Question (moderator): I'm a big fan of horror, suspense and drama. Generally when I watch something I can pinpoint some references the creator used. But you guys have created something so unique that there are no references. You created your own language for this show. I want to ask from a fan's perspective, how did you guys work to get to that language? Did you imagine it on the page? Because it's a completely new and unique show. I'm very curious about how you developed it.
Mike Flanagan: This is a special show for me. I've been working on
Midnight Mass for the better part of at least a decade. I don't even remember when it really started. Back when we were working on the script for
Oculus [2013], which was Trevor and I first project together, I already had an abandoned
Midnight Mass novel and the first 150 pages of a
Midnight Mass script that I thought would be a movie but was way too long to be a movie. This thing has been bouncing around for a very, very long time.
I had shown it to Trevor after
Oculus was shot, but before the movie was released, and for a number of years it just kind of gestated. It was always a project that I wanted to make. It was the one that was closest to my heart, it was the one that meant the most to me. And Trevor,
Jeff Howard and I actually took it out as a TV pitch in 2014. It didn't work out.
Trevor Macy: Everybody laughed.
MF: Every single person. But I would bring it into other projects. I know people have been sharing screenshots of the
Midnight Mass book in
Hush [2016] and in
Gerald's Game [2017], and that was really because I thought for a while that was the closest we'll ever get to making this.
[
The rest of the answer to that question is interrupted by a stunt they wanted to make with the sudden appearance of a few members of the Midnight Mass cast.]
[
After some jokes and some laughs, Flanagan begins talking about the cast.]
MF: The cast experience on
Midnight Mass is by far the best experience I ever had in my career. This group of actors is exceptional. And we were all together at a very, very challenging time, we were one of the first shows in the world to go up in the pandemic. This cast had to come together under incredibly difficult circumstances while we basically had to figure out the COVID protocols in real time. And many of them were away from their families for the entire run of production. There was no way to socialize, to go out. And they looked out at the crew that were all just covered in PPE [
personal protective equipment]... I've never seen a group of artists come together like this. It's the cast experience that I'll chase for the rest of my career.
Question (moderator): Trevor, what are your thoughts about bringing this cast together? And it goes with the previous question because you guys have created a language on its own, and the cast brought it to life in a way that is just seamless. The universe is seamless, it's unique, it makes sense, it's different, and it's something we've never seen before.
TM: It was a little jarring because we were ready to shoot on March 16th of last year. And on March 13th, which is a Friday, everybody was completely prepared, we've done a table read, the cast was coming together brilliantly and they all had their characters well in hand. And then the world stopped, as I'm sure you all remember. At that point Netflix pushed 'paused', like a responsible studio, on all their North American productions. And for several months – until Mike went back in July to Vancouver and most everyone else came back at the end of July or early August – we didn't know what was gonna happen.
What was extraordinary about the cast in particular is that they took that amazing bit of preparation and it somehow just deepened in that amount of time. When we got back and all took a dive into this together and nobody knew how it was gonna go or what we were doing, they all just came together in such a remarkable way. They played off each other even more than we expected, they played off each other more than we thought they would after the table read... They offered layers and dimensions to their characters that were so far beyond what's on the page. We were just thrilled with all of them.
Question (moderator): You work a lot with the same actors from past projects. Do you envision and think about them when you're writing these roles, when you're creating these characters?
MF: Absolutely! There are cast members that we say are family. And especially with those actors, when working on a new project, it's unavoidable that very early I'll start thinking, "OK, this is a great part for Kate, for Rahul, for Henry Thomas, for Carla Gugino..." This way we can actually tailor the parts for the performers.
I think the exciting thing that has happened at Intrepid [Pictures] over the years is that this company of actors keep growing. And we keep having new people come in who now become family. In the same way that I would always try to make sure we have a part for Sam [Samantha Sloyan] or for Henry [Thomas], now it's the same with Hamish Linklater, Zach [Gilford], Rahul Kohli... They're so in the family at this point. It's really a beautiful thing. So it helps enormously to be able to keep these actors in mind while you're writing.
