[Editor’s Note: The following contains spoilers for Final Destination Bloodlines.
Key Insights from the Collider Ladies Night Discussion
- Collider’s Perri Nemiroff engages with Brec Bassinger, Kaitlyn Santa Juana, Anna Lore, Rya Kihlstedt, and producer Sheila Hanahan Taylor in a captivating episode of Collider Ladies Night.
- During the exclusive screening of Final Destination Bloodlines, the team touched on their influences from horror legends, collaborating with directors Adam Stein and Zach Lipovsky, and the process of assembling the perfect cast for a Final Destination film.
- The cast shared their experiences on tackling demanding scenes, rehearsal strategies, and the adjustments made to pivotal characters and death sequences throughout the film.
Since the inception of the horror genre, women have made significant strides and contributions. Therefore, what better way to honor the revival of one of its most legendary franchises than with a special edition of Collider Ladies Night, hosted by the reigning queen of horror, Perri Nemiroff? In this exclusive advanced screening segment of the interview series, Nemiroff converses with the stars and the long-time franchise producer Sheila Hanahan Taylor about Final Destination Bloodlines, marking the first sequel in 14 years, coinciding perfectly with the 25th anniversary of the original film.
Following the film screening, stars Brec Bassinger (Stargirl), Kaitlyn Santa Juana (The Friendship Game), Anna Lore (Gotham Knights), Rya Kihlstedt (Superman & Lois), and Taylor took the stage alongside Nemiroff for an in-depth dialogue about the legacy of the Final Destination franchise. They discussed the importance of casting lesser-known actors and the necessity of imparting a distinct sense of realism to this thrilling, death-defying narrative.
In this engaging conversation, Taylor, who has been a part of every Final Destination film over nearly three decades, elaborated on her experiences working with directors Adam Stein and Zach Lipovsky (Freaks). She also shed light on how Bloodlines offered a distinct experience compared to the original film. The cast shared insights into the intricate workings of the gruesome Final Destination death sequences, the joys of working in the horror genre, the reasons behind certain character changes, and much more. Be sure to check out the complete Ladies Night conversation in the video above! You can also read the transcript or listen to the discussion in podcast form below:
Celebrating the Iconic Final Girls Who Influenced ‘Final Destination Bloodlines’
Insights from the Cast on Their Horror Icons and Inspirations
PERRI NEMIROFF: On Collider Ladies Night, we love to spotlight women in television and film. I have the pleasure of focusing on my favorite genre, horror. Can each of you share a final girl or a behind-the-scenes female powerhouse in horror that inspires you?
KAITLYN SANTA JUANA: That’s a big question!
ANNA LORE: I’ll say Toni Collette in Hereditary because her performance is just absolutely unhinged. In horror, you have to elevate everything to a 10. Toni Collette does that across all genres, but I was particularly captivated by her in that film.
RYA KIHLSTEDT: I’m a fan of Jamie Lee Curtis in Everything Everywhere All at Once. She’s one of the greatest scream queens ever.
SANTA JUANA: Absolutely, she’s a true badass.
KIHLSTEDT: I also think of Winona Ryder. I love the edginess she brings to every role, and that’s something I’ve always admired and aspired to emulate.
BREC BASSINGER: I must admit, I’m a bit biased because I had the opportunity to work alongside Ali Larter, who is Final Destination royalty. I didn’t audition for the project when I worked with her, but observing her presence on set and how she advocated for her work was incredibly inspiring. Following in her footsteps is something I aspire to.
SHEILA HANAHAN TAYLOR: I don’t mean to date myself, but one of my most vivid memories is of Sigourney Weaver in Alien. I can’t ignore that. To this day, she exudes such regalness.
LORE: That was one of the first times a woman played such a strong role.
TAYLOR: Absolutely.
LORE: I recently watched Aliens, and it still feels revolutionary.
TAYLOR: Just think about the impact that had back then.
The Critical Role of Casting in ‘Final Destination’ Films
Producer Sheila Hanahan Taylor Shares Her Insights from the Franchise’s Long Journey
Sheila, you have been an integral part of the Final Destination franchise since its inception. If I’m not mistaken, your first credit was for Final Destination 2, where you served as an associate producer, correct?
TAYLOR: Yes, that’s correct. I was involved in the first one, but back then, I was working under Craig Perry. He wasn’t my business partner at that point. I was his development executive, meaning I was there for every detail, but I didn’t receive a credit because, you know how studios operate—it takes time to carve out a space for yourself.
