Remakes. Revamps. Rehashes. That’s virtually all we seem to be hearing of late, especially when it comes to horror. The latest to receive said remake treatment is Julien Maury and Alexandre Bustillo’s revered home invasion shocker Inside, although the helmer gallant enough to tackle a project doomed to allure hordes of haters well before the film even screened, Miguel Ángel Vivas (Extinction, Kidnapped), assured me that his take on the original is anything but a mere retread of the source material.
Under the production wings of Adrián Guerra and Nuria Valls at Spain’s Nostromo Pictures, Manu Diez ([REC]2) and Jaume Balagueró’s ([REC], Sleep Tight) script, coupled with Vivas’ direction, promises to take the original premise and convert it into “an edge-of-your-seat thriller” that’s much “more Hitchcockian than a splatter-fest.”
So, mere moments before Inside screened as this year’s curtain opener at the 2016 Sitges International Fantastic Film Festival, Dread Central caught up with Vivas to pick his brain as to what it was that ultimately convinced him to take on such a “delicate” remake, particularly when one of his absolute no-nos up until then had been to NEVER accept to direct a movie that had already been done…
DREAD CENTRAL: The script had actually been written six or seven years prior to the project actually going into production. When and why did the wheels finally start turning and how did the script end up in your lap?
Miguel Ángel Vivas: The whole thing actually came about right here in Sitges. I was having lunch with Jaume Balagueró and we were just casually chatting about this idea and script he had for Inside. Jaume told me that when he’d seen the original French film it had left him eager to create an alternate version that a wider audience would be more appreciative of. He thought the idea of having this pregnant woman trapped inside a house was a great premise but then [REC] 2 and Sleep Tight came along so he kind of left the Inside project to one side. Anyway, about a week after that chat at Sitges, the producer, Adrian Guerra, called me up to ask me if I thought the Inside project that we’d talked about sounded like a good idea. I asked him why he wanted to know and he said that they wanted me to direct it.
As soon as I heard that, my initial reaction was, “No way! Not a bloody chance.” I reacted like that at first mainly because it was a remake; and a remake of a film that I adore. One of my rules until then was to never direct a film that had already been done. A while back, I was actually offered to direct a remake of my own film, Kidnapped, in the U.S. and I just thought it would have been nonsensical. The producers tried convincing me about that one by saying that it wouldn’t be repeating the same as it would be in English etc, etc, etc. but I said that I’d already had my stab at my film and that a different director should helm that one so that it would be far removed from the original and it would be something that I’d be very interested in watching but not if it were me directing a film that I’d already done.
Getting back to Inside, a couple of days later I realised that I’d just done a film about fatherhood and I fancied doing something related to motherhood at that precise moment in my life. So I accepted the gig but I wanted to be sure that what we did wasn’t really just a remake of the original. Everyone asks me what I’ve changed or what I’ve improved or what’s worse. The truth is that I haven’t changed anything so to speak. There’s nothing about the original that needed improving so the only thing I was interested in was to make MY film. So the original definitely provided the building blocks for my “version,” but then there were things that I wanted to add that I came across in news stories and the like, so they were things that weren’t in the original but that I came across that I thought would fit right into the story and add some extra meat and a new perspective to the whole thing.
DREAD CENTRAL: So I’m guessing you got together with the writers, Balagueró and Diéz, to blend their original ideas with these ideas you wanted to implement to make this version of Inside as much your own “baby” as possible?
