Two things are very clear from watching A Quiet Place and the horror film’s recently released sequel A Quiet Place Part II: Writer/director John Krasinski is an admirer of filmmaker Steven Spielberg’s craft, and he is keenly able to take his inspiration from Spielberg’s blockbusters and apply that to his own filmmaking style. The combination of awe, fear, and emotion that charges films like Jaws and E.T. runs deeply through these Quiet Place films, while they’re also able to stand as their own, distinct, successful films.
But ideas are just ideas. Putting them into action requires great skill, and for A Quiet Place Part II Krasinski enlisted cinematographer Polly Morgan to lens a story that was grander in scope but no less emotional than its predecessor. While A Quiet Place Part II marks Morgan’s biggest project to date, she’s had a bevy of experience on projects as varied as the documentary Holy Hell, the addiction drama 6 Balloons, the visually ambitious FX series Legion, and Noah Hawley’s equally ambitious feature debut Lucy in the Sky. In short, Morgan is comfortable meeting a variety of challenges, and A Quiet Place 2 offered her biggest one yet.
The sequel expands the story set up in A Quiet Place to new locations both intimate and wide-reaching, as Emily Blunt’s Evelyn Abbott is forced to seek help from an old friend named Emmett (Cillian Murphy) while trying to survive this dangerous terrain with a newborn and two children. What sets A Quiet Place 2 apart visually and thematically is that it shifts the point of view to Evelyn’s kids, Regan (Millicent Simmonds) and Marcus (Noah Jupe), who are forced to take charge and find a way forward in this horrifying new world.
It’s here where the Spielberg influence comes in, as the legendary filmmaker had a knack for telling stories from the point of view of kids in a relatable and emotional way, and Krasinski and Morgan brilliantly keep A Quiet Place Part II’s focus on what Regan and Marcus are thinking and feeling even as terrifying monsters wreak havoc.
I recently had the chance to speak with Morgan by phone about her excellent, character-focused work on A Quiet Place Part II, and she spoke at length about how she and Krasinski derived influence from Spielberg for the film’s oners, as well as the film’s emotional intimacy as it relates to the kids’ POVs. She also broke down how they put together that phenomenal opening flashback sequence, and what it was like tackling a sequel that felt of a piece with cinematographer Charlotte Bruus Christensen’s work on the first film but also forged new territory. She discussed what Krasinski is like as a director collaborator, how they tackled that finale sequence, and even revealed that they shot a post-credits scene that Krasinski ended up not including in the film. We also talked about what Morgan took away from this experience, and what kinds of projects she wants to tackle in the future – which includes an adaptation of the novel Where the Crawdads Sing, which is currently in production.
It’s an insightful and fascinating conversation with someone who’s sure to continue doing great and exciting work in this field for many, many years to come, about a sequel that succeeds in meeting expectations while also taking the story in unexpected – and unexpectedly emotional – directions.
How did this project come your way in the first place?
POLLY MORGAN: It was just as simple as my agent called me and they sent along the script. I was a big fan of the first movie and I wasn't initially sure about doing a sequel, especially a sequel of such a hit movie. It was kind of intimidating, but it was really beautifully written. John very much wrote it how he saw it and so, for a cinematographer, it was a very enticing script to read just the way that he described all the locations and just built the world out. Then also, it had so much heart to it with the journey of this family. So even though I wasn't immediately excited, as soon as I read it, I knew it was something that I wanted to do.
You mention it being a sequel and it feels of a part with the first film but it also feels distinct, and I was kind of curious what your early conversations with John were like about how the film should look, because I know you're following in Charlotte Bruus Christensen’s footsteps of her work on the first one.
MORGAN: Yeah. And obviously her work was so beautiful. My conversations with John, as far as the look of film, were just very much in line with the story, how he wanted to expand the world. The first film was obviously more intimate. It had taken place basically in and around their farmhouse and now he needed to go and explore new lands and take different characters for the journey that they all had.
So we talked a lot about how to move the camera. There's a lot more dynamic movement in this movie compared to the first one. So we just talked a lot about how we would approach that, how would we approach shooting an action movie, but at all times staying very much subjected to the characters and that he never wanted to lose its heart.
