Editorials
A Deleted Scene for ‘Bird Box’ Actually Showed the Creature; “Green Man With a Horrific Baby Face”
The Netflix original movie Bird Box is a post-apocalyptic thriller in which you never see the deadly creatures. There is something flying around the skies that makes anyone who sees it kill themselves graphically, but very smartly, Bird Box never actually shows the audience the creatures; after all, what you imagine is oftentimes scarier than what you see.
That said, the creatures were *almost* shown in the movie…
“There was a time when one of the producers was like, ‘No, you have to see something at some point’ and forced me to write essentially a nightmare sequence where Malorie experiences one in that house,” screenwriter Eric Heisserer said.
Sandra Bullock plays Malorie, a woman who makes it to safety in a stranger’s house by not looking at the sky. The movie star described the deleted scene in vivid detail.
“It was a green man with a horrific baby face,” Bullock told us.
“It was snake-like, and I was like, ‘I don’t want to see it when it first happens. Just bring it into the room. We’ll shoot the scene.’ I turn and he’s like this [growling at me.] It’s making me laugh. It was just a long fat baby.”
Director Susanne Bier added, “It so easily becomes funny. We actually shot that and spent a lot of energy on, but every time I saw it, I was like this is not going to be tense. It’s just going to be funny. At first, Sandy was like, ‘I don’t want to see it’ because she thought it was scary. Then it was like, ‘Don’t show it to me because [I’ll laugh].’ Every time I did it, I was like, ‘Shit, that’s a different film.’”
“I’m so sorry you had to shoot that,” Heisserer said.
They can all laugh about it now that it’s not in the film. “We’re going to deliver it to Saturday Night Live,” Bier joked. “Whatever those beings are, they tap into your deepest fear. Everybody’s deepest fear is going to be different from the other person. I think to suddenly take upon a concrete shape in order to illustrate that becomes weak. Where the conceit is really strong, then trying to illustrate it is kind of almost meaningless. So it would have been the wrong decision.”
Now, when people on the street kill themselves, they show that. A lot.
“I don’t think Netflix have any inhibitions at all,” Bier said. “I think we pretty much wanted to do it so it felt real and at the time was harrowing. But, not so that would become the essence of it. It’s pretty much done so it’s kind of this is what it would look like if they actually did what they are doing. I think if you stick to that, you get it relatively realistic.”
“Also, we’re dealing with a subject matter where it’s all about… seeing is dangerous,” Heisserer added. “I don’t know if any of us wanted a scene in this movie where we were asking the audience to turn away from the screen.”
Bird Box is out now via Netflix.
Steven Spielberg has always been conversant in the cinematic language of the horror genre, despite relatively few credits in the genre. His contributions as a writer and producer on things like Poltergeist are legendary, and films like Duel and Jaws certainly wield the horror genre in remarkable, often chilling ways. He may not be a horror filmmaker, but he knows when he needs to scare us, and he has the tools to make that happen.
I didn’t go into Disclosure Day, Spielberg’s alien epic, expecting outright horror, and indeed the film leans much more into thrilling than frightening. This is not a horror film, but for a few minutes in the middle, much to my surprise, it became one.
Spielberg has filmed more than his fair share of scary scenes over the years, but with Disclosure Day, he directed a new contender for the scariest scene of his entire career.
SPOILERS AHEAD for Disclosure Day!
Josh O’Connor in DISCLOSURE DAY, directed by Steven Spielberg.
Among the various alien secrets laced throughout Disclosure Day are a trio of palm-sized rods, the color of pencil graphite. These rods, originating from another planet, can be used for a number of things, but for the purposes of this scene, the most important is “diving,” gripping the rod in one bare hand and using its power to “dive” into the mind of another person.
The person holding the rod in this scene is Noah Scanlon (Colin Firth), head of shadowy cybersecurity firm Wordex, who is hellbent on keeping human knowledge of extraterrestrials secret from the general public. Scanlon’s trying to find whistleblower Daniel Kellner (Josh O’Connor), who’s got all of those alien secrets tucked in a backpack while he’s on the run, and while Daniel’s more experienced mind is protected from diving, his girlfriend Jane’s (Eve Hewson) is not. So, monitored by medical personnel at Wordex headquarters (diving is dangerous), Scanlon pushes his way into Jane’s mind to find the location of Daniel’s safe house.