Question (public): I know Mike has talked about his own personal experience with the Church in the past, but how did your personal opinion of the Church, whether good or bad, impact how you portray these characters.
MF: My history with the Church is a very long one. I was born into the Catholic Church, I was raised Catholic and I confirmed and the whole deal. I was in Catholic grade school, Catholic high school. I was an altar boy. I didn't really start questioning it until I was in college and really started to explore world religions. And that was a very long process for me. And I went through different phases of it. I went through phases where I was really into Buddhism for a couple of years. Very, very much. And then I was reading Sam Harris and Chris Hitchens and Carl Sagan... Riley [the character played by Zach Gilford] talks about looking for God everywhere. That was very true for me.
So to your point about the characters, a lot of my different ideas from different times in my life are kind of assigned to different characters in this story. So a lot of the conversations were very fun to write because it was like I was sitting down and having a conversation with who I was ten years ago, or five years ago. It was really impossible to separate all of that in this one.
Question (public): What is your personal favorite episode from Midnight Mass. And why?
MF: Wow, that is a tough question! I want to hear Trevor's answer to this too. It's a tie for me, honestly. It's five and seven. And I don't want to tell you why because I don't want to spoil anything, but yes, for me it's a tie between episodes five and seven for my personal favorite. There are some performances and some very thorough scene work in episode five that is among my favorites I ever got to watch on set. And the last 15 minutes of episode seven is probably my favorite thing that I've ever gotten to work on. Trevor, what are your favorites?
TM: I am also gonna go with five, because five has a particular story pivot in it that is something I'm really proud of and that I love as a viewer. And I also kind of have to give a shout-out to six because it has my favorite sequence of the show in it. Which is something I think I've seen 80 times and my jaw drops every time.
Question (moderator): I have a lot of respect for the acting craft and especially the process actors go through to get roles, especially when they are fresh faces and might not have a lot of experience. I was wondering, Hamish [Linklater] and Zach [Gilford] are new faces for your projects. I'd love to know what made them stand out for the roles of Riley and Father Paul. Because for those that don't know, actors have to go through a grueling audition process, sometimes many auditions in order to get roles. So it is a very intimate process, but also a very difficult one, and I'd love to hear your thoughts on that.
MF: I think this is two of the best examples of new actors coming into the fold with us and fitting so perfectly. With Zach Gilford, I am a
Friday Night Lights fanatic. It's one of my all-time favorite shows, and I try to watch it once a year no matter what. So I'm ride or die for Matt Saracen anyway, and when we found out he was auditioning I was already very excited to see what he would do. His audition was fantastic. And Zach can play 'broken' maybe better than anyone I'd say I ever worked with. It's incredible what he did.
Hamish was a little different. I didn't know his work as well. I knew him from
Legion [2017], and I really thought he was great on that show. We auditioned a lot of people for that part, and what Hamish did that nobody else did is that he understood immediately that in Father Paul's mind Father Paul isn't doing anything wrong. And that his intentions are pure. I don't want to reveal too much of how that goes...
But Hamish doesn't have to audition. He's at that place in his career where he doesn't have to audition anymore.
TM: Neither does Zach, by the way.
MF: Very true! But both of them did!
TM: Yeah, and they fought hard for the parts.
MF: When actors tape they have a reader, usually someone that works at the casting office reading with them. When Hamish auditioned, Kate [Siegel], had been at the casting office reading with Zach on a call back. Because we put Kate and Zach together for a chemistry read. So she ended up offering to read with Hamish for his audition. And his audition was that AA scene you saw in episode two, that eight-and-a-half-minute scene was his audition... And he performed it with Kate doing the Riley role. It's an awesome piece of tape. It's really cool! And he was right for it.
