Mike Flanagan continues to surprise and show that he is a filmmaker of uncommon skill and talent. One that continually transcends the horror genre he has happily and skillfully made his home. Surprising because Flanagan has taken a film, he made over a decade ago and reinvigorated it with life by gracefully and subtly changing and shifting the film.
Hush is a contained piece of slow burn dread. Maddie (Kate Siegel, also the co-writer of the film) a deaf and mute woman who as she attempts to finish her latest novel is terrorized by a masked man (John Gallagher Jr.). Maddie and the man who unmasks himself early in their terrifying interactions match wits and violent barbs – as she tries to survive this night.
Hush in its new form, the SHUSH CUT, is Flanagan and Siegel’s original intent. A parse black and white piece of terror. Something along the lines of Richard Brooks phenomenal In Cold Blood in its starkness and coldness. Though Hush,unlike Brooks true crime masterpiece of terror, does offer hope. Hush gives us the kick of the fight back and resourcefulness of someone, Siegel’s Maddie, an audience thinks is ill-equipped handle this night.
By extracting the color, the film feels both more cinematic and human. Black and white is a format always places human faces in the forefront. Closeups matter more in a black and white film. Bodies in medium shots matter. Things like production design unless pushed with lighting recedes to the background (see Kubrick’s use of lighting in Dr. Strangelove to great effect on Ken Adams amazing sets). All things that help Hush in a way that it affects you – subliminally – during its runtime, even if you’ve seen the film before.
The remix of the sound as well adds a layer that recontextualizes Hush. By removing the score and highlighting the soundscape Hush becomes a heightened auditory experience that matches the dread that Maddie faces. There is no relief or guidance that a score can give. You are left as unmoored as Maddie is. The remix of the sound design isn’t just the removal of the score but with the environmental abilities of ATMOS it’s a redesign of how the film plays. Certain moments are pushed, others toned down, it’s as though Flanagan is conduction his own orchestra in sound. The result being one of the most effective uses of soundscape in recent memory.
Hush has always been a great film. A contained effective adroit tale of terror told in 80-minutes. In its SHUSH CUT form it’s been elevated from great to Classic with a capital “C”.
The Transfers
The 2024 4K Restoration Supervised and Approved by Director Mike Flanagan on the original cut is a masterful transfer. In some way, this is proof positive of the terrible lie people have been sold that streamers display 4K or even HD. The way that the HDR / Dolby Vision encoding gives a subtly to the contrast and black levels alone is revelatory but adding sharpness and color production makes this a night and day difference. The full uncompressed image here puts the image of the original Stream to shame. Even in its Blu-ray iteration (including here) puts that streamer image to shame. For anyone who has only seen the film on a streaming platform, this transfer is an all-new experience.
The 2024 4K Restoration – B&W “SHUSH CUT” Supervised and Approved by Mike Flanagan rivals Bong Joon-ho’s superb black and white version of Parasite. The subtly and grading that Flanagan created for this cut of the film brings an entirely different energy to the film. The black and white enhances the plight of Maddie in this horrific situation. The closest visual reference for the black and white is the work in Hitchcock’s Psycho – which is a less saturated black and white. The way that the grading and contrast from the black and white never feels flat is a minor miracle as the film was shot and designed for color which creates major issues because of densities that change when you desaturate a color image. The SHUSH CUT is truly an impressive work of reimagination and restoration.
The Sound
We do not normally discuss sound in our reviews but the all-new 2024 “Shush Cut” Audio Mix has to be discussed. Flanagan decided to remix the film as he was creating the Black and White version of the film. Talk about an altogether different experience. By removing the score by the Newton Brothers and remixing for Atmos coupled with the Black and White visuals has created an all-new experience. Most of us have seen the film on Netflix which yes has the ability to play 5.1 – but will not be ready for the verbose and wonderful soundscape. The difference is night and day making the film an even more terrifying experience. The Atmos is immersive in a way that only helps the film – listen to the moments when the film goes into Maddie’s POV – and it is truly a cinematic experience. Bravo to Flanagan for taking the time and care with the audio as he did with the visual.
