INSIDIOUS
CHAPTER 3
Production Notes
Press Contacts:
New York
GRAMERCY PICTURES
Judy Woloshen
Los Angeles
GRAMERCY PICTURES
Kimberly Smith Weinstein
Regional
GRAMERCY PICTURES
Daniella Robinson
judy.woloshen@focusfeatures.com
kimberly.smith@focusfeatures.com
daniella.robinson@focusfeatures.com
Emily Lowe
GINSBERG LIBBY
Chris Libby
elowe@rubenstein.com
chris.libby@ginsberglibby.com
Online
GRAMERCY PICTURES
Kirstin Carag
Tahra Grant
Clay Dollarhide
kirstin.carag@focusfeatures.com
tgrant@rubenstein.com
clay.dollarhide@ginsberglibby.com
Kathryn Kennedy
kathryn.kennedy2@focusfeatures.com
RUBENSTEIN COMMUNICATIONS
For available press materials, register at www.focusfeaturespress.com
2
INSIDIOUS
CHAPTER 3
Synopsis
The darkest Insidious chapter plunges audiences back into the otherworldly
realm The Further, revealing how Elise Rainier (Lin Shaye) first braved it in
her fight to save a young woman from demonic possession.
Insidious: Chapter 3, the new movie in the terrifying horror series, is written
and directed by franchise co-creator Leigh Whannell. The film is set years
before the haunting of the Lambert family, and Elise’s battles with spirits
from The Further, in Insidious and Insidious: Chapter 2. In the prequel,
teenaged aspiring actress Quinn Brenner (Stefanie Scott) senses that her
late mother is trying to contact her, and seeks out a gifted psychic – Elise.
Elise feels protective of sensitive Quinn, but tragedy in Elise’s past has left
her reluctant to use her abilities. Soon a shocking accident leaves Quinn
recuperating at home, as her widowed father Sean (Dermot Mulroney)
struggles to hold his family together. Then Quinn is attacked in her bedroom
by a malevolent supernatural entity, and Sean pleads with Elise to help.
Wrestling with her faith and sense of purpose, Elise summons her powers to
contact the dead – with support from two new acquaintances, unlicensed
parapsychologists Tucker (Angus Sampson) and Specs (Leigh Whannell).
Forced to venture deep into The Further to protect Quinn, Elise soon finds
herself facing off against the most ruthless enemy she has ever
encountered: a demon with an insatiable craving for human souls.
A Gramercy Pictures presentation in association with Stage 6 Films of an
Entertainment One presentation. A Blumhouse Production. An Oren Peli
Production. Insidious: Chapter 3. Dermot Mulroney, Stefanie Scott, Angus
Sampson, Leigh Whannell, and Lin Shaye. Casting by Terri Taylor, CSA.
Costume Designer, Ariyela Wald-Cohain. Music by Joseph Bishara. Edited
by Tim Alverson, ACE. Production Designer, Jennifer Spence. Director of
Photography, Brian Pearson, ASC. Executive Producers, Steven Schneider,
Brian Kavanaugh-Jones, Charles Layton, Peter Schlessel, Lia Buman, Xavier
Marchand. Produced by Jason Blum, p.g.a., Oren Peli, James Wan. Based on
characters created by Leigh Whannell. Written and Directed by Leigh
Whannell. A Gramercy Pictures Release.
3
INSIDIOUS
CHAPTER 3
About the Production
Imagine a world that lives alongside the everyday; more frightening than
your nightmares, it seeps through your dreams into your waking life. This
world is inhabited by the dead and the never-alive, and is in conflict with
the world of the living. Its demon denizens want to return from one world to
the other. Some ghosts hope to make sense of their deaths; some spirits
yearn to reconnect with their loved ones. But many burn to exorcise their
anger, to indulge their jealousy, to wield their hatred and resentment, to
exact revenge at any cost...
This netherworld is The Further, created by Leigh Whannell and James Wan
in the hit movies Insidious and Insidious: Chapter 2. With Insidious: Chapter
3, the terrifying horror series takes a darker-than-ever turn into The Further.
Producer Jason Blum, whose company Blumhouse has also produced the
Sinister, The Purge, Ouija, and Paranormal Activity franchises, says, “James
and Leigh have created their own unique, terrifying world with Insidious, and
this chapter takes us deeper and deeper into The Further.”
“The Further exists on its own plane,” adds Wan, who is a producer on the
new movie. “But it can impact any one of us at any time.”
Producer Oren Peli reveals, “We learn more about The Further in this movie
– but from a different angle. This take has elements the audience hasn’t
seen in the previous movies, and a lot of scares.”
Whannell, writer and director on the new movie, opines that “people who
love a good scare dig the Insidious films. We want audiences to be
absolutely terrified.”
While dialing up the chills, Insidious: Chapter 3 turns back the clock; it takes
place years before the first two chapters which detailed the escalating
haunting of the Lambert family. With the family’s fate resolved in Insidious:
Chapter 2, Whannell was keen to shine the spotlight on a constant in the
tales: indomitable psychic Elise Rainier, portrayed by Lin Shaye.
4
Elise had been killed off as part of the struggle to save the Lamberts, but “I
love the character and I wondered how I could bring her back,” says
Whannell. “Dealing with ‘ghost Elise’ wasn’t the idea; I wanted her alive!
People enjoyed the time-spanning storytelling that we advanced in the
second movie, and I felt that would help me find a story that gives deeper
meaning to Elise’s journey.
“I started to devise an origin story, a prequel set a few years before the first
movie wherein concepts central to Insidious take shape, and where we
could explore Elise’s background. Once I started writing this, I fell in love
with the piece.”
Shaye was impressed at how Whannell’s script “gives you more details
about the characters; in Insidious: Chapter 3, we learn more about Elise’s
personal life. These ideas were exciting, because character and story are
what matter to me.”
Blum enthuses that “when you see Lin playing Elise on-screen, you believe
that she’s able to communicate with demons and ghosts. In most movies
about the paranormal, it’s hard to make the character of the expert feel
credible, but Lin is terrific at doing just that.”
Whannell says, “Lin is an actor whom you love having on the set, because
she’s 100% committed at all times. When you’re a writer, it’s encouraging
having an actor talk over your script so much with you.
“I had a lot of discussions with Lin while I was writing Insidious: Chapter 3,
and I feel we’ve made her character even stronger than in the first two films
– with a real range of emotions that she can express so well.”
Wan affirms, “Lin Shaye is the beating heart of these movies, and now the
new movie is able to continue and expand upon the series’ legacy.”
“It’s a great new story that transpires in the same universe,” elaborates Peli.
“Leigh introduces a new family – and revisits some favorite characters from
the previous chapters, like Elise. We get to see how she evolved to be the
Elise audiences got to know and love in the first two Insidious chapters –
the woman who is selflessly willing to sacrifice herself to fight demonic
forces for a family’s sake.”
5
Whannell offers, “I started to see Elise’s arc in Insidious: Chapter 3 as
reframing the classic Western story of the gunslinger who comes out of
retirement. Or, these days, it’s an assassin who does so. But how often do
we get to see it with an older woman?
“When we first encounter Elise with [her colleagues] Tucker and Specs in
the first movie, it was clear they already had a work history together. So I
could explore how they met – and connect it to the first film through little
strands in the telling; there are ‘Easter eggs’ for the fans, and every day I
would ask myself ‘What will the fans think?’ I didn’t want to disappoint them,
because they really respond to the quirky bits in the films.”
While the new storyline has much to offer faithful viewers of the movies, it is
also inviting in an audience that can come to the saga fresh. Whannell
reminds, “Everyone has fears, no matter what their culture or country. At its
core, every ghost story is about death and loss. That is why they are
relatable. Insidious: Chapter 3 is no exception; people can see this movie
having seen neither of the previous chapters and they will understand what
the characters here go through.
“My approach on this film was to take it back to the realistic horror tone of
the first movie, where you’re with a family who don’t know what’s happening
to them and can’t imagine what’s to come.”
So it is that in Insidious: Chapter 3, an ordinary family comes under siege:
17-year-old aspiring actress Quinn (Stefanie Scott), 9-year-old tech-geek
Alex (Tate Berney), and their widowed father Sean (Dermot Mulroney). Wife
and mother Lily’s passing has hurt each member of the Brenner family, but
Quinn is particularly sensitive at a vulnerable age and makes the fateful
decision to contact clairvoyant Elise in hopes of communicating with Lily.
Whannell comments, “In writing the character of Quinn, I tried to create a
teenage girl in an honest way. I feel that they tend to be portrayed a certain
way in films, one that doesn’t honestly reflect their goals and concerns.
“Quinn and Elise mirror each other in how they are dealing with loss at a
turning point in their lives, and it was important to me that audiences
connect with both of them.”
