Elizabeth Banks Breaks Down ‘Cocaine Bear’s Ambulance Chase

Cocaine Bear director Elizabeth Banks breaks down the “scientific precision” of that mostly-improvised ambulance chase.
Photo: Universal Pictures

Over its opening weekend in theaters, the low-concept animal-attack horror-comedy Cocaine Bear snorted up a surprisingly strong $23 million in ticket gross sales to grow to be the second-highest-grossing film in huge launch (behind Marvel Studios’ Ant-Man and the Wasp: Quantumania). Like Sharknado and Snakes on a Plane and Piranha 3DD earlier than it, just about every part a possible viewer would possibly must know concerning the third directorial outing by Elizabeth Banks is crystalized in its title. A 450-pound American black bear ingests kilos of coke (which have fallen from the sky into the wilds of the Chattahoochee-Oconee National Forest courtesy of a bungled drug-smuggling operation); mayhem ensues.

“Inspired” (within the loosest attainable approach) by true occasions, the $35 million Universal Pictures launch paws a genre-blurring line between When Animals Attack!–styled gore, splatter humor, and magical realism — or, to be extra particular, photorealism within the type of the rampaging CGI mama bear concocted by New Zealand’s Weta Workshop. And no sequence higher encapsulates Cocaine Bear’s signature mortifying hilarity than when the gacked-up animal chases down and mauls the terrified occupants of a fleeing ambulance.

The scene begins with a pair of bickering emergency medical techs (performed by Scott Seis and Kahyun Kim) stumbling on a scene of ursine carnage contained in the forest’s ranger station. There, the partially mauled Ranger Liz (veteran character actress Margo Martindale) is loaded onto a gurney. Mistaking the paramedics’ medical-supplies bag for a duffel stuffed with cocaine, the bear flies into an much more murderous rage whereas the three escape. As the ambulance peels out of the parking zone, the beast gallops after them with yayo-enhanced superspeed — backdropped by Depeche Mode’s ’80s synth-pop bop “Just Can’t Get Enough.” No one survives.

In some ways, the ambulance-chase sequence is the center of the film. We see each the fearsome potential of this animal and an anything-can-happen high quality the place viewers aren’t precisely certain what to anticipate; it treads this line between comedy and horror. Talk me by your inventive selections and the way you plotted out that scene.
Most of our sequences had a theme whereas we had been placing issues collectively. This sequence was The Fast & the Furious — however one of many vehicles is a bear. That was how we first approached it.

I by no means wished the bear to be answerable for all of the loss of life within the film. The bear to me was a metaphor of chaos. If there’s a bear on cocaine, then it is chaos and it creates chaos. So how will we current one thing that feels very chaotic and goes to shock the viewers with how individuals are going to die? And how will we make the bear not the reason for loss of life for everybody? Those had been the parameters.

Jimmy Warden wrote a humorous sequence, however we actually needed to construct this factor out. I had to determine how I used to be going to get Margo Martindale, who’s 71 years outdated and never a stunt performer, to fly out of the again of the ambulance. In the script, I don’t imagine she scraped her face. Jimmy and I had an preliminary dialog the place I stated, “You know how when you’re 7 years old on your bike and you scrape your knee on the pavement? Everybody can relate to that feeling. So I want one of these kills to be relatably horrifying.”

I wished to point out the demise of Ranger Liz in a close-up of that. Getting Margo out of the again of the ambulance and onto her stomach and scraping throughout the highway — that was shot in a number of areas. We constructed a number of rigs for Margo and, principally, a movable wall for her to face on that we might angle backwards and forwards. And we strapped her to it like a gurney.

Then we used the digital camera angles to make it seem to be she was flying farther towards the digital camera than she really ever needed to. So that alone was 5 departments working: costumes, visible results (measuring if we wished to have her face changed or if we wished to make use of her entire physique), digital camera, lighting, after which plates that we needed to shoot only for the ambulance driving away.

The better part is we did a check the place we took an actual gurney and popped it out the again of a van to see what it might do. It bounced a bit of on its wheels. It didn’t simply bounce and flip over; it form of bounced and fell down. That element ended up within the film. So we did plenty of exams on issues. It was a really difficult piece, this one little scene with the ambulance.

