‘Rampage’ Sneaks Up on ‘A Quiet Place’ to Win Weekend Box Office
After a weekend of fluctuating projections, Dwayne Johnson (just barely) owned the North American box office after all.
Though earlier estimates looked like the second frame of A Quiet Place would take the weekend, Johnson’s Rampage snuck up to take the top slot with $34.5 million from 4,101 theaters.
New Line Cinema and Warner Bros.Rampage opened under initial predictions that estimated between $37 million to $40 million. Though the sci-fi actioner has an impressive A- CinemaScore and 80% audience approval on Rotten Tomatoes, “Rampage” will need to rely heavily on overseas to carry its costly $120 million budget.
Still, its opening was enough to just narrowly take the box office crown from A Quit Place” which earned $32.9 million in 3,589 locations. “A Quiet Place” has been riding high with rave reviews only dropping 34%. That brings its cumulative domestic gross to an impressive $100 million.
Also benefitting from the Friday the 13th weekend was Universal and Blumhouse’s Truth or Dare starring Lucy Hale and Tyler Posey. The supernatural thriller debuted in third place with $19 million from 3,029 theaters.
“This is an outstanding debut considering the competitive landscape,” Jim Orr, head of domestic distribution at Universal, said. “For original horror, Blumhouse has define the genre for many years. They built a model that is just terrific.”
The third frame of Steven Spielberg’s “Ready Player One” made $11 million from 3,661 locations, lifting its domestic gross to $114.5 million.
Rounding out the top five is the sophomore weekend of Universal’s “Blockers.” Kay Cannon’s raunchy comedy starring John Cena, Leslie Mann, and Ike Barinholtz took in $10 million from 3,418 locations. In total, the pic has made $37 million.
The wide release of Wes Anderson’s “Isle of Dogs” made $5 million from 1,939 locations. The stop-motion animated film, which has grossed $18.5 million, opened in limited release at the end of March with the best per screen average of 2018 to date.
Another newcomer, Entertainment Studios’ canine-themed “Sgt. Stubby: An American Hero,” made $1.1 million in 1,633 locations. Directed and co-written by Richard Lanni, “Sgt. Stubby” features the voices of Logan Lerman, Helena Bonham Carter and Gerard Depardieu.
The 2018 box office is down 2.4% compared to 2017. The same weekend last year, where “The Fate of the Furious” opened with $98.8 million, is down 15.5%
Milos Forman, Oscar-Winning Director of ‘One Flew Over the Cuckoo’s Nest,’ Dies at 86
Czech-born director Milos Forman who won best directing Oscars for “One Flew Over the Cuckoo’s Nest” and Amadeus has died. He was 86.
Forman died Friday in the U.S. after a brief illness, his wife, Martina, told the Czech news agency CTK. She said that “his departure was calm, and he was surrounded the whole time by his family and his closest friends.”
Forman was also known for directing “Hair,” “Ragtime” and “The People vs. Larry Flynt.”
Directors’ Guild president Thomas Schlamme said, “Miloš was truly one of ours. A filmmaker, artist, and champion of artists’ rights. His contribution to the craft of directing has been an undeniable source of inspiration for generations of filmmakers. His directorial vision deftly brought together provocative subject matter, stellar performances and haunting images to tell the stories of the universal struggle for free expression and self-determination that informed so much of his work and his life.“A member of the DGA’s National Board and a recipient of the DGA’s highest honor, the Lifetime Achievement Award, Miloš actively championed artist’s rights throughout his career, speaking multiple times before Congress and world audiences about the importance of creative rights and artists’ protections against the violation of those rights. He stood up on behalf of his beloved fellow filmmakers time and again, and he believed with all his heart that creativity and artistic freedom could make a difference in the world. Now it’s up to us to prove him right. We will miss him.”
Having made just one American film at the time, the ironic comedy “Taking Off” (1971), which won critical acclaim but failed to connect with audiences, Forman seemed an unlikely choice to direct the adaptation of Ken Kesey’s countercultural novel “Cuckoo’s Nest.” But he brought a balance and objectivity to the film, which could easily have descended into histrionics. The critically lauded and immensely popular film starring the fast-rising Jack Nicholson struck a nerve in 1975, and on Academy Awards night it became the first film since 1934’s “It Happened One Night” to sweep the top five Oscar prizes: best picture, director, actress, actor and screenplay (adapted).
