From writer/directorJames DeMonaco(creator ofThe Purgefranchise),This is the Nightis set in the summer of 1982 in Staten Island and follows a teenager Anthony (Lucius Hoyos) as he sets out on an adventure that he, his Italian-American family, and his best friends will never forget. Kicking things off at a highly anticipated showing of the brand new blockbusterRocky III, their night is faced with a series of challenges that will lead to triumphs and tribulations all inspired by their movie-going experience.
During this 1-on-1 interview with Collider, which you’re able to both watch and read, DeMonaco talked about wanting to explore his love of the movie-going experience, how this story evolved, whether he’d ever considered focusing on any other movie, assembling the young cast, why he wantedFrank GrilloandNaomi Wattsto play the parents, and what he’s most proud of with the film. He also talked about having already writtenPurge 6, even though he really thought he was done with the franchise, bringing back the character of Leo Barnes (played by Grillo), and how optimistic he is that it will get greenlit, as well as the next movie he’s focused on, a horror film that he’s hoping to havePete Davidsonlead.
Collider: I appreciate you talking to me about this. Especially for someone like me, who loves movies, it’s so fun to watch something like this. I’m surprised there hasn’t been a movie like this before.
JAMES DeMONACO: I know. It’s true. Other thanCinema Paradisoand other thanThe Last Picture Show, there’s no movie about going to the movies, and that’s what I always wanted to do. It’s weird you bring it up because I’ve had the script for awhile and the idea for 15 years. I was terrified that someone was gonna do it. That was the terror I had, over the years. I was like, “Someone’s gonna do something similar,” because, like you, I thought there was a movie to be mined about cinema, inspiration, and the magic of the theater experience. So, it’s interesting you said that.
When did you make the leap from having the idea to actually sitting down to write it?
DeMONACO: God, I think it was afterPurge 2. I was happy with wherePurge 2came out, I had the idea, and everything felt right there. I was like, “Maybe the financing will come.” I know it’s much harder to get financing for a small, personal film than something likePurge, which is a genre movie. So, I felt like maybe the success of thePurgeswould help me find the financing forThis is the Night, which back then was calledThe Night Rocky III Opened, and then it becameOnce Upon A Time in Staten Island, beforeThis is the Night. I think it was afterPurge 2that I sat down and wrote it, and then showed it to Sébastien [Lemercier] and Jason [Blum]. Luckily, they liked it, and here we are.
I love that you’ve done enoughPurgemovies and you’ve done them for long enough that you can judge things by whichPurgemovie it came after.
DeMONACO: Right, exactly. I think it’s only been nine years ofThe Purgemovies, so I remember every break I had in between them. I wrote two books during that time period and several script, but this was the big thing that I wanted to get done, during thePurgedecade of my life.
Your love of cinema is obvious. Was it alwaysRocky IIIthat you wanted to base this around? Did you ever consider any other films? Did it always have to be this one?
DeMONACO: From the seed, it was alwaysRocky III. I always attributed it to be being that it was such an Italian American neighborhood that the Rocky character was so beloved here. But the mythology of Rocky had built up to this crescendo byRocky III, that it really was this event. Everybody was going. We waited three or three and a half hours in line. We saw it twice in two days. It inspired everything from people wanting to do good things to guys fighting over seats. It was really this event. Kids were holding the poster in school. It was really crazy. I think it was because ofRocky IandIIwere so beloved. But then, I spoke to people from other parts of the country and it was equally an event. So, I was wrong. It wasn’t just the Italian American nature. There was something about the Rocky character that he was beloved, across ethnicities.
I never [considered another film] in the writing stage or the seed of the idea. As you can see in the movie, I don’t show scenes fromRocky IIIduring the screening. I purposely didn’t showRocky IIIbecause, at some point, I want it to be of a metaphor for any movie that you could be watching, so I didn’t wanna show it. And then, I got a lot of notes saying, “No, no, you should showRocky III.” Even Stallone said, “James, show some scenes fromRocky III.” When we tried to do that in the edit, it changed the whole nature of the sequence. It became about watchingRocky III. You get caught up inRocky III, which was bad. It was like, “No, no, there’s another movie playing. Don’t watchRocky III.” I wanted it to be about the emotional experience of the audience, and it changed that.
