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Sherman Talks Deathline Remake!

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Gary Sherman to remake his own DeathlineDuring the recent Fantasia film festival I got a chance to sit down with Gary Sherman for an epic two-and-a-half-hour interview. I’m still in the process of putting that monster together, but I thought I would thrown this juicy bit out to you guys as a taste.

As you may know, Deathline, a.k.a Raw Meat, is in the early stages of being remade, and during our talk Gary filled us in that after being approached by various studios about acquiring the rights, he and producer Alan Ladd Jr. decided to remake the film themselves, though not without some reservations “The only person that’s ever remade their own film is Alfred Hitchcock. I don’t know if I’d want to be egotistical enough to put myself in that company,” says Sherman. He goes on to mention that when he brought the possibility of a remake up to good friend “G” (Guillermo Del Toro, who credits his desire to be filmmaker to Deathline), Del Toro emphatically responded, “You can’t improve upon perfection. Don’t even think about it!”

Sherman describes the process of rewriting a 24-year-old film:

“I started to do a rewrite of the original script, except we’re going to move it to America and make it American,” he explained. “I decided to set it in Chicago because I love shooting in Chicago. But I had to put myself in the space where I’ve just come up with the idea of survivors of a tunnel collapse from 100 years ago under Chicago. Historically it works better in Chicago than it works in London because Chicago had a series of freight tunnels that were built illegally after the fire. The tunnels are still there under central Chicago. It’s really creepy.

DeathlineSo then I thought about society today, and what characters are today, and I wrote a whole new script. What happens down below is very much the same, but what prompts things above is different. There’s no Donald Pleasance because the cops don’t get involved in this one. They don’t give a shit.”

Well, that sure is pretty harsh, though it’s more or less true. So what makes them go down there in the first place? “The kids are a band. They’re from some other part of the country, backpacking around, and that’s how they get involved in this thing. When they go to the cops, they think the kids are just a bunch of potheads.” Ah, those crazy teenagers with their wild stories about underground cannibals…

“The way we’re leaning now is to put a real band in the movie. We’re leaning towards going with a solo female singer and surrounding her with actors who can really play instruments. We’re working with the music studios now. There are some really great female vocalists out there who can act. This is a really demanding part. It’s a really dramatic film, driven by music.”

DeathlineThe idea of using a real band is a double-edged sword, so thank God Sherman is still keeping his eyes on the terror. “As horrifying as the flick is going to be conceptually, I also really play up the cannibalism aspect. It’s there, and you know it’s there, and you have to deal with that part of it. The main character Jess is an amazing character. She doesn’t need a bunch of guys to come save her. In fact, in the end she basically saves their asses. It’s basically a horror chick flick.”

Well, there you have it. Like you, I’m a little concerned about how this whole female vocalist casting is going to pan out, and despite Deathline basically inventing the claustrophobic underground monster movie, putting a tough chick in a cave with a monster is going to reek of The Descent to megaplex audiences who have never heard of Deathline. It’s a shame that the original could end up coming off as derivative, but such is the fate of the remake. Gary told me that he’s currently planning to direct the remake himself, and given how much 39: A Film By Carroll McKane rocks (read my review here), he may just be able to pull it off.

Stay tuned for more juicy details in the upcoming Gary Sherman interview…

Evil Andy

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AfterShock Comics Announces First Anthology Collection Titled Shock

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AfterShock Comics continues to push boundaries by presenting Shock, its very first anthology collection featuring a slew of today’s top writers and artists. It arrives in March of next year, and we have a look at the cover plus a few interior pages for you along with quotes from several of the creators.

Presented in the “European Album” format (same as the recent Animosity: the Rise hardcover for LCSD), this handsome hardcover features the creative talents of Bill Willingham, Marguerite Bennett, Mike Carey, Jim Starlin, Michael Zulli, Charles Vess, Michael Gaydos, Andy Clarke, Andrew Robinson, Sarah Delaine, Phil Hester, Paul Jenkins, Neil Gaiman, Dalibor Talajic, Travis Moore, Brian Azzarello, Francesco Francavilla, Cullen Bunn, Marc Guggenheim, Frank Tieri, Brian Stelfreeze, and more.  The cover art is by John Cassaday.

Shock hails from Joe Pruett, the multiple Eisner and Harvey Award-nominated editor of the classic Negative Burn anthology series.

CREATOR QUOTES:

CULLEN BUNN: My story, “Blooderflies,” is a horror/dark fantasy yarn that tells a complete story in just 8 pages, but it should keep readers thinking about the setting and “what happens next” for some time to come. To me, that’s part of what makes AfterShock’s catalog so thrilling. These stories, short or long, really fire the imagination. I couldn’t be happier to be included alongside these amazing creators.