To shoot Amadeus, Forman returned to his native Czechoslovakia in 1983 and used little-known theater actors to play Wolfgang Amadeus Mozart (Thomas Hulce) and his rival Antonio Salieri (F. Murray Abraham), Forman created a compelling and cogent adaptation of Peter Shaffer’s award-winning stage play — helped in great measure by the magnificent Mozartian score. Again, Forman ruled the Oscars, taking another director trophy as the film also drew awards for picture, actor (Abraham), and screenplay, winning eight awards in all. The film was also his most financially successful after “Cuckoo’s Nest.”
With a style that film historian David Thomson said stressed the everyday over the melodramatic and a flair for improvisation, Forman had flourished as a young director in Czechoslovakia with such satirical films as 1966’s “Loves of a Blonde” and 1968’s “The Firemen’s Ball,” the latter of which was refused a showing in his native country because of its satire of bureaucratic thinking.
Forman was in Paris in August 1968 when Russian tanks rolled into Czechoslovakia, ending the Warsaw Pact country’s brief artistic renaissance. Soon thereafter he moved to New York, joining another celebrated Czech director, Ivan Passer, who had penned “Loves of a Blonde” with Forman and others. Forman’s first U.S. film, “Taking Off,” was similar in approach and style to his earlier work, and while it was praised by critics, it did little to establish him as an American director. He also took on “The Decathlon” episode of “Visions of Eight,” a compilation documentary of the Olympics by an octet of different helmers.
Over the years Forman directed few films, and his American track record was mixed. Though “Cuckoo’s Nest” transformed him into an A-list director, he waited four years before his next film, tackling another challenging piece of material, “Hair,” based on the ’60s smash hit musical. But 10 years later, the episodic piece seemed passe onscreen, and Forman’s simple approach was ill-suited for the musical material. He did better with 1981’s “Ragtime,” a mostly successful adaptation of E.L. Doctorow’s bestseller centered on intersecting lives in the early 20th century. The film did not score at the box office, however.
He attained commercial and critical success once more with “Amadeus” but never quite scaled those heights again.
Forman appeared next in 1989 with “Valmont,” an adaptation he co-penned of the French period novel “Les Liaisons dangereuses” starring Colin Firth and Annette Bening. While graceful and witty, the film suffered from comparison to the more melodramatic “Dangerous Liaisons,” released the previous year and starring John Malkovich and Glenn Close.
He didn’t direct again until he issued two other satirical pieces in the late ’90s, the first of which was “The People vs. Larry Flynt,” a well-reviewed comedy about the First Amendment controversy stirred up by Hustler publisher Larry Flynt, embodied in the film by Woody Harrelson. While reviews were strong, the film did only moderately well at the box office. But it brought Forman another director nomination in 1996.
The reception to his 1999 film “Man on the Moon,” about the offbeat comic Andy Kaufman, was mixed, though lead Jim Carrey pulled in great notices.
After an absence of seven years, Forman returned in 2006 with “Goya’s Ghosts,” in which he sought to wed the Inquisition, the life of the painter Goya and the Napoleonic Wars, starring Natalie Portman, Javier Bardem, Stellan Skarsgard and Randy Quaid.
In 2009 Forman directed, with his son Petr, the Czech-language “A Walk Worthwhile,” a remake of his earlier 1966 work for Czech television.
Forman collaborated with Vaclav Havel on the adaptation of a novel about the Munich Agreement, through which Hitler annexed Czechoslovakia’s Sudentenland in 1938, but the project did not come to fruition. He also had in development as a directing project the story of Charles Ponzi, the early 20th century fraudster who lends his name to the Ponzi scheme.
In addition to his directing chores, Forman was co-director of the film program at Columbia U. and appeared as an actor in such films as “Keeping the Faith,” “Heartburn” and “New Year’s Day.”
Born in the town of Caslav (also spelled Kaslov), near Prague, Jan Tomas Forman was raised by an uncle and in foster homes following the death of his parents in WWII concentration camps. After graduating from the Prague Film Faculty of the Academy of Dramatic Arts in 1957, he wrote sketches for the mixed media Laterna Magika, which was celebrated at the 1958 World’s Fair in Brussels. After departing the group in 1961, he was hired by the Czech state film studio, where he came to attention with two medium-length films, 1961’s “The Talent Competition” and “If There Were No Music.” His feature debut in 1963, “Black Peter,” won the top prize at the Locarno Film Festival and led to such internationally acclaimed efforts as “Loves of a Blonde” and “The Fireman’s Ball.”
