"I Just Danced With Sir Anthony Hopkins": Bill Skarsgård on Improvising the "Maniacal" Magic of "Two Crazies in a Car" for 'Locked' (2025)

A high-concept horror thriller about a criminal trapped in a high-tech truck is enough of a draw on its own to get audiences to fill theaters. Now add to the mix a genre-diverse director, a modern horror scream king to carry the film, and throw on the legendary Sam Raimi as a cherry on top, and you get a recipe for a blockbuster hit and an awesome time at the theater. Directed by Brightburn’s David Yarovesky and starring Nosferatu himself, Bill Skarsgård, Locked is a high-paced, extra-claustrophobic thriller that whips the audience around on a terrifyingly fun journey.

Locked centers on Skarsgård’s Eddie, a guy desperate for some money who gets himself into trouble by choosing the wrong vehicle to steal from. When Eddie finds himself trapped in the heavily modified SUV by a mysterious man named William (played by legendary actor Sir Anthony Hopkins), he must fight and find his way to freedom. Meanwhile, William intends to teach Eddie about the “consequences” of his lifestyle, prolonging a terrifying game of psychological torture.

Collider’s own Perri Nemiroff had the distinct pleasure of sitting down to chat with Skarsgård and Yarovesky after the picture’s World Premiere in New York City. During the Q&A, they talk about the arduous yet rewarding contractions of filming a tight flick in only 19 days. They also discuss what drew Skarsgård and Yarovesky to the project, share tons of behind-the-scenes anecdotes and stories about creating and filming the ever-present, ever-deadly car, and talk about why working with Raimi and Hopkins was beyond a dream come true. Watch the full conversation in the video above, or you can read the transcript below.

Why David Yarovesky Was Scared to Direct ‘Locked’

"Why isn't someone else directing this movie?"

PERRI NEMIROFF: David, I love your filmography. Obviously, you always have a foot in genre, but all of your movies — The Hive, Nightbooks, Brightburn, and now this — are all wildly different. When this script came your way, what was it about it that made you think to yourself, "I think a two-hander, contained thriller is what I need in my career next?"

DAVID YAROVESKY: If I'm being totally honest, and I guess I will be for all of you, Sam [Raimi] sent it to me—I had just made a movie, Nightbooks—and I was a huge fan of Sam, and I was like, "Okay, I want to work with Sam." I read it, and I was scared of it because I hadn't done something like this before. It took me a minute to find it. I got to the page where he's playing the music and torturing him, and I went, "Okay, I'm definitely making this movie." [Laughs] But it took me a minute to find it, you know? Find my take on it. Like, why me? Why am I directing this movie? Why isn't someone else directing this movie? What is the message I want? What's my angle? And it did take me a minute to wrap my brain around it. I clicked in on it, and then I just went, "That's where I'm going with it."

I'll follow up on that. You're working with Michael's script here.

YAROVESKY: Michael [Arlen] Ross! He's here somewhere. He did a great job.

I imagine you get a top-tier script from him.

YAROVESKY: It was great! It was great, but I was scared of it.

What space did you find in his script that made you say to yourself, "I can bring this to screen in a way that feels uniquely my own as a director?"

YAROVESKY: It was that scene where he's torturing him. He's playing it over and over and over again, and I went, "I think I'm rooting for William right now. I'm enjoying what he's doing." I started to go, "This is funny, and it's cruel, but I'm kind of a little bit on his side." So, there was a piece of me that was like...

