The new horror film Send Help, directed by Sam Raimi (known for his work in the genre) and written by Mark Swift and Damian Shannon (who wrote Freddy vs. Jason and the 2009 Friday the 13th), centers around Linda Little, a smart but socially uncomfortable woman played by Rachel McAdams. Linda is struggling at work, where her new, arrogant boss, Bradley, doesn’t appreciate her and unfairly gives a well-deserved promotion to a friend. Everything changes when a plane crash leaves Linda and Bradley stranded together on a deserted island. With Bradley injured, the tables turn, and he quickly realizes Linda is now in control – and his chances of rescue are slim.
Taylor Swift and Haim’s Danielle Haim recently told ComicBook they were shocked that some of their suggestions actually made it into the ‘Send Help’ music video. (Spoiler alert: This article discusses details from the video.)
Swift described a feeling of getting away with pushing boundaries, with Sam fully enjoying it. He recalled meetings where violent topics would come up, often leading to laughter between himself, Damian, and Sam. He praised 20th Century Studios and Disney for taking a risk with the film, noting it’s a bold and unusual project that most studios avoid. He hopes the movie connects with audiences and that the studio is rewarded for its willingness to embrace a unique and edgy tone that hasn’t been seen in a while.
For me, the most impactful moment was the castration scene. Everything just came together perfectly – the unexpected elements, how we filmed it, Bob Murawski’s editing, the actors’ performances, Sam’s direction, and Danny Elfman’s music. We never imagined it would resonate so strongly with audiences. It’s incredibly rewarding to watch that scene with a crowd – you can feel the air shift, and it’s a truly amazing experience.
The writers discussed blending horror and humor, their collaboration with Sam Raimi, Linda’s wild behavior, a surprising plot twist, and their plans to remake the 1978 film Magic. They also talked about the Freddy vs. Jason battle and a Friday the 13th sequel they never developed. The complete interview is available below.
It’s been incredibly fulfilling to see both audiences and critics respond so positively to an original story like ‘Send Help’!
Mark Swift admitted he was a bit surprised by the positive reception to the movie. It’s not uncommon for films like theirs to be overlooked by critics, so they were very pleased when a glowing review from The New York Times arrived this morning – it was even selected as the critic’s pick! He said they were stunned and incredibly grateful for the attention.
We wrote this project with a lot of energy, primarily to entertain ourselves. That’s all we really knew how to do! You never know how an audience will react until it’s out there, and we were honestly surprised by the reception. We were confident we loved it, and we knew Sam did an amazing job. Whatever happened next was a welcome surprise, and we’re incredibly grateful.
What sparked the idea for the script of Send Help? Was it based on a terrible boss, a bad travel experience, or something you saw on a show like Survivor? Did you think, ‘What if this happened…?’
Both Damian and I have had our share of difficult jobs – I’ve worked in everything from office cubicles to demanding law firms and within the studio system. But our current project really started because Sam Raimi enjoyed a couple of scripts we’d written that didn’t get produced. That led to us pitching him a fresh idea, essentially a revamped version of something we’d had before, tailored specifically for him. We wanted to create a blend of tones – humor alongside scares, thrills, and horror – and give the audience a little bit of everything. That was our main goal.
Speaking of Sam Raimi, how big of a pinch me moment was it when he became attached as director?
It’s amazing how quickly this project came together. From the initial pitch to getting it written, everything happened really fast – we actually put the pitch together in just a day and a half. Zainab Azizi, the producer, brought us in to pitch to Sam, who had been a fan of a script we’d previously written and was interested in directing. When we pitched the idea to him, he seemed really interested and engaged.
Look, I’ve been in a lot of pitch meetings, and usually people are pretty reserved, you know? They keep their cards close to their chest. But Sam… he was completely different. He was really engaged, leaning forward, super expressive – it was honestly shocking. Then, at the end of the pitch, he just straight-up said he was going to direct it! We were floored, seriously. Everyone always says ‘don’t meet your heroes,’ but for us, it was the opposite. Meeting him was amazing, and he’s been fantastic to work with. This whole experience has been incredible – a truly unique collaboration and honestly, a dream come true creatively.
