Rian Johnson’s screenplays for both “Knives Out” and “Glass Onion: A Knives Out Mystery” move like a Swiss timepiece — smooth on the surface while their many moving parts work in concert just out o…
: A Knives Out Mystery” move like a Swiss timepiece — smooth on the surface while their many moving parts work in concert just out of view. Johnson and his collaborators have previously discussed his process where, appropriately, so much of the planning takes place in the writer-director’s mind before he pours it out on the page. But there was one scene on which he tells“The scene between Blanc and Helen on Blanc’s New York apartment balcony is the lynchpin of the movie,” Johnson says.
“All of this [happens] in a long static conversation at a table at the exact midpoint of the movie, where the danger of the pace flagging is at its highest,” he says. “I was rewriting that scene up to the last moment, and then shaping it drastically in the edit.” “The challenge before the scene is that the audience does not have an emotional proxy in this group of horrible murder mystery suspects,” Johnson says. “Blanc is the nearest thing we have, and he has to carry the water in that first half. In a big way I’m relying on the audience’s trust as the track is laid, and in the promise of the genre that a murder is coming, just be patient.”
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