They Will Kill You Director Teases Potential Sequel: “I Have a Great Idea…” [Exclusive]

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Kirill Sokolov’s film, They Will Kill You, is a fast-paced, funny, and frightening thriller where things aren’t what they seem. The story centers on Asia (Zazie Beetz), a new housekeeper in a New York City apartment building, who soon discovers she’s been lured into a dangerous trap. The building is secretly home to a Satanic cult that needs to perform regular human sacrifices, and Asia is their next target.

Asia isn’t helpless either. She’s a skilled fighter who uses a sword to take on the members of a dangerous cult while searching for her sister, Maria. She relentlessly battles and even kills these people – including leaders like Kevin, Sharon, Bob, and Lily – but they keep coming back. They’re immortal and regenerate, continuing to pursue her. The result is a brutally violent and non-stop fight for survival.

Kirill discussed the success of Ready or Not with ComicBook, covering topics like its surprising performance, intense violence, use of practical effects, and possible sequel ideas. We were curious about where a sequel could go – whether it would continue the story of the girls, explore the origins of the immortal agreement, or introduce a new antagonist like Virgil – and if the director had considered these options.

I’ve spent the last two and a half, maybe even three, years really immersed in this world and its characters, and I’ve grown to love them. I’d be thrilled to revisit it. There are so many stories we could explore – not just the main storyline about Virgil and the world’s history, but also the potential of Lilith and Ray’s relationship, and the unresolved issues with the sister’s story and the mysterious piece of skin. We also left Maria’s resurrection open-ended, and I have a strong idea of where that could go. There are endless possibilities, and I truly hope audiences connect with this world and its characters as much as I have. I’d be delighted to return and tell more of their stories.

The full interview follows:

The movie’s concept originated from an experience you had while living in an apartment. Could you tell us more about how that sparked the idea?

As a total film buff, I’ve always loved a good unsettling story, and my life actually gave me one! About ten years ago, my wife and I rented an apartment in a really odd building – mostly filled with elderly, solitary women. I was doing some kitchen renovations and, while moving a cabinet, I discovered a hole leading into my neighbor’s place. It was so bizarre, it felt like something out of a creepy movie, and we jokingly started imagining waking up to find masked figures coming after us. We eventually forgot about it, but then a couple of years ago I rewatched ‘Rosemary’s Baby.’ It suddenly clicked! I remembered the hole, the strange building, and realized I’d actually lived a version of that story. That’s when I knew I had to make a film about it – a secret entrance, a creepy building… it was too good to ignore!

That idea may have started the story, but what were the most significant changes made to the script as it was being developed?

You know, what’s really interesting about this movie is how completely out there it is, even just reading the script. People had really strong reactions – they either loved the wild ride or absolutely hated it, and honestly, that’s exactly what we’re seeing now with the audience, which is amazing! When we were trying to get it made, studios either immediately wanted to jump on board, or they didn’t. They might suggest small changes, but nothing that fundamentally altered the story. I’m proud to say I didn’t have to compromise on anything I really believed in.

The basic idea of the story – someone being hunted while stuck in a confined location – reminded me a bit of the movie Ready or Not. Did that similarity worry you, or did you figure audiences would go with whatever you threw at them?

It’s not just ‘Ready or Not’; many movies in this genre rely on familiar tropes. We really focused on playing with what the audience expects. My co-writer, Alex Litvak, and I spent a lot of time discussing how to subvert those expectations. We intentionally set up the beginning to feel like movies such as ‘Rosemary’s Baby’ or ‘Ready or Not,’ where a woman enters a dangerous situation, leading viewers to assume she’ll be fighting for survival. But around page 10, we wanted to completely change direction and surprise everyone. We asked ourselves, ‘What if she was the most dangerous person in the room?’ That instantly flips the script. From there, we knew we had to consistently keep the audience guessing, constantly defying their predictions. The goal was to deliver a truly unexpected experience, and we believe the film achieves that – the initial comparisons to other movies fade away once people see it.

One of the most surprising moments in the film was when Tom Felton’s and Heather Graham’s characters appeared to be killed off – it seemed like they’d only have a brief appearance. Then, suddenly, they were back! Can you discuss how you created that unexpected twist and played with audience expectations?