And then, at some point, there was a rights issue that we confronted. Someone was afraid that we weren’t gonna get the rights to show the imagery fromRocky IIIfrom UA/MGM. They said, “James, it’s a good script. Can you substitute another movie that would create such a event and create this night of inspiration and courage?” And I was hard pressed to find anything. I was very saddened, that we couldn’t get the rights, at the time. Luckily, we did and everybody was so cool at UA/MGM. They read the script and they were very happy to give us the rights to use Rocky’s imagery. Before then, somebody saidKarate Kid, but I was like, “No, that doesn’t work.”The Godfatherwas a very big thing here in Staten Island, but it didn’t feel right that people would be inspired byThe Godfatheror that people would cheer duringThe Godfather. It was an event, but people weren’t cheering. So, that’s the long answer to say, no, not really, did we ever consider anything else.
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I loved the fun of watching them all waiting in line and having to actually buy the tickets in person. I used to do that a lot with concert tickets, but that’s just not something people have to do anymore.
DeMONACO: Ultimately, I’m trying to talk to my love of film and my love of movies, but also about the theatrical experience. I like that you bring up waiting in line because I think that’s part of what makes it so special. We wait. We’re anticipating something. We’re driving somewhere. We’re getting canned food, or there’s a long line sometimes. Losing all of that, you just can’t replicate it at home. That’s what makes me so sad about moving into the future. We’re being told the theater experience might go away eventually, which terrifies me. So, I hope this is not an artifact from a time that’s forgotten. I hope that somehow people will return to the cinemas. I have hope that things will return to a good a time, where people wanna get out of their houses after COVID. I think it’s happening already. Part of it is driving and waiting in line. We buy all of our tickets online now, so we lose part of that experience, which I hold dear.
It’s funny because you don’t even have to try to wait for a seat that you want anymore. Now, seats are assigned. It’s all of those little things that aren’t part of the experience anymore.
DeMONACO: Yeah, no one fights over seats anymore. Especially withRockymovies, people were punching each other to get good seats. Even how we deal with spoilers is much different now. At the beginning of the movie, the boys are talking about whether someone’s gonna die in the film because there’s a rumor. Now, we’d probably have heard who’s gonna die, going into a film, and we can read about it. Back then, it was much more mysterious. You heard this rumor [and wondered], is it true? There’s less mystery because there’s so much information out there that we can have access to. Everything has changed, but I hope the experience doesn’t change that much. I hope that the theater is always there. It’s never as immersive, anywhere else.
This movie is very different from thePurgefranchise, obviously, and most people would probably be shocked to learn it’s the same person that created both of these things. Did you write this at a time when you needed something different for yourself? Were you looking for something just to cleanse the palate ofThe Purge?
DeMONACO: Yes. I always say, this is me purgingThe Purge. This is my way. And then, I went back andPurgedafter this again. I always say this is the feel goodPurge.The Purgeinspires people to do very bad things, the most dastardly things in the world, murdering someone. Whereas,Rockymovies inspire people to be better versions of themselves. It’s my anti-Purgefilm. Go out and be courageous and fight your fears, in a good way. Absolutely, I think I needed something. I love every kind of film. I know there are certain filmmakers who are set into making just one genre, but I love to cross genres. I like to cross genres in the same film, which a lot of people yell at me for and I know they don’t like. There are tonal changes in this film, all over the place, which I love, but I know it’s a personal thing that other people don’t. But yeah, it was a way to definitely do something different. I hope I can continue to do different things. That’d be wonderful.
I’ve always been of the mindset that genre doesn’t matter, if it’s a really great story and great characters and the actors do a great job with the material. If someone thinks they hate a specific genre, it’s most likely because they haven’t seen something in that category that they’ve been able to identify with yet, but it’s out there.
DeMONACO: Absolutely, yeah. Just find a good one and you’ll love it. I love movies that mix up genres. It’s hard to find, but you see it a lot in European cinema and Japanese cinema too. I tried to do that here, with absurdity, comedy, melodrama, and hard drama. I love that. I love all the different genres.
Looking at your movies, this does feel like a film that’s closer to the first film you did, then to thePurgefilms.
DeMONACO: Yes.
Did it feel at all like a return to your roots, as a filmmaker? Does it feel like this might have been the next movie you’d have made, if you hadn’t doneThe Purge?
