[Interview] Gareth Edwards Gets In Depth On The Set Of 'Godzilla'!!

bloody disgusting - Wed, 03/19/2014 - 13:00

It’s hard to believe that the new Godzilla, from Monsters director Gareth Edwards, will be in theaters on May 16th. I mean, that’s less than three months away. Very rarely do I get excited for spectacle films, but I’m totally down with what I’ve seen from this Warner Bros/Legendary film so far. And I’ve seen a lot, having visited visited the set last July (you can read the ENTIRE SET REPORT HERE).

The film, starring Elizabeth Olsen, Bryan Cranston, Aaron Johnson, Juliette Binoche, David Strathairn, Ken Watanabe and Richard T. Jones, is an epic rebirth to Toho’s iconic Godzilla, and Edwards seems to be paying respect to the past while making something very current.

There are excerpts of this interview in that full report, but I found the chat (conducted by myself and other journalists) engaging and inspiring enough to reprint in full here.

Check it out below!

What distinguishes a “Gareth Edwards” Godzilla from Michael Bay or any other director?  How will I know this is a Gareth Edwards film?  Is there a signature you think you have?
 
I don’t know. We talked about it a little bit. I think something that’s coming through that I’m quite pleased about and I’m really proud of is that there’s a lot of scenes we’ve already shot that are quite engaging.  Like you’re really pulled in with the way the characters are coming together and the actors. I can’t go into too much detail because it will ruin the movie for you, but we’ve watched dailies and teared up on a few occasions, so I’m really proud. Hopefully, this will be a blockbuster where you really care about the people you’re following. Obviously, there’s a giant, epic spectacle to it as well. I think, for me, if I’m honest, I’m personally not a fan of some of the Hollywood blockbusters that come out, and we’re trying to hark back to the movies we all grew up and loved like early Spielberg stuff, and trying to get a bit more restraint and suspense, and not this cutting-every-three-seconds and explosions-every-two-seconds mentality. Like this fear people will get bored.  We’re trying to respect the audience, and hopefully they want to see a good story well told and not panic every minute that they might get bored.  So hopefully we’ve been quite brave with the storytelling that we’re doing.  But we’ll see. I say all this, and then we see the edit, and it reveals itself again to you. It’s really hard at this stage to be that definite about everything in the movie because we’re still finding it.
 
In the original film, the themes are so socially and historically relevant in terms of the atomic bomb. Is there any comparison in this film to social or historical themes?
 
There’s definitely a strong theme in the film, and in simplest terms it’s kind of “Man v. Nature.” And when we started off in the process of defining Godzilla, what is he about, what makes a Godzilla movie, what makes a monster movie, and we were brainstorming and watching all the old movies again, the thing that comes through is that in some movies, he’s slightly evolved and represents different things, but he’s always a force of nature like the wrath of God that comes to put us back in our place when we kind of thing we own the world.  I would go into more detail, but I’ve been told I can only say certain things, but there’s definitely a very strong themes that hark back to the original 1954 Godzilla.  It’s the “Man v. Nature” that comes through a lot.  It’s a recurring theme on the set today the way that nature always wins.  You can’t control nature. When we start thinking we can control nature, that’s when it all starts to go wrong. And that happens a lot in our movie. You see it quite a bit, that is our arrogance always comes back to bite us. 
 
What about the secondary threat? Does that turn the tables for what you want the audiences to feel towards Godzilla?  Because obviously, Godzilla is a threat, but does he take on a heroic aspect at some point in the film like in the sequels that we’ve seen?
 
I’m not sure what I can and cannot say, but I’ll say that it was really important that we didn’t do a Godzilla movie where it wasn’t just one creature because you can quickly run out of people pointlessly trying to fire and stop thing thing storyline, which is why Toho movies were always him versus something else, and the whole “franchise” or whatever you want to call it was involved in the creatures. So when you get into it, you have to make that choice that you mentioned and we made… a choice. But without giving too much away, it’s not as simple as that. It’s not as simplistic as “Is there a good or a bad?” Through the course of the movie it starts to form, and…it’s really hard to answer these questions.
 
Is anyone going to say the classic line, “It’s Godzilla!”
 
[laughs] For a long time, we liked the idea of never ever saying his name. And we had a million ideas of how you could say that name. And it might be that one of them ends up in the movie. We’re still playing with a couple of them. But I think it’s just as good to never say his name out loud. We’re going to have it on every single poster and every single everywhere. There’s something more ethereal about a person you don’t really label. It’s so obvious to say, “It’s Godzilla,” and we have the same problem in a lot of scenes. How do you talk about this thing? Is it a thing? Is it a creature? Is it a monster? Is it an organism? Is it an animal? And we kind of use all of those, and wait for the right moment to use the actual name gag. I saw [Man of Steel] last night and thought they were quite clever about it.
 
There are these different time periods that we’ve seen, so it seems like there’s an awareness of Godzilla existing in the past, or this creature existing in the past, and now it’s going to exist again?  Is it the idea that people are making the same mistakes again and again?  Is it finding different ways for him to rise?
 
It is an origin story. It’s not about having seen another film to understand this movie. It’s supposed to be the beginning. But it doesn’t just take place in modern times. There are other aspects to it. And in a way, the mistakes we made in the past come back to haunt us in the present, and that is something that the whole movie is driven by —whether you want to call them “mistakes” or “choices”— that now we pay the price for. Because for me, a monster movie just for the sake of being a monster movie can kind of become a pointless exercise, so it’s about finding the right symbolism in what he represents and trying to find a storyline that expresses that. And I’m really pleased with the playground we’re playing in because I think it’s very much on theme. And I hope that when people see it who are big Godzilla fans, they’ll be happy with the choices we made. We definitely tried to stay as true as possible to the original in terms of thematics. 

 
Does Godzilla have his own personality in the film? In Monsters at the end, you thought they were one thing and they turned out to be something else. Did you apply the same process to Godzilla?
 
I guess with all good characters, there’s some sort of arc to their character, and sometimes that’s not theirs; it’s our understanding of that character that changes. I don’t think we could be the best film we could be if there wasn’t a perception change in the movie. So it does evolve, but it’s not straightforward, and it’s not black and white. Hopefully, it’s subtle enough that people can watch it and have their own opinion of him and what was really going on. But amongst ourselves, we’ve made decisions and hinted at certain choices, but I like the idea that if someone people just want to come and watch a big, massive monster movie, they can and have fun watching things get smashed up; and other people can come and there will be another layer and a bit more meaning to some of the things that happen. Because at the end of the day, we’re not really going to have a giant monster attack the world.  It’s not something we need to worry about—
 
You say that now.
 
[laughs] The ramifications of the giant monster attacking the world—skyscrapers collapse, whole neighborhoods are trashed, radiation is left behind — they’re things we deal with all the time, and that’s probably why we invent monsters. It’s usually sci-fi and fantasy films that get to address modern day concerns quickest because they can kind of go under the radar, and more serious films have to kind of wait more in line.  So hopefully it’s not lightweight, popcorn fodder. I hope there’s a little bit more about it than just that.
 
As a personal journey for you as a filmmaker, from Monsters to Godzilla, what have you learned about yourself?  Do you have more patience now with a crew of thousands or is the smaller stuff easier to manage?
 
I wouldn’t call it a “journey”. It’s more like teleportation. It was like this instant, “There you go. You’re making a massive movie.”
 
Has it been overwhelming?
 
Yeah. Yes, it was in the early days.  But it’s so incremental; it’s like climbing a mountain. One step is not that different than the step before.  Pre-production took — we presented the film to the studio last year, and we started filming in March. That’s quite a long time to get ready for the fact that we were going to be making this. And no matter how much people warn you and tell you what it’s going to be like, it’s still sort of a culture shock. I’ve worked in TV, and it’s like a micro-version of this.  Yeah, I guess if the previous film is like riding a bicycle, this is like flying a 747. You still go left and right, and you’re going to a destination—
 
As long as you land, it’s all good.
 
Yeah.
 