Forman was jury president at the Cannes Film Festival in 1985 and the Venice Film Festival in 2000.
In Czechoslovakia Forman was married twice, first to actress Jana Brejchova (sister of his lead actress in “Loves of a Blonde”) and then to Vera Kresadlova, who was the mother of his twin sons Peter and Matej. In 1998 he had another set of twins, Andrew and James, by his third wife, Martina Zborilova.
Cannes Lineup Includes New Films From Spike Lee, Jean-Luc Godard
New movies from Spike Lee (“BlacKkKlansman”), Jean-Luc Godard (“The Image Book”) and Oscar-winning “Ida” director Pawel Pawlikowski (“Cold War”) join previously announced Solo: A Star War Story at the 2018 Cannes Film Festival, making for a lineup that’s considerably less starry — at least by Hollywood standards — than in years past.Apart from Lee, films with American connections are few and far between. “It Follows” director David Robert Mitchell will present his 140-minute thriller Under the Silver Lake; Egyptian-made “Yomeddine” was directed by NYU Tisch graduate A.B. Shawky; and Brazilian director Joe Penna (whose English-language “Arctic” will bow in the Midnight section) resides in Los Angeles.
At the press conference in Paris, Cannes artistic director Thierry Frémaux explained that his programming team deliberately selected work by lesser-known and in some cases unheard-of directors. Conspicuous absences include a number of “the usual suspects” — established directors such as Nuri Bilge Ceylan and Mike Leigh to whom Cannes typically invites high-profile spots for each new film. Also missing is Naomi Kawase from a lineup that is otherwise heavy with Asian directors, including a pair of Iranians: Jafar Panahi with “Three Faces” and Asghar Farhadi, who made opening-night selection“Everybody Knows” (starring Penelope Cruz and Javier Bardem) in Spain.
The competition program includes just three female filmmakers, prompting Frémaux to reiterate his position that “the films that were selected were chosen for their own intrinsic qualities,” not the gender of their directors. Acknowledging the importance of the #MeToo and #TimesUp movements, he said, “The world will never be the same again … and we will question our own practices about the gender parity” in salaries and jury representation, but stressed that “there will never be a selection with a positive discrimination for women.”
Frémaux countered criticisms that the festival may be losing its power to attract high-profile films, unconvincingly suggesting that prize-winning directors Xavier Dolan and Jacques Audiard had not turned down a formal invitation to screen in Cannes, but rather, were still editing their respective films, “The Death and Life of John F. Donovan” and “The Sisters Brothers.” And yet, he admitted that American companies in particular can get nervous about how a film’s reception in Cannes can impact its awards and box office chances, admitting, “When you are on a strategy of a late [fall] release, Cannes might not be the ideal place to show a film.”
Even a cursory survey of past lineups reveals that many films chosen for official selection already have French distribution, which is frequently timed to the days and weeks immediately following the festival. This phenom illustrates not only the way French companies leverage Cannes for publicity, but also the enormous influence they wield over the selection of such films in the first place — nowhere more evident this year than in the exclusion of Netflix from competition.
Frémaux explained that he had personally appealed to Netflix honchos Reed Hastings and Ted Sarandos not to pull their films from the festival, and yet, under pressure from the French industry (where a law insists upon a three-year window between theatrical release and streaming), Cannes was forced to exclude them from competition unless Netflix agreed to sell theatrical rights to a French distributor. “We made offers on two films owned by Netflix,” said Frémaux, “and there were candidates for the theatrical distribution of those films,” including the restoration of Orson Welles’ “The Other Side of the Wind,” which Frémaux sorely wanted to invite.
Several more movies may be announced in the days to come, including a couple midnight screenings. Asked about whether Lars von Trier (whose “The House That Jack Built” would be a likely candidate) is still persona non grata with the festival, Frémaux enigmatically replied, “We will answer in a few days.”
At just 17 titles, the competition lineup is currently the smallest in decades, although it should be noted that 2017 Palme d’Or winner “The Square” was a late addition to last year’s lineup. Frémaux specifically hinted that they would have liked to invite Terry Gilliam’s “The Man Who Killed Don Quixote,” which is currently tied up in a legal dispute, and said discussions are still underway with Paolo Sorrentino about his two-part “Loro,” the first half of which opens in Italy before Cannes.
Scheduled to kick off a month after the inaugural television-focused Cannes Series event, the festival will unspool from May 8-19 — which is the earliest the festival has taken place in more than 20 years. The parallel Directors’ Fortnight and Critics’ Week programs will take place during the same dates, but technically fall outside the “official selection,” and as such, will announce their lineups later in April.
