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SPOILER ALERT: This text delves into the intricate plot and shocking ending of the film “Presence,” currently captivating audiences in theaters.

In the realm of ghost narratives, the enigmatic entity in “Presence” possesses a compelling motive for lingering within its haunted residence. The film effectively explores themes of familial dysfunction and the haunting consequences of past traumas, making it a gripping watch for horror enthusiasts and casual viewers alike.

As the unsettling dynamics within the Payne family escalate, the ethereal Presence that haunts their upscale home takes a dramatic turn. Just as Chloe (Callina Liang) is on the verge of a tragic fate at the hands of her boyfriend Ryan (West Mulholland), the ghost intervenes. With urgency, the ghost awakens Chloe’s brother Tyler (Eddy Maday) from his own drug-induced stupor. In a desperate rush, Tyler confronts Ryan, who has already taken the life of one of Chloe’s friends, masking it as an overdose. The chaotic struggle results in both young men plummeting from the second-floor window, leaving the Presence to witness their lifeless bodies sprawled below.

In a revealing interview via Zoom, screenwriter David Koepp reflects on the film’s chilling conclusion: “I have no idea where that man came from or why. I know it’s really sick,” he admits. “Raising four children—two of whom are still young—has been a harrowing experience. I’ve encountered numerous fears, and perhaps those fears found their way into the writing.” Koepp’s personal experiences deeply inform the narrative, adding layers of authenticity to the horror.

The film’s climax transitions abruptly to black, marking a poignant moment for the Payne family, presumably following the burial of their son. As the house stands barren, Rebecca (Lucy Liu) senses an undeniable presence lingering within. Guided by the ghost, she moves to what was once the living room, where a heartbreaking reflection of her son appears in a mirror, leading her to collapse in an emotional outpouring of grief.

Earlier in the film, a medium suggests that the Presence is disoriented by the constraints of linear time and is trapped in the past to avert a catastrophic event. The revelation that the Presence is, in fact, Tyler reframes the narrative through the lens of a recently departed soul, reflecting on his former callousness towards his sister. In a profound act of redemption, he sacrifices himself, driven by a desire to save her and rectify his past mistakes.

Koepp elaborates on the film’s themes, stating, “The Presence is there to assist them, not harm them. It’s there to save his sister.” He shares his belief that crafting a compelling ghost story necessitates a rationale for why characters perceive ghosts. Trauma often opens individuals to the suffering of others, making them more receptive to the supernatural. “When you’re struggling yourself, you become acutely aware of the struggles faced by others,” he observes, adding depth to the emotional core of the film.

For director Steven Soderbergh, “Presence” serves as an innovative endeavor, presenting a horror story entirely from the perspective of an unidentified ghost. This approach marks a significant return for Koepp; his previous directorial venture, the supernatural thriller “Stir of Echoes,” opens with a child gazing directly into the camera, revealing the presence of a phantom.

Since his collaboration with Steven Spielberg on “Jurassic Park” in his twenties, Koepp has established himself as one of Hollywood’s foremost screenwriters. Despite his success with blockbuster films, he often gravitates back to more intimate settings, as seen in David Fincher’s home invasion thriller “Panic Room” and Soderbergh’s tech-centric thriller “Kimi,” released three years ago. However, “Presence” placed Koepp in a darker and more challenging creative space. He reveals that after commencing work on the screenplay, he began dreaming from the viewpoint of a ghost, leading him to write immediately upon waking, often completing most of his writing before 6:00 a.m.

Upon viewing an early cut of the film, Koepp was captivated by the voyeuristic nature of the cinematography and its ability to enhance realism. “You’re really a fly on the wall, eavesdropping on things you shouldn’t witness,” he explains. This unique perspective elevates the film’s sense of reality, contributing to the overall immersive experience for the audience.

Crafting a Screenplay: How to Effectively Capture the Ghost’s Perspective

In developing the screenplay, I consistently employed the term “we” throughout the narration. Phrases like, “People start shouting at one another. We feel anxious. We back away from them,” or “We’ve seen enough and become bored and move on” are illustrative of this technique. The ghost is portrayed as a character in its own right. Interestingly, the character of the ghost in this film is embodied by Soderbergh’s camera. He directed it to move in a manner that felt appropriate for this skittish ghost, often retreating from tense situations or hiding in closets, mimicking the ghost’s behavior through the camera work.