Looking back at the first Final Destination movie, was there a moment during production that made you think, “This is amazing, and I want more of this in my career?”
TAYLOR: Absolutely! One of the most fascinating aspects was the casting process. From the very beginning, we had discussions about who the studio envisioned for the roles versus who we believed was the right fit. Morgan and Wong brought a level of groundedness that became a hallmark of the franchise. We aimed to avoid casting overly glamorous, well-known teen actors. We wanted to select individuals who felt relatable, making it believable that when death struck, it could easily be you. Casting an overly famous actor could easily pull the audience out of the story. Thus, the strategy we employed before filming even began was both intentional and astute.
That’s a brilliant approach to casting, and it shows in the films.
What was something in Final Destination Bloodlines that would amaze your younger self from the early 2000s?
TAYLOR: Wow, that requires a moment of reflection. Some of the things we accomplished in this film were unprecedented. Even with industry challenges like the strike, we were fortunate to have a finished script, allowing us to move forward while many others were stalled. We ended up working with an incredible crew because many productions were on hold. Our entire team was filled with talented individuals. I believe that the caliber of people we worked with on this film was a game-changer.
KIHLSTEDT: I’d like to highlight the importance of casting. It’s crucial to establish chemistry among the cast. Sometimes you can predict chemistry, while other times, it’s unpredictable. I want to take a moment to acknowledge that the chemistry among this cast was palpable from our first meeting. We represent a diverse group with varied backgrounds, and it felt like a gift to work together, and I think that chemistry translates on screen.
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Death, where the hell have you been loca!?
I firmly believe it’s critical to cast this movie with a flawless ensemble to portray a believable family dynamic. Can each of you recall the very first moment, whether during preparation or on set, when you realized, “Yes, we are the ideal cast for this family?”
SANTA JUANA: For me, it felt instantaneous during the rehearsals. We were fortunate to have rehearsals at the start of the shoot, which is a rarity in our industry.
KIHLSTEDT: Typically, we don’t get to rehearse at all!
TAYLOR: Just to clarify, rehearsals are uncommon, and having that opportunity, especially in a family setting, is invaluable. It allowed us to connect with each other before we began filming, helping to establish a comfortable dynamic as a tight-knit group.
LORE: After meeting everyone, I felt like “This is my dream team of misfits.” Humor is essential to me, and everyone on set had a fantastic sense of humor. That contributed to my relationship with Owen and Richard, making them feel like brothers to me right away. After just a couple of rehearsals, I felt like I had found my cousins! I understood the dynamic perfectly.
KIHLSTEDT: This group is generous. Everyone is eager to support each other, ensuring that we’re all contributing equally.
LORE: Owen made a great point today—it was evident that everyone was genuinely excited to be part of this project. It’s the biggest film we’ve all worked on. The lack of ego fostered a sense of equality among us.
I want to revisit the rehearsals because I’m fascinated by the fact that this is a significant studio horror movie that allocated time for the cast not only to rehearse but also to engage in improv takes. I heard about the silent takes today, which intrigue me. Can each of you share a challenging scene that you managed to navigate only because you had the time to explore these creative avenues?
SANTA JUANA: I believe the car scene between Teo and me was pivotal. We worked on that for quite a while during rehearsals. I recall how easy it can be to overcomplicate a simple conversation in a script, striving for perfection. But once we got into the scene, Teo and I just naturally conversed, which simplified things and made it feel authentic. That was a moment I felt proud of.
LORE: For me, it was the opening scene when Stefani first arrives at the house. That scene is crucial because it establishes relationships immediately. During rehearsals, we ran through that scene multiple times with various interactions, and it helped me grasp the dynamics between Bobby and Julia and Stefani and Julia. It was incredibly beneficial.
KIHLSTEDT: For me, it was the driving scene between you, Teo, and me. It had been rewritten from a different version, and I struggled with the nuances of how much Darlene would say and what she knew. We rehearsed extensively, and Sheila recorded our improv rehearsals, which were then shared with the writer. Since we didn’t film that scene for a couple of weeks, I kept working on the dialogue, sharing ideas with you, and refining it until just before we filmed.
SANTA JUANA: Exactly!
KIHLSTEDT: Normally, you don’t get that kind of opportunity.
BASSINGER: For me, it was the moment when Iris confesses her pregnancy. The intense action and fire require significant time, but this particular scene felt simpler. The rehearsals were crucial for me to explore the depth of what it meant for Iris to be an unwed pregnant woman in the 1960s. Understanding her anxiety was vital, and those rehearsals allowed me to delve into that.