Moderator: And Trevor, what is your experience watching these actors audition? Do you guys always agree? Do you both watch for different things? Because I've heard it's something that could be quite common that you would look for something, and that Mike would look for something different, and that you would kind of meet in the middle.
TM: Well, we do. And we like to think that when we don't agree and work it out it tends to be a feature and not a bug. But in these cases, it's interesting because I think we sort of had an idea of what to expect from Zach, and he blew us away. But he kind of ride right along the lines that we were hoping he would. And with Hamish I think we knew what to expect less. I've been a fan of his since
The New Adventures of Old Christine [2006] probably, which I thought he was great in. And
Legion was amazing too. But the dimension he brought to Father Paul were something completely beyond what we were expecting. And it was a case of not quite knowing what to expect, and seeing the dimensions he brought to it was really remarkable. So there were different experiences but both of them were very much exceeding our expectations. Sometimes if you're very lucky, you see an audition and you just know it's that person. And it happened with both of these guys.
Question (public): In the second episode there's a very touching and powerful scene between Father Paul and Riley. What other shows or personal experiences are you drawing inspiration from?
MF: That scene more than anything for me comes from sitting in some AA meetings. So the biggest thing that I think is on display there is taken from a lot of discussions about AA, conversations with sponsors and things like that. But also some of the earliest kind of volleys from very early drafts of this had that discussion about why God allows suffering, and the idea that suffering could be a gift from God. And that goes back to the very, very first pages of this as a novel. I think in the script I gave Trevor after
Oculus, the script went up through that scene. And it has changed over the years, but not too much.
Same person from the public: If I might add, being a Catholic I absolutely loved how you represented the Catholic Church in the first two episodes and I can't wait to see how you portray the rest of it.
MF: That means an awful lot to us. That means a lot. You know, I am no longer Catholic but I was raised in the Church like I said. My parents are still very devout and practicing Catholics. And one of my goals making the show was that they would be able to watch it and enjoy and be proud of the representation of the Church. That's something Trevor and I discussed at every possible turn that we're not making a show that was intending to attack the Catholic Church. We're making a show that was intending to ask difficult questions about all religions. I'm very grateful to hear you enjoyed that.
Question (public): First of all, I would like to say that mixing horror and deep, beautiful moments in your writing is what makes these stories very unique. You don't see that much in horror movies or series right now. I think this is what makes your stories so wonderful. How do you manage to make that work?
MF: That's a great question. And thank you! Because you just articulated our whole mission kind of as a company. One of the things Trevor and I believe very much is that the horror genre can be very easily dismissed by a lot of people. That it seems to operate sometimes with a lower standard of quality, or people think you don't have an opportunity to put the work in for character and for drama. The way we approach it – always – is by asking if these characters and the story would hold up if we remove the horror elements. Would we still be interested by these people and what happens to them? And frequently when we write, we'll shove the horror to the side and just focus on the characters, just focus on the story. And then bring it back in a way that hopefully feels like the horror is coming from the characters. It's a very difficult balance, and sometimes we're more successful at it than others, but we're always trying to find that alchemy. And figure out the right way to have enough real themes and real meaning, and enough of what the genre fans crave as well, and try to put it all together. Sometimes we'll say if we look at a scene or we look at a project, or we look at a movie and we can't figure out what it's about – kind of with a capital 'A' about – that there's something wrong with it. And we need to go back and crack it back open and try to find it. But it's a lot of trial and error, really. So I'm very grateful to hear that it resonated with you.
TM: Well, there's another thing. This is where I want to compliment my partner [Mike] more as a writer and editor, although I have a lot of positive things to say about him as a director too. He sees this stuff on the page when it's being generated has a really clear idea about how it's gonna come out when it's on-screen in part because of his background in editorial. And so more than anybody else I ever worked with, and I'd like to think it's one of the reasons we're partners, is he's got that balance you're talking about in his head at the conceptual stage. My job is to poke and prod and challenge the work to make sure it's the best it can possibly be, and we do really share a passion for that, but he really got that stuff in mind.