The Extras
They include the following;
Disc One (4K UHD™, ORIGINAL VERSION):
Audio Commentary With Mike Flanagan, Actor & Co-Writer Kate Siegel, And Actors Samantha Sloan, John Gallagher, Jr., And Michael Trucco.
Disc Two (4K UHD™, “SHUSH CUT”):
Introduction to the SHUSH CUT with Mike Flanagan And Kate Siegel
Audio Commentary With Mike Flanagan And Kate Siegel.
Disc Three (Blu-ray™, ORIGINAL VERSION & “SHUSH CUT”):
Audio Commentary With Mike Flanagan, Kate Siegel, Samantha Sloyan, John Gallagher, Jr., And Michael Trucco (Original Version).
Audio Commentary With Mike Flanagan and Kate Siegel (“Shush Cut”).
Disc Four (Blu-ray™, Special Features):
Feature-length picture-in-picture Video Commentary with Mike Flanagan, Kate Siegel, Samantha Sloyan, John Gallagher, Jr., and Michael Trucco (Original Version).
The Dance Macabre: Mike Flanagan on Hush
To Stand Alone: Kate Siegel on Hush
The Constant Reader: Actress Samantha Sloyan on Hush
The Shape of Silence: Actor John Gallagher Jr. on Hush
Silent Witness: Actor Michael Trucco on Hush
One Good Scare: Producer Trevor Macy on Hugh
Violent Strains: Composers The Newton Brothers on Hush
One Terrible Night: Cinematographer James Kniest on Hush
NOTE: Disc three houses both cuts of the film on Blu-ray including both audio commentaries and sound mixes.
Disc One (4K UHD™, ORIGINAL VERSION):
The all-new Audio Commentary with Mike Flanagan, Actor & Co-Writer Kate Siegel, And Actors Samantha Sloan, John Gallagher, Jr., and Michael Trucco opens with brief introductions before diving into the film proper. Some of the details include the drone use to accomplish the opening shots; the production schedule – including shooting in sequence and the reasons why they did so; the fact it had been over a decade since they’ve been together; discussion of how and why Gallager was cast; the Midnight Mass easter egg; the quickness of Flanagan editing on the production – which allowed references for the actors; the casting of Michael Trucco – coming from his fandom of Battlestar Galactica – Trucco’s discussion of taking of the role; the use and learning of ASL in the film; the use of Facetime – including larger discussion of Apple requirements to use their products; a great anecdote about the production staying at a specific hotel and a cannon shot daily; the lack of ADR in Flanagan’s films – including a line that was ADR and its removal from the SHUSH CUT; a discussion of the mask that Gallager wears and what reference points used to make it; if the Oculus mirror makes an appearance in the film or not; the original ending and solution for getting the cops to come over – and how that changed; a hilarious discussion of drinking Pappy Van Winkle during their off time – whiskey drinkers will understand; a discussion about how Blumhouse took the crew and equipment to make Get Out; how Flanagan approached directing – including daily prep and shot lists, etc.; how they did the roof set piece – including stunts, what both Gallagher and Siegel did, safety, et. al.; the notion that Siegel inspired by Alien wanted to do the entire film sans pants after the arrow shot – and why it was nixed; the work between Trucco and Gallagher in their scene – including a great discussion of Trucco’s love of the experience; a discussion of how Sloyan got the part; and much more. This is a wonderful group commentary track. Most group commentary tracks suffer from the dreaded Altman-sound mix of people talking over one another about nothing really worthy. This is not the case here. Flanagan and Company provide a detailed and informative track that’s highly entertaining.
Disc Two (4K UHD™, “SHUSH CUT”):
Introduction (3:59) – Mike Flanagan and Kate Siegel – with much chemistry and humor/wit – introduces the black and white version, why this version exists, and how the new audio mix came about.