2018 CANNES FILM FESTIVAL LINEUP
“Everybody Knows” (Asghar Farhadi)
“Ash Is Purest White” (Jia Zhang-Ke)
“At War” (Stéphane Brizé)
“BlacKkKlansman” (Spike Lee)
“Burning” (Lee Chang-dong)
“Capernaum” (Nadine Labaki)
“Cold War” (Pawel Pawlikowski)
“Dogman” (Matteo Garrone)
“Girls of the Sun” (Eva Husson)
“The Image Book” (Jean-Luc Godard)
“Lazzaro Felice” (Alice Rohrwacher)
“Leto” AKA “Summer” (Kirill Serebrennikov)
“Netemo Sametemo” AKA “Asako I & II” (Ryusuke Hamaguchi)
“Shoplifters” (Kore-Eda Hirokazu)
“Sorry Angel” (Christophe Honoré)
“Three Faces” (Jafar Panahi)
“Under the Silver Lake” (David Robert Mitchell)
“Yomeddine” (A.B. Shawky)
UN CERTAIN REGARD
“Angel Face” (Vanessa Filho)
“Border” (Ali Abbasi) — PICTURED
“El Angel” (Luis Ortega)
“Euphoria” (Valeria Golino)
“Friend” (Wanuri Kahiu)
“The Gentle Indifference of the World” (Adilkhan Yerzhanov)
“Girl” (Lukas Dhont)
“The Harvesters” (Etienne Kallos)
“In My Room” (Ulrich Köhler)
“Little Tickles” (Andréa Bescond & Eric Métayer)
“Manto” (Nandita Das)
“My Favorite Fabric” (Gaya Jiji)
“Sextape” AKA “On Your Knees, Guys” (Antoine Desrosières)
Sofia” (Meyem Benm’Barek)
OUT OF COMPETITION
“Le Grand Bain” (Gilles Lellouche)
“Solo: A Star Wars Story” (Ron Howard)
“Arctic” (Joe Penna)
“Gongjak” AKA “The Spy Gone North” (Yoon Jong-Bing)
“Dead Souls” (Wang Bing)
“La Traversée” (Romain Goupil)
“O Grande Circo Místico” (Carlo Diegues)
“Pope Francis – A Man of His Word” (Wim Wenders)
“The State Against Mandela and the Others” (Nicolas Champeaux & Gilles Porte)
“10 Years in Thailand” (Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol & Apichatpong Weerasethakul)
Netflix’s chief content officer says that the festival sent a clear message with a new rule that bans any films without theatrical distribution in France from playing in competition. Netflix could screen some of its upcoming movies out of competition, but Sarandos says that doesn’t make sense for the streaming service.
“We want our films to be on fair ground with every other filmmaker,” Sarandos says. “There’s a risk in us going in this way and having our films and filmmakers treated disrespectfully at the festival. They’ve set the tone. I don’t think it would be good for us to be there.”
Netflix made a big splash at the prestigious film festival last year with two movies that showed in competition: Bong Joon-ho’s “Okja” and Noah Baumbach’s “The Meyerowitz Stories.” But after the 2017 announcement, French theaters owners and unions protested the inclusion of these films to Thierry Fremaux, the artistic director of Cannes. Netflix was amenable to having their movies play on big screens in France, but a law in the country requires movies to not appear in home platforms for 36 months after their theatrical release.
Netflix has had day-and-date theatrical releases for such titles as “Mudbound,” Angelina Jolie’s “First They Killed My Father,” “Okja” and “The Meyerowitz Stories.”
Sarandos will not personally be attending Cannes in May, but some of his executives will be there. “It is not a coincidence that Thierry also banned selfies this year,” Sarandos says, of another new rule that doesn’t allow guests to snap pictures on the red carpet. “I don’t know what other advances in media Thierry would like to address.”
Here, Sarandos spoke with Variety about the Netflix rule change.
Are you deciding not to participate in Cannes this year? Well, it was not our decision to make. Thierry announced the change in their qualification rules [that] requires a film to have distribution in France to get in, which is completely contrary to the spirit of any film festival in the world. Film festivals are to help films get discovered so they can get distribution. Under those rules, we could not release our films day-and-date to the world like we’ve released nearly 100 films over the last couples of years. And if we did that, we’d have to hold back that film from French subscribers for three years under French law. Therefore, our films they are not qualified for the Cannes Film Festival competition.