As a writer, you eventually reach a point where you have a strong character who’s incredibly capable, and you start to wonder where the story goes next. You need to raise the stakes and create real danger. For us, the solution was introducing a cult. It allowed us to create something fresh and different from typical zombie movies. These aren’t traditional zombies – they’re not just undead like in ‘Evil Dead.’ We were thrilled with how it turned out, especially the surprise element. We even enhanced it by filming a bit more with Tom Felton in the lobby, giving audiences a false sense of security. By making people think his appearance was just a cameo, his eventual removal from the scene created a much bigger shock. I’m really pleased with how it all played out.

Can you tell me about how you designed the masks and overall appearance of the cult members? What inspired their look?

The cult in the story has existed for generations, carrying with it a wealth of old traditions and rituals that might seem unbelievable today. A key element of their identity is a collection of handcrafted masks, each representing the cult leader, but also uniquely personalized by its owner. Some members adorned their masks with extra details, while others left them plain. The masks were inspired by African wood carvings, but each one was individual. We created around 250 to 300 masks in total, and we let the actors choose which one their character would wear. It was a fun process – each new cast member got to select a mask that felt right for their role. For example, Heather chose a beautiful mask decorated with gold chains and rings, while Bob, who played the most aggressive character, picked a very simple, almost bare mask. We really wanted to give each mask – and therefore each character – a distinct personality.

How did you approach balancing the different moods in the story? It moves between scary and exciting, and you also add moments of humor – what was your thinking behind that?

I really enjoy movies that can genuinely surprise you – not just with plot twists, but with the emotional impact they have. Korean films, especially those by Park Chan-wook, are masters at this. His thrillers take you on a rollercoaster of feelings – you might be deeply saddened one moment, then suddenly burst out laughing, only to feel a bit embarrassed and then terrified. That unpredictable emotional journey is what makes a movie truly great. I’ve tried to create that same effect in my own work, constantly shifting the tone to keep the audience guessing – a little fear, then laughter, then excitement, and back again. It’s about keeping them on the edge of their seats.

A key element is playing with what the audience expects. We blend very different genres and draw inspiration from various films – it begins with the feel of Rosemary’s Baby, then shifts towards something like Kill Bill, followed by horror reminiscent of Sam Raimi, and finally embraces a fully anime style. I realized I needed a way to connect all these diverse elements.

I was really getting a Sam Raimi vibe from the movie, especially with that scene involving the rolling eyeball – it felt so reminiscent of his style! It got me thinking, when you’re creating something that outlandish and funny, do you ever second-guess how audiences will react? It’s such a bold gag, I wondered if you worried about whether it would hit or miss.

I was confident it would work, even though almost every producer questioned it. They kept saying the effect of the eyeball was too ridiculous and wouldn’t be believable, especially the studio executives. I asked them to just let me try it, promising I could easily remove it if it didn’t fit. They agreed, and surprisingly, it quickly became a highlight of the film. It’s funny because it’s so unexpected – showing a head explode with skull fragments and then an eye popping out. And people loved it! It’s strange how something so gruesome can be charming, but it really worked and added to the fun.

How difficult was it filming the maze portion when they are crawling underneath this hotel?

The chase scene involved two and a half days of constant crawling, and the entire movie was incredibly physically demanding for the cast. I truly admire their dedication, as they did most of the challenging work themselves. The only relief they had was the soft flooring we created to cushion their knees – it wasn’t real wood, just a softer material. Beyond that, they had to push through it. We filmed the crawling scene repeatedly for those two and a half days – just ‘Again, again, again.’ People don’t realize how many takes it takes to get everything perfect – the actors’ timing, the camera work, the movement… it was completely draining and really took a toll on them. Ironically, those particularly grueling days were for Heather and Tom, and it quickly became clear to them what kind of film they were making.

The film includes three layers of the Virgil. Were there talks about Asia facing additional levels, and if so, what those might have been?