The bear’s cocaine superpowers are peaking in that scene. 
I don’t use slow-mo within the film. I reserved it for the one second when the bear is leaping behind the automotive. We don’t have plenty of super-wide photographs of the bear doing issues. We have the huge shot of it taking place one tree and quick up the opposite. I name these the important thing frames for the film. What are the enduring moments for the bear going to be? Dragging the hiker again, that was a key body. That’s bear energy. You barely even see the bear. And then the bear roaring for the title — these are contact factors of visible pleasure.

I knew we had been going to drive away from the door and pull the digital camera away from Scott Seiss, who’s operating out the door yelling, “Go, go, go!” That’s the primary key body. Another was Margo in close-up scraping her face on the bottom. And Kai — I wished her to come back by the windshield proper at digital camera and land at digital camera. That was technically arduous to do. We ended up digging a ditch for the digital camera to relaxation in. And that was all Kai. There was no stuntperson.

How a lot of what the actors say throughout the ambulance chase was within the script and the way a lot was made up on the spot?
Every sequence began with storyboards and pre-visualization, which implies animation or an animatronic was created by Weta for us to trace by each shot. But on this sequence, I left every part with the characters inside very free. There was tons of improv. I’d say 75 p.c of the dialogue in that scene was improvised.

Kai’s line, “What the fuck’s wrong with that bear?” was within the script. “Why is that bear chasing us?” was within the script. But every part else — “Shut the door, you fucking dumbass!” and Scott’s line, “Not the tree, the big fucking bear!” — that was all improv on the day.

I don’t need this to sound like a glib query, however I must know: Is the bear hooked on coke? Or has it had a style and decides it likes to celebration but it surely isn’t fairly at full-blown habit but? 
It’s solely been 24 hours. So I don’t suppose this bear’s in full-blown habit. This bear’s gotten into some cocaine and form of frolicked round and had a good time and ate a hiker after which was like, “Wait, where did that cocaine go?” And then begins wandering again towards this den after which finds one other bag — or sees the purple bag that the EMTs within the ambulance have — and thinks, “Oh, that’s the bag. That’s where I’ll find this taste of something.”

You have publicly acknowledged that you’ve got by no means executed cocaine. How did you resolve the way you wished the bear to behave beneath the affect should you don’t actually know what “the influence” is?
We felt we had plenty of leeway for that actual motive — that no one is aware of what a bear would actually act like on medicine. We examined out a few of the human conduct that we affiliate with cocaine and a few of the tweaking conduct when the bear’s coming down off of the excessive. And we actually felt prefer it made the bear appear too animated. Our entire objective right here was to create a bear so photorealistic that you just virtually felt such as you had been watching a documentary. So all of its behaviors needed to be primarily based in some realities.

We checked out plenty of bear movies — the web is simply stuffed with them. I imagine the group at Weta went to the zoo and photographed and made movies of bears and watched them consuming and taking part in with toys so we might approximate what it’d be like for the bear to play with the bag, as an illustration. Quite a lot of analysis went into it!

So if Weta dummied up a CGI sequence the place the bear is tweaking too arduous, you had been like, “No, this is not acceptable”?
Exactly. We did that on the tree climb. Obviously the bear is looking for cocaine in that scene. So that was a great scene for us to try it out. When I say “tweaking,” I imply, how briskly is it blinking its eyes? Chomping? What are the behaviors bears usually do? And what occurs if we pace them up, or make the bear appear a bit of extra agitated — frankly, extra animated? Sometimes it got here off nice and felt like, Ooh, this bear is basically form of going loopy. Other occasions we crossed the road. So that’s how we figured it out: trial and error.

Quite a lot of very critical thought went into placing one thing on that display screen that appears ridiculous.
We handled it with scientific precision and I by no means felt that something we had been doing was ridiculous.

Your screenwriter has stated the bear is not the dangerous man on this film. So the place did you draw the road at how a lot violence we see the bear inflicting? How involved had been you that should you went too far, the bear would lose the viewers’s sympathy?
I used to be by no means involved with dropping the viewers’s sympathy. Here’s the factor: The bear is a peaceable creature. The character performed by Jesse Tyler Ferguson even says, “Bears are peaceful creatures. You must have done something to upset it. What did you do?!” That’s the query of the film. The bear would’ve left everybody alone apart from the truth that this drug deal went mistaken and the medicine ended up within the arms of the bear. I blame the people.

This interview has been condensed and edited for readability.

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