And I think that's maybe why the first movie was so special because there's obviously so many different genre movies out there and everyone loves horror, but this was different because it was so much about these characters. I think especially with Millicent’s character in the first one, with her being deaf and the way that Charlotte and John thought about that, you really felt like because of the closeness to the camera, to her, and because of the loss of sounds, you really felt like you were experiencing that world very clearly with her.
So that was something that we wanted to continue but also expand upon. We looked at a variety of different films as references early on. We looked at Children of Men for the action in the car sequence. We looked at War of the Worlds just for that beginning, Day 1 prologue. We also looked back to the references that he shared with Charlotte which is like Jaws. Obviously, Steven Spielberg is one of the reasons that John wanted to get into filmmaking. So it's just such a big inspiration for him. We looked at Jurassic Park and the movies that we all grew up watching. He wanted to keep that feeling of nostalgia, but he wanted to take it somewhere. He didn't want to make the same movie. He knew he was under a lot of pressure to make a good follow-up film and I think that we put our heads together and came up with a plan of how we could elevate the second one with the dynamic camera movement that matched the characters.
Also for me, I just wanted people to be able to watch these movies back to back and the lighting style, especially at the start of the film, I wanted it to be very much in line with Charlotte's work, because I didn't want people to be drawn out of the experience by any changes. Then, once we left the farmhouse, obviously I just had a little bit more creative freedom to just lean into how I would do things as they discovered new places.
When I was leaving the film, one of the first movies I thought about was Spielberg's War of the Worlds. So I'm glad to know I'm not crazy there.
MORGAN: No, no. Not at all.
In a great way because I mean that film is entirely subjective as well, told entirely through the point of view of the characters and I really loved that aspect of this film.
MORGAN: Actually, I think one of those things that Steven Spielberg is so good at is, like with E.T. or even War of the Worlds, when you look at those films, you're with the children. There's this magical world that he was able to create and you're down there and you're experiencing the world from their point of view. I think that, as a child and with John, we grew up watching those movies and I think he really wanted, especially when I think about the immersive quality of even the War of the Worlds, they also did a car sequence just like Cuaron did in Children of Men. And I think that, unlike Cuaron, Steven Spielberg did that one when they were trying to run away from the first attack in War of the Worlds, he did that green screen. And then, Alfonso Cuaron took it and did it practically and so we just took that one step further.
I did want to talk about the opening flashback sequence because I think it's a really stunning piece of filmmaking, but something I really love about this movie is the kind of prevalence of essentially a Spielberg oner or long takes that don't really draw too much attention to themselves because in Spielberg's filmography, you don't notice his oners a lot of the time because they're entirely motivated by character. They’re subtle. That's something that I found was really prevalent throughout this film, especially in that flashback sequence.
MORGAN: Yeah. I think, especially in Day 1, it's all about creating the right rhythm for the viewer and lulling them into a sense of security at the beginning. With many other filmmakers, as a cinematographer, we talk about shooting scenes in one shot and then often you get to set and it's like, okay, well, let's get a second angle just to be safe, just in case I need to make it quick when we edit or if there's some problem that we need to fix. But with John, we can see this idea of pace and rhythm at the beginning and how he would execute Day 1 and how we would kind of draw the viewer in and then you kind of draw them in and then you don't let them go.
That's the thing I felt on the first one, which he successfully did in the second one too, which is really, once the film starts, you're just on the edge of your seat until it ends. And I think with the prologue, when he leaves the store and he walks to the baseball field and it's all in one shot, and then when they return from the baseball field, we just can see these sort of long takes and it was very much based on not wanting to cut away from these characters' experiences because it would dilute the tension somehow.
We sort of can see things that, what was the source of the jeopardy, and the character in jeopardy in the same frame, so that there was no escape for the viewer. And we shot these long shots, and we never got any coverage. And obviously one of the most complicated oners was just being inside the Volvo with Evelyn and the kids, when she was driving home. And again, it was very much how John wrote it. As soon as I read it I was like, of course we have to be in the car with them. And then it was just really a puzzle in prep to just figure out how we were going to pull it off.