BILL SKARSGÅRD: Fucking psycho. [Laughs]

YAROVESKY: [Laughs] I just felt like he could have a lot of fun. It was that, and it was an opportunity... Okay, this is a longer story. At the end of Brightburn—I said earlier, I made a lot of movies, a lot of music videos, [cinematographer] Mike [Dallatorre] and all of us work together a lot—I'd go over to VFX, and I'd be able to speak that language; I'd go over here, and I'd be able to speak that language, and then I'd go to talk to an actor, and I would have no idea what to say to an actor. I found myself looking into Elizabeth Banks’ eyes and just being like, “I don't know what to say to you. You're a big, famous person, and I'm me.” At the end of it, I went to James Gunn, and I told him my predicament, and he said, “Go to acting school.” I signed up for acting school and started doing scenes. This guy, Ben Davis, he said, "He's the best. Go to Ben Davis.” You're welcome, Ben Davis, but that is really what he said.

I went, and I started taking classes, and I started learning a lot about acting, not because I have any interest in acting—I do not—but I wanted to have a way to communicate. Then I made a movie called Nightbooks, and all of a sudden, a new facet of filmmaking, a new door for me to explore, opened up. If you were to ask me when I made The Hive what kind of movies I made, you would just be like, “Oh yeah, that's the movie where people barf into each other's mouths, right?” Those are the movies I was making. [Laughs] So, I started making Nightbooks and really focusing on the performance. We made a kids' movie, and 20 minutes in, when you're having that turn to act two, the big set piece is a conversation between a bunch of actors. I just found myself really pulling on that thread. You could draw a line from that moment of me as a director going, “I gotta learn more. I'm gonna go to acting school," to sitting next to you, [Bill], working with Anthony Hopkins. The real joy I got out of this was when I started working with them and finding these characters. That's the real answer.

“It’s Going To Be You, Me, and a Car, Buddy!”

Bill Skarsgård says the shoot could be "torturous" at times, but not the Surströmming ...

Bill, I’ll build on that with you now. So David went and studied acting. What is something about David on this set as an actor's director that you appreciated and think makes him stand out?

SKARSGÅRD: You do a lot of line readings for me, huh? [Laughs] No, David is a fucking treat to work with. I had a similar thing when I read the script. I was like, "What the fuck?" There was something very unique about it. I've never done this. I was like, "It's going to be no other actors, just me in a car. This sounds amazing," and then I just missed all of my other actors so much, really. It was such a unique thing of doing essentially a whole movie without costars. Yes, we had the voice of Anthony Hopkins, at times prerecorded, and also our wonderful first AD reading a lot of the lines.

I met with David, and we really just hit it off. David was like, “It's going to be you, me, and a car, buddy!” And that's what it was. That was the experience. I think that we really leaned on each other in a massive way because it's a very performance-driven movie. It's, like, 10 different colors of torture and whatever, but it's like, "Oh, how should we play this? We used this corner of the car. Can we try that corner?"

YAROVESKY: It's a great scene. Look at that backdrop!

SKARSGÅRD: It was tough. It was, at times, torturous for me, for real. But I could not have done it without David, and it was our partnership.

YAROVESKY: Aw. I feel the same, you know that, right?

SKARSGÅRD: Right! [Laughs]

There are so many impressive elements of this movie, but I do think the success of all those elements hinges on your performance, and Anthony Hopkins’ performance. David, when Bill first came your way to take the role of Eddie, what was it about him that gave you confidence that he could do it, and I'm also wondering if Bill taking that role changed how you pictured Eddie when you first signed on to direct?

YAROVESKY: That's a good question. First of all, I was a big fan of Bill's, admittedly. I mean, I loved you as a clown, man! That was amazing. I was excited to meet you. I was excited to meet him. Wow. I'll say “him” because “you” makes it a little intimate, doesn't it?

SKARSGÅRD: Are we gonna make out at the end of this?

YAROVESKY: Give the people what they want! He was wearing a hoodie when I met him, and it wasn't like the Bill I had in my brain. He had this sort of bigger hoodie on, and I was like, "Oh, there he is." I saw it in him. Then we started talking, and he started to kind of embody it a little bit. I could kind of see him, and I liked him. I was like, "I can be trapped in a car with this guy." You know what I mean? Can you imagine doing this movie with someone I couldn't be stuck in a car with? That would have been totally different. So I was like, “You and I are going to go on a journey together.” We met on Zoom first, and, first of all, I said, “Are you sure you want to do this?” because it was just a big ask. There's a lot of things happening. We did a lot of real stuff. We didn't rely on a lot of visual effects. We went to places. You were in the back with stunt drivers.