The all-new Audio Commentary with Mike Flanagan and Kate Siegel opens with the date that would eventually be the basis of Hush. Some of the details include the original conception of the film to be shot on 35mm and in black and white; the sound design that the production used to accomplish Maddie’s interior world; a great discussion of Siegel – by her own admission got veneers and how this is the last film with her “original teeth”; a discussion of where they were in their careers when they began Hush; Siegel’s doubts and how she combatted those doubts during the production; a great discussion about the importance of a focus puller for actors; a larger discussion of the geography of filming the scenes and the difficulty to accomplish what many audiences take for granted; a larger discussion through out of how the sound design that recontextualizes the film; a larger discussion through out of how the black and white also recontextualizes the film; and much more. Flanagan and Siegel provide a wonderful – and funny – commentary track that provides some great details and information about the production.
Disc Four (Blu-ray™, Special Features):
Feature-length picture-in-picture Video Commentary with Mike Flanagan, Kate Siegel, Samantha Sloyan, John Gallagher, Jr., and Michael Trucco of the Original Version. This is the same commentary track as appears on the 4K (and Blu-ray) of the original cut just a video version of it as it appears to be recorded in the Flanagan’s home theater with the entire cast mic’d up. The film is window-boxed at the top right-hand corner for visual reference. See a fuller review above of the actual commentary track.
The Dance Macabre: Mike Flanagan on Hush (28:12) – in this all-new interview with the director/co-writer Flanagan begins with how at a young age he got into filmmaking with a VHS camcorder remaking The Untouchables and his own adaptation of Stephen King’s IT – including scenes from the actual VHS versions. Flanagan discusses how the origins of Hush came from a date he and Siegel were on and how a discussion of Nightmares and Dreamscapes and Buffy the Vampire Slayer along with Seigel’s love of Wait Until Dark eventually became a pitch to Blumhouse. The dangers of being in a new relationship (personal) and the concerns that everyone had about how it would translate into business/artistic relationships. The way they worked on the script and how it evolved from living together. The various discussion points of the make-up FX, the mask, the casting of the film, the production design, et. al. Flanagan delivers a wonderful interview that has a lot of information and anecdotes that do not appear in both of the commentaries that appear on the set.
To Stand Alone: Kate Siegel on Hush (19:46) – in this all-new interview with the co-writer/star Siegel begins with the fateful date that Flanagan recounted but from her perspective and her wanting to move from supporting actor to leading actress and how a Wait Until Dark stage production she saw with Alison Pill and that began the journey to writing and eventually making Hush. Siegel discusses how Die Hard was a touchstone for the journey her character was going on and how something friends used to do also culminated in the creation of Hush. A wonderful discussion about the writing process but also how the production location changed the rewriting because of the house and how that process was accomplished. A discussion of the Maddie character and how they created the character and the discussion points of how she isolated herself and the arc that was a part of her journey over this night. How the location was very difficult to find in Alabama (where they shot) because East Coast and West Coast houses are VERY different – and how they found the house at the last minute. A discussion of the stunts and stunt coordinator Chuck Borden – and just how difficult it was for her to do her own stunts and a great anecdote about stunts being “not comfortable but very safe” – including a discussion of the hand slamming scene. The research she did for the script to imbue it with touchstones for someone who is deaf. Siegel much like Flanagan gives us some great information that doesn’t cross over with the commentary tracks.
The Constant Reader: Actress Samantha Sloyan on Hush (5:16) – in this all-new interview with co-star Sloyan she begins with how she was cast because they had written the role for her and her friendship with Siegel. Sloyan discusses her love of the original Texas Chainsaw Massacre and how Hush felt similar in the way that characters realistically attempt to escape in every way possible. The connection and future easter egg of Midnight Mass (which is the book that Maddie had written and would eventually be a Flanagan limited series). The practical work of being killed and how it relates to the story at large. Sloyan gives a great interview about her small but pivotal role and her true affection for the film.
The Shape of Silence: Actor John Gallagher Jr. on Hush (18:52) – in this all-new interview with co-star Gallagher he begins with receiving the script and his first impressions. Gallagher discusses his casting, and the way that they approached and worked together with Flanagan and Siegel on the character. The character and their motivations are unknown – but some of the visual references that add to the mystery. The work and collaboration with Siegel and the physicality of the film – additionally a discussion of stunts and stunt coordinator Chuck Borden. The way that the killer is a reference to other great slashers of the genre. Handling and working with the Crossbow – a few great interesting tidbits and anecdotes. His work with Michael Trucco – including a great reference to Die Hard with Hans Gruber duping John McClaine. Gallagher delivers another great interview and discussion of making this film he has true affection for.