Can you talk about Toho’s involvement? Has it been a licensing thing? Has there been active involvement with the structure of the film and story?
 
I went to Japan probably over a year ago, and went to visit them, and met with the heads of the studio and the president of Toho, and they were very generous. They released Monsters, my previous film, and they had the rights to that and when I arrived, they had the DVD and Godzilla merchandise, and they were incredibly welcoming. We went to dinner and they had a few questions about the story and what we planned to do, and then from that point on, we’ve been sharing all the scripts with them; sharing the concept art and the development of the film, and they were heavily involved in the design of Godzilla in terms of approvals and everything, so it’s very much been a Toho-approved Godzilla movie, which we wanted it to be, because for us it was very important that — it would be kind of pointless if Toho didn’t feel like it was a real Godzilla movie. So we were pretty keen to try and get that right.

Were you able to squeeze in any Easter eggs that harken back to Monsters at all?
 
There’s loads of Easter eggs in this film. Is there anything to do with Monsters?  What I’ll tell you — and it doesn’t really answer your question — but on Monsters, I had a bracelet that the girl in the film, Whitney, I made a charity bracelet for her character, and the idea was it was a pretend charity for people who had been displaced by the monsters. And everyone on that film wore it, and I wore mine from the day we started filming to after the world premiere. I was adamant I was going to do the same on this, but we had a minimum run of these of 400, so we gave one to the whole crew, and you’ll spot them around; people are wearing these. [Shows us his bracelet] This is a clue to the movie; something in the movie happens and this is a clue, and that’s all I can do. But you’ve been around the war room, right?
 
Yeah.
 
Okay, then. So you can figure everything out.
 
Well when you mentioned Easter eggs, what Easter eggs? Are you throwing Easter eggs in for the previous Godzilla films at all?
 
Yeah, there’s a few in there. There’s one right over in that room [gestures to the set where they've been filming] if you have a look.  You might see it in the shot we’re setting up later.
 
We saw the dinosaur and toy soldiers on the ground…
 
Yeah, there’s all that stuff going on, but there’s something actually more specific. You’re here all day, right? 
 
Yeah.
 
Okay, you’ll see it then.
 
Is there one memory of filming that stands out in your mind from this whole production? Perhaps when you look back at this movie ten years from now, and you’re watching it on television, one memory that comes from filming here.
 
I’ve purposely not processed any of it. I think if you really comprehended what we’re doing here, it would paralyze you. You just have to look at all the cars on your way in, down the street. That’s just the crew for this film. I purposely just bank it in box in my brain, and try not to think about it. It still hasn’t hit me. Like the other night, obviously, there’s marketing aspects and visual effects aspects that have all started to happen already, and I had to quickly look at some video that was an approval thing to me, and it was like, “Oh my God, that’s cool. That’s like something you’d see in the cinema!  Wow!” And there was this excitement over “Oh my God, this could go right in the cinema the way this looks. That’s fantastic!”, and then realizing, “Oh my God. That is going to go in the cinema.” And I still haven’t really let it set in because otherwise the pressure would be too much. It’s really hard to take risks, and in doing anything slightly creative, if you’ve got too much pressure on you, it’s not healthy. You don’t do your best stuff. So it’s been really hard to get rid of all those thoughts and not think of how much this is going to be around the world for a week or so next year.

 
Frank Darabont came in for a short but perhaps sweet time. Is there one story element that he was there to help crack?
 
He did a fantastic job. There’s a particular scene we finished filming the other day — I can’t talk about it — but it was very strong, and it was all his idea.  One of the actors that was in it, as we were just chit-chatting off to the side, said “This is the reason I took this job.” And everyone felt that way when we were filming it as well. He brought a very emotional, powerful series of ideas to the story.
 
The film has been described as a “road movie”. Would you agree with that in terms of how the journey takes place?  And what about that pertinently lends itself to a Godzilla story?
 
It’s a global journey. I wouldn’t say it’s a “road movie,” but it takes place around the globe, and there probably is a general “here and here”thing that’s going on. But… I don’t know what you do or don’t know. Tell me two countries you think the film is set in.
 
Japan, Hawaii, Philippines…
 
So it felt like what we were doing with the franchise was taking something that was very Japanese, that belongs to Japan, and bring it to America. And so from a very early stage, it was the journey of this movie was a journey from Japan to America. That felt like the heart of everything. It felt the most appropriate, so Hawaii’s in the middle of it, obviously. So we sculpted the story around that basic, global path. And it’s not as literal as “something from Japan comes to America”. It’s not that straightforward. But it felt like visually we wanted that transition to happen from a feeling of a very Japanese thing to become an American thing. 
 
This is certainly a character-driven piece to a large extent, but it’s also a summer tentpole feature with Godzilla. We saw the concept art with the Battle of San Francisco. Just how big is that going to be?
 
Well, obviously, the one downside to shooting this film is that we don’t have Godzilla on set. He’s too expensive, and in the trailer, and he has to do all of his stuff against green screen… well, blue screen, because green wouldn’t key very well. I, honestly, there are certain key words that you bring up over and over, like “It’s gotta be this,” and “It’s gotta be that.”  And, obviously, “emotional” gets in there, like you gotta care, but the other one by far is “epic.” I feel like if we haven’t made an epic movie by the end of this, if you haven’t felt like you’ve gone on a massive journey, and you’ve nearly tear up and the hairs on the back of your neck have been raised and at the end of you’re just, “Man, I want to see that again,” then I probably failed at what we’re trying to do. Because that’s definitely the goal.  Hopefully it’s not spectacle for the sake of it, and not “Let’s just throw every trick at the screen and try to distract the audience.” It’s more of a cinematic style like holding back and let the audience do the maths. Like a lot of our sequences, our set pieces, people don’t talk much through them. It’s all thoughts and visual storytelling. We’ll see how it pans out, but the films I love are those sorts of movies, and everyone knows that’s what we’re trying to do.

Categories: Horror News

Set Visit Coverage: Director Gareth Edwards Talks Godzilla from the Set!

Dread Central - Wed, 03/19/2014 - 13:00

With Legendary Picture’s upcoming feature Godzilla releasing wide on May 16, 2014, here’s the first part of our extensive coverage from the set: a lengthy interview with director Gareth Edwards.

Beware - this coverage is as full of spoilers as ‘the Big G’ is radioactive (oops, there’s your first one there), so if you’d rather remain in the dark, not unlike San Francisco after Godzilla rolls over it (oh, there’s number two!), stop right here. Otherwise, suit up and HALO drop with us into gargantuan mayhem.

Part reboot and part direct sequel to director Ishiro Honda’s 1954 original of the same name, the 2014 Edwards-helmed Godzilla features actors Bryan Cranston (“Breaking Bad”), Aaron Taylor-Johnson (Kick-Ass), Juliette Binoche (The English Patient), David Strathairn (The Bourne Legacy), Elizabeth Olsen and Ken Watanabe, in a script by Max Borenstein, Dave Callaham and Frank Darabont, which pits the world’s most famous monster against malevolent creatures who, bolstered by humanity’s scientific arrogance, threaten our very existence (as the film will apparently our pocketbooks, given the insane box-office buzz and merchandizing push surrounding it).

Thomas Tull, Jon Jashni, Mary Parent and Brian Rogers produce, alongside executive producers Alex Garcia, Patricia Whitcher, Yoshimitsu Banno and Kenji Okuhira.

Arriving with considerable trepidation to the Vancouver set last June (given what transpired with the previous ‘Big G’ film attempted by an American production, namely Roland Emmerich’s deplorable 1998 flick, this was understandable), my concerns were quickly allayed, initially by a visit to the ‘War Room’ (which contained volumes upon volumes of absolutely awe-inspiring storyboards and conceptual art), then by a sneak peek of two entirely mind-blowing pre-visual sequences. Excitedly comforting interviews with actors Cranston and Taylor-Johnson followed (the pair’s sincere enthusiasm was contagious), and with my appetite whetted (stay tuned for all of the above in the coming days), we sat down with director Edwards on the mammoth sound-stage to discuss his vision.