SKARSGÅRD: Drinking the pee.

YAROVESKY: Drinking the pee. That’s right. I'll tell this story. TikTok taught me that I find people retching really funny. They have... You’re gonna have to say it for me.

SKARSGÅRD: Surströmming.

YAROVESKY: So there's a challenge on TikTok, and if you open it, you start to retch and find it really disgusting.

SKARSGÅRD: It’s very, very, very, very fermented fish. A Swedish delicacy that only the toughest, most hardcore bitches like. A kinky thing.

YAROVESKY: Yeah, it is. So, on TikTok, people open the can and start vomiting all over their friends.

SKARSGÅRD: And you were like, "Hell yeah!"

YAROVESKY: I said, “Hey, Bill, what if I made the pee the juice that's in that can so you'd really retch?” Because it doesn't look real. People pretend to retch all the time, and it's fake. The point of all that is to say you're really going to go through it. Also, it’s so much weighing on you, and you were in, man.

SKARSGÅRD: I did drink the surströmming, though. And at one point, because I felt that insulting, as well, I was like, “You don't think I can, like, fucking gag for real?” We did a couple without the surströmming, and I was like, “It's not that bad, actually.” You were like, “It works, right? I could tell.” I’m like, “No, that was all acting, man. I can drink this shit.” Fucking fermented fish? Pour it down my throat.

Bill, I've got a follow-up! I ask this question every once in a while, and it tickles me. I'm always curious, what is a seemingly simple, everyday thing that human beings do that is the most difficult to replicate as an actor? I guess now I have to add retching to the list, but I always say things like fake driving, fake waking up, fake sneezing, or something like that.

SKARSGÅRD: I think sneezing is probably almost impossible to pull off. I've never tried it.

The floor is yours!

SKARSGÅRD: Challenge accepted. [Fake sneezes]

YAROVESKY: You’re giving me ideas for the sequel.

SKARSGÅRD: The Sneeze. I've been doing fake driving a lot, but also, why are people bad at this?" Like, actors when they're like [mimes driving]. Have they never driven a car before? You know what I mean? In the old movies, for sure. They were like [mimes driving again].

YAROVESKY: Dude, that's how I drive.

The Design of Bill Skarsgård's Character Was Crucial

"Oh, I know a couple of Eddies."

One of the things that I love about this movie most is that it's a physical thriller and also a psychological thriller. Bill, I don't know if you like to do backstory work like this, but if you do, is there any backstory you developed for Eddie that maybe we don't necessarily see or hear directly in the film, but we can feel informing the choices he makes and how he carries himself in this situation?

SKARSGÅRD: For sure, for this one. There are all these little hints of his backstory. In the movie, you find out more about him. That was the first thing that David and I talked about. Who is this guy? Where is he from? I draw from childhood friends of mine. I'm like, "Oh, I know a couple of Eddies." It's this guy with a big heart, but he just can't help but fuck up everything around him. But it's an endearing quality. He just can't not be Eddie. That was something that drew me to the character as well. I think I've always wanted to play a little street weasel.

YAROVESKY: Fuckboy.

SKARSGÅRD: Fuckboy street weasel. That was something fun about this urban kid who became a dad too early and is just struggling to make it all work. It's very relatable. I had a lot of empathy for him. I had backstory; I don't write a book or whatever, but I was like, "I need to figure out the relationship with his girlfriend or ex. I don't think that they are together anymore, but she's co-parenting." There was a whole thing of, "When do they meet?" and trying to flesh out this character's life more. We had fun.