Sheila, why don’t more films dedicate time to this kind of preparation? What advice would you offer to other producers?
TAYLOR: It’s incredibly challenging because everyone wants the attention of the director. Props need the director’s time, the camera crew needs to focus on shot lists, and wardrobe has to finalize costumes. Coordinating with the directors to carve out three or four hours a day for seven or eight days for rehearsals was a logistical challenge. It required a dedicated first assistant director and scheduling, along with the directors being confident enough to step away from their departments. I was present in the room to ensure the wonderful moments we discovered during rehearsal were communicated to the writers. It truly took a collaborative effort.
Kaitlyn, I have a significant question for you. In the scene where you’re explaining bloodlines and Death’s Design to the family, how do you deliver all that exposition in a way that is clear yet energetic, conveying authority and urgency?
SANTA JUANA: I’m grateful you brought that up because that was my most challenging day.
LORE: I agree; that was the toughest scene for all of us as actors. We all know how tricky exposition can be.
SANTA JUANA: The lines were quite wordy, and I had to remember key points. I received notes like, “Don’t forget to say this” or “Make sure to include that.” But having everyone looking back at me made it feel surreal. I had to focus on the words, especially when they were staring at me as if I had two heads. It was also the first day that Jon Watts visited the set, which added to the pressure.
TAYLOR: He came to support because he knew it was going to be a tough day.
LORE: Owen mentioned that was his toughest day as well.
SANTA JUANA: Really? What?
TAYLOR: There’s a reason for that. Kaitlyn had to perform that speech 35 times because of the number of angles and coverage needed. It was a monumental task.
SANTA JUANA: I had rehearsed countless times and did my coverage last, allowing me to learn from the others’ performances.
TAYLOR: If you look at the dynamics of this film, we created the Bobby character, played by Owen, who serves as our charming naysayer. He’s the one who disrupts these critical moments. In his dialogue, he often brings up the notion of being on Death’s list, which adds a unique challenge.
SANTA JUANA: You’re correct. It’s a heavy responsibility to guide the story.
KIHLSTEDT: Owen did an incredible job. He was the anchor who helped guide us all through the complex narrative.
SANTA JUANA: I can be a bit neurotic in real life, so it felt like I was just being my authentic self.
It’s worth highlighting that you delivered an impressive performance, especially considering the complexity of that scene.
The Impact of Female Characters in ‘Final Destination Bloodlines’
“Women are the Powerhouses, Driving the Story Forward”
Rya, I have a follow-up question regarding Darlene’s character. I understand that she was originally written as Stef’s father.
TAYLOR: Yes, she was originally named “Dale.”
What’s your perspective on why a mother-daughter relationship serves the overall narrative better?
KIHLSTEDT: That’s a loaded question, but I’ll do my best to answer. There has always been a strong maternal presence in the story, and the connections between mothers and daughters can be intricate and nuanced. We often joke about how we find ourselves becoming our mothers, which is both a blessing and a curse. Women carry their mothers’ hopes, dreams, and even traumas, and that lineage is powerful. I believe women are the true powerhouses in storytelling.
By showcasing strong female characters, we can explore the concept of bloodlines and what is inherited from one generation to the next, all through the lens of a high-concept horror movie—a truly remarkable approach.
KIHLSTEDT: Absolutely, it’s evident!
LORE: I’ve been saying that this movie strikes a balance between drama and humor. That balance is delicate and can easily tip in one direction. Even as actors, we found ourselves questioning whether we were being too humorous or not serious enough. The entire team, from directors to producers, managed to maintain that balance, making this a unique horror film that resonates with heart.
KIHLSTEDT: With surprising depth.
LORE: It’s a lot of hard work, and that balance is challenging!
The Behind-the-Scenes Magic of ‘Final Destination Bloodlines’
“My Death Created Jobs for Many”
We haven’t discussed the gore and special effects yet, which are often a highlight for horror fans. Sheila, among the various set pieces in this movie, which did you anticipate would be the most ambitious to produce, and was it indeed the most challenging?
TAYLOR: To be candid, all of them are quite challenging. There’s a delicate balance between special effects, stunts, the assistant director’s team, actors, and camera departments. Every single department must communicate effectively, more so than in other films. You can’t have one department going rogue—it’s essential to work in unison. Overall, every death scene is intricate and requires meticulous coordination.