Of note, and before I dive in, I am a huge, and rather discerning Godzilla fan. Of the twenty-eight films produced by Toho Co., Ltd. (and I’ve seen them all) featuring the titular character, the sheer impact the original had on me cannot be understated. While the metaphor of ‘Godzilla as Hiroshima/Nagasaki’ eluded me as a young boy, the tone of impending doom of Honda’s film did not, nor did the immensity of the force at its core.

My imagination was (and remains to this day) sparked, and Godzilla loomed in my psyche as real as did the Cold War threat of my childhood. Subsequent entries may have found him defending Tokyo from a comically wooden ape (1962’s King Kong Vs. Godzilla), toxic waste (1971’s Godzilla Vs. Hedorah) or effete aliens (2004’s Godzilla: Final Wars), and pop culture may have diluted him via the cartoon “Bambi Meets Godzilla” and the animated series “Godzilla” (seriously, ‘Godzooky?’) among others, but through it all, Honda’s original remained for me authoritative and omnipresent. In Honda’s film, Godzilla was clearly the ‘King of Monsters.’

I’m happy to report that from what I witnessed on set, Warner Bros. and Legendary’s Godzilla may very well be the definitive modern iteration of Honda’s classic, capturing not only the raw essence of the original but imbuing it with a needed modern sensibility.

“There's definitely a strong theme in the film, and in (the) simplest terms it's kind of ‘Man versus Nature,’” the soft-spoken Edwards, whose previous giant creature flick was 2010’s thoughtful Monsters, told us during a break in filming on the set, which had been constructed to represent an abandoned, irradiated Japanese structure.

“When we started off in the process of defining (the character of) Godzilla, what is he about, what makes a Godzilla movie, what makes a monster movie, and we were brainstorming and watching all the old movies again, the thing that comes through is that in some movies he's slightly evolved and represents different things, but he's always a force of nature, like the wrath of God, that comes to put us back in our place when we kind of think we own the world. I would go into more detail, but I've been told I can only say certain things, but there's definitely very strong themes that hark back to the original 1954 Godzilla. It's the ‘Man Versus Nature’ that comes through a lot. When we start thinking we can control nature, that's when it all starts to go wrong. And that happens a lot in our movie. You see it quite a bit; that our arrogance always comes back to bite us.”

Pertaining to Edwards’ reluctance to discuss certain topics, of note on-set security was entirely tight, and non-disclosure agreements were indeed signed by all journalists in attendance, a standard practice on films of such magnitude. With the embargo now lifted, I’ll try to fill in the holes for you as best I can.

Legendary’s Godzilla takes place in three separate time periods: the 1950’s (in which the U.S. Navy discovers the last surviving member of an ancient radioactive amphibious species surviving under the waters near the Marshall Islands and metes out a failed attempt to kill it with nuclear weapons), the 1990’s (in which the creature arises to smack the crap out of Japan and in the process destroys the childhood home of Taylor-Johnson’s character as well as that of his father, a scientist portrayed by Cranston) and in 2014, in which the appearance of creatures known as ‘Mutos’ (kaiju who look vaguely reminiscent of the creature at the center of the feature Cloverfield) appear, which in turn elicits the return of Godzilla from the depths of the ocean.

“It is an origin story,” Edwards illuminated.

“It's not about having seen another film to understand this movie. It's supposed to be the beginning. But it doesn't just take place in modern times. There are other aspects to it. And in a way, the mistakes we made in the past come back to haunt us in the present, and that is something that the whole movie is driven by. ‘Mistakes’ or ‘choices’ that now we pay the price for, because for me a monster movie just for the sake of being a ‘monster movie’ can kind of become a pointless exercise, so it's about finding the right symbolism in what Godzilla represents, and trying to find a storyline that expresses that. And I'm really pleased with the playground we're playing in because I think it's very much on theme. I hope that when people see it, people who are big Godzilla fans, they'll be happy with the choices we made. We definitely tried to stay as true as possible to the original in terms of theme.”

As for the secondary ‘Muto’ threat to mankind, “I'm not sure what I can and cannot say, but I'll say that it was really important that we didn't do a Godzilla movie where it was just one creature, because you quickly run out of the ‘people pointlessly trying to fire and stop-the-thing’ storyline, which is why Toho movies were always him versus something else, and the whole franchise or whatever you want to call it was involved in the creatures,” offered Edwards.

“So when you get into it, you have to make that choice, but without giving too much away, it's not as simple as that. It's not as simplistic as, ‘Is there a good or a bad?’ Through the course of the movie it starts to form, and… it's really hard to answer these questions.”

Genre journalists sometimes ask questions which to mainstream audiences may seem unimportant though to us, and to fans of the genre, are rather burning, so it was only inevitable that Gareth was queried on whether or not anyone (in the film) utters the classic line, “It’s Godzilla!”

Edwards responded with a chuckle, “For a long time, we liked the idea of never saying his name, and we had a million ideas of how you could say that name. And it might be that one of them ends up in the movie. We're still playing with a couple of them. But I think it's just as good to never say his name out loud. We're going to have it on every single poster and every single everything everywhere. There's something more ethereal about a person you don't really label. It's so obvious to say, ‘It's Godzilla,’ and we have the same problem in a lot of scenes. How do you talk about this thing? Is it a thing? Is it a creature? Is it a monster? Is it an organism? Is it an animal? And we kind of use all of those and wait for the right moment to use the actual name gag. I saw Man of Steel last night and thought they were quite clever (in how they referenced ‘Superman’).”

Of Godzilla’s ‘character,’ the 38-year-old British filmmaker stated, “I guess with all good characters, there's some sort of arc to their character, and sometimes that's not theirs; it's our understanding of that character that changes. I don't think we could be the best film we could be if there wasn't a perception change in the movie. So it does evolve, but it's not straightforward, and it's not black and white. Hopefully it's subtle enough that people can watch it and have their own opinion of him and (of) what was really going on. But amongst ourselves, we've made decisions and hinted at certain choices, but I like the idea that if some people just want to come and watch a big, massive monster movie, they can and (will) have fun watching things get smashed up, and other people can come and there will be another layer and a bit more meaning to some of the things that happen. Because at the end of the day, we're not really going to have a giant monster attack the world. It's not something we need to worry about.”

“But the ramifications of the giant monster attacking the world - skyscrapers collapsing, whole neighborhoods being trashed, radiation being left behind - they're things we deal with all the time, and that's probably why we invent monsters,” he continued.

“It's usually sci-fi and fantasy films that get to address modern-day concerns quickest because they can kind of go ‘under the radar’ and more serious films have to kind of wait more in line. So hopefully it's not lightweight, popcorn fodder. I hope there's a little bit more about it than just that.”

Questioned in regards to his journey from the independent Monsters to helming the summer tent-pole that is Godzilla, Edwards said, “I wouldn't call it a ‘journey’. It's more like teleportation. It was like this instant, ‘There you go. You're making a massive movie.’ It was overwhelming in the early days. But it's so incremental; it's like climbing a mountain. One step is not that different than the step before. We presented the film to the studio last year, and we started filming in March. That's quite a long time to get ready for the fact that we were going to be making this. And no matter how much people warn you and tell you what it's going to be like, it's still sort of a culture shock. I've worked in TV, and it's like a micro-version of this. Yeah, I guess if the previous film is like riding a bicycle, this is like flying a 747.”

As for Toho’s involvement (a company who was none too keen on licensing Godzilla once again to an American production following Emmerich’s 1998 ‘Not-zilla’ flick, as it’s known by fans), “I went to Japan probably over a year ago and went to visit them and met with the heads of the studio and the president of Toho, and they were very generous,” said Edwards.

“They released Monsters, my previous film, and they had the rights to that, and when I arrived, they had the DVD and Godzilla merchandise, and they were incredibly welcoming. We went to dinner and they had a few questions about the story and (about) what we planned to do, and then from that point on, we've been sharing all the scripts with them and sharing the concept art and the development of the film, and they were heavily involved in the design of Godzilla in terms of approvals and everything, so it's very much been a Toho-approved Godzilla movie, which we wanted it to be because for us it was very important. It would be kind of pointless if Toho didn't feel like it was a real Godzilla movie. So we were pretty keen to try and get that right.”