Peli clarifies, “At this movie’s prior point in Insidious history, Elise is not the
more assured woman who audiences got to know and love in the first
6
chapter; shattered by the loss of her husband, she has become a recluse.
The question is, will she be able to come out of her shell to help Quinn and
the Brenner family when the situation gets bad? What she does in this story
impacts subsequent events – and her own fate – in the earlier films.”
Shaye notes, “I hear all the time from people who love these movies, so I
was aware of the expectations. The challenge was to not repeat ourselves;
Elise has different dilemmas in Insidious: Chapter 3, and Leigh gave me a lot
to work with and to play.
“Elements of this new story, what this family faces down and what Elise
does, will touch people in a very human way.”
Peli adds, “Leigh understands the world of Insidious so well and also sees
all sorts of possibilities for The Further and for the characters grappling with
it, all of which made him the perfect choice to direct the new chapter.
“With each chapter, we try to up the ante over the last one.”
Blum elaborates, “The people who created a movie make the best sequels –
which I don’t talk about with them until after they’ve made the first movie, so
that it isn’t compromised – and carry the storytelling forward. When Leigh
said, ‘I have an idea for a new movie,’ that was ideal.
“We wanted to make it as comfortable as possible for Leigh to get to do
what he wanted to do in taking the director’s chair, because we all felt he
should be the next director for these stories.”
Whannell says, “[Blum’s production company] Blumhouse tells filmmakers,
‘You curate this world.’ That’s the key to their success: knowing that the
people who invented a series will devote the most attention to it.
“It’s a privilege to be part of telling these stories that connect with people all
over the world. Here was this fantastic opportunity, to be able to direct a
movie that is going to be released in theaters with people having the chance
to see it in a communal way. I love watching the Insidious movies with
audiences, especially when they jump out of their chairs.”
In that spirit, and to make his collaborators more comfortable prior to the
start of filming, Whannell invited actors Lin Shaye, Dermot Mulroney, and
7
Stefanie Scott – among other guests – to his home for “movie night.” He
screened the classic The Shining in an outdoor setting to inspire the group.
Shaye recalls that “making the first two Insidious movies, Leigh was very
much present. No one knows the feel of these stories more, or better, than
him and James. This was definitely the next step for Leigh in his career.”
Wan, who had directed the previous Insidious movies from longtime
filmmaking partner Whannell’s screenplays, remarks, “I am amazed and
proud to see what Leigh has done with Insidious: Chapter 3. Leigh
understands the nuances that you need to create horror scenes, to create
suspense and tension.
“There was no better person to take the reins of the Insidious franchise; I
was honored to pass the torch on to my great bud! When I see him
directing, even though this was his first feature, he looks like a natural. He’s
so comfortable and he has fun doing it.”
“I’ve had a great education,” says Whannell. “This came from sitting behind
James and watching him direct, and seeing what he does in the cutting
room, with music, with all of it. He is the master of modern horror.
“We both have similar tastes: we like to shoot continuously and not rely on
editing or CG effects, working with what’s practical within the camera and
within the frame.”
Even so, the writer/director notes that “my style is a little different than
James’s, which is important because while I am following the template of
the first two movies and Insidious: Chapter 3 certainly exists in the same
universe, I knew I wasn’t going to do a carbon copy of what James did. I
wanted to continue to build up these stories’ world but not repeat what we’d
done before.”
As it happened, production of Insidious: Chapter 3 overlapped with the
making of Wan’s newest movie as director, the big-budget Furious 7. Wan
was still able to visit Whannell’s set multiple times – and can be glimpsed
on-screen in a cameo role – but more frequently kept up with the project by
way of modern communication. “I would text Leigh with scare tips,”
remembers Wan. “He would text me back with how to blow up cars [for
Furious 7]!
8
“We were doing what we always do in person anyway – bounce ideas off
each other, and help each other out on projects.”
Whannell also availed himself of 21st-century technology to seek out a
veteran filmmaker whom he admired. He recounts, “Before I started
shooting I sent William Friedkin a tweet saying ‘I am directing my first film –
do you have any advice for me? Things you wish you’d known before you
directed?’ Mr. Friedkin responded right away, ‘Let’s have lunch and talk.’
“It was surreal. I’d never met the guy. I got to the lunch and we barely did
‘hello’ before he said, ‘You’ve got to scare your actors for real. On The
Exorcist I fired a gun. Do you think I could’ve gotten the [actor playing the]
priest to jump like that [otherwise] when the phone rang [in the scene]?”
Weeks later, in attempting to put the Oscar-winning director’s advice into
practice, Whannell sensed that the concept – but not the weapon – was
viable. “I used an air horn,” confesses Whannell. “One time only.”
“It worked on the actor,” reveals Dermot Mulroney. “Leigh was on the other
side of the set, and it still caused quite a fright.”
In exploring the more physical aspects of confronting demons and The
Further, Insidious: Chapter 3 kept everyone on their toes, even the many
members of the crew who were veterans of the previous Insidious movies.
“We had a talented crew, and a committed cast,” marvels Whannell. “I felt
lucky to be so supported on my first directing job.”
As had William Friedkin four decades prior, Whannell found himself guiding
a teenaged actress through intense scenes; when readying to film a
particularly disturbing twist that transforms Stefanie Scott’s character of
Quinn Brenner, the director tried a unique approach. “Leigh walked me into
a closet,” recalls Scott. “He made me listen to death-metal music for 30
minutes, in the dark. He had a guard posted outside the door, and he would
rush in and check my headphones to make sure I hadn’t turned down the
volume. It was awful but by the time I did the scene, I was ready!”
Mulroney remembers, “Something Leigh was hoping for all along finally
happened one day: I came in to do my scene, and didn’t see another actor,
in full demon regalia, waiting nearby to go on and do his part. It was dark,
and I got creeped out!
9
“What I also didn’t expect was getting scared filming tense scenes,
because the environment that Leigh created felt so real that the situations
we were acting out got under my skin. He deliberately cultivated that
atmosphere.”
Scare tactics aside, as an actor himself Whannell was also aware of the
importance of building character and back story for a portrayal.
He was fortunate in that neither member of the on-screen father/daughter
duo had ever acted in a horror movie before, but were raring to go. Scott
reveals, “I’ve always wanted to do one!”
Mulroney, a seasoned screen actor for over 25 years, adds, “I have a
teenaged son who is a huge fan of the horror genre, so I’ve taken him to the
first-night showings – and become a fan myself; that’s how I saw the first
two Insidious movies. Leigh Whannell enjoys these movies too, and his
enthusiasm is contagious. I think his concept for Insidious: Chapter 3 is
ingenious: to go back in time and therefore allow himself great range with
new characters, while at the same time give the audience the characters
they already know – like Lin Shaye, who is so authentic as Elise.
“But, for our new characters, Leigh doesn’t paint a family that’s like a
cartoon. They are in crisis, and that’s where the story starts; it’s as much
about grief and reconciliation as what might be jumping out from
somewhere. In talking with Leigh, we’d speak a lot about emotional
resonance, and Lin and I discussed how we felt that the horror extends from
what the family is going through.”
“Dermot is a wonderful actor to work with, and Stefanie is beautiful,”
praises Shaye. “As a director, Leigh is able to color in things that I’ve
thought about, which comes from his also being an actor.”
Mulroney adds, “That’s how you know Leigh will be able to help you get to
the most important parts of a character. Leigh is an easy guy to relate to,
and as a director nothing gets by him because he has the script memorized
and knows what he wants for even the smallest scenes.”
Whannell remarks, “For a first-time director, it’s great to have an actor like
Dermot who has done so many films; he knows about the technical aspects
of making movies, and can access the feelings we need for his character to
express – or not express.”
10
The writer/director himself is at times on-screen opposite Mulroney and the
other core cast, encoring as parapsychologist Specs alongside another
series staple, Angus Sampson as Tucker. “They’re everyone’s favorite ghost
hunters, and they always add a little bit of humor to the Insidious movies,”
smiles Peli. “In Insidious: Chapter 3, we see how they got their start – and
we see them get in over their heads.”
Whannell confides, “For Elise, I feel that Tucker and Specs are like the sons
she never had. Angus is an old friend of mine, and we’ve spent years
perfecting the back-and-forth you see on-screen. I wrote Insidious with
him in mind, and a lot of what you’ve seen between Tucker and Specs in
these movies is improvisation between us; we know the characters so well.
“On Insidious: Chapter 3, Angus said it was the most relaxed he’d ever seen
me as an actor – probably because I had these huge other tasks on my
mind and couldn’t over-think my own performance.”
Sampson says that, wearing multiple hats, Whannell promoted “a rich
congeniality on-set, and warmth where you wouldn’t expect any, and I
found it a treat to have the director in scenes with me and helping me to
access very truthful places in them.”
