like people think, "Oh, you're just a music video director, it's not serious." I come from a generation that admires directors like Fincher, Spike Jonze, Mark Romanek, Michel Gondry, Chris Cunningham, and Hype Williams. So, even at a young age, I always saw a path forward, even if it was subconsciously. I thought, "If I make music videos, maybe one day I'll have the opportunity to prove myself as a director and potentially transition into making movies with the right script."

When entering the room, these pitch meetings primarily focus on determining if the individual has a clear vision and the ability to work well with actors. As a producer or studio, it is not enough for a director to be visually talented; they must also effectively communicate their vision and exhibit collaborative qualities. Although the specific personality traits that producers value may vary, being a director requires strong communication skills to convey one's vision to a large crew, work efficiently, and not overly prioritize certain aspects, especially for new filmmakers who have limited leverage. The pitch process centers more on evaluating the individual rather than solely focusing on the movie concept itself. Potential investors need to assess whether they want to invest in this person and their project. It is important to understand that while many projects succeed, there are also many that do not.

Regarding my initial meeting with Benicio, he had numerous questions about the movie and my vision. However, I could sense that around the 45-minute mark, the conversation shifted from the film to understanding me as a person and a director. This is crucial for actors because no matter how talented they are, they are ultimately at the mercy of the director who can either bring out or hinder their performance. Benicio seemed keen on grasping the type of director I would be, especially since this was my first movie. Therefore, the meeting involved them assessing whether I, Grant, who has primarily worked on music videos, can successfully transition into narrative filmmaking. It is essential to note that regardless of how convincing one may be in a meeting, their true test lies in their performance on set.

Image via Netflix

STEVE: Benicio, who co-wrote this screenplay, showcased his screenwriting skills for the first time with this project. What aspects of collaborating with him as a screenwriter caught you off guard? What unique contributions did he bring to the table?

SINGER: Benicio's attention to detail is remarkable. Instead of approaching the role as an actor, he takes on a more objective perspective, viewing the scene from behind the camera. With his vast experience in portraying diverse and brilliant characters in countless movies, he delves into the story and character in a profound and holistic manner. His consideration, passion, and thoughtfulness are evident in every aspect of the film, not only in his own role but also in the overall storytelling. The entire process was incredibly fulfilling.

Furthermore, the amount of time we had together was invaluable. I can't even fathom what it would be like to work on your first film with limited prior interaction with the lead actor. In contrast, by the time we started filming, we had endless conversations about the movie, allowing us to truly get to know each other as individuals. This familiarity greatly contributed to the final product, as it created a sense of comfort and confidence in our respective roles. I felt at ease communicating with him, and I believe he felt the same way about me.

PERRI: So, you chose to cast Alicia to reunite with the cast from Excess Baggage, am I correct?

SINGER: Interestingly enough, it was actually his suggestion to cast Alicia. While discussing the casting process, he brought up her name, which I found incredibly inspired. He had a long-standing relationship with her and had previously worked with her, so he knew firsthand that she would bring a beautiful touch to the role. I absolutely loved that idea. Once we spoke to her over Zoom, it felt like the perfect and inevitable choice. I'm thrilled with how it turned out.

PERRI: She's been on fire lately. Not just in recent years, but especially this year. After watching both "Perpetrator" and her latest project, I can't help but think, "You're absolutely amazing. Keep taking on big challenges and pursuing bold projects," because I'm fully on board with it.

SINGER: Me too. It's funny, a week or two after her movie was released, we noticed that she was ranked number one on IMDb's star meter. It made me feel really good to know that we played a part in bringing Alicia back, and it was truly incredible. Of course, I can't take all the credit for it, but I'm just thrilled to see her doing so well. She's genuinely the best person, and I hope we get to collaborate for many more years.

PERRI: It brings me joy. One aspect I truly enjoy is exploring the diverse approaches to acting that exist. Let's involve Justin in this discussion as well. Can you highlight something distinctive about how Justin, Alicia, and Benicio approach their work, which requires a different approach from you as their director?