Then, like the look of the character, we dyed his hair and stubble, and the tattoos were a fun process. He came alive. And Autumn [Steed] in costume finding that—it was a big debate: are we going pink or are we going blue with the hoodie? I'm really glad we went with pink. It's a crazy thing doing this movie. There's not that many backdrops. It's just the hoodie; the color of his fucking clothes are going to be in the movie the whole time. It's a big choice to make because it's like, "What's the palette of the movie? Is it pink? Yeah, it turns out it is pink, but that’s because the car is very beige. [Laughs]

YAROVESKY: No, you're right. If you count pixels in the movie, the amount of pixels that are pink because of that hoodie, it's a tremendous amount of movie. It's a much bigger decision than you think.

Why Wasn't ‘Locked’ Filmed on the Volume?

"I'm going to take you on this little dream."

I've got to dig into the production of this movie, which I'm absolutely fascinated by. I feel like if I had read this script, the first thing that would have crossed my mind, which is probably why I'm not a filmmaker, is, "Oh, great! Let’s shoot the whole thing on a stage." Then I read your director's statement, David, and one of the first things that I saw was, “I wanted to strip away the artificiality, avoid the safety of soundstages as much as possible.” Can you break it down for us? How much is on a stage and how much is on location?

YAROVESKY: Yeah. You're looking in the wrong direction, though. There are, like, 10 producers here who are going, “Yeah, he wanted to shoot it in real life. He didn't want to shoot it on a fucking Volume. Goddamn it!” Volumes and stuff like that, there's a space for that, and I think it can be really helpful in some ways, and I think it can be a crutch in others. I think there was a very easy version of this movie where we pull up every day, we get out, they turn it on, and then we just do it, and then we go home. But it's not real, and you know it's not real. There's a reason things feel so disposable these days and there's a reason that so many of the filmmakers that you love want to go to places and do things. There is just a reality to it. There's a tactileness.

Bill’s in the backseat, there's a stunt driver driving, doing donuts, or swerving all around the parking lot, and he's holding on for dear life. You can have all the money in the world, but you're not going to replicate his muscles holding on for dear life, the reflections on the glass outside—it's real, and you know it's real when you see it. You might be able to watch a movie and see it and get caught up in the dream or whatever, but on some level, you know that it's fake. And I feel like I have a relationship with my audience. I'm like, "Come on, I'm gonna tell you a story," and it's like nap time. You're going to go into this dream, and I'm going to take you on this little dream, and every time something feels fake or inauthentic, every time you can see that it was shot in front of a big TV, it just wakes you up a little bit from the dream. It breaks that sense.

'Locked's Car Is a "Malevolent" Character

"It's a great car, but it's just funny. Now, every time I see it driving by, it triggers me."

I have many questions about this car. The first big broad one I have is, when you first signed on, what did you picture this car looking like and how does that compare to the finished version everyone just saw in the film?

YAROVESKY: It went on a real journey. One of the things that I thought immediately when I started reading the script is I'm not really a car person. I don't know anything about cars. A lot of my friends are car guys. They’ll talk about cars. I drive a Bronco. I'm just not a car guy. But what's interesting is, I also really like taking on projects where I can become totally obsessed with stuff, learn things, and study things. So, I found myself, me and [production designer] Grant [Armstrong], literally chasing down a car designer on Instagram. I stalked him until he would get on Zoom with me and asked him a bunch of questions about his process, really learning about cars. I know way too much about cars now. My wife is like, "What?" Because I'll be like, “Oh look, there's the new Lexus.” "Who are you?"

That's all to say that the thing that I knew reading it was that I wanted it to be malevolent. I wanted it to feel like this is a bad car, an evil car, whatever, but I wanted it to feel completely grounded in today. I didn't want it to be this spooky thing that drove around. I wanted you to watch the movie and go, "I believe that that could happen." We went through this painstaking process. Many people have watched the trailer; they see the window come down, and they see William’s, Anthony Hopkins’, eye peeking in there. That's a cool moment. But what they don't often notice is that the window lowers and the glass is this thick because that's really what armored glass would be like. Grant and I and some other people just really went deep on how this would happen. If I wanted to build a car and trap someone in there for a while, what would I do? How would I actually do it? That was really where my head was: making it real.