Yeah. I saw John say that I believe that Emily didn't prep for that, she got in the car and just reacted all live. That was her first take.
MORGAN: Yes, it was. Yeah. We ended up only doing two takes of that whole thing. But the first take was the one that was used.
That's amazing. And I'm sure very stressful for you, as a cinematographer trying to put that whole thing together.
MORGAN: Yeah. I mean, it was very complicated, but it's one of those things about filmmaking. I mean, this was my biggest movie to date, and there was a lot of things in it that I'd never done before, but it's such a collaboration. And I think even when I worked on the TV show Legion, there were so many things that in that show I hadn't done before, but you just get all these brilliant people together in a room and you try and figure it out, and it's a bit of a process. But you feel so wonderful when you actually see it happening in front of you on the day, and you just know that it was because everybody really worked hard to make it come together.
Yeah, well and Legion feels like a bit of a trial by fire, because that show is just visually stunning, but I'm sure it's very complicated.
MORGAN: Yeah. I mean, again, it's exciting, I think for cinematographers to read scripts where there's such complicated set pieces or sequences that happen, that you really initially have no idea how you're going to do it, and then your imagination has to take over and you have to think of creative ways — especially on a TV show — that it can be done quite quickly, and you have to have the resources available to help you do it. But I think it's wonderful to be able to work on things where, in A Quiet Place, some of my favorite scenes were just the intimate scenes between Emily and Noah. Or with Emily and the baby, the real, small, quieter moments. But I think also as a cinematographer to balance out shooting wonderful performance with really complicated sequences, is a lot of fun.
Well and that's one of the things I think makes these two films so successful and special is that John, he nails the emotion so tremendously. And that was one of the things I was curious about is, you have these complicated set pieces, but you also have these wonderfully emotional intimate scenes, which are really the foundation of the story. Just from a production standpoint, and working with John as a filmmaker, did you guys have a ton of time to nail those emotional scenes, as well as the big effects driven stuff? Or was the schedule a bit tighter?
MORGAN: Yeah. I mean, I think unfortunately we didn't really have much time for either, because we shot it in 50 days and we had so much night exteriors, and we were in upstate New York. So we didn't have a lot of night hours. And we also had two minors as our principal, so time was always tight. But I think that John did always make sure that he did give enough time to the performance, and I think it's really just creating that environment. We shot it on film and I think that there was never any worry for him about, oh my gosh, we've only got this much stock, I'm only going to do this many takes or whatever. I think when one of the actors asked for another take, or when he just wanted to make sure he got it, he really gave everything to the really heavy performance scenes. And especially in the underground room, in the steel mill, there were a lot of really heavy emotional scenes in there. And we spent a lot of time and he did focus a lot of his energy on that stuff.
What is he like just as a collaborator, from your perspective as a cinematographer? Is he very specific about shot composition, and is he shot listing?
MORGAN: Well it's so interesting because every director I work with, they just all have a different approach that works for them. And John is not someone that likes to shot list, or to storyboard. We were lucky that we locked our locations pretty early on, when we did our first directors scout with production designer, Jess Gonchor, he had just nailed the location. It was difficult because he showed us so many amazing locations that it was hard to choose. But as soon as he'd made that decision, that's where the three of us spent a lot of our prep time. So, we would talk a lot about the characters’ blocking, and how we would move the camera, and he really just trusts me, and lets me sort of like figure out the tools that I needed, and how I would execute it.
And then we got Matt Moriarty, who's a fabulous A camera operator to come and work with us. And he had worked with John before, so that relationship was really important. And I think that John is very specific when he works with the camera, because I think, like I said, he'd obviously really visualized this movie when he was writing it. He had a really clear idea of how he saw it in his mind. So we worked with the camera with him, and then as far as the lighting, we talked about the tones, and the sources, and I had these conversations with him in prep. And then I just got on with that work, and then we mainly shot single camera, and then every now and again, we put another camera on it, especially in the marina sequence. But yeah, he's a very prepped director, but it's all very much in his mind's eye.
Well, and I think that's abundantly clear in the sequences that use cross-cutting to kind of amp up that tension, which I think works really well. But I was curious what that was like from your perspective. Were those sequences kind of designed in camera? Was the cross cutting really specifically in mind as it was being shot?
