Meghann Fahy (“The White Lotus”) and Brandon Sklenar (It Ends With Us) star as a budding couple embarking on a first date that goes terribly awry thanks to a twisty murder plot in Happy Death Day and Freaky director Christopher Landon’s thriller Drop. The suspenseful thriller sets its whodunnit in motion when widowed mother Violet begins […]
![Christopher Landon’s ‘Drop’ Built Fully Functioning Restaurant for Immersive Thriller [Interview]](https://bloody-disgusting.com/wp-content/uploads/2025/01/drop-trailer.jpg)
(from left) Violet (Meghann Fahy) and Henry (Brandon Sklenar) in Drop, directed by Christopher Landon.
One huge piece of the puzzle to solve was maintaining momentum in the pressure cooker scenario. Landon tells BD, “That was one of the big challenges of the movie, how do we continue to cast suspicion on a lot of different people and make them feel like credible suspects? How do you keep subverting expectations? I think also one of the challenges here, and it was something that I was really deeply involved in, was in the original script, there were a lot of different motivations and a lot of different things happening that for me didn’t land quite right. It was just about making sure that motivations were clean, that they made sense, that they tracked so that if you do go back and watch the movie a second time, you’re going to see like, oh, okay, now this all makes sense. There are a lot of hidden things in the movie that people will miss. If they go back and watch it, they’ll see a lot more.”
Drop also marks a departure from Landon’s recent genre-mashup output, in what his husband lovingly and humorously refers to as his “grown-up” movie. The more sophisticated and simple concept was a huge part of the appeal for the filmmaker. He explains, “I think what I was more conscious of was wanting to make something that I think was less of a mash-up and more straightforward. I think for a lot of filmmakers, every project that we tackle is a reaction to the thing we did before. I was reacting to a movie that I didn’t even make but was supposed to. It was the best version of kismet where I had this project. It really was a great sandbox for me to work out a lot because I’m always kind of wrestling and dealing with my stuff. I’m sorry I drag millions of people along with me into my therapy sessions. But that’s what it was for me. I was really excited to make something that was darker and heavier, and a little more emotional, but still manages to find the light. I always like to have humor in everything I do, so I still found that here. It’s just not as broad as those other movies.”
Landon continues, “We live in an age where we’re dealing with a lot of movies that have these enormous production budgets and so many visual effects, and all this stuff that’s getting thrown at the audience. For me, sometimes there’s just something impossibly magical and enthralling about two people just at a table. The stakes can still be so high, even though your environment and the amount of characters you’re interacting with is so minimal. I saw Red Eye multiple times in the theater. Again, sort of going full circle kismet, I did not get to make the Wes Craven movie that I thought I was going to make.“
The pared-back thriller pays homage to the suspense greats, from Alfred Hitchcock to Brian De Palma to Wes Craven, and sets up a tension-fueled whodunnit that takes place almost exclusively within an upscale restaurant on the 38th floor of a Chicago high-rise. Palate, the film’s fictional restaurant, becomes a character in itself because so much of the film is set there. While it’s not surprising that production built the setting from scratch, what is surprising is that it was fully functional. As in, Palate even served tasty food that not even the actors could resist, and it required careful planning for the sake of continuity.
“We built a 12,000-square-foot restaurant,“ Landon reveals. “We had 100 extras. We had to train an entire staff. We had actual food. We had a chef who made food. We created a full menu of very specific dishes, and then they had to go and create. I don’t even know what they were made of, but they were fake versions of our dishes that look photoreal. We vacillated between those because you don’t want a set that stinks of food all day and is gross. We also needed some people to be eating. It was such a crazy, elaborate operation. Hats off to our AD department because they had so much work to do in terms of tracking. Also, we had to manage continuity. Who’s getting up? Who’s getting what? What table’s being seated? What table’s done? What course are they on? Every single table had to be mapped out. It was mind-blowing. There were giant graphs and charts and all kinds of crazy shit that was done.
“When you watch the movie, it is seamless. The food was good. I had to stop Brandon from eating at a certain point because he would just keep going between takes. He would be like, ‘This is delicious.‘ He kept tucking into it. I was like, ‘Slow down. You’ve had five steaks.’
The restaurant set piece wasn’t just functional to create an immersive restaurant experience. Landon details, “It was 16 feet off the ground. We had to build an elevated set for a couple of reasons. One, because there’s a sequence later in the movie that requires the height. It was also like a big technical feat because they built this massive tunnel through the middle of the set so that we could move cranes and other gear from one side of the restaurant to the other side of the restaurant. It was a marvel. I was blown away by this thing. It was really cool. We had to get a certain amount of clearance so that we could do certain things with the actors after.”
“Then,“ Landon teases of a stunt-heavy third act, “we had to build an alternate facade of the building so that we could hang actors on wires even higher than that. Meghann was way up there. She was so brave because I was scared looking at it.”
Drop releases in theaters on April 11, 2025.