MAV: The first thing I was really interested in was how a woman suddenly becomes a mother – how that person changes when she becomes pregnant and adapts in preparation for this new chapter in her life. I wanted to emote this metamorphosis of a woman becoming a mother and I wanted to emote this as visually as possible. Instead of creating a straight-up horror movie, I wanted to create more of a thriller with all these highs and lows and I wanted each of the set pieces to play out as if they were the mother’s contractions; each one bigger than the previous one and creating very different emotions or experiences for the characters and also for the audience. Each set piece is actually shot in a completely different style to accentuate each of these “contractions.” You’ll see certain sequences with specific movements and lighting that’ll remind you of the silent movie era, but then you’ll see how we’ve tapped into more of a Hitchcockian approach and then others are more rooted in the likes of Carpenter, Raimi or De Palma. Don’t get me wrong; I never intended to simply replicate their styles, but what I wanted to create was something that never remained the same thoughout so that the audience never knows what to expect and to keep the film constantly fluctuating and intriguing. And I used this idea of various contractions to help the audience follow the protagonist’s journey to becoming a mother. We see this fear she has in becoming a mother but at the same time we see just how far she is willing to go to fight for her baby and to ultimately then become a mother – something that no one can ever really teach you because mothering is something that is essentially born out of instinct. Also, without spoiling anything, I added something towards the end that I wanted to use to highlight that who is really being born is the mother and that once her child is born, the mother will never be the same person that she was before that moment.
DREAD CENTRAL: I’m definitely sensing that you were more interested in tapping into the more tender side of motherhood compared to the original film. Is that why you and the co-writers wanted to create something targeted for a wider audience and also why the gore plays much more of a supporting role this time round?
MAV: From the word go, I saw this as much more of a commercial film. I’d already done Kidnapped where I had wanted to shock the audience by any means possible and I always try to refrain from repeating myself. I’d already done a really brutal film and I’d got that out of my system so I wanted to do something completely different. That’s exactly why I liked the idea of taking a film that was so brutal, like the original Inside, and turning it into something much more commercial and something that nobody would ever expect. I was excited by the challenge of creating those same levels of tension, fear and anguish without going down the easy route of just filling the frame with blood. I wanted to challenge myself to achieve all of the above just by using the camera, the emotions, the way each scene is staged. Just as an exercise and a challenge for me as a filmmaker made it more than worth taking on the project. But then, now having filmed Inside, I’m sure the next film I take on will be the hardest and toughest thing I’ve tackled so far. I’m working on a revenge film right now and what’s most important for me when it comes to taking on projects is that I need to understand exactly what it is that’s important to me to inject into each film I do – for the better or for the worse – but it needs to be exactly what it is that I’m interested in doing at each specific juncture in my life and career. All I ask of people when they go and see Inside is that they see it as a film in its own right and not as a remake because I intentionally didn’t want it to be a straight-up remake.
DREAD CENTRAL: Something you were adamant about was that the antagonist in the film had to be an older woman. Your lead, Rachel Nichols, told me how she had various actor friends that she thought would be perfect as the villian but who were all around the same age as her, but you wanted someone older.
MAV: That’s exactly right. For me, the villain had to have missed the train in terms of being able to have babies to make her role in the film all the more meaningful. It had to be Rachel’s baby and Rachel’s baby only.
DREAD CENTRAL: Given the very limited cast, choosing the two leads must have been a challenge and a half.
MAV: It’s just one of those cases where you come up with a list of about twenty people who you think would be interesting for the film. Your agents look at that list and there will only be about half of those that are free when you want to shoot. That list of ten is then sent to the actors’ agents and five of those ten agents like the project. But it doesn’t just depend on the agents of course. The actors have to be interested in the project too, so we ended up with about three actresses interested in coming on board. When it came to Rachel, I was really sure that we had exactly who we needed. She’s always proved herself when it comes to action but she’s also proved herself in roles as a victim, like she did in Aja’s P2, but then suddenly we saw her kicking ass in G.I. Joe. Putting all that aside though, I just really liked her acting style.
With Laura Harring it was a different story altogether. I’ve always been fascinated by her. I suddenly got a call telling me that another actress had read the script and was interested in playing the villain and her name was Laura Harring. My reaction was, “You’re kidding! This can’t be happening. You’re taking the piss here because you know how much Mulholland Drive means to me.” But it was anything but a wind-up and we set up a Skype video call. When we spoke to each other, I put on my serious face to talk about the project but my inner voice was jumping up and down shouting, “I’m talking to Laura Harring! Shout out, man! Tell her how much you love her!” I just couldn’t believe how lucky I was that she wanted to work on a project with me. I couldn’t have been happier.