MORGAN: Yeah, I mean, it's hard for me to remember exactly now. I do remember clearly that if that is exactly how it was scripted, obviously I know the wonders that go on in the editing room. And I think that Michael Shaver did amazing work, but like I said, it was very clear when we were shooting that that was the conceit and that the whole sort of structure of the film was going to be that, rather than the parents protecting the kids, this was a film where they grew up and they had to go out on their own, and they had to handle things separately from their parents. And so each character had their own journey to go on. And then we would intercut between them, and I think screen direction, and sort of talking about the end sequence with Marcus and Milli, and how we would intercut between those moments that, she basically figures out how to forecast the signal.
And then he obviously turns up the radio, and how John was very specifically building up those beats, to build up the emotion, and just really just take the viewer at the end, so that when Milli does go there at the end, and kind of lops off the creature's head that, it's just like in the classic film Rocky, when he runs up the stairs, you've been built up emotionally to just really feel with this character, and just to be really emotionally involved. And I think that was a very clear design point.
I really loved that finale. I also really loved the color you got to bring in one once you guys were in that radio station.
MORGAN: Yeah. I mean, it was just a lot of fun because obviously we really motivated all of our sources from the natural world, because we talked a lot about electricity, and what would have happened, and is it still going, or has it died out? And obviously you wanted to say that no one had turned off the electricity, but most of the bulbs had burned out, but the radio station was something that this community on the island had kind of preserved, and it just was able to really amplify that moment with her, just to be able to bring in some color.
Like the first movie, this ends on a shot where you don't exhale until the credits come up, holding all that tension. And I was curious for you, was it very specifically, this is the final shot of the film, as you're pushing in on Milli or was that just another shot on another day that John just chose as the finale or the ending?
MORGAN: I mean, again, it was all very much in the script, which is pretty amazing, but all of that was very clear in his writing. There was, I don't know if he's mentioned this before, but there was another little teaser, a scene that may have played at the end of the credits, which never got put in the final movie. But that was going to be like a little scene that was going to follow on from that, just the kind of maybe tease the viewer to a sequel or just to help kind of show that there was more life out there, but they decided to leave that out of the cut.
I saw that Jeff Nichols' movie got a release date. I love the idea of kind of expanding that universe with another filmmaker now.
MORGAN: Yeah. I mean, I think it's interesting because I'm sure you read this too, but it was difficult for John to come on and do the sequel, and I don't think he initially wanted to. And then of course he got so involved in it that he couldn't step away, but I think that this first sequel, it might not be a direct continuation, but I think that Jeff Nichols is a wonderful filmmaker.
You said this is the biggest film you've been on. What did you kind of take away from this experience? It's been a few years now, I know everything kind of paused. But what did you take from this experience, good or bad, that kind of maybe has refined your approach or what you're looking to do in your career next?
MORGAN: Yeah, I mean, I think it gave me a lot of confidence. I think that the bigger the movie is, sort of the more that as a cinematographer, your work just kind of has to get spread out from dealing with rigors and prep, and then the people in production, but you're kind of always going to be a leader, a manager of people, but when the numbers get bigger and bigger, it's kind of like directing traffic a little bit. And,I think that even coming on from a TV show like Legion, and then Lucy in the Sky, going through those projects really built my confidence in all the different tools that are available nowadays to move the camera, and being able to always read the script, and think of the story, and be able to have an arsenal of experience now to really think about what's the best tool that I can use to tell this story. And I think that that's really exciting.
I mean, I think when I finished A Quiet Place, it was my intention to go and do a much smaller movie. I didn't want to necessarily go straight on and do another bigger budget. I wanted to sort of just return to something smaller and switch it up like DPs like Matty Libatique or Seamus McGarvey, I've always kind of admired them for balancing out between studio films and lower budget movies. And I think that's what really interests me. I think even for me to get back behind the camera, myself and operate, I think when I've worked with fantastic operators like Matt Moriarty, or Mitch Dubin that I'm working with at the moment, they execute shots that I never could do myself. Or if I did, it would take me a long time to be able to nail it. And I can tell them an idea and they will execute it brilliantly in a really timely manner.