I would say, oddly enough, the MRI sequence was particularly tricky yet successful. There were so many discussions about how the diving board operates, as many MRI machines have a support leg that we couldn’t utilize because we needed it to retract. We envisioned Bobby pressed against it while Richard hung out, and if there was a support leg, it would detract from the visual impact. The collaboration among the art department, set design, special effects, and camera teams was crucial.
LORE: Richard reminded me today how his shirt was sewn to his stunt double’s pants.
TAYLOR: Exactly! The best part is that we had a skilled stuntman for Richard, whose legs were sticking out so Richard’s chest could be visible, creating the illusion of danger.
LORE: It was one of those moments that looked as grotesque on set as it does on screen. It truly gives the impression that someone is being contorted.
TAYLOR: But honestly, each scene is a labor of love.
LORE: I often say, “My death fed families.” My death scene had people working for months, contributing to the production’s economy.
TAYLOR: Your face was a part of that scene. How risky was it for you to agree to have your face manipulated on camera? That’s quite remarkable.
LORE: I am genuinely brave, it’s true! But the preparation started months ago. I had to get a scan of my whole head, and they created a cast of my arm. They meticulously painted the identical mold, and when I was wearing the fake arm, I would sometimes forget it wasn’t real because it looked so much like my actual arm before we even got to set. Then I arrived, and Tony Lazarowich, who Sheila mentioned earlier, constructed a special apparatus for the garbage truck scene, which was incredibly creative. On shooting day, it appeared as if my head was being severed, and the design was so intricate that I can hardly describe it. I truly need a PowerPoint presentation to explain.
TAYLOR: You know that device where you place your hand, and the pins mold to its shape? They created a larger version to simulate the wall coming towards you.
LORE: It was a collection of pins that would approach my face. It was an insane setup. On the first day, I thought, “Is this really what we’re doing?” It was quite an experience. I also had to step on trash bags throughout the shoot, making it feel like a StairMaster workout for eight hours. They even included wet oatmeal and diapers in the mix.
SANTA JUANA: I was worried you might get poked in the eye with that thing.
LORE: I’m glad you’re telling me this now and not while we were filming! The contraption felt distinctly Final Destination, like anything could go wrong at any moment.
SANTA JUANA: I recall one take where you shed a single tear as it approached you.
TAYLOR: That was genuine!
SANTA JUANA: What an actress!
TAYLOR: It wasn’t CGI. When you watch it again—and you will—you can see that tear.
LORE: The hardest part was that during the shoot, I was connected to two special effects team members. One was in front of me holding a tube, and another was behind me supporting me. Once they called “action”, I had to remind myself to act while juggling all these other considerations. It’s quite technical and can be challenging.
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Every ‘Final Destination’ Opening Disaster, Ranked
“In death there are no accidents, no coincidences, no mishaps, and no escapes.”
Following up with you, Brec, your sequence contains many intricate elements. Among them, which required the most coordination to achieve the choreography while also conveying emotion and determination to save as many lives as possible?
BASSINGER: You probably know my answer, Perri!
I do!
BASSINGER: There’s a quick moment involving real fire. Anytime real flames are involved, the stakes are significantly heightened since live actors are set on fire. The fire department was on set, and there was actual risk. I have to duck behind the bar at one point, where Mr. Dustin, who appeared in the first Final Destination, is ablaze. They blast fire at him, and I’m supposed to knock off my headband while dodging the flames. The pressure was immense—what if I ducked at the wrong moment? They assured me I had to duck perfectly because we had only one or two takes to get it right. The adrenaline was overwhelming, and it was highly technical.
I felt an immense amount of pressure because I wanted to ensure Mr. Dustin didn’t have to endure being on fire again. It was genuinely frightening for me. Adam and Zach, our directors, felt like father figures on set, constantly checking in on me. I assured them I was fine, but the fear was palpable. The technical aspects made it imperative for me to remain present, and I was proud of how it turned out. I believe we only needed one take for that moment, which I find remarkable.
TAYLOR: You nailed it.
BASSINGER: And thankfully, I didn’t get burned!
I do have one more question that I’ve pondered during every Final Destination film. If the person with the premonition doesn’t act to prevent the disaster, there wouldn’t be a story. What do you think makes Iris the type of character who sees the signs and feels compelled to act?
BASSINGER: Iris is a strong woman. In the 1960s, she’s navigating the complexities of pregnancy and relationships. I believe her strength allows her to save numerous lives.
KIHLSTEDT: She’s fearless and unapologetic about her beliefs. There’s strength in that.
This Character Almost Featured a Completely Different Death Sequence
“It Was Too Glib and Silly”