DREAD CENTRAL: To wrap up, just minutes away from the Sitges premiere of Inside, a thousand hopes and fears must be going through your mind right now.
MAV: My biggest concern right now is that we’re in Sitges and you can’t even begin to imagine how much love I have for this festival. I was just chatting with the director of the festival, Ángel Sala, about my nerves and he said, “How can you be nervous today when you’re playing in front of a home crowd? You love this festival and this festival loves you!” And I told him that that’s precisely why I’m so concerned about people’s reactions. If it were any other festival it would still hurt if people didn’t react as well as hoped, but it’s not the end of the world. But here in Sitges, so many people that I love so much are here and I’ve been coming here for more than ten years on the trot so you can imagine just how much this means to me. But at the sime time, at the end of the day, the emotions and the happiness I get from being able to open this festival with our film makes everything worthwhile.
With further festival and theatrical release dates yet to be announced, we hope to be able to bring you that news as and when it rolls out. In the meanwhile, we’ll leave you with a couple of snapshots from this year’s Sitges festival.
Event Coverage: Mark Patton and Kim Myers Talk Freddy’s Revenge in London
Earlier this month Unicorn Nights organized a rare treat for horror fans, not only did we get to view the often under rated A Nightmare on Elm Street Part 2: Freddy’s Revenge but we were also honored to be in company with the two leading cast members. Mark Patton who played Jesse Walsh and Kim Myers who played his on screen girlfriend Lisa Webber were on hand for a Q & A session once the 1985 sequel had wrapped and Dread Central was in London for a full report.
Every horror fan has their own take on Freddy’s Revenge which has always felt like a standalone movie compared to the rest of the franchise. Speaking to fans at the infamous Prince Charles Cinema where the event was being shown they recalled moments that made the movie so special and separate from the other sequels. The bright yellow school bus, Jesse’s 20 inch tongue, Freddy bursting out of a Mark Patton plastic fantastic body, the exploding parrot, Jesse’s dance, Jesse’s fight, Jesse’s scream, the dog with a human head, the horrifyingly beautiful score by Christopher Stone, Hope Lange, Clu ‘fucking’ Gulager, the beautiful Kim Myers (who judging by tonight hasn’t aged) and of course the infamous line when Freddy tells Jesse,”you’ve got the body, I’ve got the brain”, before peeling back the skin on his head to reveal his pumping organ.
When the movie had wrapped Mark and Kim got down to business and answered fans long awaited questions. Myers confirmed that her audition had been grueling and that she had been asked back four times, but it was her read through with Patton that convinced the powers that be to cast her. “It was a dream come true to get the part and the opportunity of a lifetime”, confirmed Myers.
It was also interesting to learn that Robert Englund who of course would return as Freddy Krueger was the very last cast member to sign on for the sequel, and his participation was very much in the balance. Patton made everyone in the room laugh when he answered a question from a fan who said ‘was his screaming really him?’ Patton confirmed it was, before revealing that the sound men were in fear of him. Of course Myers is the only actress to have kissed Freddy and she revealed that the peck was very slimy and disgusting , but it was all about saving the love of her life, and with that, both her and Patton, embraced in what had been a fantastic and memorable night for the fans that had turned up for this sold out showing.
ABOUT UNICORN NIGHTS:
Unicorn Nights is the LGBTQUAI strand of films at the Prince Charles Cinema. Looking at some of the best (and worst) films that appeal to a queer unicorn audience. From Classics like Dirk Bogarde’s Victim and Tilda Swinton’s Orlando to lesbian werewolf love stories Jack & Diane and coming out classic Get Real. Their goal is to not let forgotten films from gay film makers or covering gay subjects be forgotten about and give a safe space for unicorns (as they like to call their audience) to come and enjoy film in the beating heart of London’s film center.
If you are in the London area you can follow Unicorn’s latest events and keep up to date by clicking here!
Also check out news on Mark Patton’s new documentary, Scream Queen: My Nightmare on Elm Street.