A telepathic invasion is scary enough on its own, but Spielberg doesn’t stop there. When Scanlon dives into Eve’s mind, he appears to her to be sitting across the kitchen table, like he’s in the room. Her bright blue eyes turn Scanlon’s dark brown, and she loses much of her control over her own body, not to mention her mind. Moments before, Daniel finally shared with her the secrets in his backpack, so Jane is shocked, conflicted, deeply vulnerable when Scanlon slips inside her head. This is not just telepathy. This is possession.
Spielberg underscores this not just through the visual language of the scene, as Jane breaks out in a sweat and struggles to sit upright as Scanlon invades her mind, but through Jane’s background. As she revealed to Daniel earlier in the film, Jane is a former novitiate nun who left her convent when she began to question her calling. She still believes firmly in God and, more importantly, believes that perhaps proof of alien life should be kept secret from the public because, in her eyes, it would upset the entire balance of faith in the world. God is a defining factor for humankind, Jane argues, and showing humanity proof of creatures from the stars would undercut that in dangerous ways.
This context, combined with the crucifix necklace Jane’s holding in her hand at the time of the dive, makes this scene the closest thing Spielberg will ever shoot to something out of The Exorcist. It’s not just a battle of wills, but a battle of faith. As an amoral technocrat worms his way into her memories, her beliefs, her faith, Jane turns the crucifix into a weapon, squeezing it until her hand bleeds when she discovers that a pain response can momentarily push Scanlon out of her head.
Of course, when you put a crucifix and a bloody hand together, it conjures images of stigmata. Screenwriter David Koepp pushes the allusion further by having Scanlon quote Christ on the cross to Jane by way of convincing her that she must be the one to stop Daniel by any means necessary.
It’s easy to see why this is scary, right?
On a very basic level, you have a powerful, wealthy man subduing and assaulting an innocent young woman, which is frightening enough. Then, the layers of the scene kick in. Scanlon doesn’t just assault Jane, but possesses her, seizes her memories, her knowledge, and finally her own free will, all while Jane literally clings to her faith in an effort to fight back. Disclosure Day is, among other things, a story about who has a right to the truth, and Scanlon believes that he should be the arbiter of that truth. Not just the truth as he sees it, but the truth as Jane sees it as well. If they don’t see eye to eye, he’ll make her.
But the possession, as it turns out, cuts both ways. Using the rod to dive is, for a normal human being, an intensely strenuous process. Scanlon admits that previous attempts almost killed him, and for some members of his time, so much as touching the rod results in a near-death experience. Even accessing an unprepared mind like Jane’s takes a lot of Scanlon, and when she kicks him out by squeezing the crucifix – again, so much meaning embedded in the details here – his team holds him back and tries to offer medical intervention. But Scanlon persists, pushing them away, and keeps diving back in.
This means that Jane can’t escape him because he just won’t stop pushing back through her defenses, but it also means that each time Scanlon enters her mind, and thus the safe house, he looks more monstrous. By the end, through a combination of lighting and makeup, Firth barely looks human, conjuring up images of the possessed Father Karras at the end of The Exorcist.
Colin Firth (center, standing) in DISCLOSURE DAY, directed by Steven Spielberg.
On a pure, visceral craft level, all of this is quite frightening, but the real trick to making this scene into Spielberg’s most terrifying lies in the more existential horror surrounding all of this. Disclosure Day is a film about the battle for the truth over extraterrestrials, but it’s also about a fight against an impossibly powerful surveillance state, the devaluing of human and alien lives in favor of some nebulous collection of assets, and the value of the individual in a world that increasingly lumps people into demographic boxes and writes them off.
In this scene, the surveillance state becomes supernatural, a human life is worth less than a piece of information, and an extragovernmental technocrat would rather sacrifice his own humanity than see reason. In 2026, few things could be more terrifying than that. Spielberg knows this and wields it mightily, proving once again that, while he’s not a strictly horror filmmaker, he can direct horror with the best of them.
Disclosure Day is in theaters now.
Eve Hewson (second from left) in DISCLOSURE DAY, directed by Steven Spielberg.
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