Correct me if I'm wrong on any of this. There's the stunt car, there's the hero car that’s fully built out, exterior and interior, that can drive around, and then there's also the interior that can come apart to accommodate lighting, camera and all that. Bill, between all those sets, which one intimidated you the most? Which was the most difficult to figure out and make feel authentic for you?

SKARSGÅRD: I hated that car at the end of the shoot. [Laughs] We had one that we built on the stage where the doors could move. The great opening shot of Eddie just going in, and the camera keeps doing laps, that's all practical. That's movie magic. They're literally moving doors and built this car like a Transformer, just like out, in, out, in. We did l how many takes of that?

YAROVESKY: That was the scariest day of my life, dude. What you don't know is the first AD came over to me halfway through the day at lunch and went, "Start finding another way out of the scene. It's not going to happen.” I was like, “It is going to happen. You'll see.”

SKARSGÅRD: Because if any timing is slightly off, you see a fake door getting pushed and pulled. That was like a whole kind of advanced choreography. So, that was intimidating because I knew that David was so excited about this shot, and I knew it was going to be cool, but we had a very limited time to shoot this movie. It was a tight schedule, and I was like, "Alright, well, this is intimidating in that regard." The actual car wasn't intimidating to me. This is a funny little thing; I don't think we can tell you what the bone of this car is because I'm sure they wouldn't be very happy about it, but I just finished a movie in Ireland, and all the production cars that drove me were [those]. It's really funny. Literally, for four weeks, I've been driving around in it.

YAROVESKY: It's funny that you say that because I did 20 interviews a couple of days ago where I just blatantly said what car it was. When you said that, a panic rushed through my body.

It’s in your director's statement! It’s a cool car.

SKARSGÅRD: It's a great car, but it's just funny. Now, every time I see it driving by, it triggers me.

YAROVESKY: Me too! I see it, and I'm like, "Oh, man, that car. There it is."

SKARSGÅRD: I know that car way too well.

Sam Raimi Is an "Unbelievable Collaborator"

"I snuck into the Spider-Man 2 premiere to see him in person, and now I work with him."

I have to ask about working with Sam Raimi. You've both had experience working with him. David, I'll pose this to you first, but Bill, definitely chime in because I believe you did Boy Kills World recently with them. What is something about Sam and his team as collaborators and producers on your movie that not only helped get it made but got it made the way you wanted?

YAROVESKY: That's a great question. A lot of times, directors have the experience of they're going to make a movie, they meet with the producer, and they go, “This is the movie I want to make.” In the head of the producer, they're like, “Okay, we’ll hire this guy, but I really want it to be this.” Then for the next two years, the two of you fight, and one's pulling this way, and one is pulling this way, and the movie you end up watching is a half-this-half-that kind of thing. It's a little bit of this, a little bit of that, and it's this compromise.

The thing that's so incredible about working with Sam is that he sits with me, and I tell him the movie I want to make; I describe it, I walk him through what I want to do, and he goes, “Alright.” Then he's my partner making that movie. He has so many good ideas, and he's as helpful as other producers out there, like, "I got this, I got this, I got this," but he's pushing in the direction that I'm pushing and not pulling. He's just an unbelievable collaborator, and it just so happens that he was an idol to me growing up. So, those two things together are weird to me because I snuck into the Spider-Man 2 premiere to see him in person, and now I work with him. That's wild. But it's the industry, I guess.

'Locked' Was a Grueling 19-Day Shoot

"It's going to hurt, but we're going to make it."