The question arose of the inclusion of ‘Easter Eggs’ within the film itself (which as of last week came to certain light in the film’s second trailer, which featured the ‘Mothra twins’ appearing on the floor of a destroyed high-rise), and Edwards responded, “There's loads of Easter eggs in this film. Is there anything to do with Monsters? What I'll tell you, and it doesn't really answer your question, but on Monsters, for the girl in the film, Whitney, I made a charity bracelet for her character, and the idea was that it was for a pretend charity for people who had been displaced by the monsters. And everyone on that film wore it, and I wore mine from the day we started filming to after the world premiere. I was adamant (that) I was going to do the same on this, but we had a minimum run of these of four hundred, so we gave one to the whole crew, and you'll spot them around. This is a clue to the movie. Something in the movie happens and this is a clue, and that's all I can do.”

“There's a few in there (too),” stated the director, gesturing to the nearby set. “There's one right over in that room if you have a look. You might see it in the shot we're setting up later. There's something actually specific.”

Writer’s Note: The scene in conversation found actor Taylor-Johnson revisiting his character’s childhood home, which he perhaps hastily abandoned during the film’s 1990-era attack by Godzilla. Positioned with intent on the set’s floor of his bedroom were a dozen or so toy tanks and plastic army men, squared off against a plastic dinosaur (undoubtedly a representation of the titular creature). To be more specific, however, written on an abandoned pet terrarium atop his childhood dresser was one word: ‘Mothra.’ (Lends credence to the inclusion of the giant moth in Edwards’ world, now doesn’t it?)

Talk turned to filmmaker Frank Darabont, who lent his considerable talents in a story capacity to Godzilla.

“He did a fantastic job,” Edwards gushed.

“There's a particular scene we finished filming the other day, and I can't talk about it, but it was very strong, and it was all his idea. One of the actors that was in (the scene), as we were just chit-chatting off to the side, said, ‘This is the reason I took this job.’ And everyone felt that way when we were filming it as well. He brought a very emotional, powerful series of ideas to the story.”

“It's a global journey,” Edwards offered of the narrative, which is reflected in the various shooting locales and set dressings of the film.

“It felt like what we were doing with the franchise was taking something that was very Japanese, that belongs to Japan, and bringing it to America. And so from a very early stage, it was the journey of this movie from Japan to America. That felt like the heart of everything. It felt the most appropriate. Hawaii's (geographically) in the middle of it, obviously (and we shot there). So we sculpted the story around that basic, global path. And it's not as literal as, ‘Something from Japan comes to America’. It's not that straightforward. But it felt like visually we wanted that transition to happen, from a feeling of a very Japanese thing to become an American thing.”

Given Edwards’ interest in character-driven pieces (as evidenced by his Monsters, which found some fans wishing for more of a creature presence), the following question was posed pertaining to the ‘summer tent-pole’ aspects of Godzilla: ‘How big is this film and the creature itself?’ (Writer’s Note: He’s a staggering 120 meters tall).

Joked the director, “Well, obviously, the one downside to shooting this film is that we don't have Godzilla on set. He's too expensive, and he’s in (his) trailer, and he has to do all of his stuff against green screen, well, blue screen, because green wouldn't key very well.”

“Honestly, there are certain key words that you bring up over and over, like, ‘It's gotta be this,’ and, ‘It's gotta be that.’ And, obviously, the term ‘emotional’ gets in there, like you gotta care, but the other one by far is ‘epic’. I feel like if we haven't made an epic movie by the end of this, and if you haven't felt like you've gone on a massive journey, and if you don’t nearly tear up, and if the hairs on the back of your neck haven’t been raised, then I probably failed at what we're trying to do because all of that's definitely the goal. Hopefully it's not spectacle for the sake of it, and not, ‘Let's just throw every trick at the screen and try to distract the audience.’ It's more of a cinematic style, like holding back and letting the audience do the math. Like a lot of our sequences, our set pieces, people don't talk much through them. It's all thoughts and visual storytelling. We'll see how it pans out, but the films I love are those sorts of movies, and everyone knows that's what we're trying to do.”

Edwards was queried on what he felt would distinguish his Godzilla from perhaps a Michael Bay-directed version of the same.

“I think something that's coming through that I'm quite pleased about, and I'm really proud of, is that there's a lot of scenes we've already shot that are quite engaging,” he replied.

“Like you're really pulled in with the way the characters are coming together and the actors. I can't go into too much detail because it will ruin the movie for you, but we've watched dailies and teared up on a few occasions so I'm really proud. Hopefully, this will be a blockbuster where you really care about the people you're following.”

“Obviously, there's a giant, epic spectacle to it as well. I think, for me, if I'm honest, I'm personally not a fan of some of the Hollywood blockbusters that come out, and we're trying to hark back to the movies we all grew up on and loved like early Spielberg stuff, and trying to get in a bit more restraint and suspense, and not this ‘cutting-every-three-seconds’ and ‘explosions-every-two-seconds’ mentality. We're trying to respect the audience, and hopefully they want to see a good story. So hopefully we've been quite brave with the storytelling that we're doing. But we'll see. I say all this, and then we see the edit, and it reveals itself again to you. It's really hard at this stage to be that definite about everything in the movie because we're still finding it.”

With Edwards called back to the camera, we asked him if there had been one particular memory of the production that stood out above all.

“I've purposely not processed any of it,” he answered.

“I think if you really (were to) comprehend what we're doing here, it would paralyze you. You just have to look at all the cars on your way in, down the street. That's just the crew for this film. I purposely just bank it in my brain and try not to think about it. It still hasn't hit me. Like the other night, obviously, there's marketing aspects and visual effects aspects that have all started to happen already, and I had to quickly look at some video that was an approval thing to me, and it was like, ‘Oh my God, that's cool. That's like something you'd see in the cinema! Wow!’ And there was this excitement over, ‘Oh my God, this could go right in the cinema the way this looks. That's fantastic!’, and then realizing, ‘Oh my God. That is going to go in the cinema.’ And I still haven't really let it set in because otherwise the pressure would be too much. It's really hard to take risks; and in doing anything slightly creative, if you've got too much pressure on you, it's not healthy. You don't do your best stuff. So it's been really hard to get rid of all those thoughts and not think of how much this is going to be around the world for a week or so next year.”

I have a feeling it’s going to be in theaters for a bit more than a week or so, Mr. Edwards.

Up next, our on-set interview with Godzilla star Bryan Cranston.

And oh, not to be remiss (burning fan questions and all), in this film Godzilla does indeed breathe nuclear fire.

Excited yet? We are!




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Categories: Horror News

Devi Snively Lends Her Voice to the World of Hurt's Ventriloquist

Dread Central - Wed, 03/19/2014 - 12:30

Another director has been added to the growing list of those who will be working on an anthology based upon the work of one of the most acclaimed writers on the horror scene right now, Thomas Tessier. Read on for the latest on World of Hurt!

From the Press Release
Devi Snively, a participant in AFI's Directing Workshop for Women, is set to adapt Thomas Tessier’s short story “The Ventriloquist” from his Remorseless (Sinister Grin Press) collection. Snively is the fourth of five directors signed to the THOMAS TESSIER WORLD OF HURT project.

“I’m a puppet enthusiast so I was expecting one thing from ‘The Ventriloquist’ based on the title,” Snively said, “and then discovered it was about an entirely different kind of puppet that proves far scarier than your average Charlie McCarthy or Chucky variety—I just adore surprises.”

“The Ventriloquist” is the story of Robbie, 21, who is in desperate need of a glimmer of hope after his girlfriend, Suzy, dumps him. He seeks out a gypsy card reader, and the cards reveal: “What you want most is unopposed.” The next day Suzy calls him…

Snively will write and direct the Tessier story in 2014.

