{"id":5307,"date":"2026-07-31T23:38:03","date_gmt":"2026-07-31T23:38:03","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=5307"},"modified":"2026-07-31T23:38:03","modified_gmt":"2026-07-31T23:38:03","slug":"the-devils-mouth-director-breaks-down-his-bloody-one-location-shark-movie-those-demanding-stunts-and-why-kathryn-newton-and-lana-condor-wanted-to-switch","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=5307","title":{"rendered":"\u2018The Devil\u2019s Mouth\u2019 Director Breaks Down His Bloody, One-Location Shark Movie, Those \u2018Demanding\u2019 Stunts and Why Kathryn Newton and Lana Condor Wanted to Switch Roles"},"content":{"rendered":"
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\n\tWhen \u201cThe Devil\u2019s Mouth\u201d director Jeff Wadlow met the cast of his bloody shark movie, he made one thing clear.<\/p>\n

Read more You Can Now Land New York\u2019s Toughest Restaurant Reservations Through DoorDash<\/a><\/p>\n

\n\t\u201c\u2018Listen, this is going to be the most physically demanding job you\u2019ve ever had. Not just because of the stunt work and all the underwater work, but the fact that when you have a simple dialogue scene, you\u2019re going to be treading water,’\u201d Wadlow recalls telling Kathryn Newton, Lana Condor and the rest of the ensemble.<\/p>\n

\n\tWritten by Aja Gabel and Myung Joh Wesner, \u201cThe Devil\u2019s Mouth\u201d was named to the Black List back in 2019. Newton and Condor lead the cast as Sara and Max, two best friends whose friendship is tested after they get trapped in a freshwater cave \u2014 along with the rest of their college buddies, played by Gavin Casalegno and Tommi Rose \u2014 while taking a trip to Thailand.<\/p>\n

\n\tOf course, things get complicated when a bull shark enters the scene. In order to prep for the intensive shoot, the actors spent two weeks treading water, doing breath holds and training with real kayaks. Besides one stunt where Newton\u2019s character had to hop off a 35-foot cliff into a shallow pool of water, all the actors were game to do their own stunts \u2014 safely, of course.<\/p>\n

\n\t\u201cAll the rock climbing, diving, underwater work, breath holds, getting dragged around on winches, that was all them,\u201d Wadlow says.<\/p>\n

\n\tKnown for helming lower-budget horror films for Blumhouse like \u201cImaginary,\u201d \u201cFantasy Island\u201d and \u201cTruth or Dare,\u201d Wadlow was first approached about directing the film during a meeting in which he was laser-focused on pitching his dream \u201cG.I. Joe\u201d trilogy.<\/p>\n

\n\tHe had some hesitations when, instead, the words \u201cshark movie\u201d were mentioned.<\/p>\n

\n\t\u201cI said, \u2018I really don\u2019t want to just do a shark movie unless there\u2019s something new,’\u201d Wadlow recalls. Then when he heard about the one-location aspect of the film, his creative juices began flowing, and he did a rewrite on the script.<\/p>\n

\n\t\u201cNow we\u2019re talking about an intersection between the shark movie genre and the claustrophobic horror movie,\u201d he says. \u201cI was blown away by how good it was because the character dynamics were complex and interesting. There\u2019s a really nuanced investigation of female friendship.\u201d<\/p>\n

\n\tBelow, Wadlow breaks down casting Newton and Condor against usual type, how his team built 13 sets on two soundstages to pull off the illusion of an endless cave in Thailand, and why \u201cThe Devil\u2019s Mouth\u201d is \u201cthe hardest movie\u201d he\u2019s made to date.<\/p>\n

\n\t\tTalking about casting this friend group, what made Kathryn and Lana perfect for this central dynamic?\t<\/h5>\n