So that's very exciting for me as a filmmaker, but I also miss looking at a scene through a lens. And so I never got to do the movie that I said I wanted to do because COVID hit. And then when it did get rescheduled, I was about to have a baby. So it didn't happen. And then now I'm on another kind of higher budget studio film, but I do think moving forward that for me, I want to be able to move between budget ranges, and do smaller stuff. And then also, really, I suppose it's just kind of the stories that speak to me, and luckily now that this move has been successful, hopefully I'll be able to have freedom to choose a little bit.
Oh, I'm definitely confident that that's the case. You did a really wonderful job on this film. And you couldn't do much better than the diversity of the careers of a Libatique or a McGarvey. Those are two really wonderfully diverse filmographies right there.
MORGAN: Yeah. I mean, it's so hard, isn't it? Because I think I'm conscious of the choices that I make or that anyone makes because I really want to have a long career, and I want to be creatively fulfilled. I think when you go on set and you start a project, it's hard work, it's long hours, that's a big time commitment. And so you really want to really be passionate about the story that you're telling. So I think that the choices that you make as a DP are really important, not only to make you happy at that given point, but also to just think about the future of working for another 40 years.
And the reality is that's a huge chunk of your life that you're spending to choose on this project, spend long hours with these people, so.
MORGAN: Precisely, yeah.
How is Where the Crawdads Sing going?
MORGAN: It's going great. I mean, I don't know if you can hear, but I'm surrounded by lightning and rain. So we have unfortunately been a little bit cursed with some bad weather. So we were going to go and shoot the film where the book was set, in the Carolinas, but due to tax incentives and all that, we ended up coming to a Louisiana, which is absolutely stunning, but the weather here unfortunately has not been kind to us. So scheduling is tricky, but it's going really well. It's got four weeks left now. So yeah, I mean, I read the book during COVID and I actually ended up writing the director a letter when I found out they were making the movie, and really fought hard to get this job, because I really just passionately loved the story so much.
And I think lots of people working this film also felt the same about the book. And it's an interesting experience, doing a film where most people have read the book and now they're coming on to the film and, there's that thing about, do films ever live up to book? Especially when people love the book so much, so it's great, because everyone knows the story so well, and everyone's very passionate about it. So yeah, hopefully we don't get too delayed.
A Quiet Place Part II is now playing only in theaters.
How are the lights still on in A Quiet Place 2? ›
In the sequel, the power grids are still on since no one was able to turn them off and life hasn't been normal for more than a year. That means the bulbs in the grids have expired, Morgan posits, so she used moonlight or ambient night light to inform her decisions.What camera did they use to film A Quiet Place? ›
She selected Kodak Vision3 500T 5219 for the movie's extensive dark situations – night scenes and stage work – comprising around 75% of screen time, and used Kodak Vision3 250D 5207 for the day exteriors plus a clutch of interiors. Film Processing was done at FotoKem in Los Angeles.Was A Quiet Place 2 shot on film? ›
Krasinski also tapped a new cinematographer for his sequel: Polly Morgan (“Legion,” “Lucy in the Sky”) replaced Charlotte Bruus Christensen, and once again shot on film (using Panavision Panaflex Millennium XL2 cameras, Kodak Vision3 500T 5219 film stock, and T-Series anamorphic lenses).Does A Quiet Place 2 have a flashback? ›
'A Quiet Place Part II' begins with a terrifying flashback
As shown in the trailers, the sequel to "A Quiet Place" features a flashback to the before times, when the Abbotts and others in their small town lived normal lives.