Silent Witness: Actor Michael Trucco on Hush (9:12) – in this all-new interview with co-star Michael Trucco he begins with the offer that he was given by his manager and agent, and the script – his excitement for the film and taking the film. The way he approached the role was to ensure it wasn’t a cliché. The way they rehearsed the choreography to ensure that it matched the physicality/character along with the dialog to make sure that it played out almost like an action set piece. The way that they accomplished the makeup FX work he had to be a part of – including a great discussion of the movie prop knife. Trucco again is another engaged and fun interview about the production.
One Good Scare: Producer Trevor Macy on Hugh (7:38) – in in this all-new interview with producer Macy he begins with how he first heard about the project as a pitch from Flanagan. Macy discusses how the movie’s budget came together very quickly – along with the development of the script with Flanagan and Siegel. What he feels what makes Flanagan makes a truly great filmmaker – including Flanagan’s background as an editor. How the film did not have a distribution deal in place and how that informed the budget, production, and crew. The finding of the house they used in Alabama. The post-production process specifically the sound design and musical score. How the Shush Cut came into existence. Macy in his brief time gives a great discussion of the production of the film.
Violent Strains: Composers The Newton Brothers on Hush (10:14) – in in this all-new interview with the composers John Grush and Taylor Stewart who make up The Newton Brothers, begin with how they met Flanagan and their tastes in musical composition attracted them to begin collaborating with the director. The way that Flanagan challenges and tasks the duo in each project – and what that was with Hush. The score being both score and soundscape – how they compiled and created the score for Hush. Gush and Stewart’s interview provides some great details about how the score was created for this very different film.
One Terrible Night: Cinematographer James Kniest on Hush (7:43) – in this all-new interview with cinematographer Kniest he begins with how he got involved with the production through producer Macy. Kniest talks about the first meeting with Flanagan which was supposed to be one hour and turned into four hours. The approach visually and challenges that the production brought and how he approached them – including lighting packages, the use of Steadicam, and the production design. How Siegel doing her own stunts helped from a visual standpoint – and some of the practical details that helped accomplish visual style effectively. Kniest gives us some wonderful details of how the film was made.
The Final Thought
Scream Factory and Flanagan have gone old school. With two versions of the film, two audio commentaries, and hours of special features this is truly a throwback to the kind of Special Editions we got during the heyday of DVD-added value content. HIGHEST POSSIBLE RECOMMENDATIONS!
The mad geniuses at Scream Factory have given Mike Flanagan’s Hush a truly impressive 4K UHD Collector’s Edition. One that may be the best special edition disc of 2024.
The Film
Mike Flanagan continues to surprise and show that he is a filmmaker of uncommon skill and talent. One that continually transcends the horror genre he has happily and skillfully made his home. Surprising because Flanagan has taken a film, he made over a decade ago and reinvigorated it with life by gracefully and subtly changing and shifting the film.
Hush is a contained piece of slow burn dread. Maddie (Kate Siegel, also the co-writer of the film) a deaf and mute woman who as she attempts to finish her latest novel is terrorized by a masked man (John Gallagher Jr.). Maddie and the man who unmasks himself early in their terrifying interactions match wits and violent barbs – as she tries to survive this night.
Hush in its new form, the SHUSH CUT, is Flanagan and Siegel’s original intent. A parse black and white piece of terror. Something along the lines of Richard Brooks phenomenal In Cold Blood in its starkness and coldness. Though Hush,unlike Brooks true crime masterpiece of terror, does offer hope. Hush gives us the kick of the fight back and resourcefulness of someone, Siegel’s Maddie, an audience thinks is ill-equipped handle this night.
By extracting the color, the film feels both more cinematic and human. Black and white is a format always places human faces in the forefront. Closeups matter more in a black and white film. Bodies in medium shots matter. Things like production design unless pushed with lighting recedes to the background (see Kubrick’s use of lighting in Dr. Strangelove to great effect on Ken Adams amazing sets). All things that help Hush in a way that it affects you – subliminally – during its runtime, even if you’ve seen the film before.
