How The Goodnight Mommy Remake Differentiates Itself From The Original [Exclusive]

Linking up with Kyle Warren, the screenwriter who adapted Veronika Franz and Severin Fiala’s script for this new film, helped Sobel conceive of a “Goodnight Mommy” remake that “was less about translating literally what happened [in] German into English,” and was “more about, I’ll use the word ‘transcribing,’” he said.

“I think it’s kind of more like the way in which a melody could be transcribed into a different key,” Sobel continued, “and given all sorts of different emotional valances in the process of taking the kind of basic elements of the story in the original film and then reshaping them to give the story a new theme and perhaps even a different genre than the original film.” He further likened “Goodnight Mommy” to a sort of theatrical “re-staging” in the tradition of Shakespeare’s plays, which have been performed and re-performed and filmed and re-filmed countless times over. As he put it:

“That’s something that I’d see done in theater constantly because you have to re-stage things. And a re-staging of ‘Taming of the Shrew’ that switches the genders of every character gives the original text a whole different meaning. But I don’t see it done a lot in film. So I called back the producers and said, ‘I have an idea. Can we call it a re-imagining and can the story be about this theme?’ Which is really most interesting to myself and Kyle, and that is the human tendency to try and always see ourselves as the heroes or the victims of our own stories and to avoid seeing ourselves as the villains and all of the ways in which we’ll lie to ourself, or lie to other people, or change the way that we see the world, so that can always be true.”

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