Zach Cregger Talks WEAPONS, David Fincher’s Editing Wisdom, Head-Smashing Obsessions, and His Vision for RESIDENT EVIL
Director Zach Cregger’s latest film, Weapons dives into a chilling mystery in a small town gripped by fear and paranoia. When an entire classroom of kids vanishes overnight, tempers flare as the police struggle for answers. The story follows a rotating set of perspectives, including a grief-stricken teacher (Julia Garner), a cop (Alden Ehrenreich), a desperate father (Josh Brolin), and a young meth-addict burglar (Austin Abrams), each drawn deeper into the unsettling events.
Cregger built the film’s unusual structure early in the writing process. Inspired in part by Magnolia, he wanted a “novelistic” format where each character gets a complete chapter before the story moves on for good.
“Once I moved on, their chapter was done,” he explained. “If I could hold fast to that, the movie would be better for it.” The tone, scale, and even a sly nod to John C. Reilly’s mustache served as creative touchstones.
For Cregger, Weapons was also personal. Written in the wake of losing someone close, it became a way to channel grief. “It doesn’t work that way,” he said when asked if the process brought closure.
“You’re gonna feel that absence for the rest of your life… Rather than going and drinking myself to death, I’m able to write a character that drinks herself into a problem. I can take my anger and have Josh Brolin freak out, and that’s better than me freaking out.”
The film blends tense drama with bursts of dark humor, but Cregger insists those moments must come naturally. “Let the movie ask me for the humor, don’t try to put it in. Be in service of the story, don’t try to be clever.”
And while it’s not a gore-fest, Weapons doesn’t shy away from brutality, especially when it comes to Cregger’s fixation on cinematic head-smashing. He said:
“I’m still working on that because I tried it in Barbarian and I didn’t get it right, and I’m trying it in Weapons. I didn’t quite get it, but one day I’m going to get that Irreversible fire extinguisher head smash. That’s my white whale. I’ve got to try it again.”
There’s a surreal dream sequence featuring a floating assault weapon remains one of the film’s most talked-about moments. Even Cregger prefers to leave it mysterious. “I think what I love about it so much is that I don’t understand it… I like that it’s there.”
Behind the scenes, David Fincher played an unexpected but pivotal role. Credited in the film, Fincher gave Cregger a crash course in editing and technical problem-solving.
“Dave’s attitude is, ‘It can always be better.’ From reframing to stabilization to ADR, it was really cool. Honestly, I learned a lot about how to prep, what lenses to use… he just opened my mind up a lot.”
Though Weapons isn’t set up for a sequel, Cregger admits he already has another story idea for its world. “I’m not going to do it next… but I’d like to see it on the screen one day.”
Next up, he’s stepping into the world of survival horror with a Resident Evil film. A longtime fan of the games, Cregger wants to capture their pacing and tension.
“Those games pioneered something special… being locked in with one character moving from point A to point B, knowing you’re going to pass through this gauntlet of terror. That’s cinematic. I want to tell the story in the world of the games that honors the lore, but it’s a new story.”
Between Weapons, Fincher’s mentorship, and a fresh take on Resident Evil, Cregger is proving that his career is just getting started, and he’s not afraid to aim for the unsettling.
Source: Variety