As a movie lover, I was fascinated to learn about the thought process behind the building in the film. It’s all based on Dante’s Inferno! Each floor represents a different circle of Hell, and they really leaned into the thematic separation with distinct symbols, colors, and patterns. There’s even a rug designed to look like the River Styx, complete with waves! They cleverly established different levels, like a sort of limbo, and a floor dedicated to gluttony with a restaurant. The ninth floor is especially chilling – it’s meant to be a frozen lake where Satan resides. Initially, they had even more floors planned, but it felt overwhelming, so they streamlined it to keep the story moving. Structuring the building this way really clarified the themes and tone on each level. And honestly, when you’re filming almost entirely in one location, you have to find ways to keep things visually interesting and surprising for the audience – nobody wants to just stare at walls for two hours!

How much was done with practical effects versus CGI?

Most of the movie was achievable with practical effects, with the exception of the demonic pig, for which we used a puppet. Growing up watching films from the 80s and 90s, I learned filmmaking by observing how movies were made behind the scenes. I started by making very low-budget short films, and now, working within a studio system, it felt incredible to finally have the resources to create realistic prosthetics and experiment with advanced camera techniques. I really wanted to utilize all these tools. That’s how I always imagined movies were made. Thankfully, Crafty Apes and our VFX team did amazing work, seamlessly blending digital effects with practical elements so you can’t tell the difference. We even included a miniature model in the film – a detail most viewers won’t notice. In 2026, creating a movie with a physical miniature feels special.

What was the miniature? 

Oh… I won’t tell you. Try to find it. 

A scene featuring Heather Graham’s character included a shrunken head, which felt like a nod to the movie Beetlejuice.

It is straight from Beetlejuice.

How much blood did you end up using for the practical effects?

There was a huge amount – we didn’t bother counting. It sounds strange, but to create the necessary effect, they used special pumps to fill beer barrels with blood under high pressure. I recall the first test vividly. A dummy head, nicknamed Kevin, was severed, and when they cut it open, blood sprayed everywhere. The barrel emptied instantly, and that’s when they realized just how much blood would be needed.

Those tests require rolling camera, resetting, examining the blood splatter and then repeating… 

There’s a huge amount of cleanup work involved, and maintaining consistency can be tricky. You have to be really strategic – for example, if a character gets shot, it’s best to film it from behind to avoid damaging their makeup, because fixing it can take a full hour. Working with realistic effects like blood requires a lot of preparation. Everything takes time, especially prosthetics, which can be unpredictable. But despite the challenges, practical effects add a lot of character and create a really impressive look.

I’d love to discuss working with Andy and Barbara Muschietti, who are famous for directing films like It and Mama. How did they get involved in the project, and how did they contribute to bringing my ideas for the movie to life?

I feel incredibly lucky to have them in my life. They immediately connected with the script and had faith in my vision, giving me complete creative freedom. They were wonderfully supportive and protective throughout the entire process. Because they’re such skilled filmmakers, I was able to learn from them directly – I’d even ask them specific questions about techniques, like shots from their previous work. I shared storyboards and really benefited from their expertise. It was a true privilege. They weren’t just colleagues; I received incredible support, valuable help, and a fantastic learning experience. I definitely took advantage of their generosity, and in a way, I was a bit selfish in how much I asked of them.

What was your favorite action sequence in this movie and how challenging was it?

There are three standout scenes: the beginning, the fire-axe moment, and the scene in the freezer. I really appreciate how distinct they all are. They build tension and each feels unique, and honestly, my favorite changes depending on where we are in editing. The initial fight in the apartment is incredibly raw and immediately throws you into the action. It’s tough to recapture that same impact later in the film because the audience is anticipating something big, but it still holds up really well.

The fire scene is particularly impressive because we filmed it using real flames and practical effects. Zazie was actually riding through the scene, igniting people with fire, which required a huge amount of preparation and effort. Viewers will likely wonder if it’s CGI, but the heat and fear feel incredibly real, creating a level of tension and energy you can only achieve by filming it live. The final five minutes are just wonderfully chaotic – it’s like watching a live-action anime! You have Patricia Arquette fighting with a sword while wearing a rotten pig head – it’s a truly unforgettable scene.

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2026-04-06 18:46