Question (public): I saw the scene with the seagulls circling and I was wondering if Hitchcock and
The Birds [1963] was a big influence for this.
MF: Great question! I love Hitchcock's work. Love it! And
The Birds has always been one of those movies that freaked me out as a kid and never could never figure out why. It's one of those things where I don't know why it's so unsettling but it is. Wanting to have that feeling of all of the birds constantly moving in the shadows, moving in that constant kind of cawing through the scene definitely comes from that. We tried to do a couple little Hitchcock winks on this show. There's another one in the dialogue Joe Collie says
over the dog and that's
Rear Window [1954]. [
I marked a small spoiler for episode 2 just to be safe]
Those seagulls by the way are all computer generated.
TM: Yeah, no seagulls were harmed or kicked in the making of this show!
MF: [Small spoilers for the ending of episode 1]
And all of the cats were stuffed animals and would float away in between takes and it was hilarious! So I'm sorry you guys had to go through the emotion of it but really, step back from the experience on-screen and it was all very goofy. So please take that as some comfort! Haha!
Question (public): Are there any Easter eggs? Do we need to rewatch the show to figure out all the Easter eggs?
MF: This show is very much designed for a very impactful second viewing.
TM: Feel free to look for hidden ghosts if you want... but there aren't any in there.
MF: No hidden ghosts!
TM: Go back to look for the Easter eggs and the new layers, but unlike
The Haunting, no hidden ghosts!
Question (public): Out of all the episodes in
Midnight Mass, what was in your opinion the most difficult to shoot? And why?
MF: That's an easy one!
TM: Yeah!
MF: Episode 6 was the most difficult episode to shoot. And when you see it you'll know exactly why. So episode 6 has a single sequence in it, a single scene that lasts for about 25-28 minutes. It took us a week to film it. But it's not a single take, it's kind of the opposite actually. This is the most camera set ups I ever had in a scene ever! I think it's 103 unique shots to build the scene. And it's also the most number of people I ever had in a scene... You'll know when it happens, but it was the most challenging scene that I ever, ever attempted. From a planning and an execution point of view. And the edit for it was like my Everest editing. I had all this footage when we finally got it, and I remember looking at it and I said to Trevor, "I don't even know where to start..."
TM: And when you watch it, think of what it must have been like to shoot this during COVID. I don't want to give away why that is, but think about things you shouldn't do around people during COVID... And I just want to say nobody got sick!
MF: Every single person on-screen in this scene – and you'll know when it happens – had to be tested every day before they were allowed on set. Even building one shot of this scene took forever because of the sheer number of everything that's in play in it. There is a moment where we would be rolling and it was time to remove masks, because they stayed on all the rest of the time, when you see this space and you see everybody in there... and imagine being at the peak of that first wave of COVID. It was harrowing.
TM: Usually it's not terrifying to be on set for one of our shows. But this was terrifying. And that's actually the sequence I was referring to earlier as my favorite one in the show, so it was absolutely worth it but... yeah. I hope you all like it. Don't think about this in your first viewing but if you want to watch it again, just give it a little thought and imagine what it was like.
MF: And count the angles. If you imagine having to put a camera in each of the place a camera clearly is, it reveals itself. Yeah... That rivals episode 6 of
Hill House for me in complexity.
Question (public): I'm a Muslim woman and it means a lot to me when I see Muslim representation of characters simply existing in a show without some sort of political agenda. I was wondering if you could talk about this character as much as you can without spoilers, and how important it was for you to include a character like that in the show.
TM: That's one of the most important things in the show.
MF: Yes it really is. And I wish Rahul was here to be able to talk about it from his perspective too. Because I am so grateful for how he portrayed Sheriff Hassan.