The remix of the sound as well adds a layer that recontextualizes Hush. By removing the score and highlighting the soundscape Hush becomes a heightened auditory experience that matches the dread that Maddie faces. There is no relief or guidance that a score can give. You are left as unmoored as Maddie is. The remix of the sound design isn’t just the removal of the score but with the environmental abilities of ATMOS it’s a redesign of how the film plays. Certain moments are pushed, others toned down, it’s as though Flanagan is conduction his own orchestra in sound. The result being one of the most effective uses of soundscape in recent memory.
Hush has always been a great film. A contained effective adroit tale of terror told in 80-minutes. In its SHUSH CUT form it’s been elevated from great to Classic with a capital “C”.
The Transfers
The 2024 4K Restoration Supervised and Approved by Director Mike Flanagan on the original cut is a masterful transfer. In some way, this is proof positive of the terrible lie people have been sold that streamers display 4K or even HD. The way that the HDR / Dolby Vision encoding gives a subtly to the contrast and black levels alone is revelatory but adding sharpness and color production makes this a night and day difference. The full uncompressed image here puts the image of the original Stream to shame. Even in its Blu-ray iteration (including here) puts that streamer image to shame. For anyone who has only seen the film on a streaming platform, this transfer is an all-new experience.
The 2024 4K Restoration – B&W “SHUSH CUT” Supervised and Approved by Mike Flanagan rivals Bong Joon-ho’s superb black and white version of Parasite. The subtly and grading that Flanagan created for this cut of the film brings an entirely different energy to the film. The black and white enhances the plight of Maddie in this horrific situation. The closest visual reference for the black and white is the work in Hitchcock’s Psycho – which is a less saturated black and white. The way that the grading and contrast from the black and white never feels flat is a minor miracle as the film was shot and designed for color which creates major issues because of densities that change when you desaturate a color image. The SHUSH CUT is truly an impressive work of reimagination and restoration.
The Sound
We do not normally discuss sound in our reviews but the all-new 2024 “Shush Cut” Audio Mix has to be discussed. Flanagan decided to remix the film as he was creating the Black and White version of the film. Talk about an altogether different experience. By removing the score by the Newton Brothers and remixing for Atmos coupled with the Black and White visuals has created an all-new experience. Most of us have seen the film on Netflix which yes has the ability to play 5.1 – but will not be ready for the verbose and wonderful soundscape. The difference is night and day making the film an even more terrifying experience. The Atmos is immersive in a way that only helps the film – listen to the moments when the film goes into Maddie’s POV – and it is truly a cinematic experience. Bravo to Flanagan for taking the time and care with the audio as he did with the visual.
The Extras
They include the following;
Disc One (4K UHD™, ORIGINAL VERSION):
Disc Two (4K UHD™, “SHUSH CUT”):
Disc Three (Blu-ray™, ORIGINAL VERSION & “SHUSH CUT”):
Disc Four (Blu-ray™, Special Features):
NOTE: Disc three houses both cuts of the film on Blu-ray including both audio commentaries and sound mixes.
Disc One (4K UHD™, ORIGINAL VERSION):
The all-new Audio Commentary with Mike Flanagan, Actor & Co-Writer Kate Siegel, And Actors Samantha Sloan, John Gallagher, Jr., and Michael Trucco opens with brief introductions before diving into the film proper. Some of the details include the drone use to accomplish the opening shots; the production schedule – including shooting in sequence and the reasons why they did so; the fact it had been over a decade since they’ve been together; discussion of how and why Gallager was cast; the Midnight Mass easter egg; the quickness of Flanagan editing on the production – which allowed references for the actors; the casting of Michael Trucco – coming from his fandom of Battlestar Galactica – Trucco’s discussion of taking of the role; the use and learning of ASL in the film; the use of Facetime – including larger discussion of Apple requirements to use their products; a great anecdote about the production staying at a specific hotel and a cannon shot daily; the lack of ADR in Flanagan’s films – including a line that was ADR and its removal from the SHUSH CUT; a discussion of the mask that Gallager wears and what reference points used to make it; if the Oculus mirror makes an appearance in the film or not; the original ending and solution for getting the cops to come over – and how that changed; a hilarious discussion of drinking Pappy Van Winkle during their off time – whiskey drinkers will understand; a discussion about how Blumhouse took the crew and equipment to make Get Out; how Flanagan approached directing – including daily prep and shot lists, etc.; how they did the roof set piece – including stunts, what both Gallagher and Siegel did, safety, et. al.; the notion that Siegel inspired by Alien wanted to do the entire film sans pants after the arrow shot – and why it was nixed; the work between Trucco and Gallagher in their scene – including a great discussion of Trucco’s love of the experience; a discussion of how Sloyan got the part; and much more. This is a wonderful group commentary track. Most group commentary tracks suffer from the dreaded Altman-sound mix of people talking over one another about nothing really worthy. This is not the case here. Flanagan and Company provide a detailed and informative track that’s highly entertaining.