Scott found her director’s attention to emotional detail most welcome. “In
the story, Quinn has kept a diary,” the actress explains. “Leigh gave me a
blank diary – and a huge box of stuff to decorate it with: jewels, markers,
paint. I decorated the cover – and then I wrote in the journal every day as
Quinn, about what she’s going through with losing her mother. Leigh also
gave me a book about dealing with that kind of loss, which is how I truly
started to get an understanding of what it must be like.”
Oren Peli states, “The character of Quinn is carrying a lot of emotional
baggage, and Stefanie brings a lot of empathy to her performance.”
Mulroney says, “Stefanie contributes so much to creating the sense of a
realistically portrayed family that you’re pulling for in extraordinary
circumstances. This is a young actor who takes her job seriously.”
To that end, Scott met early on with stunt coordinator Mark Rayner, who
reports that she “wanted to do as many stunts as possible. Given what was
called for in Leigh’s script, we knew we would need several stunt doubles
11
for her over the course of the shoot – and, for one scene, three stunt
dummies. But, in rehearsals, we worked at figuring out certain pieces of
action that Stefanie could get to do herself.”
Whannell remarks, “Stefanie has already been working in this industry for a
while, but she doesn’t have that ‘Hollywood child’ quality to her. She has a
natural curiosity, and puts a lot of thought into her acting choices; she has
range and intuitive subtlety, and will do things that I didn’t notice on the set
but would pick up on in [the shooting day’s] dailies. I think she’s going to
be a huge star.”
The writer/director drew up for Scott what she describes as “a whole playlist
of music, what Quinn is into, all from before her time: Joni Mitchell, Elliott
Smith, Jeff Buckley. Leigh gave me vinyl albums, so I would sit and listen to
a record player and write in Quinn’s diary.”
Costume designer Ariyela Wald-Cohain worked closely with Whannell during
preproduction on all of the characters’ looks – whether in the real world or in
The Further – and Whannell specifically asked her to make sure that “Quinn
favored the vintage look; she shops at thrift stores in addition to being into
music from years back.”
Another song from years back, the series’ signature “Tiptoe Through the
Tulips,” will not be heard in Insidious: Chapter 3 – since it is more identified
with the Lambert family’s haunting – but has been re-recorded in a lushly
seductive version by indie rock band Cherry Glazerr and utilized in the new
movie’s trailer. The more central musical component of any Insidious movie
has been retained in full, as composer Joseph Bishara returns to score the
film after having done so on the two previous chapters.
Further strengthening the project’s musical ties, songwriter/musician Hayley
Kiyoko was encouraged by her friend Stefanie Scott to pursue the role of
Quinn’s sassy buddy Maggie. Peli notes, “These two have a chemistry as
friends in real life that’s hard to duplicate, so it’s ideal to bring on-screen.”
“It’s the path of least resistance,” quips Whannell. “It allows for shorthand.”
Kiyoko landed the part, and while she admits that she was thrilled to be
“acting with Stefanie, whom I have such respect for, I actually don’t watch
horror movies because I am not able to sleep after. But I figured, ‘Maybe I’ll
12
become less scared after doing this.’ Well, I was terrified at the table read
of the script!
“If you want a thrill, this is the type of movie that will have you anxious and
then jumping out of your seat. Leigh Whannell is passionate about horror
and he brings a lot of positive energy to the set, which is good when you’re
doing intense scenes.”
Seeking further authenticity in the presentation of his story, Whannell wanted
to provide a realistic environment in which the cast could immerse
themselves and inhabit the characters they diligently worked to construct.
The first two chapters of Insidious had been shot entirely in practical
existing California locations. Some of those reappear in Insidious: Chapter 3,
including Elise’s previously seen home, a century-old Highland Park twostory Craftsman house. Returning production designer Jennifer Spence’s
new challenge was creating the Brenner family apartment.
Spence reveals, “I spent a lot of time with Leigh talking about these
characters: what they do, and what their history is. It was important for me
to understand how to tell their stories visually, in each room; that’s a big
part of any Insidious movie, and certainly is in this one.
“Leigh had great ideas, and he would give me detail not in the script, like
how Lily was a painter. The Brenners are a family that have lost someone
vital to them; even though the apartment would have beauty, it would also
be sad. We discussed how, after you lose somebody, you end up with
books on grief. The audience might not notice, but we get these elements in
there to help create a space for the actors that they can feel real in.”
“Jen is passionate about the little things,” smiles Whannell. “But these
details have a cumulative effect; they really do matter. Even when we
weren’t working, it was cool to hang out with her.”
Hang time yielded brainstorms just the same, since “Leigh and I talked
about great apartments we’d lived in over the years.” comments Spence.
“We zeroed in on what we loved about them: French doors, fireplaces,
vintage O’Keefe & Merritt stoves. So, creating the Brenners’ apartment was
an opportunity to design my dream apartment.”
13
With the Brenners deliberately scripted by Whannell as living in a Hollywood
residential building so as to immediately differentiate Insidious: Chapter 3,
Spence and her unit researched “old Hollywood” apartments. While an
actual standing building in the neighborhood was secured for use in
exterior/establishing shots, “I visited a lot of different buildings and looked
at the texture, the layers of wallpaper and whatever else went into their
construction,” she explains. “I wanted us to layer he history of those efforts
into the building sets so when the characters walk down the hallway, the
audience can see the waves of plaster and paint that were applied.
“For the history inside the apartment, influenced by the late mother, we
thought about each piece of decoration and where it came from – did they
buy it at a yard sale or a flea market, or was it new?”
Preparation was crucial, as Spence and her team had only 15 days to build
the Brenners’ residence on a California soundstage, including “building,
painting, plastering, dressing the set – everything.
“When we were done, we had a lot of people say, ‘I want to live here in this
apartment,’ so I think we did a good job!”
The apartment has different rooms, and the audience is kept off-balance as
to when the world of the living will be forced into proximity with the world of
The Further. Mulroney remarks, “There are sequences where events happen
so fast, it was like we were making an indoor action movie. Like in the other
Insidious movies, there’s a lot going on in little spaces – and in Insidious:
Chapter 3, it’s rooms in an apartment, so it’s even denser.”
Accordingly, the “one set” had to be able to be redressed for different
looks. Spence recounts, “When we came to one of those junctures in the
story, the whole shooting crew would go away while my team went in. To
create The Further, we would undress everything, rendering a space devoid
of personal items or anything meaningful – just the ‘bones’ of the room.
“There was also another look which I called the ‘dream’ Further, which is
when you go back in time and see something that happened in the past.”
Working off of another back story confided to her by Whannell, for the
movie’s antagonistic new demon, Spence came up with “a tobacco-colored
design for the scenes set decades ago. There are cigarette butts
14
everywhere, oxygen tanks, and apothecary jars full of strange, indiscernible
things. It had to get very dark and weird.”
Of course, “very dark and weird” has been part and parcel of the enduring
shivery appeal of the Insidious movies, evoking dread and terror –
sometimes explainable for the characters, sometimes not. Stefanie Scott
remarks, “It’s the fear of the unknown that works on you – like when you
hear a noise and think, ‘Huh, that’s nothing.’ But in these movies, it
is...something.”
Leigh Whannell adds, “It’s your own imagination that can start freaking you
out right away; a floorboard creaking can set you off. In the Insidious
movies, we build on that and tease the audience a little.
“Then we go for the unexpected scares, maybe seen out of the corner of
your eye. Like in the first two movies, there will be moments in Insidious:
Chapter 3 where half the theatre is whispering because they saw something
– but the other half didn’t catch it. An Insidious movie has this creepy
atmosphere where you never know what to expect, and up come some
images that stick in your mind.
“The Insidious movies are atmosphere-centric,” agrees James Wan. “For
the filmmaking team, it’s all about creating the right tone, the right
creepiness. The world of The Further looms over our real world and is like a
nightmare, except you’re not asleep when you experience these demonic
entities encroaching on your world or these ghostly spirits haunting you.”
Oren Peli comments, “I think that fans value the Insidious movies because
these are not typical horror movies that rely on gore; the scares are
methodical and effective.
“I myself am drawn to the core concept of something lurking in your own
normal home, something that you can’t reason with and don’t know how to
fight against – but you must, for your family’s sake.”
Jason Blum confesses, “What scares me is being home alone at night and
hearing weird things. I think the reason that so many horror movies take
place in your own house is because that’s where you feel safest. So when
you’re threatened in that environment, it’s truly scary. That’s a big part of
the Insidious movies, as The Further bleeds into people’s homes and the
paranormal feels real.
15
“For me, the scariest thing about the Insidious world is definitely the
demons. But I’m very proud at how these movies define what scares you
most as what you can imagine, not necessarily what’s on the screen.”
Dermot Mulroney adds, “The Insidious movies are about the anticipation of
fear, and they use old-school methods to achieve what other movies fail at
using modern technology.”
