I'm drawn to older ways of telling stories," Shyamalan told
Empire for the magazine's January 2023 issue (
now on sale). To that end, he shot the project on cameras and lenses from the 1990s. He secured equipment that was even older for a number of flashbacks. "They were barely functional," he recalled. "At certain focal lengths, they would become out of focus. All of those imperfections are part of it."
The hope was to make something akin to "a dark fairy tale," the director said. "There's a little girl that's sitting in the grass playing, and a giant comes up and shakes her hand and says, 'Somethings' gonna happen to your family' ... I love telling dark stories and I'm going to guide you through some really horrific things, but you can feel the narrator believes in humanity."
A major theme he wanted to explore was how fragile our notion of a house (or in this case, a cabin) being a place of safety really is. "When you get a knock at the door, our fears make us think, 'Wait a minute, this is all a facade. Anyone can come in here and do whatever they want.'"