DeMONACO: Absolutely, yeah. I’m so happy you’re even aware of my first film,Staten Island, with Ethan Hawke and Vincent D’Onofrio.
Who wouldn’t want to watch that team-up?
DeMONACO: That’s right, exactly. It’s a great team up. They are amazing. I always wanted to write a TV show for the two of them because they’re wonderful people too. But yeah, I think that movie orThis is the Nightare directly connected, in a way. When people say, “This doesn’t seem like you,” I’m like, “Oh, you probably haven’t seen my first film.” I’m so happy you saw it. I find it a very interesting film. So, it was nice to know I could do it again. You worry, as a filmmaker, that you’re gonna get locked in and people are only gonna want X from you, from now on. I’m privileged to make films and I’ll continue making horror/thriller/dystopian action films, or whateverThe Purgeis considered, but I do wanna try different things. So, it was very nice to be able to return to this non-genre. There’s a little crime genre inThis is the Night. But it was nice to return to something different.
Do you ever wish that you had directed all of thePurgefilms yourself, just to say that you’ve directed them all, or do you feel like it made the franchise fresh for you again, to see what other filmmakers brought to it?
DeMONACO: It’s a great question because I think about it too. I’m like, “Should I have stayed and just done all five?” But I had fatigue on directing it, definitely. I was ready to move on and do this film. I also think that because of the nature of whatPurge 4and5became, I was really being inspired by the events of the country when they were written, even more than the previous story. The DNA of the sociopolitical landscape seeped into the writing. It was inevitable.The Purgeis a political conceit. Everything that was starting to happen in our country, with the state of discord and dissonance amongst political parties and people seeped its way in. And then, hiring diverse directors such as Gerard [McMurray] and Everardo [Gout] for the films, it elevated them in a way that I, alone, couldn’t have done. So, sometimes I think, “Maybe I should have stayed on and just had these five films that I wrote and directed. How cool.” But I think they actually made it better than I would’ve done. They brought out the socio-political nature. I might’ve stayed more genre-based. And then, maybe it’s also given me enough time away that I might return forPurge 6. We’re actually talking about that now. I think if I didn’t step away, I would have definitively walked, I would have been soPurgefatigued.
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Were there things that you learned about directing from making thePurgemovies, that you feel you carried over to doing this film or that influenced this film, in any way?
DeMONACO: Yeah, definitely. Jason knows this, so it’s nothing against Jason, but the model is to do it cheaply, but make it look like a $50 million film that’s gonna be released on July 4th, but you don’t have $50 million. You don’t have near that. So, it’s very hard. I’m not complaining. I love making films. But even more than me, it’s the crew, by the middle of these movies. We’re usually shooting all nights. Usually aPurgefilm is all nights, other thanPurge 5, which I wasn’t directing, so I wasn’t privy to the dayPurgeshooting. They’re all nights with not much time, and we’re really fatigued by all, but you start to figure out how to work within those parameters. Sébastien and I always joke about how we’ve been beaten down to figure out how to work with no budget. At this point, you just start to figure out how you can make something look great, if you have the right people on such a small budget. It was the same thing on [This is the Night]. It has a magical feel, so I knew it had to have a certain look, which is not easy to do on the time allotted. But since our DP, Anastas Michos, worked onPurge 4and also the reshoots forPurge 3, we adopted the fast but non-compromising way to give it a specific look that we learned from doing it. If I hadn’t done thePurgeand learned all of the tricks of the trade on how to move quickly but not compromise, I don’t think we would have been able to do it.This is the Nightwas even smaller than those films, but it was quite ambitious in scope. So, we learned a lot beforeThis is the Night.
How hard was it to assemble your young cast and to find actors who could really embody this era and make it feel real and authentic when they hadn’t lived it?