I wanted to make sure to end on this question. It's something I try to ask as often as possible, because making movies is hard, but there's also a lot of joy when you're doing that hard work. I just recently had a director tell me it made him so happy to make a movie and see the joy that his cast and crew had on set, so for both of you, can you single out the most joyful moment you had on set making Locked?

YAROVESKY: Oh, I want this one. Because it was joyful. We shot it in 19 days, so it felt like there was a bomb strapped to my chest. It was a joy to work with you. It was a joy to make this movie. It was a joy to see it come together, but it was terrifying. This is an independent film. Bill, he's here, and Anthony Hopkins is in the movie, and Sam Raimi, and you look at it, and you go, "Oh, that looks like a big movie. It’s on a big screen!" But it was a tiny, little movie. I'm not kidding you when I say that we all put blood, sweat, and tears in it. The joy was believing in what we were making and going, "Alright, it's going to hurt, but we're going to make it. I believe in it." If that sounds exciting to you, you'll probably be a filmmaker.

SKARSGÅRD: It wasn't joyous for me. I’m not kidding, parts of it were torture. Every take is just like agony, agony, agony, agony, agony. It was exhausting at times. But working with Anthony Hopkins was really fucking cool. It was really fucking cool and intimidating. I remember the first time I was there, and he wasn't there before we started to shoot. I was like, “The whole movie is this conversation between these two guys. When does he come in? Are we going to have rehearsals?” And David was like, “Yeah, sure. Absolutely. He's going to call in every time we do the takes, and he's going to be there.” That ended up not being the case.

But I remember... We rehearsed in a car, like a normal car, and Anthony's not in Vancouver yet. He's going to call in, and we're going to go through the movie in a rental car that, I guess, you drove or whatever. The connection was bad, and he couldn't really hear. I'm sitting there going, "The whole movie is this." And he just kept ad-libbing, I remember. I was like, "I have so much dialogue. David, he’s not saying... My line doesn't..." [Laughs] So, it was very, very bizarre. But then he showed up, and he loved this character. He had so many ideas and a very William perspective. Part of it was in the script, but a lot of it he came with.

Then, the scenes that we did, the back and forth maniacal laughing, blood, the insanity of that, Anthony would say, “We’re just two crazies in a car, Bill. Just two crazies.” And I'm like, “Yeah.” Something happened on that. It was tough, but we just started improvising. A lot of that is just improvising. He started improvising, and I started improvising, and it became this kind of full-on “two crazy people in a car being crazy” improvising. The dynamic of that, it's fun to see it, as well, but that was a bit of magic. Then afterward, you're out of it, or I'm on my way home from set, and I'm like, "I just danced with Sir Anthony Hopkins," and [Southern accent] boy, did we dance.

YAROVESKY: I'll tell you, I went to the place we were staying, and my wife was there—she wasn't on set that day—and she was like, “How was it?” I said, “That was the best day of filming I've ever had. I think we captured magic. I just watched two of the greatest living actors go at each other." I mean, sure, the script supervisor at one point was just like, “What's the point of anything?” [Laughs] Michael Ross, the writer, who's amazing, came into the tent, someone said, “What's going on? Did you write it?” He's like, “It's great! Let them keep going!” I'd go over, and I'd be like, “You gonna let that old man talk to you like that, man? Fucking hit back!” I would egg them on a little bit, and it felt like we were all going off a cliff together. I went home, and I went, “If that scene works, it's going to be cool.”

I can confirm it's very, very cool.

YAROVESKY: Thank you!

What's Tougher, a 300-Year-Old Vampire or Acting Solo?

"Part of acting, at least for me, is you have to give in to this illusion."

AUDIENCE: Bill, I love your versatility as an actor. You’re always impressive. What’s more constricting, filming an entire movie in a car or filming under lots of prosthetics, like Nosferatu?

