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It’s a familiar road we’ve been down many times before: screenplays getting passed up the food chain only for the head-honcho to bury it.

We had wrapped our directorial debut, “Nightlight,” which was released on only a handful of screens without much of an audience.

While we were proud of the finished product, the film’s muted reception had us seriously wondering if we would ever get another project produced.

The script began writing itself, first as a 15-page proof of concept to help us test this crazy idea.

The short contained all of the basic movements featured in the final film: the setup, the characters, the creature, the family dynamics, the pregnancy, and the finale beat-for-beat. And you can’t bore the reader with blocks of description.

Other times, a single word surrounded by white graced an entire page to emphasize a loud sound.

Each set piece — the corn silo, the pregnancy, the nail, the fireworks, the climax, etc.

With failure in mind yet again, we were already brainstorming a production plan to shoot “A Quiet Place” in Iowa, and started scouting a potential farm location near Herbert Hoover’s birthplace.

Yet our agent and manager wanted to give the script a fair shake in Hollywood.

This process energized us so much, that we forged ahead writing the feature version. We hit our heads against the wall trying to break the story and silence the voices of everyone who said this idea wouldn’t work.

Immediately we determined the script must feel as cinematic as the best version of the final film.

Make no mistake; we knew this was a weird screenplay. We figured most producers would laugh off the project by the shallow page count.

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