We're dealing with a lot of themes of religion, of prejudice, of mob mentality. And Islamophobia is something that I think infiltrates pockets of our discourse in a way that is really unfortunate. When it comes to education about world religions, one of the things that I learned when I was first venturing away from Catholicism and really trying to learn about other religions, I was shocked by how many things I was wrong about in my preconceived ideas of Islam. And of a lot of religions frankly.
One of the things that we really wanted to do was to take a Muslim character and install them into a position of incredible importance in the story. And in the case of Hassan, in the position of representing law and order in this community. Knowing that it was only going to stir up and shine a light on some of the issues that some of the other characters within the Church and within the story would have against him. I think what Rahul would say if he was here, was that he didn't just want to do the part justice as far as the authenticity of the portrayal, he was also very excited because a sheriff in a small town is such a piece of Americana. It's such a character that is throughout film history so often played by Gary Cooper, John Wayne, Clint Eastwood... these kinds of actors. And Rahul was so excited to step into that role, was so excited to build that character who's a man of I think profound faith. And a man we could all really look up to and relate to. He's a hero in the story. And you guys have just gotten to know him. But where he goes and the struggle he has as a dad, and as a dad trying to navigate a teenage son and be a role model while also feeding that teenager's spiritual life. It's a perspective that was important to us, to put out there very specifically in a non-Christian way. To put out there very specifically for Islam in America. So I'm hoping that it's resonating, and I'm hoping that you felt good about it.
TM: The other thing about Sheriff Hassan as a character is he kind of personifies in a very unique way the empathy and kindness that the show is about. And that's partly because of his faith, and that's partly because of his qualities as a human being. And what Rahul did to embody that was really remarkable.
Question (public): Where did you get your inspiration for
Midnight Mass other than your personal life?
MF: That's a tough question because if I answer it completely honestly I'll spoil something for you guys that I don't want to spoil. But I can tell you that inspiration came from really interesting ideas that popped up when I was a kid and when I was an altar boy. And then later during that time I spent trying to really look into religions kind of as a concept, and getting sober, which I think is a huge, huge part of the show for me.
Outside of that, you guys will be shocked to find out there are absolutely influence in here from my creative hero Stephen King. One that I think I can safely talk about that I heard brought up is a miniseries that he wrote called
Storm of the Century [1999]. That is about a small island community and a stranger who comes to town. It's a very different story, but that setup is so Stephen King and something that I love so much. There's another book that I could mention, but I won't because it would spoil some things for you. I think as you guys keep watching it, you're probably one episode away from being able to really understand what I'm talking about. You'll know by the end of episode three.
TM: Oh yeah, if you're a King fan you'll know by the end of episode three.
Same person from the public: In your writing Mike it seems you're really using people's real life fears. I was wondering where did that come from, how do you get inspired, are there some of your fears maybe in that?
MF: Oh yes! Here's the weird thing about me and I know it's true for some other writers that I work with too, I tend to keep a pad of paper and a pencil by my bed. And it's really just there in case I have a great nightmare and if I wake up from something that really fucks me up and I want to write it down. When we work on these different shows, I'm always on the look out for very specific fears that people have. When we were working on
The Haunting of Hill House, Meredith Averill who was one of our writers in the writers' room told us all one day that she had an irrational phobia of very tall people. Like people on stilts. And we thought it was so fun, that is why we all made the tall man happen on that show. It was just to mess with her. But it also worked on the audience.
And kids are a factory for this stuff! I have three kids and when you hear them cry in the night you run into the room as you want to comfort them, you want them not to be scared, but you also really want to know what the hell they dreamed about because it's probably gold! And I really want to get it into a show!
TM: I'll also say that in terms of Mike's personal fears, if you look through all the stuff – starting with
Oculus – you'll see a lot of eyes, a lot of hands and a lot of fingernails.
MF: Ugh! Touching an eye freaks me out so bad! I see people putting on contacts and it makes me want to throw up. It just terrifies me. And if I see somebody's fingernail get damaged, I can't deal with that...