SINGER: That's a great question. Every actor had their own unique process in the movie. I couldn't find any two actors who were the same or approached their roles and character discussions in a similar way. Each actor had a distinct relationship with me. Justin, being one of the biggest pop stars in the world, is not only an incredible musician but also an exceptional actor. He delves deep into his character's role in the story. I remember spending hours on the phone with him, discussing ideas for the next day and exploring different concepts. His thoughtfulness is apparent, although it differs from Benicio's approach, for example. Communication with each actor is also unique. Conversations take on a different tone. The same goes for Alicia and Michael Pitt. Michael Pitt, as an actor, immerses himself fully into his role, and even during scene preparations, my conversations with him took a different approach compared to those with Justin.

Also, it was astonishing for me to witness Justin and Michael sharing numerous scenes together. What fascinated me the most was that I approached directing them in completely contrasting ways. Firstly, I would discuss with Justin the specific details of a particular scene, and then I would seek out Michael, who would often be found outside smoking or engaged in some other activity. When conversing with Michael, I would inform him of my desired approach and completely transform the manner in which I discussed the scene. The brilliance of this dynamic lay in the stark contrast between these two individuals, who were essentially alien to each other. It was this intrinsic dissimilarity that infused the scenes with an unparalleled vivacity and vitality, showcasing the encounter of two distinct personas from divergent backgrounds and acting methodologies. This aspect truly exhilarated me.

Image via Netflix

STEVE: I loved the way you handled the camera movement, particularly in the first act. After watching the film again last night, I noticed the deliberate and authentic choices you made in terms of camera movement and editing. The transitions were quite abrupt, and I'm intrigued to know how you managed to accomplish such dynamic shots on a tight schedule, considering the limited pre-production time as well.

The operative word here is "sharp." I wanted something caustic and abrasive, with a razor-sharp construction. I have a great appreciation for classical camera moves and the way they were used in older movies. It's like a love letter to the films of the past. In the first act, the film is more presentational, but as it progresses, it becomes more immersive. We use longer lenses and more zooms, creating a sense of being within the scene rather than observing it objectively. Initially, we're outside the world, looking at it voyeuristically, but then everything changes.

There's a significant moment halfway through the film where something happens to Benicio's character. He's being taken away in a police car, and we see a shot of a farm field with a fence in the center of the frame. As the cars drive from right to left, we fade to black, with cows on either side of the frame. This marks the transition from the first half of the film to the second half, which brings a complete change in style. Although I won't go into the details of how I shot the movie, this is the turning point you mentioned.

And it's interesting because I recently watched The Killer, directed by Fincher, and he has a remarkable talent for incorporating impressive sonic transitions and cut points that I greatly admire. In a similar fashion, Reptile, which I had the pleasure of editing and constructing, also possesses these sharp edges that cater to personal taste. Even before we began filming, I was aware that this element would be integral to the overall structure of the film. It's like what you were saying earlier, about the reasons behind making this movie. Personally, I wanted to utilize those techniques in the realm of cinematography because of my genuine adoration for them.

PERRI: Before we delve into potentially spoiling details, I have a broader question for you. In this industry, we strive to showcase the work of as many talented individuals as possible. Could you mention a recent film, apart from The Killer, that has inspired you and perhaps even fills you with optimism for the future of this craft and industry?

SINGER: I have two examples of movies that left a strong impression on me. Firstly, I rewatched Shoeshine by Vittorio De Sica, an older film that deals with the human condition, the corruption of youth, and innocence in a deeply sincere way. The storytelling and performances in this movie are simply brilliant. It truly took my breath away. Secondly, I recently rewatched Swimming Pool by François Ozon, a film that I adored when it was released in 2001. The incredible performance by Charlotte Rampling and the atmospheric pace of the movie really captivated me.

However, I must give a special mention to a movie I saw last night that was incredibly inspiring - The Killer. Without giving anything away, the performance of one actor in particular stood out to me. Her character, Dolores, was portrayed by an actor I wasn't familiar with before watching the movie, but she truly impressed me. Every performance in The Killer was fantastic, and I cannot wait for its official release.

Image via Ente Nazionale Industrie Cinematografiche

STEVE: Can you believe it? David Fincher actually has the knack for extracting remarkable performances from actors. It's truly astonishing.

