The article contains major spoilers for Companion.Companion stars and director address the thrilling ending, including the fact of a last-minute change. The newest thriller follows a couple on a weekend getaway with friends in a remote cabin, which unravels into chaos after one of the guests turns out to be a companion robot. As a result, the movie becomes a gradual bloodbath, with the companion robot being the last one standing. Companion‘s cast features Sophie Thatcher, Jack Quaid, Lucas Gage, Megan Suri, Harvey Guillén, and Rupert Friend.
In a recent interview with Entertainment Weekly, Jack Quaid, Sophie Thatcher, and Drew Hancock explained the ending, including how Sergey and Josh’s death scenes were altered late in production. Initially, the death-by-wine-key was planned for an earlier moment in the story. However, Hancock decided to switch things up, and instead, the scene in question was switched to a pocket knife. Quaid described his character’s death as “cathartic.” Thatcher also reflected on the exhaustion of filming the intense scene which occurred during the final hours of production. Check out their comments below:
Quaid: “It’s one of the most creative ways I’ve ever died in something. That was a particularly crazy day because it was our final scene that we sH๏τ, and it was so funny to die in that way and then have everybody clap as the movie was over. It was really great. It was very cathartic and very cool. It would’ve been anticlimactic if we ended with anything else, so that was really fun.”
Thatcher: “It was the very last thing, so there was something very satisfying about it. But then also, naturally, I was so f—ing exhausted, and I think I had three [cans of] Celsius. It did feel kind of out of body. It added to the madness of it all.”
Hancock: “That was originally how Iris was going to kill Sergey — he brings down a bottle of wine, and she uses that to kill him at the very beginning. And when I got to the part where she needed to kill Josh, I was like, ‘F—, I’m not going to be able to top the wine cork thing. I was like, ‘Wait, what if I just switched it and just make [Sergey’s death] be a pocket knife?’ Switching that to a pocket knife was perfect — then Jack could be complicit in the planting of the knife, so it all worked out. When you watch the movie, you can actually see the moment where he puts the pocket knife in her pocket.”
What This Means for Companion
There Was A Subtle Foreshadow To The Killing Device
Last-minute adjustments can drastically shift a narrative’s emotional weight, and in Companion’s case, the decision allowed for a stronger payoff in the final product. While it may not seem so obvious at first glance, the kitchen device is featured prominently throughout the movie, with many supporting characters using the electric wine opener. However, on a more subtle level, this becomes a foreshadowing of Josh’s death at the end of Companion, and this approach clearly works as a satisfying conclusion for the toxic villain.
Hancock’s choice to switch the sequence at the last minute exemplifies the importance of flexibility in filmmaking. The change strengthened the narrative and intensified both Sergey and Josh’s deaths, making the final death a pivotal outcome for both the characters and the audience. It even becomes important for Iris to escape her toxic partner after originally failing to eliminate him on the spot. Once she does kill Josh with the wine key, she finally sets herself free from his abuse before eventually venturing into the world on her own.
Our Take on Companion’s Ending Change
The Switch Made Companion’s Ending One to Remember
The decision to switch up a key moment resulted in a fitting, memorable conclusion that solidified the emotional arc of its characters, particularly Josh and Iris’ relationship. While last-minute decisions can often be risky, in this case, the change was a perfect fit, ensuring the finale was effective. Companion‘s alteration to Sergey and Josh’s death scenes proves that sometimes, the best decisions happen in those final, crucial moments.
Source: Entertainment Weekly