DeMONACO: Great question. We made a deal – Sébastien, Jason and I. Jason said, “Okay, we’re going, but let’s make a deal. If we can’t find the right boys, let’s not make it. We have to feel good about that. That’s the heart and soul of the movie.” So, it took awhile because I also had this specific thing where they to feel authentic to the ‘80s, but they also had to feel authentic to New York and Staten Island, and also not play to the cliches that I’ve seen so many times, with the heavy accents. That’s definitely here, but it’s not always here. It’s somewhat of a cliche. It’s overblown, in my opinion, in movies and TV. So, it was about finding someone that was believable for New York without being the cliche. It was tough because we met great actors whose accents I felt were a little too thick. I wanted something a little more universal. Yes, I’m saying it’s Staten Island, but I wanted it to feel like your hometown. It was really that fine line. It took about a year to get the three boys, but once we got them, we felt great and we moved onto the bigger names in the cast
I love Frank Grillo and Naomi Watts in this. They’re both so great in it and they’re playing characters that we’re not really used to seeing from them, with both of them. What was it that made you think of them? Did you need to do any convincing of them, to take on characters like this?
DeMONACO: Luckily, no. I didn’t have to really do much of a sell, with both of them. Frank, I had gotten push from certain people in the process to cast him as the mobster, which I didn’t wanna do. That seemed like the easy choice. I knew Frank could do it. Frank’s an amazing actor. Everybody knows that. But he also can be quite vulnerable. We know him as this hyper-masculine tough guy, but what’s interesting is to see that hyper-masculine guy in the subordinate role with this mobster who’s dominating because for financial reasons and their past, with the love triangle with the wife. I thought it was interesting to put Frank in this vulnerable position, and I thought he rose to the occasion. I knew he could do it. We had done a mini-series together, that I wrote in 2005, where I saw him be very vulnerable, so I knew he had it. It’s calledKill Point, and he’s wonderful in it. Frank was excited to try something different too because he thought he would be offered the mobster when he got the script.
And then, with Naomi, I still can’t believe it. They gave me a list of names and they were like, “Who do you want?” My favorite actor on the list was Naomi and I was like, “She’s the best.” To me, it was a ridiculous idea, but we had a couple of months, so I thought, “Let’s take one big shot. Let’s take one insane shot. It’s probably gonna be a no. Then, we’ll make a move to someone else that’s more realistic.” And Jason knew Naomi from somewhere back in the day when he was working at Miramax. He sent her the script and within a week and a half, I was sitting with her in Manhattan and we hit it off. She loved the script. Something touched her about it, and that was it. I was making a movie with Naomi Watts, who’s the best actor I’ve ever worked with. It was amazing.
I was such a huge fan ofKingdomand Frank’s work in that show, and he does have such a huge range in that show, but this is still different. The relationship between this family was still different than anything I’ve seen him do.
DeMONACO: Yeah, and I think he enjoyed doing something different. He had just come off doing the Joe Carnahan filmBoss Level, so he was quite muscular. He had to put on a lot of baggy clothes on, but he liked it. He just brought something different. When I watch it, to this day, it’s so great to see him vulnerable, especially at the end when you see him break and acquiesce to his wife in that final sequence. I find it very touching to see someone that tough. That’s the great thing about Frank and why I keep casting Frank. Not only is he a wonderful actor, but he actually is authentically a tough guy. You don’t wanna mess with Frank Grillo, and that’s a very hard thing to find. He’s not acting tough. That’s a great thing and very rare. We used to get that back in the day with Lee Marvin and Charles Bronson. It’s rare now, but we get that with Frank. That’s why people love him.
I know that you’ve written the nextPurgefilm.
And that the plan is to bring Frank’s character back or that. Where did writing thisPurgestart for you? Was it knowing that you wanted to bring him back, and then you developed an idea around that, or did you come up with an idea and think it was something he could fit into?
DeMONACO: That’s the one. I was done. I’ve said this before. I know people say, “Oh, come on, you’re a liar.” But I was truly done. It’s the end of America at the end ofPurge 5and I felt like that was a cool way to end, maybe with a little hope that people will fight back. It was the end of America, as we knew it, so I was finished. And then, with all of the craziness happening in Washington on January 6th, I woke up a couple of weeks later and I had this idea. I couldn’t believe it. I was actually shocked. I was like, “I have an idea, but maybe it’s not good though.” I was hoping it wasn’t good because I was done. I was finished with thePurge. I pitched it to Sébastien Lemercier, my producing partner, and he loved it. He was mad at me too. He was like, “Oh, God dammit, DeMonaco. Come on! You bring us right back in, just when we thought we were out.” So, we pitched it to Jason and he loved it. Peter Kramer, at the studio, loved it. So, I went off and wrote it, and it seems everybody’s happy with the script. To get back to your question, it was the concept first, of this new face of America, broken down into very strong tribal lines that we enter into, 10 years afterThe Forever Purge. It’s been remapped, in a way. As soon as I came up with the lead character, it was Frank. So, I had the world, and then it was about where Leo Barnes is, in this world. It all just naturally fit into place. Frank and I said, “If we’re gonna do a sixth one, let’s do it together.”