The red lights emit a small high-pitched sound to distract the creatures. When Evelyn is about to give birth, she switches a flick in the house to turn the outside lights red. This signals to her husband Lee that danger is afoot and she is about to give birth to her baby.Why do the lights flicker in A Quiet Place? ›
An easily missed detail from A Quiet Place notes that all of these creatures interact with the electromagnetic spectrum, causing lights to flicker and triggering large-scale power outages. “There's some sort of electromagnetic interference between anything electronic and these creatures,” Aadahl said.Why don't they wear socks in A Quiet Place? ›
The Abbotts go barefoot in order to avoid attracting the attention of the alien monsters that hunt by sound.Did the hearing aid work in A Quiet Place? ›
The device Regan wears is not a hearing aid, but a cochlear implant. This indicates that Regan has a sensorineural hearing loss, which means her inner ear has sustained some sort of damage. The cochlear implant translates vibrations in the air into nerve impulses that the brain perceives as sound.Why are their eyes red in A Quiet Place 2? ›
It's devastating to find out what people have become after the plague of the Death Angels. There had been a shortage of food, and these people resorted to survival cannibalism. One could tell from their behavior, lean figure, and swollen red eyes that they have been deprived of sustenance for a long time.Is Emmett Lee's brother in Quiet Place 2? ›
Set literally one minute after the events of the predecessor, the Abbotts venture out of the house and into the unknown as quietly as they can. Eventually, and under unlikely circumstances, they meet up with Lee's brother Emmett (Cillian Murphy), who has secluded himself in an abandoned warehouse.
What town was a quiet place 2 filmed? ›
According to the film's IMDB page, production took place in the city of Buffalo, as well as the towns Akron and Olcott. One of the specific locations that they returned to is the rusted bridge with a cross memorial. According to Atlas of Wonders, this is the Wallkill Valley Rail Trail bridge in New Paltz.Will a quiet place 3 come out? › Who are the feral humans in A Quiet Place 2? ›
The Feral People, also known as The Dock Bandits, are minor antagonistic forces in A Quiet Place II. They are a group of marauders who accost Emmet and Reagan at the dock.Why is the dad in a quiet place 2? ›
And if so, what is he doing in the movie? John Krasinski, the actor who played Lee Abbott (aka the dad) in A Quiet Place does appear in A Quiet Place Part 2. The actor reprises the role of Lee for the opening sequence of the movie, with the scene acting as a flashback to events which take place before A Quiet Place.What kind of ending was a quiet place 2? ›
The film ends with Regan holding up her hearing aid (remember the one from the first film?) and attaching it to the radio on the island. Back at the factory, Marcus, who was wearing headphones attached to a portable radio, uses the frequency to kill the monster that trapped them in the factory.Why did the mom get pregnant in A Quiet Place? ›
The easiest explanation for Evelyn being with child is that it was an accident. She is pregnant over a year after Beau's death, at which point the family had already settled into life in an abandoned farm; they made daily attempts to create a sense of normalcy with chores and sitting down to family meals together.Why does DOT pretend to be deaf in the quiet? ›
Nina asks Dot why she pretended to be deaf-mute. Dot explains that, after her mother died during her childhood, she stopped speaking and began communicating only with sign language, as it made her feel closer to her father.What happens in the bathtub scene in A Quiet Place? ›
In the original film, Blunt's character, Evelyn Abbott, was forced to give birth in a bathtub while sound-devouring alien monsters lurk just outside the door. Shot over the course of a week, The Devil Wears Prada star had to do multiple takes of that physically demanding scene.What did the flickering lights make her realize? ›
The Buddha asked her to find a house where no one had lost a loved one, but Kisa was unable to find any such house. She then saw the flickering lights of city and realised that people's lives are similar to these lights which rise and then extinguish. In this way, she realised that life and death is a normal process.Why did the old man scream in A Quiet Place? ›
"It was always about a man who's staring at blackness, at a horror that he can't contain and the only way he can react to it is to kill himself, so he has to force himself to scream," explains Leon Russom, the actor behind the holler, when we chat over the phone.
How do they keep the baby quiet in A Quiet Place? ›
Evelyn also has a newborn baby that she keeps in a case, a little oxygen mask wrapped around the child's head so as to stifle its cries.Was she pregnant in A Quiet Place? ›
If you have already watched A Quiet Place , you would be aware of the scene in question; the one where Emily Blunt's character Evelyn goes into a labour in a bathtub, fearing for her and her unborn child's life the whole time.Is the girl on A Quiet Place really deaf? ›
Millicent Simmonds (born March 6, 2003) is a deaf American actress who starred in the 2018 horror film A Quiet Place and its 2020 sequel A Quiet Place Part II. Her breakout role was in the 2017 drama film Wonderstruck. For Wonderstruck and A Quiet Place, she was nominated for several awards for best youth performance.Did Emily Blunt have a baby in A Quiet Place? ›
Popular on Variety
After revealing Blunt took just one take to film the scene in “A Quiet Place” where her character gives birth, Krasinksi shared a quick story to illustrate Blunt's acting ability.
