Let me begin by saying that this whole article is nothing but spoilers for 10 Cloverfield Lane and the script from which it originated, The Cellar. So, if you have yet to see the movie or if you want to read the original script yourself then this isn’t the space for you. However, if you’ve seen the film and are interested in seeing what had to change in order to make a normal chamber piece thriller into the continuation of the Cloverfield franchise, you are in the right place.
Below we will look at the original idea that got reworked and retrofitted to become 10 Cloverfield Lane, and the changes necessary to make it so. The original script in question comes from Josh Campbell and Matt Stuecken back in 2012, before Whiplash‘s Damien Chazelle was hired to develop it further (and potentially direct himself), and Dan Trachtenberg ultimately came on board to make his feature directorial debut. Split into the plot, characters, story, and climax, check out the differences and similarities below, as well as a summary of which aspects we prefer in each.
Both the original script and the move involve the same basic bones of a plot. Michelle wakes up in an underground shelter and it told by her captor/benefactor Howard that there is an attack of some kind going on and the air aboveground has gone bad. A third man lives in the shelter with them and tensions rise as the Michelle struggles to understand the state of her imprisonment and the truth about what is going on above ground.
In the movie, Michelle is presumably in her twenties, an aspiring fashion designer running away from her engagement following a fight with her fiancé Ben (a brief voice cameo by Bradley Cooper). In the original script, however, Michelle is an 18-year-old college student with no defined major who drives drunk after a fight with her boyfriend at a party. Whereas Movie Michelle is immediately inventive and creative with her methods of escape, Original Script Michelle is a bit more wilting and takes a while to work up into the kind of badass that Movie Michelle is right off the bat. As portrayed by Mary Elizabeth Winstead, Movie Michelle is a much stronger and more engaging character than Original Script Michelle.
Both Original Script Howard and Movie Howard are complicated characters. Original Script Howard is a bit better at explaining the situation to Michelle up front and in general seems like a much more stable character, but is still not without his darkness. Movie Howard, as ingeniously portrayed by John Goodman, is more volatile, more cagey, and generally much more worthy of mistrust and suspicion. They are similar men in general, but Movie Howard is much more prone to outbursts of violence, much more “protective” of Michelle, and ultimately much more frightening. Original Script Howard is more awkward and impotent than Movie Howard.
The back story for both characters is where they most diverge. In the script for The Cellar, Howard is a recovering alcoholic, which appears to not be the case in the movie, as Movie Howard swills homemade vodka with no ill effects. Movie Howard claims to have had a daughter and indeed cannot stop talking about her, reminiscing over her, and subtly making Michelle into her. Original Script Howard mentions his wife and daughter, but they are more sub-textual than necessary to the plot. In the movie, Howard’s daughter has moved to Chicago (where the original script takes place, instead of New Orleans), while in The Cellar she has moved to DC.
The full story and reality of what happened to Howard’s family is altered even further. In the film, Howard shows a photo that he claims is his daughter, but Michelle learns that this is actually a girl that Howard kidnapped after his real daughter moving away. It is implied the girl was killed by Howard when she tried to escape. In The Cellar, Michelle is told Howard killed his wife and never had a daughter. In time she discovers, however, that Howard actually killed his wife while driving drunk and lost custody of his daughter thereafter. There is no kidnapping or murder of another girl. In both instances, Michelle obtains false information and is corrected, but in the film she is aided in discovering the truth by the third shelter-dweller, while in the The Cellar he is simply another liar. This brings us to…
In both the original script and movie there is a third person in the shelter, and this character is perhaps the largest change between the two.