MARC GUGGENHEIM: “Metroclash” is an idea that’s been burning a hole in my notebook for years: What if cities could fight like people? It’s the kind of huge, visually-driven idea that could only be done in comics. My story centers on a clash between New York City and Chicago, and I couldn’t be more excited about getting this crazy, bombastic concept out into the world.

MIKE CAREY: My story in the anthology is an autobiographical piece about growing up in Liverpool in the middle of the last century, a time that in some ways feels as distant as the late Jurassic. I’m trying to make sense of the disconnect between the world I knew as a kid and the world I live in now. It’s also a story about the way memories work and the way we constantly try to build a coherent narrative out of the incoherent facts of our lives. I’ve slipped biographical details into stories before, but I’ve never written a fully autobiographical story. I’m excited to see how it comes out, not least because Szymon Kudranski is doing the art, and I can’t wait to see how my life looks in his gorgeous black and white palette.

FRANK TIERI: My story is called “Little Red Hood,” and you can think of it as basically “Little Red Riding Hood” as if it was a Quentin Tarantino movie. The familiar fairy tale is instead set up as a big drug deal gone horribly wrong. So in our case, Red is a drug courier delivering a package to the biggest drug dealer in town– that of course being Grandma– and then rival drug dealer “The Wolf” arrives, and everything hits the fan. It’s over-the-top, ultra-violent, and very much not the beloved Brothers Grimm yarn we all grew up with. So yeah, this ain’t a beddy bye story you’ll be reading to your kids anytime soon. Or at least it sure as hell shouldn’t be!

MARGUERITE BENNETT: AfterShock has given me the most creative freedom I’ve had in my entire career–I’m always delighted to submit these twisted pitches and hear back that this is the one place those strangest stories can find a home. For my own part, my story is a family revenge drama set in a Border town in the 1970s–a ghastly little tale about the gifts that give and the gifts that take. I’m thrilled to be a part of such a splendid anthology.

PHIL HESTER: I feel privileged to work with one of my all-time comics heroes in Jim Starlin. Our short story “Berserker” is a prime example of Jim’s unique ability to marry very personal narratives with cosmic action and timeless imponderables. I hope I can do it justice.

This Is Istanbul

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Here’s Episode One of Dan Yadin’s Stop-Motion Animated Comedy I Want to Kill

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Brooklyn-based writer/director/filmmaker Dan Yadin’s new dark and twisted animated comedy “i want to kill” has premiered and you can watch the utter madness below.

The episode stars comedians James Adomian (@midnight, Children’s Hospital, Comedy Bang! Bang!), Amber Nelson (Guy Code, Netflix’s ‘Characters’) and Clark Jones (HBO’s ‘Crashing’, Brooklyn’s 50 Funniest People).

“i want to kill” is made from cardboard sets and low-rent stop motion and it is pretty damn strange if you ask me. But if that’s your thing then I think you’ll enjoy the animated series.

Check it out below and then make sure to hit us up and let us know what you think!

Synopsis:

Astronaut Robert Holeman is fed up with Suburbia, after years of desires going unrealized and confronting his privilege, boredom, and mortality he’s been nudged into a sort of suicidal/genocidal nihilism stoked by a steady diet of drugs. The violent fantasies, anger, and fear don’t belong to just Robert, but also to his neglected girlfriend and son. “i want to kill” is about catharsis and release. Anger unchecked leads to emptiness, but boy is it funny.

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Go Christmas Caroling with The Killing of a Sacred Deer

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Given that I personally have gone Christmas caroling with various lunatics hopped up on eggnog, what the hell… why not go Christmas caroling with The Killing of a Sacred Deer? Dig on this latest clip!

Look for the flick starring Colin Farrell (Best Actor in a Motion Picture – Musical or Comedy, In Bruges, 2009) and co-starring Oscar winner Nicole Kidman (Best Actress, The Hours, 2003) to hit Blu-ray, DVD, and digital on January 23rd. Yorgos Lanthimos directs.

Special features include “An Impossible Conundrum” featurette, and the package will be priced at $24.99 and $19.98, respectively.

Synopsis:
Dr. Steven Murphy (Farrell) is a renowned cardiovascular surgeon presiding over a spotless household with his ophthalmologist wife, Anna (Kidman), and their two exemplary children, 12-year-old Bob (Sunny Suljic) and 14-year-old Kim (Raffey Cassidy). Lurking at the margins of Steven’s idyllic suburban existence is Martin (Barry Keoghan), a fatherless teen he has covertly taken under his wing.

As Martin begins insinuating himself into the family’s life in ever-more unsettling displays, the full scope of his intent becomes menacingly clear when he confronts Steven with a long-forgotten transgression that will shatter the Murphy family’s domestic bliss.

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