Indiana-based Devi Snively was selected to participate in AFI's prestigious Directing Workshop for Women, where she helmed “Death in Charge,” which Dread Central praised as “an excellent filmmaker, one to watch for sure.” She teaches a course on horror films at the University of Notre Dame and has a strong record of festival showings and awards.

THOMAS TESSIER’S WORLD OF HURT is an anthology film consisting five stories published in his Remorseless and Ghost Music (Cemetery Dance Publications) collections. All Channel Films, Inc., will provide domestic (U.S.) and Canadian distribution.

Snively joins directors Raymond Carr, Mia Sorensen, and Darin Read in this anthology film.

For more information check out Thomas Tessier's blog, and "like" World of Hurt on Facebook!

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Categories: Horror News

Jeff Lemire Fills In For 'Batman/Superman' #10

bloody disgusting - Wed, 03/19/2014 - 12:25

There will be a brief blip in the Greg Pak/Jae Lee “Batman/Superman” storyline this April as Jeff Lemire steps in for a single fill-in issue with art by Karl Kerschl and Scott Hepburn and a cover by Cam Stewart. While I would love to see Lemire take on the super duo, Pak and Lee have been doing a stellar job and they do not have plans to leave us hanging any time soon. The originally solicited story for issue #10 will now hop over to issue #11.

In Lemire’s stand-alone story, a microscopic threat invades the body of The Dark Knight, and it’s up to The Man of Steel and Dr. Ray Palmer to shrink down and eliminate the danger. But what they find will shock you! Get ready for big sci-fi thrills and high-adventure fun as only BATMAN/SUPERMAN can present!

Categories: Horror News

[Visions of Horror] Jack Kirby

bloody disgusting - Wed, 03/19/2014 - 12:15

Keeping true to our ardent vow of honouring classic horror artwork and artists that have significantly impacted the comics industry, Visions of Horror is back to feature a massively popular creative force whose award-winning work has impressively spanned the Golden, Silver, Bronze, and Modern ages of comic books. With a visually distinctive style, and a fiercely dynamic presence that still resonates within the comics community 20 years after his death, Jack Kirby’s legacy is very much the heart of the industry, and continues to grow with the increasing recognition of his extraordinary and influential career.

As one of the most innovative and prolific originators of his time, Kirby created, or had a hand in creating, some of the most iconic characters from some of the most popular titles to ever grace the comics world. And while his artistic vision paved way for such celebrated Marvel heroes and villains from the likes of the Avengers, X-Men, and Fantastic Four, it’s his lesser known, though still enduring, successes in the horror genre that naturally interests us here at Bloody-Disgusting.

In 1950, alongside notorious creative partner, and classic comics gem, Joe Simon — with whom he had co-created Captain America with 9 years prior — Kirby spearheaded an ambitiously risky, non-gore-infused, horror anthology called “Black Magic”. In fact, an anthologized story called “Beautiful Freak” from issue #29 (cover featured below), was used as a means to establish the Comics Code due to its supposedly controversial subject matter concerning human deformities and murder. The series lasted for an impressive 11-year-run before it was unfortunately canceled, but his unforgettable contributions to the book were reprinted as a nine-issue series published by DC Comics between 1973 and 1975. This, of course, occurred a few years after Kirby’s glaring disillusionment with Marvel regarding proper character credit, art ownership and payment issues, resulted in him abandoning ship and intensively negotiating a three-year contract with DC.

“Black Magic” #29 (Nov-Dec. 1953) / #17 (Oct. 1952) Original Art:

During this time, it was said that he was often forced to work on titles he held no real passion for. But even under these circumstances he managed to grace the horror genre with another significant character that has gone on to survive the competitive nature of the market, and remains a popular and reoccurring face in the DC Universe today. I’m referring to his contractually coerced creation of Etrigan the Demon, who was begrudgingly brought to life due to DC Comics’ demand for a brilliant new horror icon to set loose on the masses. For those unaware, though I imagine it is few, Etrigan is a demon from Hell, though usually prone to fight for the side of good thanks to being immortally bound to Jason Blood, a well-known ally of Batman and other DC Universe superheroes.

“The Demon” #1 (1972) – Cover Art:

“The Demon” #1 hit stands in August of 1972, and the response was so alarmingly positive that Kirby was ordered to focus all of his energy on the series, at the expense of his other unfinished titles. Since the character’s debut, Etrigan has gone on to fill many supporting roles in a number of DC Universe comic books, television programs, videos games, and movies. He made appearances in the Cartoon Network’s Justice League and Batman: The Brave and the Bold. He was even featured in widely popular award-winning titles like Neil Gaiman’s “The Sandman”, Alan Moore’s “Swamp Thing”, and Garth Ennis’ “Hitman”. Most recently, Etrigan appeared as the main character in Paul Cornell’s New 52 series “Demon Knights”, which concluded last summer.

“The Demon” #1 – Splash Page:

The fact that Kirby became a historically significant trailblazer of horror comics is both amazing, and hilarious, considering his alleged disinterest for the genre. Yet he managed to set a standard of excellence and achievement in the comics world that essentially remains unrivaled to this day.

Single Panel from “The Demon” #10 (July 1973):

——-

If you want Bloody Disgusting to cover one of your favourite horror artists, or a fantastic piece of horror-related comic book art, head down to the comment section, or hit up Farah or Lonnie on Twitter.

Categories: Horror News

Fractured Release News Comes Crashing In

Dread Central - Wed, 03/19/2014 - 12:15

Release news finally has come in regarding the latest film from Adam Gierasch and Jace Anderson entitled Fractured (formerly Schism), and we have all the info you need right here.

From the Press Release
Adam Gierasch’s noir horror thriller FRACTURED (formerly known as Schism), starring Callum Blue (Dead Like Me), Vinnie Jones (Lock, Stock & Two Smoking Barrels, X-Men: Last Stand), Ashlynn Yennie (The Human Centipede, The Human Centipede 2), and Nicole LaLiberte (How To Make it In America), has a release date.

FRACTURED will be released day and date in theatres and everywhere digitally on Friday, April 11, 2014. Fractured is the first film being released under Seven Arts Entertainment's new genre label Dark Arts. The film will be available on all leading digital platforms such as iTunes, Amazon, and Xbox as well as cable and satellite VOD such as Comcast and other major providers.

The stylistically shot suspense thriller has received a tremendous amount of acclaim following its sold out screening at Screamfest LA.

FRACTURED tells the story of Dylan White. After awaking from a coma with no idea who he is, Dylan creates a safe and and normal life for himself. It doesn’t last long as horrifying visions start to interrupt his waking moments. Following clues that take him to the dark and blood-splattered underbelly of New Orleans, Dylan meets his arch nemesis, Quincy (Vinnie Jones), and soon finds that both his life and soul are in danger. FRACTURED is a trip to the dark side, noir-style: bad men, bad dames, bad sex, and bad intentions.

FRACTURED is produced by Gierasch, Jace Anderson, Kate Hoffman, Jay Firestone, Andrew Cohen, and Raymond J. Markovich. The film was shot by Scott Winig and is being released by Seven Arts Entertainment and Uncork’d Entertainment.

As writers, Gierasch and Anderson are currently developing the superpower film Split for CBS Films. Gierasch and Anderson are known for their horror fare, having worked with icon Tobe Hooper penning his film Toolbox Murders and co-writing Mother of Tears with horror maven Dario Argento.

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Categories: Horror News

Review: 'American Vampire: Second Cycle' #1

bloody disgusting - Wed, 03/19/2014 - 12:05

After a long hiatus, “American Vampire: Second Cycle” #1 returns stronger and bloodier than ever. The artwork bristles with raw energy and the sharp writing hits its mark every time. This installment of “Second Cycle” is a great recap for newcomers and serves as a fantastic reminder why “American Vampire” is easily one of the best horror comics out there.