That’s a character that’s feels like he hasn’t fully had the ending of his story yet.
DeMONACO: Exactly. We need to end it. I think it’s a strong ending. If the studio wants it and the audience wants, we’ll know soon, hopefully. We haven’t heard yet.
Having written anotherPurgefilm, do you have more of a sense of the end of thePurgenow, or do you have less of a sense of the end? Do you have another idea?
DeMONACO: No, no, no, no. I do not. I’m gonna say it again, but no way. In a weird way, we’re calling this chapter two. It’s such a different landscape we’re entering into that I guess there could be more. I’ll say once again, this is definitively my last one, but I said that onPurge 5, so now I sound like an idiot saying it. But I see this as my end. I do think that the conceit of the sixth one lends itself to being more. I never want the idea to become exploitative, which it could be. I do worry about that. I wanna ensure it’s handled well. Even if I’m not writing and directing it, Sébastien and I will always stay in the orbit of thePurgeworld to make sure it doesn’t veer into a strange place.
It’s just been such an interesting franchise to watch because the directions it’s taken between the first movies, and then doing films likeThe First PurgeandThe Forever Purge, and doing the TV show where you explored different areas has allowed you to tell different stories in a way that a lot of other franchises can’t, even if you wanted to.
DeMONACO: What’s good about it, well I should say it’s not good, but we’re not bound to a character coming back. We love Leo, so we want him to come back, but it’s actually more individual stories.The Purgeallows it to go beyond just one character. TheRockyfranchise needs Rocky. Now, they have Adonis, that they can continue with inCreed. Certain franchises are based on those characters. WithFast & Furious, you need the Vin Diesel character. This is not bound by that. We just need the conceit. The conceit just allows us to keep diving into the American landscape. Maybe beyond that, at some point, I always say that American culture travels around the world and I would imagine this dystopian version of America in the world, the Purge would start traveling, potentially, to other countries, as a conceit for what they’re selling in America works. So, maybe eventually, we’ll see it go overseas somewhere. But yeah, it lends itself to new stories every day.
I know you’ve saidThis is the Nightis a very autobiographical film and in different ways. Would you say that there’s a piece of you or your own family in every character? Is there one character that’s entirely a fictional invention?
DeMONACO: Yeah. I would say I’m Anthony. Anthony is me, with the love of film, the love of the experience, and our age was similar when I saw the film. I didn’t go to a Sweet 16 that night, but the movie inspired me to make a strong move on the girl I loved, at the time. It didn’t work out the way it does for Anthony, so that’s changed. I’d say the dad is representative of the hyper-masculine males that I grew up with – brothers, uncles, fathers of friends. My dad is luckily a very open-minded, liberal-thinking, forward-thinking man, who’s a wonderful, loving man. Not that Frank’s not, but he had more of a male hyper-masculinity and my dad was just more of an open-minded guy. The Christian character is who people ask me about the most, and without giving away a name, that’s based on someone I grew up with, who was struggling with their sexual identity, in 1982 Staten Island. The hyper-masculine society, to be dealing with that issue at that time here, it was just profoundly difficult. Not that I’m saying it’s not difficult in other places, but here, when he came out to me, he said, “How could I ever tell anyone who I am?”
And I didn’t even know. I was very confused at that age too. This person I knew, and still know very well, found solace in movies, TV, and books. He had nothing else. There was no other place. There was no internet. There was no way to find out who he was and to find people like him. He was really locked off, on this end of the Island. Manhattan, at that time, seemed a million miles away, even though it’s so close. When you’re young, it seems very far. So, the idea that he always sought solace and found something in art – books, TV, movies, or whatever it was – when I told him about this storyline, he loved that I was applying his blooming and coming out with who he was later in life. It took him years to do that. He loved that I was putting it in the context of film. He thought that was very interesting. That’s what happened, in a way, with him. Film was something that he took great solace in.