In the original script the man is called Nate, and he comes with a lot of baggage. He arrives at the shelter in another man’s fire department-issue hazmat suit (suspicious) and is immediately confrontational with Howard (scary). They have a history, and not a friendly one. Nate claims that Howard owes him money, and he immediately begins flirting with Michelle. Unlike in the film, Howard has no outbursts quelling their flirtation, and Nate quickly swings Michelle onto his side in a coup against Howard. Michelle drugs Howard and Nate takes Howard’s gun and the two have a weird, possibly transactional sex scene (just before they kiss, it is said that Michelle “reads between the lines” of Nate saying they will take care of one another). Nate imprisons Howard and he and Michelle become a couple-of-convenience until the climax of the film. Howard, in the climax, confronts Michelle about the truth of his life, and Nate’s lies are laid bare. It turns out that Nate testified against Howard in the custody case for his daughter, lying and saying Howard would beat her, as payback for the money he believed he was owed.
Meanwhile, in the movie the third shelter-dweller was Emmett, portrayed by John Gallagher Jr. as a good ol’ boy with low self-esteem and a fear of overstepping his bounds. He’s a sympathetic, well-meaning character who obviously has a lot of affection for Michelle, even though they never have what could be considered a romance. They are players on an equal footing, and their relationship is deeply affecting. He actually stands up for Howard and is ingratiating and thankful for the shelter. It takes Michelle’s deepening distrust and the discovery of Howard’s lie about the identity of his daughter to swing him away from full supplication.
The whole of the story glides along a similar path in both script and film, but (character changes aside) there are some major differences in terms of structure and incident.
First, in the original script the impressionistic movie opening introducing Michelle’s circumstances is non-existent. The Cellar begins mid-crash and the story of the crash is told in stylized flashbacks (they are described as “grainy and high-contrast”) that take place while Michelle sleeps. Michelle attempts to break out at first in both the film and the original script, but in the movie she is much more of a MacGyver figure than in the script. Notably, in the script Nate doesn’t even enter the shelter until page 30, whereas Emmett begins the film in the shelter. This scene, Nate entering, takes place about where Michelle in the film sees the woman boiling to death outside. In the movie Emmett has a broken arm from fighting his way into the shelter, and in the script he is totally fine and quick to assert his dominance in a fist fight.
In the movie, Michelle has to crawl through the air ducts to fix the filtering mechanism, while in the original script Nate and Howard take turns fixing both the solar panels and the water pump for the shelter, leaving Michelle as a much more, to be frank, useless character in terms of her place in the mini-society they have created. Much of the time, it seems Original Script Michelle’s whole purpose is to be lusted after and serve as a source of jealous male tension.
To this end, there is no interlude in the original script wherein the three of them form a happy family unit as they do in the film. There are, however, many instances of people getting drunk on wine and getting angry at one another for various reasons. In the film, this peaceful interlude makes the eventual breakdown of the unit tragic and hurtful for an audience who grew to like this makeshift family, what with their puzzles and game nights. (Worth noting: the hilariously tense secret word game of Taboo in the film is not in the script.) It is a welcome reprieve from the bleakness of the story. In the original script, the whole of their existence is nothing but strife and tension, and is thus a little draining.
Throughout both stories, Michelle questions the motives of the men in her life, but in the movie they never waver from their assertion that the world above is terrible. In The Cellar, Howard, having lost his power, tries to get her help by claiming she was right about them kidnapping her for unsavory purposes.
In 10 Cloverfield Lane, Emmett is killed on screen (or, more precisely, two inches to the left) while trying to help Michelle cover up the fact that she has been working on stitching together a hazmat suit. In The Cellar, Nate is killed off screen seemingly out of jealousy and fear. Whereas the film treats this as a noble sacrifice for a friend, the original script treats it like a lion being killed so another might take control of the pride.
And of course we come to the end.
Welcome, one and all, to the newest episode of The Film Stage Show! This week, I am joined by Michael Snydel and Bill Graham to discuss the new film from writer/director Nacho Vigalondo, Colossal, starring Anne Hathaway. Subscribe on iTunes or see below to stream download (right-click and save as…). M4A: The Film Stage Show Ep. 237 – Colossal 00:00 […]
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