WRITTEN B: Scott Snyder
ART BY: Rafael Albuquerque
PUBLISHER: Vertigo Comics
PRICE: $3.99
RELEASE: March 19, 2014

The times keep changing for Skinner Sweet and Pearl Jones, especially now that they are in the ‘60s. Though they are connected by blood, Pearl and Skinner have bitterly parted ways, hoping to never see each other again. Skinner belongs to the open road as a terror bandit but Pearl struggles to find herself a new life. She has just lost Henry and prefers to keep to herself. But, something ancient and more terrifying than Skinner is hunting after these two vampires. The Gray Trader is coming and there is nothing they can do to stop him.

Writer Scott Snyder splits the narrative into two short stories. We get a chance to see what has happened to Pearl and Skinner since their last confrontation. Because these vampires can survive the sunlight, they are able move to forward with the times. Skinner is more violent now that technology and transportation has modernized itself. In his introduction, we see Skinner riding in his motorcycle and holding an Uzi in his hand.

What’s interesting with Snyder’s writing is how he is able to present Pearl as a fighter and be motherly at the same time. In the opening pages, Pearl comes to the rescue of a screaming little girl. At first, you think Pearl is pointing her gun at a group of perverts. But then, Snyder twists the suspenseful shootout and surprises the readers with a shocking revelation.

Readers will not be able to look away from Rafael Albuquerque’s gritty and vibrant artwork. My favorite of his illustrations is the splash page of Pearl’s introduction. Albuquerque puts in tons of detail to the worn-out and tattered clothing Pearl is wearing. It’s the perfect pose of a gunfighter as Pearl holds the shotgun steady with one hand.

Albuquerque has done something new and different to the character design to Skinner. When the “American Vampire” series first started, I always thought Skinner was a slimmer and tall version of rockstar Kurt Cobain. Now, Albuquerque illustrates the muscles in Skinner’s arms and chest, especially since he is only wearing a sleeveless and unbuttoned jacket. Skinner has also let his hair grow long and the new digs suit him well.

An excellent read, “American Vampire: Second Cycle” #1 delivers tons of bloody thrills that horror fans have been craving for. I am very happy “American Vampire” is back and cannot wait for the next issue to get here.

4.5/5 Skulls

Review by Jorge Solis

Categories: Horror News

[Exclusive] Knee High Fox's "Valentine" Music Video Premiere

bloody disgusting - Wed, 03/19/2014 - 12:00

Bloody-Disgusting has teamed up once again with Los Angeles rockers Knee High Fox, which is fronted by Christine Connolly (Underworld: Evolution, Nightmare At The End Of The Hall). Today we’re bringing you the exclusive music video premiere for the band’s new single “Valentine”, which comes from their upcoming EP Unknown Skeleton (purchase here).

The video was directed by Spider One, who states, “The song “Valentine” has a very militaristic sound so I wanted to shoot it in an extremely intrusive, almost violent way. I wanted the viewer to feel like they were under attack. The intense colors, disturbing imagery and powerful performances all added to what ended up being a complete assault of the senses.

Knee High Fox will also be touring as support for Powerman 5000 through mid-April. Check out everything below!

The band comments: “When we wrote this song the military vibe and visual was already in our heads. We’re very hands on with our videos and concepts and our new EP ‘Unknown Skeleton’ was inspired by the seedy underbelly you can get trapped in living in Los Angeles. Its a beautiful city with an incredible dark side if you go looking for it. ‘Valentine’ is our heavy rocker big live video. We approached Spider One with the song and the idea around it and he immediately responded to it. It was a quick 3 hour shoot that left us all with extreme bangovers. This video really captured the intensity and weirdness of our band and music and live shows. Just like LA from the second the video starts the darkness sucks you in. We loved working with Spider One and definitely think its a great partnership. The band is always directing or co-directing our videos so he was some great fresh blood to add to the mix. As the lead off single we definitely think it sets the pace for the EP and shows people just what Knee High Fox really is. Were a unique and theatrical band that likes to push it. With Valentine we feel like we’ve gone all the way.

Knee High Fox online:
Official Website
Twitter
Facebook


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Categories: Horror News

Radio 66.6 - Weekly Music News: March 19th, 2014

Dread Central - Wed, 03/19/2014 - 12:00

We're back with another installment of Radio 66.6! This week features the latest news, music, videos and tour dates from the likes of Nine Inch Nails, Metallica, Soundgarden, Arch Enemy, AFI, Motorhead, Lacuna Coil, Against Me, Memphis May Fire, Down, Eyehategod and more. Don't touch that dial.

NEWS
Arch Enemy vocalist Angela Gossow has left the band to focus on her band management. She has been replaced by Alissa White-Gluz, previously of The Agonist. The band's new album, War Eternal, will be released on June via Century Media Records.

Iggy Pop & The Stooges drummer Scott Asheton passed away Saturday night at the age of 64. Rest in peace.

MUSIC
AFI members Davey Havok and Jade Puget have started a straight edge hardcore band called XTRMST. Listen to their debut EP here.

Stream Memphis May Fire's new album, Unconditional, here. It comes out March 25 via Rise Records.

Listen to a new Down song titled "We Knew Him Well" here. Their forthcoming EP, Down IV - Part Two, is due out on May 13 via via Down Records.

Downpour - fronted by Shadows Fall and Overcast vocalist Brian Fair - have released their first track. Check out a demo titled "The Serpent's Tongue" here. Their debut is due out this summer.

Listen to a new Eyehategod song titled "Agitation! Propaganda!" here. Their self-titled album will be released on May 27 via Housecore Records.

VIDEOS
Metallica recently performed a new song titled "The Lords of Summer.” Watch a video here. The band is currently working on new material.

Watch Lacuna Coil's lyric video for "Die and Rise" here. Broken Crown Halo comes out April 1 via Century Media Records.

Watch Against Me's music video for "Black Me Out" here. Transgender Dysphoria Blues is out now on Total Treble.

TOURS
Nine Inch Nails and Soundgarden are co-headlining a summer tour with support from Death Grips. Dates can be found here.

Motorhead have announced Motorboat, a concert cruise that the band will be playing alongside Megadeth, Anthrax and more. Head here for details.

Be sure to check back next week for the latest music news!

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Categories: Horror News

New Horror Comedy Gets Dug Up

Dread Central - Wed, 03/19/2014 - 11:30

Okay, so stop us if you've heard this one... three friends walk into a cemetery to find themselves some buried treasure and end up on the shit end of the stick of dead rising proportions. Sound good? We've Dug Up even more details for you! Read on!

Directed by Dustin Rickert and written by Rickert and William Shockley, Dug Up stars Paul McCarthy-Boyington, Nicole Herold, Sarra Kaufman, William Shockley, Greg Travis, Ezra Buzzington, Sheree J. Wilson, Jeffery Dean, Jordann Beal, and Vince Morella.

Synopsis
When TREVOR CHESNEY (Paul McCarthy-Boyington) learns the local cemetery caretaker has died, he becomes convinced that $1 million of gold is buried in the graveyard. He enlists his girlfriend, CHELSEA LAYNE (Sarra Kaufman), and his sister, AMBER CHESNEY (Nicole Herold), to help him find the loot. The three instead uncover an ancient curse and a fight for their lives with the UnDead until a mysterious loner, ZZ WEST (William Shockley), shows up in town to help SHERIFF BOBBY RAY YATES (Greg Travis) and the group fend off the evil and an unknown traveler, DEVIN CHASE (Ezra Buzzington).

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Categories: Horror News

14 Things You Probably Didn't Know About 'Dawn of the Dead'

bloody disgusting - Wed, 03/19/2014 - 11:22

Happy 10th anniversary to one of the best horror remakes ever made!

Or maybe you did?

The peeps over at Wish.co.uk made for us a pretty fun infographic that celebrates the 10 year anniversary of the Dawn of the Dead remake!

Originally released on March 19, 2004, the Zack Snyder-directed cult hit film is an adaptation of George A. Romero’s original Dawn of the Dead from 1978.

The following infographic, “14 Things You Probably Didn’t Know About Dawn of the Dead,” is filled with trivia and Dawn of the Dead stats.

