I think it also adds something really new, because many of the films "Ultimate Destination" are either strictly for teenagers or wounds twenty -twenty. And in cases where we have a parental figure, we do not spend much time with them. And now we have these parents who got married in this, and they will only follow their whole family to massage and really have nothing they can do. It's just so heart. I really think you did something very special here. It is not very often that the horror franchise gives its best entrance to "6" It just didn't happen.

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Lipovski: Everyone knows the sixth always the best! (laughs)

Is always so (laughs).

Stein: I mean, it's so wonderful to hear. And we love all feelings. We love terror, and laughter, and also the emotional things you are talking about really breaking your heart. Going to the theater is so great for people these days, so we love the idea of ​​trying to give them the experience where they feel everything in those two hours.

Flip -side of it, these killings, they are so good. They are so, so good. And they are just precisely designed! Half a "final destination party" is trying to understand: "Oh, I know what will happen." That's why Gymnastics kills in "final destination 5" is so goodBecause you are so convinced of where it goes. Then it's like, "we're just kidding! We're the origami that overlap a person." Well, what is the process of trying to follow these, not only on the site, but also how to make a sense of the viewer?

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Lipovski: It takes many years, and it's an amazing iterative process. We work with the writers, and there are these big round tables, where they are rebelling, "What are the things we can destroy for people? What are the very everyday experiences we can only expose ourselves, so that at any time you see it in the rest of our lives, you think of" the ultimate destination? "But then, however, physically, how they work. What else is in that space?

Then you write down it down, then it doesn't work, then you will do it a little better, and go to the space and don't work, and you get other new ideas. And it just repeats it for many years. Another much of it is trying to do it not to predict it. It is really tricky to do, because as soon as you show the audience one thing, you still have to make sure there is another way that all this will gather.

The scene of the beam balance you were talking about, in "CD 5", was a crucial inspiration for the grill, because we wanted to have this little little object that creates so much tension that the whole audience focuses, but it may not just be that someone swallows that piece of glass. Must come the other way. And so it was really inspired by the beam of balance.

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Another one that inspired us was the death in Spaghetti from "CD 2." There are this spaghetti that is thrown through the window. What a hole, he does, right? But then, all these other things happen. You forget about the spaghetti. And then, it returns to kill him in the way he deserves. And it played in another big set piece we have later in the film. So, much of it just has broken down all the pieces that came earlier. What worked for them, what not? What are the moments -

Stein: Zack created a large table with details of every murder.

Lipovski: Yes. And then, taking all the lessons in what we wanted to do here.