All Photos: David Bronstein
2017: The Digital Rebirth of the Midnight Movie
This year’s Sundance audience had no idea what they had signed up for when they entered the Egyptian Theatre on January 21st, the midnight premiere of Kuso. While Flying Lotus has established a well-earned legacy through his music, feature films are a fresh venture for him – and his first effort was transgressive enough to be dubbed one of the grossest films ever made. In spite of this film’s instant infamy, however, it didn’t have a theatrical run. Its grotesque pleasures must be sought almost exclusively online. Only some (lucky or unlucky) cinephiles have been able to experience this creation as it, and much of its ilk, should be – in the darkness of a theater.
The midnight movie phenomenon truly broke into the mainstream during the late ‘60s, amidst the academically-deemed Golden Age of American cinema. Now-famous directors like John Waters, David Lynch, and Alejandro Jodorowsky earned notoriety with these works – made infamous by their grotesque natures, sure, but also because they broke cinematic rules in such effective ways. There is something cathartic about watching a film that shows you something impossible, surrounded by others who are just as shocked and moved. This is an experience that audiences can’t truly replicate outside of a theater, at any time before nightfall.
Since the rise of the multiplex and big-chain theaters, independent cinemas have had a more difficult time competing. Why settle for one screen, anyway, when you can have twenty? With blockbusters and a series of misfires (lookin’ at you, Heaven’s Gate) putting an end to the revolutionary Golden Age, there wasn’t a space for midnight movies. Perhaps this was because they defy classification. Their ultimate effect may be disgust or discomfort, but a midnight movie isn’t necessarily horror, or comedy or sci-fi, for that matter. Without a category, they’re impossible to sell – or sell easily.
Film festivals have become the salvation of these less accessible offerings. Kuso was one of eight midnight selections at Sundance this year, amongst the equally harrowing (albeit less gooey) Bitch, the oddly touching The Little Hours, and entertaining anthology XX, to name a few. Big players like South by Southwest, TIFF, Tribeca and AFI sport midnight sections as well, which have premiered recent smashes like Turkish hellfest Baskin or monstrous love poem Spring – while the equally important Fantastic Fest and Sitges Film Festival have focused solely on genre films for years. Fest favorites still rely on distribution to find a broad audience, though, and often the weirdest ones get left behind.
So, where do modern audiences find these films when they don’t get a traditional release? They have to go online. Netflix’s horror section is notoriously uneven, though its acquisition of IFC Midnight’s lineup has improved it immensely. One of the most consistent platforms for weird cinema is far more niche – AMC’s hidden gem, Shudder. It’s advertised as Netflix for horror, but its curators have shown a specific focus on all things strange, regardless of category. This year, they’ve acquired more standard genre fare, like the heinously clever Better Watch Out and the powerful, agonizing Revenge; but arguably their most famous grab is Kuso, which draws an entirely different audience. Fresh acquisitions like Prevenge and We Are the Flesh, along with hard-to-find classics such as Death Bed: the Bed that Eats and The Devils, prove the site’s attention to exposing new audiences to bizarre, world-changing content.
It isn’t to say that weird movies haven’t been made in the decades between these periods; but we seem to have entered an age in which they’re becoming easily accessible again. Prestige talent has begun crossing into weird movies too; see Anne Hathaway in the genre-destroying Colossal or Jennifer Lawrence enduring all sorts of abuse in mother!, remarkable if only for the fact that Paramount released it with no questions asked. Stylish directors like Ben Wheatley and Ana Lily Amirpour broke into the mainstream with their own no-budget visions of strangeness, A Field in England and A Girl Walks Home Alone at Night, respectively.
Presenting a new generation with films that challenge, provoke, disgust and distort is essential; we live in a time of upheaval and anxiety, so why not explore movies that show the world in all its chaotic glory? Even so, that connection of a dark theater is missed – and fans can hope that somehow, the system will change again, allowing for a fresh cycle of movies that only play at night.