Angus Sampson reveals, “You know a movie’s going to be frightening when
the rushes [of the day’s filming] scare you.”
Having confronted all manner of demons in her characterization of the brave
Elise, Lin Shaye reflects, “I loved – or, hated – the demons in the first and
second movies, but there’s something about the one in Insidious: Chapter 3
that chills me; there is a familiarity to it that is different – and scarier – than
what we’ve seen before.”
The new movie’s special make-up effects are designed and created by
Fractured FX. Whannell notes, “They did the first two movies, and they are
passionate about their work and creativity. We went for horrendous-andsickly rather than the gothic look of the earlier films.
“I pitched the basic ideals to [Fractured’s CEO] Justin Raleigh and his eyes
just lit up. What they came up with was phenomenal.”
Peli praises the work “done by Fractured in creating the main demon here,
who will give audiences a serious jolt.”
Wan says, “This new chapter is a good entry point for people who have
never seen an Insidious movie to come in and enjoy a scary ride.”
“Quite a ride,” confirms Steve Coulter, who reprises his role as Elise’s
confidant Carl. “The things that we grew up being afraid of, that our
mothers and fathers told us were not there? The Insidious movies show you
that, yeah, they are there. Especially if you look too long into the dark.
“Leigh Whannell is a very nice guy, but he’s got some very bad things in his
head. So you’re going to see things in Insidious: Chapter 3 that you’ve never
seen in any other movie.”
16
INSIDIOUS
CHAPTER 3
About the Cast
DERMOT MULRONEY (Sean Brenner)
Since being discovered at Northwestern University by a Hollywood talent
agent, Dermot Mulroney has acted in over five dozen feature films.
He recently shared, with his fellow actors from John Wells’s August: Osage
County, a Screen Actors Guild Award nomination for Outstanding
Performance by a Cast in a Motion Picture as well the Hollywood Film Award
for Ensemble of the Year.
Mr. Mulroney made his movie debut in Sunset, directed by Blake Edwards,
alongside James Garner, Bruce Willis, and Malcolm McDowell. Among his
other early features were Christopher Cain’s hit Western Young Guns; Martin
Davidson’s telefilm Long Gone, for which he received a CableACE Award
nomination; Norman René and Craig Lucas’s Longtime Companion; and
Marc Rocco’s Where the Day Takes You. The latter earned him the Best
Actor award at the Seattle International Film Festival.
His many movies since have included Tom DiCillo’s Living in Oblivion;
Robert Altman’s Kansas City; Anjelica Huston’s telefilm Bastard Out of
Carolina; John Badham’s Point of No Return, opposite Bridget Fonda; Jon
Amiel’s Copycat, with Sigourney Weaver and Holly Hunter; P.J. Hogan’s
smash My Best Friend’s Wedding, opposite Julia Roberts and Cameron
Diaz; Alexander Payne’s About Schmidt, alongside Jack Nicholson; Clare
Kilner’s The Wedding Date; David Fincher’s Zodiac; Clint Eastwood’s J.
Edgar; Ken Kwapis’ Big Miracle; Joe Carnahan’s The Grey, alongside Liam
Neeson; Park Chan-wook’s Stoker, with Nicole Kidman and Mia
Wasikowska; Calvin Reeder’s The Rambler; and Joshua Michael Stern’s
Jobs. He will next be seen in Andrew Mogel and Jarrad Paul’s 2015
Sundance Film Festival comedy hit The D Train, with Jack Black; James
Vanderbilt’s Truth, with Cate Blanchett and Robert Redford; and Dan
Mazer’s Dirty Grandpa, alongside Robert De Niro and Zac Efron.
17
Mr. Mulroney’s television credits include season-long guest-starring arcs on
Shameless, opposite Emmy Rossum, and Enlightened, with Laura Dern. He
also had a recurring role on New Girl, opposite Zooey Deschanel; and
starred as part of the ensemble on the NBC series Crisis.
A classically trained cellist who has been playing since he was seven years
old, he has been part of the orchestra on the scoring sessions for films with
such composers as James Newton Howard and Michael Giacchino.
STEFANIE SCOTT (Quinn Brenner)
One of Hollywood’s most promising young talents, Stefanie Scott is
nurturing her career in film and television.
She has wrapped production on two independent films: Maggie Kiley’s
thriller Caught, in which she stars opposite Anna Camp and Sam Page; and
Leif Tilden’s drama Life at These Speeds, with Liana Liberato, Graham
Rogers, Melanie Lynskey, and Billy Crudup. This summer, she is slated to
begin filming the lead role in another independent feature, First Light, to be
directed by Jason Stone.
She will next be seen on-screen in another project for Insidious: Chapter 3
producers Blumhouse Productions; Ms. Scott portrays Kimber Benton, the
lead keyboardist, in Jem and the Holograms. Directed by Jon Chu, the
musical fantasy will be released nationwide by Universal Pictures in October
2015.
She is best known for her starring role as Lexi Reed on the Disney Channel’s
A.N.T. Farm, which ran for three years; and for a recurring role on NBC’s
Law & Order: Special Victims Unit. Also for television, she has guest-starred
on such shows as Jessie, The New Adventures of Old Christine, and Chuck;
and played a lead role in the Disney Channel telefilm Frenemies, with Bella
Thorne and Zendaya, directed by Daisy von Scherler Mayer.
Ms. Scott’s first movie was Rob Reiner’s Flipped, based on the novel by
Wendelin Van Draanen. She then lent her voice to the blockbuster Oscarnominated animated adventure Wreck-It Ralph, directed by Rich Moore; and
played the younger incarnation of Natalie Portman’s character in the hit
romantic comedy No Strings Attached, directed by Ivan Reitman.
18
ANGUS SAMPSON (Tucker)
One of Australia’s most distinctive and diverse performers, Angus
Sampson’s extensive body of work spans film, stage, television,
broadcasting, journalism, and copywriting.
He portrayed Tucker, alongside Leigh Whannell and Lin Shaye, in Insidious
and Insidious: Chapter 2, directed by James Wan. Among his other feature
films as actor are Spike Jonze’s Where the Wild Things Are; Legend of the
Guardians: The Owls of Ga’Hoole, in a voice performance, directed by Zack
Snyder; Alister Grierson’s WWII drama Kokoda: 39th Battalion; Jonathan
Liebesman’s Darkness Falls; George Miller’s long-awaited Mad Max: Fury
Road; Wayne Hope’s upcoming Now Add Honey, with Portia de Rossi; and
The Cairnes Brothers’ horror comedy 100 Bloody Acres, for which Mr.
Sampson received Australian Film Institute (AFI) and Australian Film Critics
Association Award nominations as Best Supporting Actor.
He produced and starred in the comedy The Mule, which he also codirected as well as, with Leigh Whannell, co-wrote; the feature’s cast also
included Hugo Weaving, Georgina Haig, and John Noble. Mr. Sampson
wrote, directed, and starred in the short film The Last Supper; and directed
the documentary short It’s Him...Terry Lim!
He is currently at work filming a role in the new season of the Emmy and
Golden Globe Award-winning television series Fargo.
LEIGH WHANNELL (Specs)
Please refer to bio in the About the Filmmakers section.
HAYLEY KIYOKO (Maggie)
Combining her own careers of acting and music, Hayley Kiyoko will next be
seen starring as Aja in another Blumhouse Productions movie, Jem and the
Holograms, which reteams her on-screen with Stefanie Scott of Insidious:
Chapter 3 and which is directed by Jon Chu.
She is currently a series regular, starring as rookie Raven Ramirez, on the
CBS drama CSI: Cyber with Patricia Arquette; and also plays a recurring role
as ex-cyberbully Gabi on ABC Family’s acclaimed drama The Fosters.
19
She previously guest-starred on The Vampire
telefilm Lemonade Mouth, directed by Patricia
Channel project was the highest-rated cable
Disney Channel, Ms. Kiyoko played a recurring
winning show Wizards of Waverly Place.
Diaries and starred in the
Riggen. The latter Disney
telefilm of 2011. Also for
role on the Emmy Award-
In addition to her successful acting career, Ms. Kiyoko is a prolific
songwriter and gifted musician. In 2013, she released her solo artist debut
album, A Belle to Remember. Her second EP, This Side of Paradise, was
released earlier this year. In collaboration with producer James Flannigan,
the new album was recorded in London as well as in a makeshift studio in
the garage of her Los Angeles home. Ms. Kiyoko’s music has garnered
praise from Billboard, Nylon, Earmilk, and Hype Machine, among other
outlets.
STEVE COULTER (Carl)
Actor, writer, and director Steve Coulter previously memorably portrayed the
character of Carl in Insidious: Chapter 2, directed by James Wan.
He was the head writer and executive story editor for two Tyler Perryproduced television series: House of Payne and Meet the Browns, where he
supervised over 100 episodes. During Mr. Coulter’s tenure with the show,
House of Payne won the NAACP Image Award for Outstanding Comedy
Series two years in a row.