Disc Two (4K UHD™, “SHUSH CUT”):
Introduction (3:59) – Mike Flanagan and Kate Siegel – with much chemistry and humor/wit – introduces the black and white version, why this version exists, and how the new audio mix came about.
The all-new Audio Commentary with Mike Flanagan and Kate Siegel opens with the date that would eventually be the basis of Hush. Some of the details include the original conception of the film to be shot on 35mm and in black and white; the sound design that the production used to accomplish Maddie’s interior world; a great discussion of Siegel – by her own admission got veneers and how this is the last film with her “original teeth”; a discussion of where they were in their careers when they began Hush; Siegel’s doubts and how she combatted those doubts during the production; a great discussion about the importance of a focus puller for actors; a larger discussion of the geography of filming the scenes and the difficulty to accomplish what many audiences take for granted; a larger discussion through out of how the sound design that recontextualizes the film; a larger discussion through out of how the black and white also recontextualizes the film; and much more. Flanagan and Siegel provide a wonderful – and funny – commentary track that provides some great details and information about the production.
Disc Four (Blu-ray™, Special Features):
Feature-length picture-in-picture Video Commentary with Mike Flanagan, Kate Siegel, Samantha Sloyan, John Gallagher, Jr., and Michael Trucco of the Original Version. This is the same commentary track as appears on the 4K (and Blu-ray) of the original cut just a video version of it as it appears to be recorded in the Flanagan’s home theater with the entire cast mic’d up. The film is window-boxed at the top right-hand corner for visual reference. See a fuller review above of the actual commentary track.
The Dance Macabre: Mike Flanagan on Hush (28:12) – in this all-new interview with the director/co-writer Flanagan begins with how at a young age he got into filmmaking with a VHS camcorder remaking The Untouchables and his own adaptation of Stephen King’s IT – including scenes from the actual VHS versions. Flanagan discusses how the origins of Hush came from a date he and Siegel were on and how a discussion of Nightmares and Dreamscapes and Buffy the Vampire Slayer along with Seigel’s love of Wait Until Dark eventually became a pitch to Blumhouse. The dangers of being in a new relationship (personal) and the concerns that everyone had about how it would translate into business/artistic relationships. The way they worked on the script and how it evolved from living together. The various discussion points of the make-up FX, the mask, the casting of the film, the production design, et. al. Flanagan delivers a wonderful interview that has a lot of information and anecdotes that do not appear in both of the commentaries that appear on the set.
To Stand Alone: Kate Siegel on Hush (19:46) – in this all-new interview with the co-writer/star Siegel begins with the fateful date that Flanagan recounted but from her perspective and her wanting to move from supporting actor to leading actress and how a Wait Until Dark stage production she saw with Alison Pill and that began the journey to writing and eventually making Hush. Siegel discusses how Die Hard was a touchstone for the journey her character was going on and how something friends used to do also culminated in the creation of Hush. A wonderful discussion about the writing process but also how the production location changed the rewriting because of the house and how that process was accomplished. A discussion of the Maddie character and how they created the character and the discussion points of how she isolated herself and the arc that was a part of her journey over this night. How the location was very difficult to find in Alabama (where they shot) because East Coast and West Coast houses are VERY different – and how they found the house at the last minute. A discussion of the stunts and stunt coordinator Chuck Borden – and just how difficult it was for her to do her own stunts and a great anecdote about stunts being “not comfortable but very safe” – including a discussion of the hand slamming scene. The research she did for the script to imbue it with touchstones for someone who is deaf. Siegel much like Flanagan gives us some great information that doesn’t cross over with the commentary tracks.