SINGER: It's interesting how people always discuss the technical brilliance of Fincher's movies, which is undeniable. He's a master in every aspect, but I believe his performances often get overlooked. When I read about his work, the focus is usually on the visuals and his directorial skills, but after watching The Killer last night, I have to say it might be my favorite Michael Fassbender performance ever. It was incredible. The performances in his movies are simply sensational. I don't want to spoil anything, but I have a lot to say about that movie because it truly moved me. I had a smile on my face the entire time. It's such a joy to watch his work, and I'm thrilled that it's going to be on Netflix, reaching a wide audience. I think it's going to be a huge success.

PERRI: Just a quick note, Kerry O'Malley plays Dolores in the movie. Definitely worth remembering her name when watching it.

SINGER: Kerry, she's absolutely incredible!

STEVE: I've been advocating to the government, and perhaps you all can assist me in making it a reality, but I've always held the belief, especially in recent years, that whenever David Fincher releases a new movie, it deserves to be recognized as a national holiday.

SINGER: Yes!

STEVE: Yes, I'm on that level.

SINGER: I agree.

STEVE: National holiday. I mean, I'm willing to do World Holiday, but for now, I'll just take the United States.

SINGER: Can we at least grant him an Oscar? During last night's screening, his collaborators were announced, and it was an impressive lineup of Oscar-winners. And then we heard the words "greatest director on the planet, David Fincher" from Elvis Mitchell. We all applauded, but I couldn't help but wonder, "Why hasn't he received an Oscar yet? It just doesn't make sense."

Image via Netflix

STEVE: I believe he hasn't directed an Oscar-worthy movie. He hasn't fully embraced the process of making a film that meets the criteria for an Oscar contender. The truth is, if he truly desired it, his immense talent alone would have allowed him to achieve it. However, he hasn't actively pursued it and hasn't created a film that aligns with the typical Oscar standards.

PERRI: Looking back, I think we could argue that many of his films were actually worthy of receiving Oscar recognition.

STEVE: Mank had the potential to be something great, but let's not forget that there are many exceptional movies this year, and only one will win Best Picture. Most likely, Oppenheimer will take the prize. And keep in mind, Nolan has also been overlooked.

SINGER: In 2007, Zodiac stood out among a crowded field of remarkable films like There Will Be Blood, No Country for Old Men, and Michael Clayton. There was also Noah Baumbach's Margot at the Wedding. It was truly a phenomenal year for movies. I agree that Zodiac deserves recognition. However, let's not turn this into a discussion about why David Fincher hasn't won an Oscar. Although that's a valid topic. When I watched Mank for the first time, I was in awe. It's a cinematic marvel, truly unbelievable. I can't recall what film won that year or who won Best Director, but Mank was absolutely deserving.

PERRI: Chloé Zhao won that year, Nomadland.

STEVE: Again, national holiday when Fincher has a new movie coming out.

SINGER: Yeah, let's do it.

Reptile Spoilers Begin Here

PERRI: Okay. It's a done deal. We're going to make it happen. We've brought it into existence. Now let's talk about spoilers for the movie Reptile. If you haven't seen it yet, now is the time to pause the video, watch it on Netflix, then come back and hit play, and the video will continue from this point. It's that simple. It's that amazing. What is the main contrast between the first draft of the screenplay and what we now see in the final film?

SINGER: The initial draft was much more vague, leaving things up to the viewer's imagination. It had a tone more reminiscent of Lost Highway, deeply unsettling and mysterious, almost unattainable. However, the version you saw in the movie has similarities, but offers more clarity, especially in the final act. Also, earlier drafts had a different ending. The major difference was that it had a more ambiguous ending, where you're uncertain of what occurs, and it had a more internal, possibly more intellectual, aspect that the viewer could fill in with their imagination. So that's the main difference, I would say.

Image via Netflix

STEVE: Regarding that matter, may I inquire if it was the input of Benicio or a producer's suggestion that instigated the alteration leading to what viewers perceive, or did you eventually recognize during the process, "This could potentially exceed the boundaries of acceptability for a wide-ranging audience?"