And you aren’t taking movies to the festival out of competition? No. I don’t think there would be any reason to go out of competition. The rule was implicitly about Netflix, and Thierry made it explicitly about Netflix when he announced the rule.
Were you surprised by the rule? Netflix had the two biggest English-language releases at last year’s Cannes. I would say not just on the English-language side. I think they were the biggest films in the world last year with Bong Joon-ho and Noah Baumbach and the star power we were able to bring — Jake Gyllenhaal, Tilda Swinton, it goes on and on. We loved the festival. We love the experience for our filmmakers and for film lovers. It’s just that the festival has chosen to celebrate distribution rather than the art of cinema. We are 100% about the art of cinema. And by the way, every other festival in the world is too.
Did you talk to Thierry before he made the rule change?
I believe it was not just Thierry’s decision. I think it was the decision of his board, which is made up of several exhibitors. I know we didn’t have any conversation with Thierry. I read about it in the press.
In interviews, Thierry said that “the Netflix people loved the red carpet,” but your “model is now the opposite” of what Cannes does. Do you agree with that? No, obviously not. Do we love the red carpet? I love our filmmakers being on those red carpets. Of course. It’s a very glamorous, very fun event for filmmakers. That is beside the point. That is true of every festival. Last year we were jointly celebrating the art of cinema at Cannes. The divergence is this decision to define art by the business model. In that way, yes, we have diverged.
Will you or other Netflix employees be attending Cannes? I personally won’t be attending myself. But we will have people there who are in the business of acquiring films, because many films will be there without distribution.
So you could end up buying a movie that’s in competition?
Yes 100%. We don’t discriminate that way.
Netflix acquires movies from film festivals all the time. Ultimately, this rule seems to be about preventing a movie from entering Cannes as a Netflix release. It was a puzzle to me. Keep in mind last year at Sundance, we produced the film that won the jury prize [“I Don’t Feel at Home In This World Anymore”], and we acquired “Mudbound” in the biggest acquisition of the festival.
Have you had conversations with your filmmakers about Cannes?
We’ve talked to a lot of our filmmakers after the rule change. When we went into making these films and acquiring these films, that rule wasn’t in place. That was a change in dynamics.
Do you think Cannes might change its mind in the future? Yeah. I do have faith that Thierry shares my love for cinema and would be a champion of changing that when he realizes how punitive this rule is to filmmakers and film lovers.
What is your message for the international film community? We hope that they do change the rules. We hope that they modernize. But we will continue to support all films and all filmmakers. We encourage Cannes to rejoin the world cinema community and welcome them back. Thierry had said in his comments when he announced his change that the history of the Internet and the history of Cannes are two different things. Of course they are two different things. But we are choosing to be about the future of cinema. If Cannes is choosing to be stuck in the history of cinema, that’s fine.
DiCaprio will play an aging, out-of-work actor in the film. Margot Robbie, meanwhile, is being eyed for the role of Sharon Tate.
This will mark DiCaprio’s first film since winning the Oscar in 2016 for his performance in Alejandro G. Iñárritu’s“The Revenant.” DiCaprio and Tarantino last collaborated on 2012’s “Django Unchained.”
He is repped by LBI Entertainment.
As previously reported, Tom Cruise is also being pursued to star in the director’s ninth feature. Sources now tell Variety that Tarantino is interested in casting Al Pacino in the film as well. Sony is handling distribution.
The movie will hit theaters on Aug. 9, 2019, Variety has learned. Opening on the 50th anniversary of the day that the Manson family committed the LaBianca murders and the day after Tate was killed, the film will head off against “Artemis Fowl,” Disney’s adaptation of the popular sci-fi and fantasy series.
Sony beat out several bidders, including Warner Bros. and Paramount, for rights to the film. The movie — shrouded in secrecy — is set in 1969 and is believed to involve Charles Manson and the Manson family murders. The director has told media outlets that it’s not a biopic, but is an ensemble film set during the tumultuous time period. It’s the first pic that Tarantino is releasing without the Weinstein Company. A group of investors led by Maria Contreras-Sweet is in a strong position to buy the Weinstein Company following sexual misconduct allegations against its disgraced founder Harvey Weinstein.
Disney-Marvel’s “Black Panther” is heading for as much as $150 million in its North American opening on the four-day Presidents Day weekend, updated tracking is showing.