The Constant Reader: Actress Samantha Sloyan on Hush (5:16) – in this all-new interview with co-star Sloyan she begins with how she was cast because they had written the role for her and her friendship with Siegel. Sloyan discusses her love of the original Texas Chainsaw Massacre and how Hush felt similar in the way that characters realistically attempt to escape in every way possible. The connection and future easter egg of Midnight Mass (which is the book that Maddie had written and would eventually be a Flanagan limited series). The practical work of being killed and how it relates to the story at large. Sloyan gives a great interview about her small but pivotal role and her true affection for the film.
The Shape of Silence: Actor John Gallagher Jr. on Hush (18:52) – in this all-new interview with co-star Gallagher he begins with receiving the script and his first impressions. Gallagher discusses his casting, and the way that they approached and worked together with Flanagan and Siegel on the character. The character and their motivations are unknown – but some of the visual references that add to the mystery. The work and collaboration with Siegel and the physicality of the film – additionally a discussion of stunts and stunt coordinator Chuck Borden. The way that the killer is a reference to other great slashers of the genre. Handling and working with the Crossbow – a few great interesting tidbits and anecdotes. His work with Michael Trucco – including a great reference to Die Hard with Hans Gruber duping John McClaine. Gallagher delivers another great interview and discussion of making this film he has true affection for.
Silent Witness: Actor Michael Trucco on Hush (9:12) – in this all-new interview with co-star Michael Trucco he begins with the offer that he was given by his manager and agent, and the script – his excitement for the film and taking the film. The way he approached the role was to ensure it wasn’t a cliché. The way they rehearsed the choreography to ensure that it matched the physicality/character along with the dialog to make sure that it played out almost like an action set piece. The way that they accomplished the makeup FX work he had to be a part of – including a great discussion of the movie prop knife. Trucco again is another engaged and fun interview about the production.
One Good Scare: Producer Trevor Macy on Hugh (7:38) – in in this all-new interview with producer Macy he begins with how he first heard about the project as a pitch from Flanagan. Macy discusses how the movie’s budget came together very quickly – along with the development of the script with Flanagan and Siegel. What he feels what makes Flanagan makes a truly great filmmaker – including Flanagan’s background as an editor. How the film did not have a distribution deal in place and how that informed the budget, production, and crew. The finding of the house they used in Alabama. The post-production process specifically the sound design and musical score. How the Shush Cut came into existence. Macy in his brief time gives a great discussion of the production of the film.
Violent Strains: Composers The Newton Brothers on Hush (10:14) – in in this all-new interview with the composers John Grush and Taylor Stewart who make up The Newton Brothers, begin with how they met Flanagan and their tastes in musical composition attracted them to begin collaborating with the director. The way that Flanagan challenges and tasks the duo in each project – and what that was with Hush. The score being both score and soundscape – how they compiled and created the score for Hush. Gush and Stewart’s interview provides some great details about how the score was created for this very different film.
One Terrible Night: Cinematographer James Kniest on Hush (7:43) – in this all-new interview with cinematographer Kniest he begins with how he got involved with the production through producer Macy. Kniest talks about the first meeting with Flanagan which was supposed to be one hour and turned into four hours. The approach visually and challenges that the production brought and how he approached them – including lighting packages, the use of Steadicam, and the production design. How Siegel doing her own stunts helped from a visual standpoint – and some of the practical details that helped accomplish visual style effectively. Kniest gives us some wonderful details of how the film was made.
The Final Thought
Scream Factory and Flanagan have gone old school. With two versions of the film, two audio commentaries, and hours of special features this is truly a throwback to the kind of Special Editions we got during the heyday of DVD-added value content. HIGHEST POSSIBLE RECOMMENDATIONS!
Scream Factory’s 4K UHD Edition of Hush is out now
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