In the opening scene of A Quiet Place, the Abbott family loses their youngest child, with Regan playing a key role in the chain of events that lead to his death.What are some symbols in A Quiet Place? ›
In A Quiet Place, symbols include: the hearing aid, the sand trails, the small toy space shuttle. All of these things are tied to the way the family interacts and that central conflict. What's important, too, is that they are immediately tied to the world around them. They interact with the world.Is there no talking in A Quiet Place? ›
There have been many horror films over the years, but “A Quiet Place” found a way to be original: a feature length film that had next-to-no dialogue, making it essentially a silent movie with sound effects.Why did she leave her wedding ring in A Quiet Place 2? ›
When Evelyn leaves the factory to get supplies for Marcus and the baby, Evelyn leaves her wedding band atop her late son Beau's memorial — marking her independence in caring for her children. Lee is no longer with them, so she needs to be stronger for her family.Who is the little boy in the beginning of A Quiet Place 2? ›
The youngest of the Abbott family, son Beau is played by young actor Cade Woodward in the first film. In the opening flashback scenes of this second movie, Beau is played by Cade's younger brother Dean Woodward.Who is Emmett's wife in A Quiet Place? ›
Emmett was a family friend of the Abbotts. He also had a wife named Norah and two unnamed sons.
What happened to the older brother in a quiet place 2? ›
Beau Abbott's Death
Regan, trying to be a good big sister, grabs the toy for Beau when Lee isn't looking. As Beau is too young to understand the ramifications of his actions, he turns on the toy on their walk home. One of the alien monsters grabs and kills Beau before Lee can get to him.
The audience should also not expect any of the previous cast — Emily Blunt, Cillian Murphy, Millicent Simmonds, and Noah Jupe — in the film. It's clear that the spin-off/prequel will introduce fresh characters and a new plot. Indeed, not much is known about A Quiet Place: Day One.How much does John Krasinski make for Jack Ryan? ›
The movie grossed $297,372,261 worldwide as of this writing. That means we can estimate Krasinski again most likely earned upwards of $15 million for his behind-the-camera and onscreen responsibilities on the film.Is the dad alive in A Quiet Place 2? ›
Krasinski is back among the cast in A Quiet Place 2, a somewhat risky move given his character was killed off in the first movie. While Lee's return comes in flashbacks, rather than a convoluted reveal that he was never really dead, it still could've upended his sacrifice if mishandled.Where was the waterfall scene in A Quiet Place filmed? ›
Atlas of Wonders says that you can find this waterfall at Buttermilk Falls State Park, outside of the town of Little Falls. The expansive state park has plenty of beautiful trails to explore and even campground accommodations.Will there be A Quiet Place 4? ›
The fourth film in the franchise – but the third in the main series – has also now been announced, with the news being confirmed by Paramount at the studio's 2022 Investor's Day.Will there be A Quiet Place spin off? ›
Nobody scream (for obvious reasons) but the world of A Quiet Place is about to get a whole lot bigger. The breakout horror movie franchise is getting a spinoff movie titled A Quiet Place: Day One, which is based on the 2018 film and its sequel.What is a death angel quiet place? ›
Death Angels, often referred to simply as "The Creatures" by survivors, are a race of extraterrestrial creatures who serve as the primary antagonists in A Quiet Place and A Quiet Place Part II.How did the creature get to the island in A Quiet Place 2? ›
At the island the next day, a creature trapped on a boat from the marina misadventure has drifted to the island and attacks the colonists. After the colony leader drives Emmett and Regan to the radio station, both to quickly transport them and to lure the creature away from the colonists, it kills him.What did Marcus find in A Quiet Place 2? ›
He is shocked to find the corpse of Emmett's wife and makes noise bumping into a couple of objects. Of course, this brings another alien too close for comfort, and in an attempt to escape, Marcus traps himself and his brother in a bunker with little to no oxygen.