He wrote and directed the award-winning short films The Etiquette Man,
showcased on the Sundance Channel and at the National Gallery of Art in
Washington, D.C., and Keesha’s House, which he co-wrote with Dee
Wagner, and which won the Southeastern Media Award at the Atlanta Film
Festival.
As actor, Mr. Coulter’s television work includes recurring roles on Banshee,
I’ll Fly Away, and, most recently, The Walking Dead. His many films as actor
include Joseph Sargent’s Emmy Award-winning telefilm Warm Springs;
James Wan’s The Conjuring; Tyler Perry’s Madea’s Family Reunion and
Daddy’s Little Girls; Ben Loeterman’s telefilm The People vs. Leo Frank;
Michael Cuesta’s Kill the Messenger; Peter Hedges’s The Odd Life of
Timothy Green; Adam McKay’s Anchorman 2: The Legend Continues; Robert
Zemeckis’s Flight; Olivier Megaton’s Taken 3; and Gary Ross’s The Hunger
Games.
20
LIN SHAYE (Elise Rainier)
Born and raised in Detroit, Michigan, Lin Shaye loved storytelling and knew
that she was destined to act for as long as she could remember. She
performed in many plays in college at the University of Michigan, and then
moved to New York City when she was accepted into Columbia University’s
Master of Fine Arts program in acting.
Remaining in NYC, she further honed her skills with such celebrated artists
as Joseph Papp and Des McAnuff in such productions as Tartuffe, at the
New York Shakespeare Festival; The Tempest; and The Taking of Miss
Janie, which she and her fellow cast members performed at Lincoln Center,
and which was named Best American Play by the New York Drama Critics’
Circle.
Her film debut was in Joan Micklin Silver’s Hester Street, with Academy
Award nominee Carol Kane. When Jack Nicholson cast her in Goin’ South,
which he directed and starred in, she moved from New York to Los Angeles.
Her other early films included The Long Riders, Brewster’s Millions, and
Extreme Prejudice, all directed by Walter Hill.
In 1982, Ms. Shaye and 12 other actors formed a theater company called
the Los Angeles Theater Unit, which produced only new plays and which
lasted for a decade, earning many awards. Her performance in the troupe’s
staging of Better Days earned her a Dramalogue Award for Best Actress.
The Farrelly Brothers recognized her comedic talents and cast her in a
series of memorable roles in their film comedies, among them Dumb &
Dumber, Kingpin and most notably There’s Something About Mary. Her
other notable comedy roles include the KISS-hating fanatic mother in Adam
Rifkin’s Detroit Rock City and the head of the Bikini Tanning Team in Mort
Nathan’s Boat Trip.
Ms. Shaye has appeared in dozens of other movies, including Chuck
Parello’s The Hillside Strangler, opposite Nicholas Turturro and C. Thomas
Howell; Nick Cassavetes’s My Sister’s Keeper; and William Eubank’s The
Signal. Her television guest appearances include ones on Frasier, Becker,
Arliss, Kroll Show, and the final episode of ER.
21
Over the years, she has become a fan favorite because of her appearances
in genre films. These have included Wes Craven’s classic A Nightmare on
Elm Street as well as his New Nightmare; Jack Sholder’s cult movies The
Hidden and Alone in the Dark; David Ellis’s Snakes on a Plane; and Tim
Sullivan’s 2001 Maniacs, 2001 Maniacs: Field of Screams, and the omnibus
feature Chillerama, the latter in segments directed by Mr. Sullivan and Adam
Rifkin. For Blumhouse Productions, she starred in Ouija, directed by Stiles
White.
Ms. Shaye’s portrayal of Elise Rainier in Insidious garnered a Fangoria
Chainsaw Award, and a Saturn Award nomination, for Best Supporting
Actress. She reprised the role for director James Wan in Insidious: Chapter
2 and now does so anew with director Leigh Whannell in Insidious: Chapter
3.
About the Filmmakers
LEIGH WHANNELL (Writer/Director)
Leigh Whannell has made a name for himself as a multi-hyphenate writing, producing, and acting in some of the most popular films of the past
decade. Insidious: Chapter 3 marks his directorial debut.
Born in Melbourne, Australia, he began his career as an actor appearing in
such acclaimed television series as Neighbours and Blue Heelers. He was
also the presenter on the cult hit show Recovery, which he then hosted in its
final two seasons. As a film critic on the program, Mr. Whannell interviewed
such talents as George Clooney, Jackie Chan, and Tim Burton.
He studied motion pictures at the prestigious Royal Melbourne Institute of
Technology, where he met filmmaker James Wan. The duo started
developing ideas together, including Saw, which Mr. Whannell wrote and
starred in. Following the film’s breakout worldwide success, he scripted Saw
II, wrote Saw III in addition to reprising his acting role, and executiveproduced the next four movies in the series. He was also creative consultant
on the Saw video game. The Saw franchise is recognized as the Most
Successful Horror Movie Series, per the Guinness World Records in 2010.
He co-created another terrifying horror franchise with James Wan, writing
the original screenplay for Insidious and playing fan favorite Specs in the
movie alongside Patrick Wilson, Rose Byrne, Barbara Hershey, and Lin
22
Shaye and Angus Sampson. Insidious premiered in the Toronto International
Film Festival’s Midnight Madness section before being released by
Sony/FilmDistrict and becoming the most profitable film of 2011. He and Mr.
Wan reteamed for Insidious: Chapter 2, and the 2013 sequel scripted by Mr.
Whannell posted an opening-weekend gross of over $40 million.
In addition to Insidious: Chapter 2, his other acting credits include the
Wachowskis’ The Matrix Reloaded; Death Sentence, directed by James
Wan; Malik Bader’s Crush; Tom Anton’s independent feature The Pardon,
starring Jaime King; the Australian feature Dying Breed, directed by Jody
Dwyer; Legend of the Guardians: The Owls of Ga’Hoole, in a voice
performance, directed by Zack Snyder; and Sean Carter’s upcoming Home
Invasion, with Bella Thorne and Natalie Martinez.
He co-wrote and executive-produced the horror comedy Cooties, which
world-premiered at the Sundance Film Festival; and starred in the film
alongside Elijah Wood and Rainn Wilson. At the SXSW Film Festival, he
debuted the Australian dark comedy The Mule, which he also co-wrote,
executive-produced, and starred in. Mr. Whannell’s other screenplay credits
include Dead Silence. Among his upcoming projects is the sci-fi tale Stern.
He was named one of Variety’s “10 Directors to Watch” at the 2015 Palm
Springs International Film Festival. In 2004, Mr. Whannell received the Greg
Tepper Award for Outstanding Achievement in the Victorian film industry,
given annually to an emerging Australian filmmaker.
JASON BLUM,
p.g.a.
(Producer)
Academy Award-nominated and Emmy Award-winning producer Jason
Blum is the founder and CEO of Blumhouse Productions, a multi-media
production company that has pioneered a new model of studio filmmaking producing high-quality micro-budget films. Blumhouse has a first-look deal
with Universal Pictures and has produced the highly profitable Paranormal
Activity, The Purge, Insidious, and Sinister franchises which have grossed
more than $1.2 billion worldwide on combined budgets under $40 million.
Blumhouse’s model began with the original Paranormal Activity, which was
made for $15,000 and grossed close to $200 million worldwide, making it
the most profitable film in Hollywood history.
Blumhouse’s award-winning projects include The Normal Heart and
Whiplash. BH Tilt is a new label from the company dedicated to movies from
23
Blumhouse and other filmmakers that will be released across multiple
platforms taking advantage of new distribution strategies.
In television, Mr. Blum won an Emmy for producing HBO’s The Normal
Heart. Blumhouse’s shows include The Jinx (HBO), Ascension (Syfy), Eye
Candy (MTV), and South of Hell (WEtv). Blumhouse previously executiveproduced Stranded for Syfy and The River for ABC.
Blumhouse has also produced a variety of live events including The
Blumhouse of Horrors, a haunted house experience in the heart of
downtown Los Angeles; The Purge: Fear the Night, a live event inspired by
the backstory to the feature film; and The Purge: Breakout, an immersive
escape game experience.
Before Blumhouse, Mr. Blum served as co-head of the Acquisitions and
Co-Productions department at Miramax Films in New York. At Miramax, he
was instrumental in acquiring over 50 films including The Others, Smoke
Signals, A Walk on the Moon, and The House of Yes.
Mr. Blum has produced over 75 films and TV series throughout his career.
His credits also include The Reader, for which Kate Winslet won an
Academy Award; Hysterical Blindness, starring Uma Thurman, which aired
on HBO and garnered Thurman a Golden Globe Award; and Hamlet, starring
Ethan Hawke, Bill Murray, Sam Shepard, and Kyle MacLachlan.