SINGER: When collaborating with producers, we aim to create a script that caters to both our creative vision and the appeal of a large audience. Once Netflix came on board, we became more aware of the potential impact the film would have on a wide range of viewers. It's like the difference between The Velvet Underground performing at a small club in downtown New York in the late '60s compared to playing at the Hollywood Bowl. The same songs are performed, but the delivery is adjusted according to the size of the audience. We began to understand how the format of our film would resonate with different people and made necessary adjustments. However, these decisions were also based on what we felt was right for the story.

Working on a movie is a process where one's understanding of the material constantly evolves with deeper analysis and reflection. We recognize that this is not an intellectual or literary piece, but rather an immersive experience where the audience becomes invested in the characters and anticipates certain revelations. If those expectations are not met, it would be a disservice not only to the characters but also to the audience and the film itself. We strive to be mindful of how the audience perceives and engages with the movie. This consideration influences our editing choices, aiming to elicit specific emotions and responses from viewers. It's not simply about personal preference in the editing room; it's about creating an impact for the audience. These aspects naturally evolved throughout the process, resulting in differences between the first draft and the final version of the film.

STEVE: If you had made the movie as you originally planned, it would have had a smaller audience, a lower budget, and been considered unconventional, like Lynchian. It would have set you on a completely different path.

SINGER: Absolutely. Personally, I have more unique musical tastes than most people. I've always been drawn to experimental music and unconventional things. But in this case, I'm making more commercially-oriented movies. I still incorporate my artistic sensibilities and unconventional elements, but in a more mainstream way. It's about finding the right balance. It also depends on where you are in your career. Maybe one day I'll make a heavier, less narrative movie. But for now, this was the right choice.

Image courtesy of Netflix

STEVE: Apologies for taking us down a detour, but circling back to spoilers—and this is a major spoiler—was Justin always intended to be the perpetrator?

SINGER: The orchestrator of his girlfriend's death, yes. That aspect remained constant throughout. While we may have approached scenes from different angles, the overall narrative remained unchanged.

PERRI: I have a particular question regarding the colors worn by each character in the movie. Is there a significance to their choices in relation to their identities and intentions?

SINGER: I saw something similar to that. It surprised me how much people read into those details. For questions about my costume, I defer to my costume designer, Amanda Ford. She would have a better answer since I don't recall specific conversations regarding color. However, I do remember discussing color stories for each character. It's been a while, so I don't want to give an inaccurate response. Amanda would be the best person to ask. But yes, I did come across that post. It's fascinating how closely people analyze the movie, paying attention to every color choice.

PERRI: After reviewing everything closely, I understood the connection. That post influenced my decision not to wear blue intentionally.

SINGER: By the way, now that you mention it, I do recall Amanda and I discussing the color choices for specific characters. So yes, that was definitely something that...

STEVE: One of the aspects to consider in every film is determining the final shots and where to end it. I'm curious if there was any discussion about concluding the film with Benicio being shot on the chair? How did you ultimately decide? Because the story continues a bit further with Justin on the golf course and Benicio in the kitchen. How did you precisely determine the ending, and was there ever a possibility of it being something else?

SINGER: Yes, we did discuss it. When we filmed the scene with the children at the window, it fit in well with the overall tone of the movie. The scene had a mix of eeriness and warmth, similar to the rest of the film's tone. After that, the character makes a call to 911. Benicio's face during this scene is incredibly powerful and impactful. We even considered ending the movie at this point, as it was quite striking. However, we had discussions with our collaborators about how this ending would affect the audience's perspective. Although it would have been a strong ending, we didn't want the audience to wonder about what happened to Justin.

In the kitchen, we included a brief epilogue that intercuts with scenes of Justin and Benicio. The metaphor of healing and shedding skin, represented by the paraffin, worked well. The film concludes with a shot of a faucet. While we could have ended the movie with the character looking at the kids and the window, we made the decision to go with the ending that ultimately made it into the final cut.

Image via Netflix

I wanted to inquire about the touchless faucet and why you selected it as the ultimate image. Not only did you choose it as the final image, but you also determined the exact duration for that shot.