Categories: Horror News

'The Hanover House' Sheds Blood at Auburn Fest (Trailer)

bloody disgusting - Wed, 03/19/2014 - 11:19

Corey Norman will be releasing his first feature film, The Hanover House, at the Lewiston Auburn Film Festival on April 5th and 6th. Currently nominated for five awards – Best Feature Film, Best Director, Best Actress (Anne Bobby), Best Maine Film and The Peoples Choice Award – below is the film’s official trailer.

Returning from his father’s funeral, Robert Foster is faced with the unimaginable; he hits a young girl with his car. In a desperate attempt to save her life, he seeks help at a nearby farmhouse. Little does Robert know that the house has been waiting for him his entire life. Once inside its walls, Robert must overcome his own personal demon’s in an attempt to save both his wife and himself. But there’s a problem, only one may leave The Hanover House alive.

Brian Chamberlain, Casey Turner, Anne Bobby, Daniel Noel star.

Categories: Horror News

'Hellraiser' Doc "Leviathan" Completes UK Photography

bloody disgusting - Wed, 03/19/2014 - 09:33

The Hellraiser documentary steps into next phase…

“Leviathan: The Making of Hellraiser and Hellbound: Hellraiser 2 completed its UK studio shoot this week by interviewing third assistant director, Rupert Ryle-Hidges, Beverly Pond-Jones, make-up effects and Simon Sayce, who’s main contribution to the production was the design and creation of the icon puzzle box, the Lament Configuration!

Simon shared never before seen goodies including high resolution scans of the original designs and layouts for the mechanical design, as well as the first brass etching produced for the screen used boxes.

He also revealed the proper method for making the boxes – something few outside the production know – and he shared some of the hidden meaning in the box designs.

The doc carries interviews with many people behind this classic film, including Doug Bradley, Kenneth Cranham and Geoff Portas, just to name but a few.

The documentary now heads to the U.S.to interview both Clive Barker and Tony Randall.

Watch for further updates soon.

Categories: Horror News

'The Quiet Ones' Seance Resurrects New Scares!

bloody disgusting - Wed, 03/19/2014 - 09:18

Madame Lionsgate has released a new TV Spot filled to the brim with scares!

Haunting theaters April 25, this new TV Spot from The Quiet Ones is jam-packed with new footage, including a seance and some experimentation…

From the producers behind Let Me In and The Woman in Black, “A university student (Sam Claflin) and some classmates are recruited to carry out a private experiment — to create a poltergeist. Their subject: an alluring, but dangerously disturbed young woman (Olivia Cooke). Their quest: to explore the dark energy that her damaged psyche might manifest. As the experiment unravels along with their sanity, the rogue PHD students are soon confronted with a terrifying reality: they have triggered an unspeakable force with a power beyond all explanation.

Inspired by true events, The Quiet Ones is directed by John Pogue from a screenplay by Craig Rosenberg and Oren Moverman and John Pogue, and based on a screenplay by Tom de Ville.

Jared Harris, Sam Claflin, Erin Richards, Rory Fleck-Byrne, and “Bates Motel’s” Olivia Cooke, pictured above, all star.

Categories: Horror News

'A Christmas Horror Story' Anthology Opens Presents Filled with Terror!

bloody disgusting - Wed, 03/19/2014 - 09:09

*Editor’s note: photos are not from the forthcoming film. With official details forthcoming, Bloody Disgusting learned that filming is underway in Toronto, Canada on Copperheart’s latest production, A Christmas Horror Story, a new horror anthology that will warm your heart… with terror!

Directed by Grant Harvey (Ginger Snaps Back: The Beginning), Brett Sullivan (Ginger Snaps 2: Unleashed, Darknet, Orphan Black), and Steven Hoban, the film is produced by Steven Hoban (Haunter, Splice, Ginger Snaps) and Mark Smith (Subconscious Password, 388 Arletta Ave), and executive Produced by David Hayter (Wolves, The Watchmen).

A Christmas Horror Story is written by Doug Taylor (Splice, Darknet), Sarah Larsen (Darknet), James Kee (Darknet), and Pascal Trottier (The Colony, Hellions).

A Christmas Horror Story tells four interweaving tales which will warm your hearth.

Christmas is supposed to be a time of joy, peace and goodwill. But for some folks in the small town of Bailey Downs, it turns into something much less festive.

Here’s what the shorts will be about, sources tell Bloody Disgusting.

– A mysterious disease sweeps through the North Pole, transforming Santa’s Elves into the ravenous, flesh-eating Undead! Santa and the Missus wage a desperate battle for survival.

– While Santa tries to stay alive long enough to bring gifts for good boys and girls, Krampus, a terrifying Christmas demon, brings a sack, whip and chains for bad boys and girls. The wicked Bauer family, including klepto daughter Caprice, find out the hard way that Krampus is no myth.

– Scott, a troubled cop on stress leave, takes his 8-year-old son Will and wife Kim to pick out the “perfect” Christmas tree. Unfortunately, the perfect tree is on land owned by Big Earl who is a kind of … guardian. Will goes missing on Big Earl’s land and when he turns up again, he isn’t quite himself.

Watch for more in the coming week.

Categories: Horror News

'Super Duper Alice Cooper' Documentary Hitting Several Cities For Limited Theatrical Run

bloody disgusting - Wed, 03/19/2014 - 09:00

Hailed as the first ever ‘doc opera’, Super Duper Alice Cooper is an soon-to-be-released documentary that focuses on shock horror rock legend Alice Cooper. The documentary, directed by Scot McFadyen, Sam Dunn, and Reginald Harkema, mixes documentary archive footage, animation and rock opera to create a one of a kind experience.

The synopsis reads, {The film is the twisted tale of a teenage Dr. Jekyll whose rock n’ roll Mr. Hyde almost kills him. It is the story of Vincent Furnier, a preacher’s son who struck fear into the hearts of parents as Alice Cooper, the ultimate rock star of the bizarre. From the advent of Alice as front man for a group of Phoenix freaks in the 60’s to the hazy decadence of celebrity in the 70s to his triumphant comeback as 80s glam metal godfather, we will watch as Alice and Vincent battle for each other’s’ souls. Alice’s story is told not only by the man himself, but through exclusive interviews with members of the original Alice Cooper band, Elton John, Iggy Pop, John Lydon, and Dee Snider.

The film will be making its premiere at the 2014 Tribeca Film Festival and will then have a limited theatrical run at several theaters nationwide beginning April 30th. A special pre-recorded “Keep Calm & Just Ask Alice” Q&A and welcome from Alice will be included exclusively with each screening.

Head below for the trailer, poster, and list of theaters and dates.

4/30:
CITY: THEATER/VENUE:
Fairfax, VA Angelika Mosaic
Dallas, TX Angelika Film Dallas
Plano, TX Angelika Film Plano
San Diego, CA Gaslamp 15
Honolulu, HI Ward Stadium 16
Sacramento, CA Tower Theatre
La Mesa, CA Grossmont Center 10
Rohnert Park, CA Rohnert Park 16
Bakersfield, CA Valley Plaza 16
New York, NY Village East
Manville, NJ Manville 12-Plex
Murrieta, CA Cal Oaks 17
Cleveland, OH Capitol Theatre
Cleveland, OH Shaker Square Cinemas
Pittsburgh, PA Southside Works Cinema
Peoria, AZ Arrowhead Fountains 18
Oklahoma City, OK Bricktown 16
Chandler, AZ Chandler Fashion 20
Moreno Valley, CA Moreno Valley 16
Denver, CO Northfield 18
Phoenix, AZ Scottsdale 101
Arlington, MA Regent Theatre
Claremont, CA Claremont 5
North Hollywood, CA NoHo 7
Pasadena, CA Playhouse 7
Amherst, NY The Screening Room Inc.
Chestnut Hill, MA Showcase SuperLux
Millbury, MA Blackstone Valley 14 Cinema de Lux
Dedham, MA Showcase Cinema de Lux Legacy Place
Bridgeport, CT Showcase Cinemas Bridgeport
White Plains, NY City Center 15: Cinema De Lux
Whitestone, NY College Point Multiplex Cinemas
Edgewater, NJ Edgewater Multiplex Cinemas
Farmingdale, NY Farmingdale Multiplex Cinemas
Holtsville, NY Island 16: Cinema De Lux
Lowell, MA Showcase Cinemas Lowell
Foxboro, MA Showcase Cinema de Lux Patriot Place
Providence, RI Providence Place Cinemas 16
Springdale, OH Springdale 18: Cinema De Lux
Warwick, RI Showcase Cinemas Warwick
Randolph, MA Showcase Cinema de Lux Randolph
Revere, MA Showcase Cinema de Lux Revere
Elmsford, NY Greenburgh Multiplex Cinemas
Yonkers, NY Showcase Cinema de Lux Ridge Hill
Bonita Springs, FL Prado Stadium 12