12 Spooky Video Game Farms To Celebrate Your Thanksgiving
Happy pre-Christmas, everybody! It’s once again that magical time of the year, where all the department stores get out their light up Santas and tinsel to celebrate the birth of capitalism. The Spooky Month is gone, all praise be to the glorious Coca-Cola Company. Oh, and there’s also something about turkeys and stuffing your face with enough pie to temporarily shut down your brain’s ability to recognize your in-laws as the enemy.
Now if you’re like me and your family is an impossible five whole hours away from you, you might be spending Thanksgiving alone. No shame in that, just a single adult man alone in his room on a day meant for loved ones. But that doesn’t mean that we very-much-not-lonely-and-totally-content-with-our-life-choices individuals can’t have some fun! So this year, I’ll be celebrating Thanksgiving by remembering the American heartland that made this all possible. The noble farmer, tilling the soil from dusk till dawn until automation made his job mostly just pushing buttons. So join me if you will, with my list of 12 Spooky Video Game Farms to Celebrate Your Thanksgiving!
12) All is Dust
All is Dust is pretty much the reason that this is a list of “Spooky Video Game Farms,” and not “Top Spooky Video Game Farms.” This is a game that I once used to kick off a series of negative reviews I called “Bottom of the Bargain Bin,” you can go ahead and read my rambling review if you are so inclined. For the rest of you, I’ll recap by saying that All is Dust is bad. None of that wishy-washy some redeeming nuggets that you can see through the rest of the turd. It’s just plain bad. But what it does have going for it is that, A) it is 100% free, B) it 100% takes place on a farm, and C) it’s so bad that it sticks in my brain as being entertaining. Play if you’re very bored or truly deranged.
11) Farm for your Life
Although not really living up to the “Spooky” part of the “Spooky Video Game Farms” list, I’d be remiss to leave it out. Taking place after the zombie apocalypse, you must do your best to raise livestock and run your restaurant by day, and defend it from waves of zombies by night. It’s part tower defence, part Harvest Moon, part Cooking Mama, part Diner Dash, and part Minecraft. For only $10, it’s definitely worth checking out just for the unique premise and adorable zombies.
10) Monster Rancher
Whereas Pokémon was about a small child going forth into nature to enslave its creatures and force them to fight in the ultimate bloodsport, Monster Rancher was about setting up the ideal monster sex palace. Okay, you still make them fight. This is a monster raising (or, if you will, monster ranching) simulator after all, it would be pretty bleak of the ultimate goal was to just chop them up and sell off the best bits. It never did as well as Pokémon, but I always found something charming about Monster Rancher’s take on raising your monsters. Rather than just fighting to get bigger and stronger, you could raise their individual stats by making them do chores like tidying up or running laps. I got much more of a sense of attachment to my individual monsters when I felt like I was their dad, making them mow the lawn for their own good. Then, later as their pimp, I forced them to mate and produce supermonsters.
9) Land of the Dead: Road to Fiddler’s Green
Somewhere out there some, search optimization program must be whirring its little algorithms in confusion as this is the first time anyone has mentioned Land of the Dead: Road to Fiddler’s Green in a decade. A tie-in to the equally unloved Land of the Dead, it actually serves as a direct prequel. You play as Jack, a farmer who on the night of the zombie outbreak finds his farm besieged by… well you know the drill. Road to Fiddler’s Green gets bonus points for not only partially taking place on a farm, but for starring an authentic American heartland stereotype farmer. Now let me be clear, this game is pretty bad. But it’s even more so that endearingly simple kind of bad, where the zombies are so easily avoided it’s like the scene from Dawn of the Dead where the bikers are basically just having an orgy around them. I have no idea where you’d get your hands on it, but give it a play if you want some good ol’ fashioned bad game.
8) Dead Secret
This is the part where if this were a “Top” list, it would begin in earnest. Like a Jigsaw victim tasked with beating Five Nights at Freddy’s, this is a game that surprised me. I’m not really keen on the whole fixed point VR thing, as it tends to only lend itself to jump scares, but Dead Secret won me over with some thrilling chases and overall creepy atmosphere. The bizarre plot contains oni-masked demon spirit guides, magic slugs, dream machines, and the phases of the moon. It’s definitely something worth checking out, and is available on all major VR headsets. Even without one, I found the game enjoyable.
