“Cloverfield” opens with a slightly mundane premise: Rob (Michael Stahl-David) attends a farewell celebration, on the event that he is bagged a brand new place in Japan. Rob’s mates collect on the get-together, together with Beth (Odette Yustman) who Rob by no means contacted after a one-time sexual encounter. After she brings some random dude to the celebration, Beth and Rob have an argument — up till this level, “Cloverfield” touches upon the fluctuating interpersonal relationships we frequently share, and there’s nothing inherently fascinating about Rob or Beth’s story. However, that’s the level, because it recontextualizes the smaller squabbles and missed alternatives in life towards a city-wide monster assault. Does something other than survival matter at this juncture?
Reeves tackles this core theme in sensible, ingenious methods, weaving within the sudden disaster with the necessity to protect the bonds we frequently take as a right. Rob and Beth’s qualms about their relationship imply nothing when confronted with a life-altering risk — that is precisely why Rob and his mates endanger themselves to rescue Beth. Here’s what Reeves instructed IGN concerning his preliminary confusion about helming “Cloverfield,” and the way in depth discussions with Abrams paved the trail for a uncommon alternative to work on one thing really particular.
“I was very taken with it, but I was like, ‘This is huge, it’s visual effects, it’s a monster movie. Why are you thinking of me?’ The big thing for J.J. and for Bryan [Burk] was that my concerns primarily — and everything that I’ve done so far and everything that I’m interested in…it’s been all character-based. I’m very interested in naturalism and realism and we tried to have that kind of tone…They were like, ‘Look, there’s no question, we know you love movies and you can get the monster part…we’re interested in what you would do in terms of the tone. In how you would do that and what you would do with the characters.'”