By Writer Aaron
Settle
Mute holds a special
place in my heart. It's not the first script I ever wrote, nor is it
my favorite. But there is something about it. I guess it's the fact
I never intended to write it. It just sort of happened. I wrote another
horror script entitled A Perfect Example of NC-17, which was my homage
to slasher movies with a special nod to Wes Craven.
The plot centered
around a horror movie director who had come under file from a Family
Values lobbyist, and is being plagued by the killer from his popular
trilogy of films. At this point, Mute was a plot point and backstory.
Heck it wasn't even called Mute. The actual plot of the film wasn't
revealed. All that was known was that the killer didn't speak, strangled
people and wore a black hooded sweatshirt. I didn't need much more to
tell the story of NC-17.
Then a funny thing
happened. Kim and I were talking about shooting something longer, so
on a lark I sat down and started writing something called Suburban Horror
Story, which, a few title changes later, became Mute. It took almost
no time to find the characters, and once I did, it was off to the races.
Two days later I had the first draft. A week after that, I thought I
was happy with it. A year and 50-odd rewrites later, I actually think
I am happy with it.
The fun part of
Mute is how organic it became once we prepared to shoot it. We couldn't
find locations that matched up perfectly, so an office scene became
outside. Kayla moved from an apartment to a house, and in the process,
a prolonged apartment complex scene became a much more brutal scene
in front of the house. And the great thing is, every change worked better
than the way it was originally written.