5/1:
CITY: THEATER/VENUE:
San Francisco, CA Balboa Theatre
Cincinnati, OH Esquire Theatre
Columbus, OH Gateway Film Center
Sparta, NJ Digiplex Sparta
Mechanicsburg, PA Digiplex Mechanicsburg
Camp Hill, PA Digiplex Camp Hill
Williamsport, PA Digiplex Williamsport
Bloomsburg, PA Digiplex Bloomsburg
Selinsgrove, PA Digiplex Selinsgrove
Reading, PA Digiplex Fairgrounds
Solon, OH Digiplex Solon Cinema 16
Surprise, AZ Digiplex Surprise Pointe 14
Bloomfield, CT Digiplex Bloomfield
Lisbon, CT Digiplex Lisbon
Torrington, CT Digiplex CINEROM Torrington
Temecula, CA Digiplex Temecula Tower 10
Apple Valley, CA Digiplex Apple Valley 14
Bonsall, CA Digiplex River Village
Oceanside, CA Digiplex Mission Marketplace 13
Poway, CA Digiplex Poway 10
Westfield, NJ Digiplex Rialto Westfield
San Rafael, CA California Film Institute

5/2:
CITY: THEATER/VENUE:
Phoenix, AZ FilmBar

5/7:
CITY: THEATER/VENUE:
Athens, OH Athena Grand

5/13:
CITY: THEATER/VENUE:
Tuscon, AZ The Loft Cinema

5/19:
CITY: THEATER/VENUE:
Bridgeport, CT Bijou Theatre


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Categories: Horror News

'Oculus' Reflects Katee Sackhoff's Evil Doppelgänger

bloody disgusting - Wed, 03/19/2014 - 08:57

Teased in the film’s trailers, this new clip from Oculus stares into a mirror and reflects back Katee Sackhoff’s evil doppelgänger.

In theaters April 11, “The story centers on a murder that left two children orphans with authorities charging the brother while his sister believed that the true culprit was a haunted antique mirror. Now completely rehabilitated and in his twenties, the brother is ready to move on but his sister is determined to prove that the haunted mirror was responsible for destroying their family.

Mike Flanagan has directed one hell of an indie film that’s getting a rare theatrical run thanks to the balls of Relativity. Go support and show the studios you want more awesome indie films in theaters!

Categories: Horror News

[TV] "iZombie" Meets a Nerd

bloody disgusting - Wed, 03/19/2014 - 08:44

U.K. up-and-comer Rahul Kohli, pictured, has been set as the final series regular role in the Rob Thomas/Diane Ruggiero CW pilot “iZombie,” reported Variety.

Kohli will play an enthusiastic nerd who befriends the lead character in the show based on the DC Comics/Vertigo property about a medical student-turned-zombie. Rose McIver stars as Liv, the student who winds up solving homicide cases by eating the brains of victims and inheriting their memories.

Thomas penned the “iZombie” adaptation with Ruggiero and is on board to direct the Warner Bros. TV pilot.

Categories: Horror News

'Ghostbusters' Sequel Seeks New Director...

bloody disgusting - Tue, 03/18/2014 - 20:58

In some official news, Deadline reports that Sony Pictures is finally eyeing an early 2015 production start in New York on its next installment of Ghostbusters.

There is a major change, though. In the wake of the death of his close friend and original Ghostbuster Harold Ramis, Ivan Reitman has decided he won’t direct the film, after all. Explains the site, instead, Reitman will help Amy Pascal find a new director to take over what everyone hopes will reboot what the studio considers to be one of its most important franchises.

The site breaks down the film’s long-hindered history:

“In all the years Sony has tried to get this film up and running, Reitman has been the most stable part of the equation, long locked to direct his third installment of the film. This included the long campaign to get Bill Murray to reprise his signature role, when it became impossible to even get him to read a script that Sony, Reitman and their other architect Dan Aykroyd were happy with. It has been clear for a while that Murray wasn’t going to be part of this, and momentum has been building. Then Ramis, a catalyst for some of the biggest film comedies of the 1970s and ’80s, passed away. That has changed everything.”

A lot of things happened in the last few months, the most significant of which was the passing of Harold, who was a very good friend who was extraordinarily influential in my career. We did five movies together including both Ghostbusters,” Reitman explained.

Reitman confirmed the Murray chase, one that encompassed not one but two scripts.

The first was done by Lee Eisenberg and Gene Stupnitsky, and me, Harold and Dan helped them on it,” Reitman said. “It was a really good script, but then it became clear that Bill really didn’t want to do another Ghostbusters and that it was literally impossible to find him to speak to for the year or two we tried to get it going. When Bill finally…well, he never actually said no, but he never said yes, so there was no way to make that film. We decided to start over again, and I started working with Etan Cohen, with Dan lending a helping hand. Harold got sick about three years ago, and we kept hoping he would get better. I kept pushing forward on the Etan Cohen and we now have a draft that is very good, that the studio is very excited about.

It’s a version of Ghostbusters that has the originals in a very minor role,” he continued. “When I came back from Harold’s funeral, it was really moving and it made me think about a lot of things. I’d just finished directing Draft Day, which I’m really happy with and proud of. Working on a film that is smaller and more dramatic was so much fun and satisfying. I just finally met with Amy and Doug Belgrad when I got back. I said I’d been thinking about it for weeks, that I’d rather just produce this Ghostbusters. I told them I thought I could help but let’s find a really good director and make it with him. So that’s what we’ve agreed will happen. I didn’t want all kinds of speculation about what happened with me, that is the real story.

Reitman said they are already working on a short list of directors they’ll go out to, and then it will be time to find the new cast. “I’m not going to say how many Ghostbusters there will be in the new cast, but we are determined to retain the spirit of the original film, and I am pleased that all of this seems to have happened organically,” he said. “I’m hoping we can get started by the fall, set in New York, but given the logistics and the stuff that happens, the beginning of 2015 seems more likely.

Click the above link for the entire story.

Categories: Horror News

Image Gallery for True Crime Thriller 'Devil's Knot'

bloody disgusting - Tue, 03/18/2014 - 20:14

Set for release on May 9 is Image Entertaiment’s crime thriller Devil’s Knot, which now has an official trailer, poster and image gallery.

Devil’s Knot, about the West Memphis Three killings, stars Colin Firth and Reese Witherspoon. The film, which received mostly mixed reviews at Toronto, is based on Mara Leveritt’s book “Devil’s Knot: The True Story of the West Memphis Three.”

“Devil’s Knot tells the compelling story of three teenagers accused of the brutal 1993 murder of three 8-year old boys in Memphis, Ark. – two of them sentenced to life imprisonment and one to death. The film explores the lives of deeply misunderstood outsiders, their families and communities, and their darkest fantasies. The conviction of the West Memphis Three – Damien Echols, Jesse Misskelley, Jr., and Jason Baldwin – riled the American justice system, shocked a tightly knit religious town and outraged the nation.

The film was written by Scott Derrickson (Sinister) and Paul Harris Boardman, who also produced alongside Elizabeth Fowler, Richard Saperstein, Clark Peterson and Christopher Woodrow of Worldview Entertainment.

Categories: Horror News