It’s such an interesting character exploration, in that time period, when people didn’t even have the words to describe things then.
DeMONACO: Exactly. There were no labels and no names for, who am I? What am I? Now, there are words and ways to identify yourself. That’s a great thing. Back there, there was nothing. He was very isolated. Even my response to him, I think probably wasn’t proper. I was trying to be supportive, but I was very confused too. In 1982 Staten Island, that was unheard of. It was just the time that put him in a box, and he didn’t know how to get out of it. That’s what I wanted to portray. It’s a magical evening, so the events that Christian goes through on this night, are obviously compressed in time. In a way that would have taken him years of real life, he’s dealing with it in one magical evening, but that’s the nature of the film.
When it comes to this film, what are you most proud of having accomplished with it?
DeMONACO: It’s a great question. For the first time, I went to the theater to watch it with friends and family the other night, and it felt like my childhood. You get so caught up in these things, they become an obsession, to the point of [wondering], “Am I really seeing my film, the way it should be seen, since I’m so close to it?” It’s so hard to see your film. When you’re editing it, you’re watching it everyday, and I would screen it twice a week, just to get the overall feel. And then, finally, distance allowed me to really watch it and I was sitting there and it felt like 1982 Staten Island. That, I felt great about it. I left there feeling euphoric like that. It felt like me and the guys running from the boys in the neighborhood, for whatever reason it was, or kissing my first girl at the bar where we actually shot that scene. So, it really captured that, with the music and the feeling. I think it captured, for me, what I feel the theater experience can be when it’s this magical place. I know it’s done in this operatic, very poetic way in the screening ofRocky, but I’ve had experiences similar, that felt as magical. So, I think I got that scene right for myself. I can’t say for others. So, I felt proud of those two things.
It’s such a fun movie to watch. It’s sweet and it makes you feel good, which feels funny to say those things about the guy who createdThe Purge, but it deserves to be said.
DeMONACO: I purged thePurge. I wanted to make people feel good.
It gives you this feeling of nostalgia in so many different ways and I enjoyed that so much.
DeMONACO: Great. Thank you. That means a lot, honestly. It was a fun one to make and we need to feel good right now too. It makes you feel good, and I can’t say that for aPurgefilm. You leave there with a smile on your face. I hope people get to see it now.
Is there another script, aside fromThe Purge, or an idea that’s brewing, that’s also very different, that you want to attempt to take a stab at next?
DeMONACO: The next one, or that I hope it’s the next one to go and it’s looking like it could be, that I’m doing a rewrite right now on, is horror. It’s actually more horror, I would say, thanThe Purge. For true horror fans, I’d say it’s more horror genre. I would say it’s psychological horror. It’s paranoid thriller horror. It looks like Pete Davidson is gonna star. Pete’s attached, and he’s a friend of mine who lives up the street here in Staten Island. We’re hoping to shoot in the New Year. We’ve just finished drafts, we’re showing some people, and there’s interest. It’s a great role for Pete. It’s a very serious role, and that looks like it will be next. I have a couple of other things brewing, but that seems like the closest one to happening.
With Pete Davidson, he’s somebody that we’ve seen a bit of acting from, but we haven’t seen a ton of projects from him. What have you seen in him that makes you think he’s right for this film?
DeMONACO: I saw him inBig Time Adolescencefirst. I’ve known Pete. He’s aPurgefan. We got introduced by a local restauranteur, who’s a friend. He said, “You guys would hit it off,” and we met one night at the bar at the restaurant. We actually started writing a script together. I got to know him as a person first, before being an actor. He’s a great guy. And then, I started seeing his work. I had seen him onSaturday Night Live, like everybody else. And then,Big Time Adolescencereally blew me away. I was like, “Wow, this is an interesting character.” It’s not Pete. It’s not that guy I know at all. That character is a little aloof, always jokey, and he’s a smart-ass. Pete’s got that, but he’s got this whole other dimension. And then, I saw a lot of that inThe King of Staten Islandand that blew me away. I thought that he had amazing moments, especially when he’s alone in that movie. And in the movie that we might do together, he’s alone quite a lot. Seeing those two [movies] back to back, I was like, “There’s something here that I think Pete feels right for.” He read it and he felt good too. So, that’s it. I think he’s wonderful.