Mr. Blum began his career as the producing director of the Malaparte
Theater Company, which was founded by Ethan Hawke.
OREN PELI (Producer)
A native of Israel, Oren Peli came to the U.S. at the age of 19.
At age 16, he wrote a highly successful paint and animation software. Mr.
Peli then became a full-time software designer, using his skills to create
animation programs and, ultimately, game software.
Paranormal Activity, which he wrote, directed, and produced, was his first
film. Since then, he has produced Paranormal Activity 2, 3, and 4 as well as
Paranormal Activity: The Marked Ones and the upcoming Paranormal
Activity: The Ghost Dimension; and, beginning a second hit series of
movies, Insidious and Insidious: Chapter 2.
24
Mr. Peli was co-creator and executive producer of the ABC television series
The River, also executive-produced by Steven Spielberg; and producer and
screenwriter of Chernobyl Diaries, released by Warner Bros.
He also produced The Bay, directed by Academy Award winner Barry
Levinson, and The Lords of Salem, from writer/director Rob Zombie.
JAMES WAN (Producer)
James Wan recently announced a producing deal with New Line Cinema and
his production company Atomic Monster, through which he will develop and
produce modestly budgeted films across all genres of – thriller, science
fiction, action, horror, and comedy.
Mr. Wan’s most recent movie as director was Furious 7, the new chapter in
Universal Pictures’ hugely successful series. The movie debuted in early
April 2015, breaking records with its opening weekend grosses of over $390
million worldwide.
He will next direct The Conjuring 2, for release in June 2016. Mr. Wan
previously directed the acclaimed 2013 film The Conjuring, starring Vera
Farmiga, Patrick Wilson, Lili Taylor, and Ron Livingston; taken from the case
files of famous paranormal investigators Ed and Lorraine Warren, it grossed
over $318 million worldwide for New Line Cinema and Warner Bros.
With the latter companies, he also made the supernatural thriller Annabelle,
as the first film he produced under his Atomic Monster banner. Annabelle,
directed by John Leonetti, had an opening weekend box office of over $37
million domestically in October 2014, grossing over $252 million worldwide.
Co-creator of the Insidious franchise with his longtime writing partner Leigh
Whannell, Mr. Wan directed the global successes Insidious and Insidious:
Chapter 2, both starring Patrick Wilson, Rose Byrne, and Barbara
Hershey. He also had a story credit on Insidious: Chapter 2.
Mr. Wan is also co-creator of the Saw franchise, the most successful horror
film series of all time. In addition to directing the first Saw, he served as
executive producer for the entire franchise.
25
His other credits as director include the cult horror film Dead Silence and
the audience favorite revenge thriller Death Sentence, starring Kevin Bacon
and Garrett Hedlund.
In 2004, he received the Greg Tepper Award for Outstanding Achievement in
the Victorian film industry, given annually to an emerging Australian
filmmaker; Mr. Wan is an Australian citizen and a U.S. resident.
BRIAN PEARSON,
ASC
(Director of Photography)
Brian Pearson began his career as a camera assistant on commercials,
television, and features. After purchasing a 16mm camera package, he
began to shoot short films, music videos, and low-budget movies in
between his assisting jobs. Within a few years he became a
cinematographer full-time.
Among the movies that he has been director of photography on are Steven
Quale’s Into the Storm and Final Destination 5; the Soska Sisters’ American
Mary; Trish Sie’s Step Up All In; Pete Howitt’s Reasonable Doubt, starring
Samuel L. Jackson and Dominic Cooper; Paul Marcus’s After Alice; and
David Hackl’s upcoming Life on the Line, starring John Travolta and Kate
Bosworth.
Mr. Pearson has to date shot four movies in 3D, including Patrick Lussier’s
My Bloody Valentine and Drive Angry, starring Nicolas Cage. He was also
the cinematographer on White Noise 2: The Light, directed by Mr. Lussier.
He has overseen the cinematography for the second-unit action sequences
on such films as I Am Legend, Underworld: Evolution, Seventh Son, and Hot
Tub Time Machine; and additional action scenes on Total Recall and I,
Robot.
JENNIFER SPENCE (Production Designer)
A native of Northern Ontario, Jennifer Spence moved to British Columbia
when she was nine. She aspired to be an artist, she became a self-taught
painter. She has always found ways to incorporate art into her life, including
in her years working at a maximum security prison and then running a group
home for 9-13-year-olds.
26
Her artist husband introduced her to the world of filmmaking, and she
accessed her own training to contribute as a scenic painter. Working her
way up through the art department, she learned every craft, from art
coordinator to set dressing, set decoration, and props. Ms. Spence was
soon collaborating with such artists as the Rolling Stones, Aerosmith, Pink,
Sheryl Crow, and John Mellencamp on television commercials and music
videos where she was art director.
Her first production design credit was on the short film Rings, directed by
Jonathan Liebesman and tying in to The Ring features. Through that project,
she met producer Jeanette Volturno-Brill, who would later help bring Ms.
Spence into the Blumhouse Pictures fold, as production designer on the first
three Paranormal Activity sequels, directed by Tod Williams and Henry Joost
& Ariel Schulman, respectively; as production designer on Rob Zombie’s
The Lords of Salem; as art director on the first Insidious movie, directed by
James Wan; and as production designer on Mr. Wan’s Insidious: Chapter 2.
Ms. Spence’s other films as production designer have included Ava
DuVernay’s I Will Follow; Toby Wilkins’s short Tales from the Grudge and
feature Splinter; Darren Lynn Bousman’s soon-to-be-released Abattoir; and
Akiva Goldsman’s upcoming Stephanie.
TIM ALVERSON,
ACE
(Editor)
Tim Alverson was the film editor on two hits with director Jaume ColletSerra: the thriller Unknown, starring Liam Neeson, and the horror mystery
Orphan, starring Vera Farmiga, Peter Sarsgaard, and Isabelle Fuhrman. He
also edited the director’s episode of the Blumhouse Productions television
series The River, which was the show’s premiere instalment.
His other feature credits as film editor include Masayuki Ochiai’s Shutter;
Jonathan Liebesman’s Darkness Falls; Walter Hill’s Bullet to the Head,
starring Sylvester Stallone, Sung Kang, and Sarah Shahi; Rand Ravich’s The
Astronaut’s Wife, starring Charlize Theron and Johnny Depp; Steven
Sawalich’s Music Within, starring Ron Livingston, Melissa George, and
Michael Sheen; and Michael Polish’s upcoming Amnesiac, starring Wes
Bentley and Kate Bosworth.
Mr. Alverson began his career as a production assistant at iconoclastic
filmmaker Robert Altman’s post-production house. His first job was as an
27
apprentice editor on Alan Rudolph’s seminal drama Songwriter, starring
Willie Nelson and Kris Kristofferson.
After 30 years in the editing room, he still finds the artistry of film editing
compelling and magical.
JOSEPH BISHARA (Music)
Joseph Bishara is a composer and music producer who combines a range
of elements and approaches for the unique and dark aesthetic of his work.
He won the Fangoria Chainsaw Award for Best Score for Insidious, and
again collaborated with director James Wan to compose the scores for The
Conjuring and Insidious: Chapter 2. Fans of Insidious have not only heard
his work but have also seen him materialize on-screen, as the Lipstick-Face
Demon. He appeared in The Conjuring as the nightmarish witch Batsheba;
and in Annabelle, directed by John Leonetti and for which Mr. Bishara also
composed the score, as the Demonic Figure.
Among the other features that he has scored are Adam Gierasch’s Autopsy
and Night of the Demons; Scott Stewart’s Dark Skies; Mike Mendez’s The
Gravedancers; and Darren Lynn Bousman’s 11-11-11. Also for the latter
director, Mr. Bishara produced the soundtracks of the cult films Repo! The
Genetic Opera and The Devil’s Carnival.
He began his career as the guitarist and keyboardist for the L.A. industrial
metal band Drown, segueing to soundtrack work on Mortal Kombat:
Annihilation, Heavy Metal 2000, and John Carpenter’s Ghosts of Mars.
Mr. Bishara has also contributed to remixes for many notable artists
including Marilyn Manson, Nine Inch Nails, Danzig, and Christian Death; and
programming and production work for such artists as Jane’s Addiction,
Bauhaus, Megadeth, Rasputina, 16Volt, and Prong.
ARIYELA WALD-COHAIN (Costume Designer)
Ariyela Wald-Cohain was born in South Africa. She moved with her family to
Israel when she was nine years old, and grew up on a Kibbutz there.
Throughout her childhood, she would design and make clothes for herself,
her friends, and every local performance available.
28
Following her Army service, she pursued her passion for design and
obtained her BFA in Set and Costume Design from Tel Aviv University. She
also took a Make-up course in order to broaden her understanding of
character design.