SINGER: The shot was quick and executed on a dolly. I want to give a shoutout to Dwayne [Barr], our talented dolly grip, who also worked with Fincher on The Killer. He sat behind me at the screening last night and I appreciate his work. These unsung heroes deserve more credit. The camera operators are responsible for the smooth and visually pleasing shots that we all enjoy. Now, going back to that particular shot, I love how it starts with Benicio walking away from Alicia, with a seamless motion, and then we can land in our desired position. It perfectly times with the moment when he does the hand gesture, syncing with the beat of the Dylan song. He intentionally doesn't complete the hand movement... It's reminiscent of the sharp cuts we discussed earlier, where we end the movie with a similar technique to what we used throughout. These stylistic choices resonate with me as a viewer and as a filmmaker.

STEVE: When the film becomes successful, like being number one for three weeks, does Netflix reach out to discuss further possibilities for Benicio's character? Or is it more of a mindset of wrapping up this contained story, acknowledging its success, and moving on to something new?

SINGER: I haven't had any discussions with Netflix about expanding the storyline of Reptile. No one has contacted me about it. However, I believe the film is self-contained. Currently, I haven't considered a different version of the story, whether it's set in the past or the future. So, I don't have an answer. I believe everyone is pleased that the movie has found its audience and is gaining popularity worldwide. It's exciting to see the reception it's receiving from viewers. This is a word-of-mouth movie that doesn't require actors to actively promote it. It has organically garnered its own following, and that's a great feeling. It didn't rely on extensive publicity or celebrities appearing on TV shows. It just naturally found its place, and that's truly thrilling.

PERRI: Ending the interview on a positive note would be nice, but I have one more specific question. I must inquire about the frisbee shot and the idea behind its incorporation. Was it part of the initial draft?

SINGER: No, that happened later. It was a conversation we had. The movie has several instances of acts of God, right? Like, if Benicio hadn't dropped the binder in the middle of the second act and noticed the bites, he might not have reopened the case. It was a moment when it just fell out and he pieced together the two bite marks, stimulating his thoughts. We liked the idea of kids playing outside the house, so we included that. I even put myself in the movie since it's my first film; I'm just playing a role.

By the way, we shot a scene where the frisbee does this impressive thing, like a reference to "2001: A Space Odyssey." However, it felt a bit self-indulgent, so we didn't include it. But that shot, excuse my language, is absolutely breathtaking. It's one of my favorite shots. Benicio and I have a still of it that we text each other because we love the image. It's funny and strange. I mention this because when the frisbee hits the object, it's an act of God that brings these two characters together. Then, at the end of the movie, you see the kids making eye contact with Benicio. It's the moment where as a director, I'm connecting with my lead actor, and it adds a personal touch to the narrative, you know? That's where the inspiration for that came from.

Image via Netflix

PERRI: I love that thinking.

STEVE: You should consider sharing that shot of the 2001 on Instagram or Twitter in the future, just for fun.

SINGER: [Laughs] Perhaps someday, in a few years. It's a really cool shot. By the way, when making a movie, there were many things that I loved but ended up on the cutting room floor. They were fantastic shots. I would think, "Wow, this is so cool," but they didn't make the final version. That shot was one of them. However, you don't want to create an indulgent film, and that moment didn't feel right for indulging the viewer. I'm always capturing things and thinking, "Wow, that's cool. Oh my god, that's cool." But you can't have too many "Oh my gods" because it takes away from the storytelling and becomes more about the filmmaker. Do you know what I mean? It becomes more about showing off rather than being subtle in certain sequences.

STEVE: I've spoken with directors who have shared their experience of having to remove an expensive sequence from their movie during editing, despite believing it to be the best shot. The sequence lasted eight minutes, but unfortunately, it didn't work within the film, despite its amazing elements.

SINGER: Indeed. As a director, one of the most challenging tasks is letting go of a sequence that you personally consider exceptional. Even if it embodies everything you adore about cinema, it may not seamlessly integrate into the overall narrative. However, it's an inevitable part of the filmmaking process that must be embraced.

Reptile is now streaming on Netflix.