You can definitely see director Ronny Yu’s style in Freddy vs. Jason. Similarly, the movie Send Help clearly reflects the work of Sam Raimi.
It’s all about finding the right balance. We see Freddy vs. Jason as a fun, action-packed horror-comedy – a tricky combination to get right. Actually, my partner Damian and I specifically asked for Ronny Yu to direct because we admired his ability to blend tones effectively, and that’s what we wanted for this film too. We’re big fans of Sam’s work and wanted to give him opportunities to really shine. Luckily, we had two fantastic actors, Rachel McAdams and Dylan O’Brien, who are both incredibly skilled at both dramatic and comedic acting – sometimes even within the same scene. That’s why Damian and I enjoyed writing this so much, and why everyone delivered such great performances.
We were so fortunate to have Rachel and Dylan cast in the film. I honestly can’t imagine anyone else playing these roles as well – their connection is incredible. Beyond Sam’s direction, the movie really hinges on their performances, since it’s essentially just the two of them, and it’s their reactions that make the unbelievable story feel real. There are moments where you really connect with their characters emotionally, and they deliver those scenes perfectly. It’s a fantastic opportunity for both of them to really shine.
Rachel McAdams really surprised audiences with this role. She’s typically known for playing polished and glamorous characters, but here she’s completely different – raw, natural, and not afraid to get messy. She absolutely nails it.
We’ve been amazed by the positive reaction, with many people telling us this is Rachel McAdams’ best performance yet. It’s incredibly rewarding to hear that, and we’re so thrilled to have her – she’s genuinely one of the kindest people we’ve ever met. Damian and I were always looking for someone who could convincingly play this intense role – someone you wouldn’t expect to be capable of something like hunting a wild boar! Rachel completely embodies that unexpected strength, and it’s something truly special for audiences to see. It’s a departure from anything she’s done before, and we think viewers will love it.
You know, Shannon actually told us herself that working on our set was the most fun she’d ever had. She got to do stuff she simply wouldn’t get the chance to do anywhere else, and honestly, that’s incredibly rewarding for us to hear. It means we’re creating a space where people can really stretch their creative muscles and just enjoy themselves.
Taylor Swift admitted the experience wasn’t enjoyable when she had fake blood poured all over her during filming, especially when Sam was spraying her with it.
Shannon mentioned that the experience was really freeing and allowed her to express emotions she doesn’t often portray in her films. She specifically enjoyed being able to let out a primal scream and said she loved the whole thing.
Some viewers have said this script seems like it was written with a lot of glee. Was there any part of the story you were surprised actually made it into the final cut of the movie?
It was all pretty over the top, and I mean that sincerely. We really pushed the boundaries with this project, and Sam especially loved how far we went. We’d have discussions with groups of people where intense or violent topics would come up, and the three of us – me, Damian, and Sam – would just burst out laughing. Honestly, I think 20th Century Studios and Disney deserve a lot of credit for taking a risk and making a movie like this. It’s not the kind of thing studios usually do – it’s bold, it’s unconventional, and I hope audiences appreciate it and reward them for being willing to try something different and a little bit crazy, something we haven’t seen in a long time.
We can get an original idea with this budget, which is great. We have some major players and a star like Sam, but we really need more projects like this one. It’s becoming increasingly difficult to get these films made, but a strong story makes it worth the effort.
The scene where Linda vomits on Bradley’s face kept making people laugh. Having seen the film with audiences multiple times, was there a particular moment you felt really worked, or one that you were especially pleased the audience understood and enjoyed?
We’ve shown this movie to audiences many times, and the reaction to the vomiting scene is always the same: a mix of laughter and disgust. It’s great to see it’s landing with viewers as we intended. The film has several moments like that designed to evoke a strong response.