\n\tWhat\u2019s funny about casting this film is both Kathryn and Lana thought they should be playing the other part. And you can kind of see it! Having made the movie, I only see Kathryn as Sara, and I only see Lana as Max. But on the page, the characters were sort of similar to characters that they had played before. I ultimately think that made the movie so much more interesting because it forced Kathryn to stretch and grow and define a quieter character to play. She normally plays really out-there dynamic characters, and Sara\u2019s got an internal journey; Lana usually plays like the good girl, this was a chance for her to play someone with a little more bite. They both really rose to the challenge and did it together. They became best friends while we were making the movie. We shot this whole thing in Thailand. Thailand is so far away from America that if you leave from the East Coast, you go through the Middle East, and if you leave from the West Coast, you go through Japan. It\u2019s literally on the opposite side of the planet, and so there were no long weekends going home. Once we were there, we were all there, and it was a Thai movie. There were about less than a dozen Westerners working on it.<\/p>\n

\n\t\tHow did you go about finding the cave? What were the biggest logistical challenges to filming inside?\t<\/h5>\n

\n\tIt\u2019s the hardest movie I\u2019ve ever had to make. I mean, in 85% of the movie, the characters are swimming in water. Movie cameras in water do not get along, as we all know! And just like casting this movie, I had this crazy curveball at the last minute where it was written for Mexico and we were going to shoot in the Dominican Republic. I was 10 days away from leaving and the studio calls me up and says, \u201cHey, some sound stages and a crew just became available in Bangkok. Can you shoot Thailand for Mexico?\u201d And I was like, \u201cWell, that\u2019s bonkers. What are you guys talking about? That would be so challenging and I don\u2019t really see the point.\u201d And on top of that, I\u2019m allergic to peanuts! I can\u2019t go and spend six months in Thailand, I will probably die. I\u2019m being serious, I go into anaphylactic shock, and they\u2019re like, \u201cWe\u2019ll get you a second assistant whose only job will be to feed you, make you dinner reservations, keep you alive and get your driver, in addition to your U.S. assistant!\u201d<\/p>\n

Read more John Oliver Extends His HBO Contract to Continue \u2018Last Week Tonight\u2019 Through 2027<\/a><\/p>\n

\n\tI started thinking about the soccer team that got lost in the flooded cave system in Thailand, and how that was in our collective consciousness at the time in the zeitgeist. And I started doing some more research on freshwater cave systems in Thailand, and it started to feel a little bit more dangerous \u2014 a little bit more off the beaten path, a little bit more exotic, and I thought that would increase the credibility of what transpired. If it was just a system that tourists went to all the time in Mexico, for them to have gotten into this kind of trouble seemed a little less plausible. It also seemed like help would be there a lot sooner. But suddenly, you start setting it in a remote part of Thailand, it just feels further, more out the realm of these characters\u2019 normal worlds.<\/p>\n

\n\t\tHow did you approach filming the caves and meet the challenge of this one location?\t<\/h5>\n

\n\tI wanted there to be this increasing sense of claustrophobia, so I started really wide and big. I wanted to make the trip look awesome and fun, and the location seem beautiful and appealing. I didn\u2019t want the audience to ever go like, \u201cWhy are these people on this trip? This seems like a bad idea.\u201d I wanted it to be obvious why they\u2019re on the trip. It\u2019s an amazing place to visit. Then I wanted to go into real caves that were mysterious and beautiful and not foreboding at all. I wanted the audience on the adventure, so I found real freshwater caves where rescue divers train. And then once they go around the corner, I went on a soundstage because shooting this movie in a real cave would be impossible. Forget just the lighting \u2014 the stunt work and safety issues would be massive. So once they\u2019re in the cave system, we\u2019re on a soundstage. We built a 120-foot long, 70-foot wide cave set and flooded it with five feet of water. We had one other set that was like 60-by-70 feet that had 15 feet of water. Between those two sets, I shot every cave. So we had 13 sets on two stages.<\/p>\n

\n\tIt was just about turning them over and being really creative. Alec Hammond, my production designer, is just a mad scientist. We figured out how to shoot every square foot of every rock and make it look like it\u2019s a different cave just by using lighting tricks and key set-pieces that we would turn or rotate. It was really difficult. There are multiple scenes where they swim off the set and they just swim back onto the same set.<\/p>\n

\n\t\tWhat were some of the biggest considerations for filming and lighting the underwater sequences?\t<\/h5>\n