That’s significantly above the first tracking on Jan. 25 for the Chadwick Boseman tentpole, which initially placed the debut in the $100 million to $120 million range for the Feb. 16-19 period. “Black Panther” could break the Presidents Day weekend record of $152 million, set in 2016 by “Deadpool.” It will easily top the second-highest debut for the four-day holiday, set in 2015 when “Fifty Shades of Grey” opened with $93 million.
“Black Panther” has been gaining steam this week. Fandango reported Wednesday that “Black Panther” is outpacing all superhero movies in advance ticket sales for Fandango’s online tickets service, eclipsing 2016’s “Batman v Superman.” It topped Fandango’s daily ticket sales in the wake of its world premiere and first screenings two days earlier.
The newest tracking showed total awareness of “Black Panther” at 88%, unaided awareness at 43%, and definite interest at 57%. Boseman stars as T’Challa, who takes over as the king of Wakanda after his father T’Chaka is killed, as shown in “Captain America: Civil War.” The film also stars Angela Bassett, Forest Whitaker, and Michael B. Jordan. Ryan Coogler directed the movie from a script he co-wrote with Joe Robert Cole.
Initial tracking on Thursday also showed that Warner Bros.’ comedy “Game Night” is projecting an opening in the $15 million to $20 million range on Feb. 23-25, while Paramount’s sci-fi thriller “Annihilation” should debut in the $12 million to $15 million area during the same weekend.
“Game Night,” directed by John Francis Daley and Jonathan Goldstein, stars Jason Bateman and Rachel McAdams and follows a group of friends whose game night turns into a murder mystery. Supporting cast includes Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall, and Jeffrey Wright.
“Annihilation,” based on Jeff VanderMeer’s horror sci-fi novel, is directed by Alex Garland from his own script. The story follows a biologist, played by Natalie Portman, who embarks on a four-person expedition into a territory cut off from civilization while searching for clues about her husband’s disappearance. While there, she must deal with a contamination, vanishing colleagues, a deadly animal, and a creature known as the Crawler. Jennifer Jason Leigh, Gina Rodriguez, and Tessa Thompson also star.
Paramount made a deal with Netflix in December for the streaming service to handle the international release of “Annihilation.”
If you like gore, torture scenes and good looking girls all wrapped up in one, then the Curse of All Hallows’ Eve is definitely the one for you. If you like horror films with a story behind the movie as creepy as feature itelf then the Curse of All Hallows’ Eve is definitely one for you. If you like well produced movies with a great cast and excellent direction, then the Curse of All Hallows’ Eve is definitely the movie for you!
Directed by Guy Bodart and his daughter Lorelei Lanford. This is the second time Bodart has collaborated with his leading man Sean Morelli. (Mr Morelli has starred in Killer’s Mind directed by Bodart) With a wide variety of incredible talent including Vanessa Coleman, Jean Sulli, Jaime Lynch, the expertise behind this feature is truly outstanding.
Miss Lanford can be proud of the time she has put in with her first feature film and has already begun working on her follow-up feature film “House of Terror”
So what is it that has stirred rumors of the latest cursed film that has taken over 3 years in production? Well there isn’t one fateful moment that brought attention to the Curse of All Hallows Eve but a series of mysterious and catastrophic incidents.
When filming initially started one of the first actors to be cast fell ill and had to leave the production. This triggered the start of 3 years of hard work for everyone involved.
Miss Marilyn Weinmann, a legend in the horror industry, later passed away between shooting dates and caused not only logistical issues due to filming but emotional pain to everyone involved.
While these kind of issues would already have had a major impact on production, the creepiest was yet to come. Having shot the movie in Super 16mm rolls, these came out of the laboratory completely empty barring only some streaks. As a result, the entire first section of the film had to be re-shot. There is no denying that this film is eerie both in story and its background.
With all of this knowledge, we can’t wait for the latest Bodart installment. It’s looking like this film has everything you could possibly want from a horror movie.
With over 3 years in production, everyone involved has done well to keep their spirits up and it has definitely paid off as there is talk of the film being picked up by SyFy channel.
Here is the official trailer. We sure cannot wait to see the complete film
Yes you read the header right!
When Guy Bodart started shooting this film, we were still in the 20th Century.
Disillusioned Filmmakers who cannot get a break in Hollywood or even attention from producers, decide to go another route to get noticed by following the life of a real serial killer.
The Documentary style film starred Sean Morelli, Paul McDonald and Sandy Monaco.
Sean Morelli who is the only survivor cast is finishing the film with Film Director Lorelei Lanford, a mere 17 years later.