For me, the most impactful moment was the castration scene – and I’d like to warn viewers it’s a significant event. I won’t go into detail, but the surprises within it, combined with the acting, Sam’s direction, Danny Elfman’s music, and especially Bob Murawski’s editing, all came together flawlessly. We couldn’t have asked for a better result, and the audience’s reaction is incredibly rewarding. Watching that scene with the audience is like receiving flowers – the silence and the palpable tension in the room are truly amazing to witness.
Shannon said the scene really highlighted Rachel’s talent. It’s a six-page dialogue, and Rachel delivered it flawlessly – she’s truly amazing.
The story has lots of unexpected events. Linda meets two other people on the island, and things quickly go terribly wrong. Do you think that was the point of no return for her?
Whether Linda’s actions are justifiable is really up to the viewers to decide. There are a couple of moments that might be key. One is when she raises her hand, seemingly to signal something, and then lowers it. Or even earlier, when she leaves Bradley on the beach for over a day. We expect people will have different opinions about Linda – some will sympathize with her, others will question her. It was really interesting for us to create a complex, flawed female character, especially one of her age, and we hope Linda Little sparks a broader discussion about characters like her. We really connected with her, and it was incredible to see Rachel bring her to life.
Linda’s actions involve holding Bradley captive and behaving terribly, and she’s clearly quite erratic. This raises the question of whether viewers are supposed to sympathize with her. The filmmakers faced the difficult task of making her unpredictable yet still somewhat relatable, avoiding a portrayal that was completely unhinged.
Early on, we decided to create a character who would face intense hardship in the first act, hoping the audience would connect with and sympathize with her. We then wanted to explore how far we could push that connection, even if she made questionable choices. We pitched this idea to Sam right away. We also started to consider shifting the focus towards Bradley, revealing the reasons behind his behavior. Sam was particularly enthusiastic about the question of who the audience would ultimately root for, and we were too. Maintaining that balance – making the audience question their loyalties – was a central challenge throughout the writing process.
Ultimately, it’s up to the viewers to decide who they support – that’s their decision, not ours. We aim to create complex characters and situations, and we can often get away with a lot if we cast someone genuinely likable. For example, with Rachel, I often ask audiences watching screenings if they see Linda Little as a hero. People usually say they do, which always surprises me, but it’s not my place to judge – I just enjoy seeing how they interpret the character.
One of the most powerful moments in the film, for me, is when Linda tells Bradley, “Monsters aren’t born, they are created.” It’s a line that applies to her personally, as well as a message to the audience. We’re not meant to simply judge Linda; the film suggests she became who she is because of the difficult circumstances she faced – the oppressive system she’s stuck in, her past relationships, and her boss. Many viewers can probably connect with feeling powerless or being at a disadvantage. Ultimately, the movie explores the divide between those with power and those without, and if you can relate to that struggle, you might see Linda’s actions as a result of her environment.
Wow, that ending really came out of nowhere! I was completely surprised. I’m so curious to know what led the creators to that decision, and how it changed things for the characters. It felt like it opened up a lot of possibilities for them, and I’m eager to see where they go next.
From the very beginning, we knew how the movie would end. Damian and I even acted out a key scene – I don’t want to spoil it! – and we were thrilled because it’s a type of ending you don’t often see. We’ve shown it to audiences who have consistently reacted with shock, excitement, and satisfaction. It’s a bold choice, but the studio, the actors, and Sam all supported it, and we managed to make it work. Now we’re eager to see what general audiences think, but so far, everyone who’s seen it has really enjoyed it.
So, after Chucky, you’re moving on to a project about Fats. Is this a fresh take on the story – a remake, a reboot, or perhaps a continuation of what came before? What are your plans for it?