\n\tThe lighting was really challenging because you want it to feel dark, but it can\u2019t be darkness, right? We wanted to use the headlamps to motivate light, but you couldn\u2019t really use them because if you tilted them down or got them anywhere near the lens, the lens would just flare out. We did a lot of experimentation with the headlamps. James Kniest, my director of photography, is also very good at his job. We ended up building these custom headlamps where we can control the luminance. But also we could angle them. And we would often yell from monitor like, \u201cHey, Lana, two clicks up!\u201d And the cast knew that meant tilt it up, two clicks. And if you really study the movie, most of the time their headlamps are not pointed anywhere useful. But you see the light glowing, and in your mind it kind of motivates a general fill \u2014 that allowed us to come in with movie lights and get an exposure. I do think it works. I mean, if you study it, it falls apart pretty quickly.<\/p>\n

\n\tUltimately, it was a digital system. It was much more about all the stuff that went around the cameras \u2014 the underwater housing, the HydroFlex, all those systems that we were using. That was another massive challenge with this film because I couldn\u2019t use a dolly, couldn\u2019t use a steadicam. I couldn\u2019t even do handheld shots because when the camera is in water, even at water level, it has to be in the HydroFlex underwater housing. That weighs 120 pounds alone. You\u2019re not doing a handheld shot, you got to use buoyancy to keep it up. I basically had to learn an entirely new cinematic language. I couldn\u2019t use long lenses. <\/p>\n

\n\tI brought in Pete McCaffrey, who\u2019s this legendary New Zealand camera operator, and he was just on the technocrane all day everyday. That was the only way I could really get the camera in and do some more traditional moves. But even those are impossible because you can\u2019t drop marks in the water! How do the actors know where to go?<\/p>\n

\n\t\tIn addition to getting to work with the local crew, what were some of the biggest benefits of filming in Thailand?\t<\/h5>\n

\n\tAs far as the actual economic incentives, the cost of living is much lower over there. We got a lot more bang for our buck. At a certain point, the cost of living can price a movie out of an area. If you\u2019re having to pay a certain wage so people can live in that area, the studios only want to invest a certain amount of money in a movie. You can\u2019t just physically make the movie there. And so sometimes, I thought a little bit about, \u201cAlright, well we\u2019re paying less than we would elsewhere. How do I feel about that?\u201d And it was explained to me that this was a film industry hungry for projects. These were outstanding wages given the cost of living in that area and they were thrilled to have the work. So that\u2019s how I wrapped my head around it.<\/p>\n

\n\tI really embraced Thailand as a character in the film and tried to make it feel like we couldn\u2019t have shot the movie anywhere else. It wasn\u2019t just about economic incentives or labor costs or equipment costs.<\/p>\n

\n\t\tThe industry is really excited right now about the success of films like \u201cObsession\u201d and \u201cBackrooms\u201d from younger directors. What do you make of these conversations happening in horror spaces?\t<\/h5>\n

\n\tI mean, it\u2019s just hard. It\u2019s always going to be hard to get movies made. It\u2019s not like Disney made \u201cObsession,\u201d or Netflix made \u201cBackrooms.\u201d It\u2019s not like major studios are embracing this kind of filmmaking. These are filmmakers that fought like hell to get their movies made, and I\u2019m so happy that they\u2019re enjoying this kind of success. I don\u2019t think it\u2019s going to make it any easier, though, to make movies. It might make it a little bit easier for Curry Barker to make his movie, obviously. But that\u2019s the exception. That\u2019s not the rule. I don\u2019t think you\u2019re going to see major studios chasing down young filmmakers who have had success with a couple YouTube shorts to make wide releases. Maybe I\u2019m cynical, but I just don\u2019t see that happening. I think it\u2019s still going to be hard. It\u2019s almost always going to be hard, and it\u2019s hard for a reason because it tests you, and for that reason, only people who can really do it are able to keep doing it.<\/p>\n

Read more \u2018Cape Fear\u2019 Creator Nick Antosca on That Shocking Final Sequence and Making Big Changes From Scorsese\u2019s Version<\/a><\/p>\n

\n\t\u201cThe Devil\u2019s Mouth\u201d is now streaming on Prime Video.<\/p>\n

\nThis interview has been edited and condensed.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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