Ms. Wald-Cohain’s creative journey took her to the United States, where
she headed the make-up department on various independent features. She
then found herself drawn back to her first instinct; ever since, she has
worked as a costume designer on everything from television commercials to
music videos to movies.
Her feature credits as costume designer have included Michael Tiddes’s hit
comedy A Haunted House, starring Marlon Wayans, and its sequel; Larry
Bishop’s Hell Ride, starring Dennis Hopper and Michael Madsen; and Ellie
Kanner’s For the Love of Money, starring Edward Furlong and James Caan.
Ms. Wald-Cohain designed the costumes for writer/director Adrienne
Shelly’s acclaimed independent film Waitress, starring Keri Russell and
Cheryl Hines; and for Serious Moonlight, written by Ms. Shelly and directed
by Ms. Hines, starring Meg Ryan and Timothy Hutton.
Her work on the short film U.S. Air Marshals, directed by J. P. Pierce, was
voted Best Costume as the 48 Hour Film Festival. She was costume
designer on the original webisodes of Web Therapy, starring Lisa Kudrow,
and continued with the series version on Showtime for which Ms. WaldCohain costumed a parade of guest stars.
29
INSIDIOUS
CHAPTER 3
Cast
Sean Brenner
Quinn Brenner
Dermot Mulroney
Stefanie Scott
Tucker
Angus Sampson
Specs
Leigh Whannell
Elise Rainier
Lin Shaye
Alex Brenner
Tate Berney
The Man Who Can’t Breathe
Michael Reid MacKay
Carl
Steve Coulter
Maggie
Hayley Kiyoko
Danielle
Corbett Tuck
Bride in Black
Dr. Henderson
Harry
Lilith Brenner
Grace
Mel
Two-Faced Woman
Nurse
Hector
Ernesto
Lambert Woman
Teenage Boy
Jack Rainier
Male Nurse
Theater Director
Young Josh
Lipstick-Face Demon
Tom Fitzpatrick
Tom Gallop
Jeris Lee Poindexter
Ele Keats
Phyllis Applegate
Phil Abrams
Erin Anderson
Amaris Davidson
Ashton Moio
Rubén Garfias
Fawn Irish
Taylor John Smith
Adrian Sparks
Jacob Crawford
James Wan
Garrett Ryan
Joseph Bishara
30
Stunt Coordinator
Mark Rayner
Stunt Doubles – Elise/Quinn
Cassidy Vick Hice
Tarah Paige
Stunt Doubles – Quinn
Kristina Baskett
London Elise Moore
Stunt Double – Sean
Joey Box
Stunt Double – Bride in Black
Vladimir Tevlovski
Stunt Driver
Terry Jackson
Stunt Utilities
Mark Ginther
Utilities
Hugh Aodh O’Brien
Keir Beck
Jess King
Brad Allan
31
Crew
Written and Directed by
LEIGH WHANNELL
Based on characters created by
LEIGH WHANNELL
Produced by
JASON BLUM,
OREN PELI
JAMES WAN
Executive Producer
STEVEN SCHNEIDER
Executive Producers
BRIAN KAVANAUGH-JONES
CHARLES LAYTON
PETER SCHLESSEL
LIA BUMAN
XAVIER MARCHAND
Director of Photography
BRIAN PEARSON,
Production Designer
JENNIFER SPENCE
Edited by
TIM ALVERSON,
Music by
JOSEPH BISHARA
Co-Producers
RICK A. OSAKO
JEANETTE VOLTURNO-BRILL
BAILEY CONWAY
PHILLIP DAWE
Costume Designer
ARIYELA WALD-COHAIN
Casting by
TERRI TAYLOR,
Associate Producer
Unit Production Manager
First Assistant Director
Second Assistant Director
LAURA ALTMANN
RICK A. OSAKO
DAN “LAZ” LAZAROVITS
MARC NEWLAND
p.g.a.
ASC
ACE
CSA
32
Production Supervisor
Post-Production Supervisor
LAURA ALTMANN
A Camera/Steadicam Operator
B Camera/MoVI Operator
A Camera First Assistant
A Camera Second Assistant
B Camera First Assistant
B Camera Second Assistant
DIT
Film Loader
Still Photographer
MANOLO ROJAS
RICHARD MORIARTY
HARRY ZIMMERMAN
MATTHEW W. WILLIAMS
JEFF PORTER
SARAH BRANDES
DANE R. BREHM
YUKA KADONO
MATT F. KENNEDY
Production Sound Mixer
Boom Operator
Sound Utility
BUCK ROBINSON,
COLE BLUMA
Video Assist
Video Playback
CHRIS “FISH” SHADLEY
HAYK MARGARYAN
Art Director
Set Decorator
Leadman
Buyer
On-Set Dresser
Set Dressers
JASON GARNER
LORI MAZUER
MICHAEL SUNGA
Property Master
Assistant Property Master
Medical Technician
JOHN BRUNOT
IAN KAY
MICHAEL S. GOTO
Production Coordinator
Production Secretary
Office Production Assistant
ERIN VITALI
STEPHANIE LOUIE
NATHANIEL SHRIVER
JENNIFER SCUDDER TRENT
CAS
CHRISTOPHER T. SILVERMAN
NATALIE CONTRERAS,
SDSA
JEREMY CISNEROS
BRENNER HUGH HARRIS
ADAM KIRBY
GEORGE W. KIEL
DEAN LAKOFF
MARK SUNGA
KURT KEITZMAN
ROBERT ROSS
KAI BLOMBERG
33
Production Accountant
First Assistant Accountant
Accounting Clerk
JUSTIN CARVILLE
CASSANDRA MARTINEZ
DANIEL B. DAWSON
Art Department Coordinator
Art Department Assistants
JENNIFER STOEFEN
HELEN JUN
JULIA BERSCH
MICAH BRENNER
LORI WEST
Storyboard Artist
Graphic Designer
Construction Coordinator
General Foreman
Location Foreman
Stage Foreman
Construction Accountant
Carpenters
Laborer Foreman
Laborers
VICTOR C. ANDERSON
BRET BUCHANAN
TRACY MINTER
JEFF PASSANANTE
DANIEL R. JEWELL
KURT ALTSCHWAGER
TONY ARANDA
STEVEN GETZ
JESSE POUPIS
VANCE C. BROWNE JR.