We’re keeping many details under wraps, but this won’t be a simple retread of the original. We’re approaching it as if William Goldman – who wrote both the book and the first movie – were still involved. We’re offering a new perspective, and we believe fans of the original will be very pleased with where we’re taking the story. It will be a more direct horror experience than our previous project, Send Help, focusing on scares and thrills. We’re incredibly enthusiastic about it.
Yeah, definitely. It feels like a fresh take, but it’s quite different from what we’ve done before. We just submitted a draft to Sam and are eager to get his feedback – we really like how it’s turned out. It might not be as consistently funny as Send Help, but it has some surprisingly dark and unsettling parts.
You wrote the screenplay for Freddy vs. Jason. Looking back at the ending, it could have played out in a few different ways – almost like the board game Clue, with multiple possible outcomes. We had several ideas, but ultimately, this is how the ending turned out. Can you talk about the discussions you had deciding who would win?
It’s funny you mention the ending, because we actually wrote and filmed quite a few different versions – around ten endings and at least three complete scenes. It was a tough process! We aimed for an ambiguous ending, like a Rorschach test, so fans of both Jason and Freddy would feel their preferred character had won. Ultimately, we were pleased with how it turned out. We always saw Jason as winning the immediate fight, but left it open enough that Freddy could still return in the future. It was a challenging but enjoyable experience.
We wanted to give both Jason and Freddy their own moments to shine in the movie. It was tricky to balance, especially because the fans are so passionate – Jason’s fans were really critical of Freddy, and vice versa. Honestly, it was a blast for us to watch that dynamic play out.
So, after tackling Jason Voorhees, I also jumped into the 2009 Friday the 13th remake. We really aimed to leave the audience craving a continuation, and honestly, we did! The big question everyone asks is: did I have a sequel planned out? And the answer is yes, absolutely. I had a pretty clear vision for where those films could go next, and I was already thinking about how to build on that first one.
I remember when we actually wrote a sequel to Friday the 13th! We even managed to sell the script, which was amazing. Unfortunately, things got complicated with the rights, and the project stalled. We had this incredible opening scene planned – a frozen Crystal Lake in the winter – it would have been epic! It’s one of those scripts we always hoped would see the light of day, and we’re still holding out hope. Honestly, we were really proud of it. It had bigger, more over-the-top kills, and everyone who read it loved it. It’s just a shame it never actually got filmed.
That film would have been the thirteenth in the series – literally Friday the 13th Part 13. We had big plans for it, initially calling it The Death of Jason Voorhees or Camp Blood: The Death of Jason Voorhees. I especially loved a fantastic zipline kill we’d developed.
Okay, so they brought back the old camp – it hadn’t been used in ages, and honestly, it was great to see it come back to life. They even reintroduced a couple of familiar faces, which I really appreciated. It felt like a warm welcome back to everything I loved about it originally, and I was genuinely excited to see what they did with it.
Could the show have focused more on the relationship between Clay and Whitney, the characters played by Jared Padalecki and Amanda Righetti?
With Swift, you learn their fate right away. Honestly, if you’re hoping to see them survive, you might be in for a letdown.
Why would a winter setting be ideal for another Friday the 13th movie, and how could the snow and cold have influenced the way people are killed in the film?
We’ve always wanted to set a Friday the 13th movie in winter, and we’re finally doing it. Imagine seeing Jason’s breath in the cold air, blood against the white snow, and even him using an icicle as a weapon! The movie opens with a completely frozen Crystal Lake. Two teenagers start playing hockey on the ice, and the puck stops on top of a body – it’s Whitney, a character from the previous film. Then, a huge figure appears on the shore, and it’s quickly clear he’s not there to play hockey. He’s holding a machete.
Since Jason seemingly dies in each chapter of the films, how could the marketing have justified the tagline ‘The Death of Jason Voorhees’? Was there ever a definitive ending planned for the character?
I don’t want to give away the ending for Jason, but the movie was titled Camp Blood: The Death of Jason Voorhees.
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2026-02-06 17:18