Revealing the Ghostly Perspective: Balancing Audience Expectations and Narrative Innovation

One of the reasons Steven chose to explore the home in such a specific manner during the opening shot was to convey the message, “Look, this is all someone’s perspective.” The audience is astute, and horror viewers are particularly discerning, often recognizing formal innovations within the genre. After five or six minutes into the film, it becomes apparent that the entire story will unfold through this unique lens, enhancing engagement and intrigue.

Anticipating Audience Perceptions: The Ghostly Perspective as a Constant

I hadn’t previously considered that some viewers might expect a shift away from the ghost’s perspective. Early on, Steven expressed a desire for the film to remain concise—not only due to budget constraints but also because the aesthetic concept was so compelling. At just eighty-five minutes, the film maintains an engaging pace, preventing audience fatigue. Initially, I had scripted a shuttering effect, but Steven opted for fades, allowing for a more fluid transition depending on time jumps or necessary scene digestions. Each scene was crafted as a single take, with transitions to black indicating the passage of time, ensuring the flow felt natural and coherent.

Representation Matters: The Importance of Diverse Characters in Horror Films

As someone of mixed Asian heritage, I have always been acutely aware of the scarcity of films featuring half-Asian families. Each instance feels significant. When Steven inquired, “Can she be Asian?” my immediate response was, “I don’t see any reason why not.” He likely sensed the rarity of such representation in mainstream cinema. My previous work on “Stir of Echoes” reflected a similar sentiment; I was adamant about avoiding the clichéd portrayal of an upper-middle-class family in a pristine home. Instead, I envisioned a working-class Chicago setting, aiming to showcase a broader spectrum of characters and make the narrative feel more authentic and refreshing.

Collaborative Inspiration: The Genesis of “Presence” and Its Unique Concept

While I had previously conceived an idea that evolved into “Kimi,” the concept for “Presence” originated with Steven. He had been encouraging me to develop a specific idea for some time. During a dinner conversation, he expressed his desire to create a film entirely from the perspective of a ghost, set within a single household. This concept resonated deeply with me. I appreciate a confined storyline and the creative challenges such restrictions impose, as they often spark innovative thinking and fresh approaches to storytelling.

Navigating Story Direction: The Creative Process Behind “Presence”

Steven’s primary guidance revolved around the idea of a house with a ghostly presence. The story begins with a family being shown the property by a real estate agent, and this family had to be deeply troubled. From there, I developed the narrative fairly quickly. Additionally, the looming writers’ strike influenced the timeline; I managed to submit the script to him just a week before it began, allowing for production to commence with a waiver. Unfortunately, I couldn’t be on set to witness the filming, which was disappointing. However, I recognize that some of the best ideas often come together swiftly while others may linger indefinitely.

Creative Thrills: The Joy of Writing Within Established Franchises

While writing within established properties like “Jurassic” or “Indiana Jones” can be thrilling, the absence of restrictions can also be daunting. When I worked on the original “Jurassic,” I asked Steven, “What are my limitations here?” He replied, “Only your imagination.” This openness, while exhilarating, also comes with significant pressure due to the financial stakes involved and the expectations that accompany such large-scale productions. In contrast, “Presence” had a considerably smaller budget, allowing for a creative freedom that removed many layers of approval typically present in larger projects.

Returning to the “Jurassic” Franchise: The Creative Journey Behind “Jurassic World Rebirth”

The first two films in the franchise stand out as some of my most treasured experiences in my career. When Steven suggested, “What about starting over? Let’s try something entirely new,” I was intrigued. “That’s an exciting idea. What if we explore this concept?” I proposed various ideas, and through collaborative brainstorming, we refined the vision for the new installment. This iterative process of exchanging concepts is common among creative partners, where sometimes ideas resonate and spark new directions, and other times they don’t. Although pressure exists due to high costs and lofty expectations, the initial phase of this project felt liberating, driven solely by the joy of creativity.

Original Storytelling: Crafting “Jurassic World Rebirth” Without a Source Novel

Interestingly, this new installment does not draw from any source novel, which presents a unique challenge. However, to immerse myself back into the “Jurassic” mindset, I revisited the two original novels. While we did incorporate some beloved elements from the first book that were originally intended for the initial film, my goal was to ensure that the excitement and wonder of dinosaurs remained fresh and engaging for audiences, proving that the thrill of prehistoric creatures continues to captivate us even three decades later.

This interview has been edited and condensed for readability.