SKARSGÅRD: I don't make it easy for myself, do I? [Laughs] They're very, very different. Having a lot of prosthetics on is physically restrictive and annoying and stuff, but there's also a great sort of liberation in it, and for that character, as well. When we rehearsed that movie and I didn't have the makeup on, I'm like, "I hate myself so much." I need the face to perform through it, you know? Then, it becomes liberating. I'm like, “I am a 300-year-old fucking vampire.” [Groans like Nosferatu] So, there's something to that. With this one, I really missed my [scene partners], and that's also why I appreciated the dance with Anthony Hopkins. So much of this production is just me and a camera.

YAROVESKY: And me!

SKARSGÅRD: And Dave, and a first AD reading lines. So, there was a challenge. The space was helpful because he is trapped in the car, so that should be restrictive, but I think at one point I was like, “The whole movie is a fucking self-tape.”

YAROVESKY: You said that to me, and I laughed about it for a week. I'm like, “Oh my god, it is!" I’m so sorry, Bill.

SKARSGÅRD: What am I looking at when I'm talking? There's nothing! It's like, “Keep your eyeline kind of here," [flips his middle finger], "Rolling!" Part of acting, at least for me, is you have to give in to this illusion. You have to really believe that this is happening. That becomes harder when there's a camera here, and there's a little cross here, and the first AD is overperforming William's dialogue.

YAROVESKY: We love you, Pierre [Henry], if you're watching right now.

SKARSGÅRD: Pierre is awesome. He was great. But you know what I'm saying? It was just the fakery of it. It's a crazy thing that we're doing, but you have to go to this place where you believe that this is real, even though it's not.

AUDIENCE: If you were trapped in the car yourself, what condition would you be the most tortured by?

YAROVESKY: Knowing myself, it would be the loneliness. It would be just the total isolation from humanity, which I generally just feel on a normal basis.

SKARSGÅRD: This whole movie is a metaphor for your life. Life to you is being trapped in a car and tortured. That's just existence for you.

YAROVESKY: Yeah, it would be the total isolation and lack of any human interaction for a long time. I'd spiral.

SKARSGÅRD: The funny little trivia thing is that when it was cold, I was really hot, and when it was hot, I was really cold because there wasn't air conditioning working in this fucking car. So it was just like, "You're freezing. Put every piece of clothing you have on and lie there." Then they were painting you cold with cold color, cold paint, cold lips, I'm shivering, and I'm sweating so much. I'm like, "This is fucking performance gymnastics here." Then, of course, when I was in no clothes, they're spraying cold water in November on me. I'm freezing, and I'm supposed to be sweaty. But if I have to pick a torture, I don't think the heat's that bad. I like saunas. I think the cold would be the thing. And drinking pee.

YAROVESKY: You should be happy this was an indie film because if we had studio money you know we would have been working in a meat freezer and doing that.

SKARSGÅRD: And the performance would have been so much better. “He’s really cold; bring in the surströmming!”

Locked cruises into theaters on Friday, March 21.

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Locked

R

Horror Thriller

Release Date

March 20, 2025

Runtime

95 minutes

Director

David Yarovesky

Cast

See All

• 

  Anthony Hopkins

  William

• 

  Bill Skarsgård

  Eddie Barrish

• 

  Ashley Cartwright

  Sarah

• 

  Michael Eklund

  Karl

• 

Where to watch

Close

WHERE TO WATCH

BUY

• 

Writers

Michael Arlen Ross

Producers

Bill Skarsgård, Javier Méndez, Martin J. Barab, Sam Raimi, Walter Josten, Arianne Fraser, Gastón Duprat, Henry Winterstern, Mariano Cohn, Petr Jákl, Ara Keshishian, Delphine Perrier, Sean Patrick O'Reilly, Warren T. Goz, Matthew Helderman, Luke Taylor, Michelle O'Reilly, Michael J. Rothstein, Trevor Osmond, Eric Gold, Majd Nassif, Daniel Govia, Paul W. Hazen, Eric Rebalkin

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