DAVE SLATTERY
ANDREE FLORES
REGGIE GARCIA
JOHNNY “THE BEAR” MORALES
Paint Foreman
Set Painters
MARK ROBERTS
RICHARD SARABIA
JAKE SLATTERY
DAVE GUSTAVESON
RYAN “VIRGIL” ALLISTON
LUKE R. ANDERSON
NICHOLAS ANDERSON
DEVIN GUSTAVESON
DYLAN JEWELL
GEORGE PICENO
RICK SEIDEMANN
Standby Painter
Plasterer Foreman
Plasterer
WILLIAM ERIC SEIDEMANN
DAVID L. FALCONER
RICHARD HOLLING
34
Special
Special
Special
Special
Effects
Effects
Effects
Effects
Supervisor
Coordinator
Foreman
Technicians
JOHN HARTIGAN
STEVE NEWQUIST
ZAK KNIGHT
SEAN K. GORDON
CHARLES PRICE
Chief Lighting Technician
Assistant Chief Lighting Technician
Dimmer Board Operator
Set Lighting Technicians
KEVIN MASSEY
BRYAN LEE TAYLOR
GERN TROWBRIDGE
JOHNNY MADISON
CHRISTOPHER WIELKIEWICZ
JAMES BOYER
RYAN CLEMONS
Rigging Chief Lighting Technician
BRYAN LEE TAYLOR
Rigging Assistant Chief Lighting Technician TIM STRATTON
Rigging Set Lighting Technicians
JON MUNSON
PATRICK M. BRENNAN
COLETON RICE
M. “PIERRE” CANE
MICHAEL DOROWSKY
Key Grip
Best Boy Grip
A Dolly Grip
B Dolly Grip
Grips
Rigging Key Grip
Rigging Grips
ALEX KLABUKOV
ADAM NEAS
GRAY LANAUX
CHRIS MAYHUGH
JIMMY F. VIERA
JAKE W. SMITH
TOMMY “LT” DONALD
CHRISTIAN CHRISTENSEN
ISAAC SANDOVAL
TOMMY VILLA
BRIAN SANDOVAL
Costume Supervisor
Key Costumer
Costumer
Costume Production Assistant
JACQUELINE SHULMAN
ELIZABETH ANNE HANLEY
NICHOLAS McGRATH
CAITLIN DOOLITTLE
Co-Department Head/Make-up
Co-Department Head/Make-up
Additional Make-up Artist
ELEANOR SABADUQUIA
LIZ MENDOZA
JENNIFER GERBER
35
Prosthetic Make-up Artists
Contact Lens Technician
THOM FLOUTZ
DAVE SNYDER
BART J. MIXON
ROBERT SMITHSON
Department Head/Hair
Key Hair Stylist
TRACI E. SMITHE
PAVY OLIVAREZ
Special Make-up Effects designed and created by Fractured FX
CEO, Fractured FX
JUSTIN RALEIGH
Project Coordinator
MICHAEL EZELL
Sculpting Department
KODAI YOSHIZAWA
Mold Department
JOE GOMEZ
ROBERT RAMOS
JOE GILES
BRIAN GOEHRING
Fabrication Department
BERNIE EICHHOLZ
SAM POLIN
SAMANTHA BREAULT
Silicone Department
BRIAN A. JONES
BRIAN CLAWSON
Location Manager
Key Assistant Location Manager
Key Assistant Location Manager
Assistant Location Manager
KANDICE BILLINGSLEY
CARRIE CANTORE
CHRISTINA BEAUMONT
JOSHUA BRIAN PIERCE
Set Medic
Construction Medic
Layout Board
LISA A. PATTON
CHRISTY POWERS
MARK ROJAS
Script Supervisor
ERIN CONNARN
Second Second Assistant Director
Additional Second Assistant Directors
EMILY HOGAN
PHIL DESANTI
KELLY STEVENS
MORGAN WILLIS
AARON KHRISTEUS
KELLY McCROSSAN
PHIL MATTHEWS
DGA Trainee
Post Accountant
Post Accounting Clerk
Set Production Assistants
36
Studio Teacher
Assistant to Mr. Whannell
Assistants to Mr. Blum
CHANCE BOSTICK
KATE LEONETTI
MANDY MILGROM-FRIEDRICH
Assistant to Mr. Kavanaugh-Jones
ANNIE CONNORS
CHELSEA PETERS
MATT RYCKMAN
NICHOLAS MARRO
EDOUARD DE LACHOMETTE
Catering by
Chef
Key Craft Service
Assistant Craft Service
CHEF ROBÉRT CATERING
ORLANDO O. HURTADO
THEIA MICHELLE PATRA
JACK SIMPSON
Animals provided by
Animal Trainers
PERFORMING ANIMAL TROUPE
AUDRA DORÉ
CLAIRE DORÉ
JAMES G. BRILL
MATT TALAMANTES
SCOTT LOVELESS
MYLES “NOT SCOTT” KIMURA
SULTAN BATAYNEH
JOSH BERMUDEZ
JOE CHAVEZ
SCOTT DUNCAN
JAMES MESSERSMITH
KEVIN RUSSELL
GREG TAYLOR
RICK VESTAL
Transportation Coordinator
Transportation Captain
Transportation Co-Captains
Transportation Drivers
Casting Associate
Casting Assistant
Extras Casting by
Extras Casting Coordinators
Stand-Ins
SARAH DOMEIER
ALLY CONOVER
BURBANK CASTING
MICHELLE GABRIEL
SUSAN TURNER
LONDON ELISE MOORE
ALAN EVRARD
SASHA SHELDON
37
Unit Publicist
JAMES FERRERA
For Blumhouse Productions
Head of Marketing
SUNGMI CHOI
Head of Business Affairs
HILLEL ELKINS
Head of Post-Production
PHILLIP DAWE
Coordinator of Physical Production
CHRIS RUIZ
First Assistant Editors
DREW SACKS
TIM MIRKOVICH
Post-Production Coordinator
Apprentice Editor
Post-Production Assistants
NICCOLE OSBORN
MATTHEW PRESCOTT
CLAIRE PALUZZI
JASON ROSTOVSKY
Post-Production Sound Facility Services provided by Technicolor at Paramount
Supervising Sound Editor
PAUL HACKNER,
Sound Re-Recording Mixers
CRAIG MANN
MARTYN ZUB
Sound Designer
Assistant Sound Editors
MARTYN ZUB
MARK COFFEY
PERNELL SALINAS
ALEXSANDR GRUZDEV
JOHN SANACORE
ALEX ULRICH
JITHU ARAVAMUDHAN
JUDAH GETZ
EVAN DAUM
KEVIN FROINES
MICHAEL NOVITCH
Dialogue Editor
Foley Mixer
Foley Artists
ADR Mixers
Re-Recording Mix Technician
Chief Engineer
MPSE
38
Voice Casting
BARBARA HARRIS
VFX Supervisor
VFX Producer
On-Set VFX Supervisor
Visual Effects by Legion
JAMES HATTIN
NATE SMALLEY
MATTHEW LYNN
VFX Artist/Lead
Digital
Digital
Digital
Digital
Intermediate
Intermediate
Intermediate
Intermediate
Fotokem VP, GM
Lab Color Timer
Color by
CYBORG ANT
Digital Intermediate by Fotokem
Colorist
WALTER VOLPATTO
Editor
REGAN COPELAND
Supervisor
JOSE PARRA
Producers
SUE ALEXANDER
ANGELIQUE PEREZ
TOM VICE
MATO DER AVANESIAN
FOTOKEM
Online Conform
ZACHARY MEDOW
Motion Picture Finance/Entertainment One
Legal Counsel for Entertainment One
Entertainment One Bank Counsel
Production Legal Counsel
Production Financing provided by
Production Insurance provided by
Completion Guarantor
NATASHA PAYNE
AMY PAQUETTE
KENNETH T. DEUTSCH
KENDALL JOHNSON
GARY A. HIRSCH
CITY NATIONAL BANK, N.A.
ARTHUR J. GALLAGHER & CO.
FILM FINANCES, INC .
Payroll Services by
Extras Payroll Services by
ENTERTAINMENT PARTNERS
EMS, INC.
Camera Equipment provided by
Lighting Equipment provided by
PANAVISION
HOLLYWOOD RENTALS
ELM PRODUCTION SERVICES
KR RENTALS
CHAPMAN/LEONARD
STUDIO EQUIPMENT, INC.
Grip Equipment provided by
Camera Dollies provided by
39
Cranes provided by
Editorial Equipment provided by
Script Clearances by
CRANIUM INC.
PACIFIC POST
HOLLYWOOD SCRIPT CLEARANCE
Main Titles Designed and Produced by Filmograph
Title Designer
AARON BECKER
Executive Producer
SETH KLEINBERG
Animator
AMADOR VALENZULA
Main on End Titles Sequence
GREENHAUS GFX
Music Editor
RICHARD HENDERSON
Music Supervisor
SESSING MUSIC SERVICES
Score Engineer/Mixer
Second Engineer
Drums
CHRIS SPILFOGEL
Music Assistants
LAUREN AGHAJANIAN
ALISA BURKET
FERNANDO MORALES FRANCHINI
DAVE LOMBARDO
“Jasmin”
Traditional
Courtesy of Opus 1 Music
Soundtrack available on Void Recordings
www.voidrecordings.com
Filmed on Location in Los Angeles, California and surrounding communities
40
The filmmakers wish to extend their personal thanks to the following for their
contributions to the making of this movie:
APPLE
CALVERT STUDIOS
ECKO
HERO ENTERTAINMENT MARKETING
HOLLYWOOD BRANDED
LIAD COHAIN
MAC COSMETICS
MURAD SKINCARE
PIXIES
PREMIERE ENTERTAINMENT
SMASHBOX COSMETICS
STEPHEN MICHAELS
TARTE COSMETICS
URBAN DECAY COSMETICS
RYAN FARHOUDI
SCOTT HENDERSON
STACEY TESTRO
CORBETT TUCK
PAM TUCK
JOE GRADY TUCK
SABINE WHANNELL
GEOFF WHANNELL
ALISON WHANNELL
ADAM WHANNELL
LAURA WILSON
ALEX YAROSH
KATIE YBARRA
American Humane Association monitored the animal action.
No animals were harmed ®.
(AHAD 04772)
41
© 2015 EONE FILMS INSIDIOUS 3 LIMITED
All Rights Reserved.
EONE FILMS INSIDIOUS 3 LIMITED
is the author of this motion picture
for the purpose of copyright and other laws.
42
The events, characters, situations portrayed and the names
used in this motion picture are fictitious,
and any similarity to any name, character or history of any
person, place or entity is entirely coincidental and unintentional.
Ownership of this motion picture is protected by copyright
and other applicable laws of the United States of America
and other countries.
Any unauthorized duplication, distribution, or exhibition
of this motion picture (including soundtrack) is prohibited
and could result in criminal prosecution as well as civil liability.
MPAA Rating: PG-13 (for violence, frightening images, some language, and thematic elements)
Running Time: 97 minutes
Aspect Ratio: 2.39:1
Twitter: @InsidiousMovie
Instagram: @InsidiousMovie
www.insidiousch3.com
www.facebook.com/insidiousmovie
A Gramercy Pictures Release
INSIDIOUS
CHAPTER 3