What happened to Emmett's family in A Quiet Place? ›
Emmett, portrayed by Cillian Murphy, was one of the new characters in the sequel and knew the Abbott family before the alien invasion. Sadly, Emmett lost his whole family because the creature killed his son, and his wife died from an illness. Therefore, Emmett is the lone survivor of his family.Where did death angels come from? ›
Death Angel was formed in the San Francisco Bay Area, California, in 1982 by cousins Rob Cavestany (lead guitar, backing vocals), Dennis Pepa (lead vocals, bass), Gus Pepa (rhythm guitar), and Andy Galeon (drums) -- all of Filipino descent.What happened to the little boy in A Quiet Place 2? ›
Beau Abbot was a minor character in the 2018 film A Quiet Place and its sequel. He was portrayed by Cade Woodward. He was the 4-year-old son of Evelyn and Lee Abbott who was tragically killed off-screen by the Death Angels after activating a toy rocket.Is there a secret ending in A Quiet Place 2? ›
There's no post-credits scene, but we'll also sound out the possibilities for sequels set in this universe. Whispered SPOILERS ahead.Why does A Quiet Place 2 end so abruptly? ›
The ending of A Quiet Place 2 cements the series as Regan's story, and confirms just how much she takes after her father. It's her ingenuity that not only saves the day, but could end up saving humanity as a whole, and by ending so suddenly on her victory, the sequel really hammers that home.How did the alien get to the island? ›
Unfortunately for the people on the island, an alien managed to reach the island on Regan and Emmett's boat and starts a violent rampage. Together with Man on Island (Djimon Hounsou's genuine credit), Regan and Emmett lure the alien away as they make their way to the radio station broadcasting the song.How did the creature get to the island in a quiet place 2? ›
At the island the next day, a creature trapped on a boat from the marina misadventure has drifted to the island and attacks the colonists. After the colony leader drives Emmett and Regan to the radio station, both to quickly transport them and to lure the creature away from the colonists, it kills him.Why are their eyes red in a quiet place 2? ›
It's devastating to find out what people have become after the plague of the Death Angels. There had been a shortage of food, and these people resorted to survival cannibalism. One could tell from their behavior, lean figure, and swollen red eyes that they have been deprived of sustenance for a long time.Why is John Krasinski not directing A Quiet Place Part 3? ›
John Krasinski's Reason Behind Not Directing A Quiet Place 3
Krasinski believed that Nichols could smoothly continue the story the way he had planned it all along, and was quite thrilled with his decision.
To make sure the baby doesn't asphyxiate, the family uses oxygen tanks to help the child breathe while inside the box. These become a major source of help and hindrance throughout the second film, as the need to have oxygen tanks on hand poses a problem at a few points.
Why do the monsters in A Quiet Place make noise? ›
The first movie has already established the fact that the monsters are completely blind and rely solely on sound to hunt their prey. These monsters have an unnatural obsession with anything that makes a sound.Is Emmett a good guy in A Quiet Place 2? ›
For starters, the dirty, scruffy Emmett seems to have a lot of knowledge about the outside world and what he knows of it clearly isn't good. He has traps laid out all over the abandoned barn he's squatting in. When Evelyn accidentally triggers a tripwire, she springs the noise alarm, prompting her and the kids to run.Who was the dead body in Quiet place 2? ›
But meanwhile, Marcus goes exploring the rail yard, and he is shocked when he finds Emmett's late wife rotting in bed, long since passed from the world. The beat shows that Emmett couldn't stand the loss of his wife so much that he refused to lose her at all, instead keeping her body close even as it wastes away.How does the baby not cry in a quiet place 2? ›
Evelyn also has a newborn baby that she keeps in a case, a little oxygen mask wrapped around the child's head so as to stifle its cries.Why don t they wear socks in A Quiet Place? ›
The Abbotts go barefoot in order to avoid attracting the attention of the alien monsters that hunt by sound.Why isnt the dad in a quiet place 2? ›
Is Lee dead in A Quiet Place 2? Yes – writer/director John Krasinski's character Lee died at the end of the first film while saving his children, leaving them to strike out on their own in the sequel.