First of all, if you don’t find Minecraft scary, fuck you. You’ve obviously never played it. I do not care how blocky the graphics or adorable the sheep are. You try to listening to the zombies moaning softly in the distance as you huddle in your makeshift hovel and pray the night to be over. How about you place the last block on your new swimming pool, only to hear the telltale hiss of a creeper just behind you. Then you can come back and tell me that Minecraft isn’t horror. And don’t tell me it’s not a farm, either. All you do in Minecraft IS farm. It’s a game about building things to eventually grow more things so you no longer have to go out of your way to collect things. That is the literal transition from hunter/gatherer to farming.
6) Slender: The Arrival
Now that it’s been 4 years since its official release and the hype/controversy has died down, I’m free to say nice things about Slender: The Arrival without sounding like a pandering YouTube twat. In retrospect, the part of Slender that I really didn’t like (other than the community) was the first randomly generated section. The whole 11 or so interchangeable environments with 8 pages scattered between them just felt unnatural, a cheap way to lengthen gameplay at the cost of a cohesive world. However, I found the game to be pretty good when it got to the more linear scripted areas. One such level was titled “Homestead,” and takes place on a spooky farm complete with grain silo and quaint little hilltop church. It’s a pretty solid little piece of horror, and definitely worth watching someone overreact to on YouTube.
5) Resident Evil 4
Resident Evil 4 is not a game wanting for memorable locations. It’s got a spooky castle, a spooky military base, a spooky mine, a spooky… ancient ruins? I mean hell, this is a game with an underground lava fortress and a minecart ride! That being said, I don’t know a single person who doesn’t immediately associate Resident Evil 4 with the first pitched siege battle in the farming village. Many of the game’s most memorable moments come from these first few chapters in the decaying rural town, including the enduring introduction of Mr. Chainsaw-McSackface. That alone deserves a spot on this list.
4) Dying Light: The Following
When I gave Dying Light: The Following a five-star tongue bath awhile back, much of that was due to my own personal disappointment with DLC releases. You really have to give props to a DLC pack that is at the same time affordable, lengthy, and adds something genuinely new to the title. For The Following’s case, that came in the form of lengthy rural sections you had to get across in your sick customizable buggy. It was unique compared to the previously cramped and vertical spaces of the main campaign, adding even more freedom to a game about freerunning.
3) The Walking Dead
Back in the day, Telltale Games was that cute little indie company putting out new Sam and Max games and the CSI tie-ins. That all changed in 2012 when The Walking Dead put them on the map. Before then, no one expected that a game you could play on your iPhone would make you cry. Of all the heartbreaking and shocking moments, perhaps the most is the dinner at the St. Johns’ farm. Clementine will remember that…and so will I.
2) Resident Evil 7: Biohazard
The last two additions on this list basically write themselves. I’m choosing to give Resident Evil 7: Biohazard the second slot because it’s just way less recognizable as once having been a plantation. As someone who doesn’t find country bumpkins scary, the crazed hillbilly trope of films like Texas Chainsaw Massacre or House of 1000 Corpses never really got to me. The Baker family? These people scare me.
1) Outlast 2
Of course the top spot on this list goes to Outlast 2. If you Google “horror games on farms,” it’s the first result. And there’s good reason for that. Outlast 2 takes everything unsettling about rural Americana and cranks it up to 11. You’ve got slaughterhouses filled with people, rotting cattle, a syphilitic cult leader, pits filled with dead babies… the list goes on and on. It’s genuinely terrifying. I’m not even someone who likes the weaponless approach to horror, but with Outlast 2 it’s as much about the setting as it is the jump scares. Definitely check it out.
Well, there you have it horror fans. A nice sampling of 12 Spooky Video Game Farms to Celebrate Your Thanksgiving. I tried to include a little bit of everything for everyone here, but let me know if I missed your favorite heartland horror! Happy pre-Christmas to all, and to all a good… fright?
…I’ll see myself out.
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