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Exclusive Interview: Mike Flanagan Talks Ouija: Origin of Evil: “I understand the skepticism”

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Ouija: Origin of Evil isn’t a sequel to 2014’s Ouija but a do over. Although Ouija made over $100 Million during its theatrical run, the makers of Ouija: Origin of Evil are well aware that fans didn’t feel they got their money’s worth the first time around. “I know that most fans didn’t like the first film,” says Mike Flanagan, the co-writer and director of Origin of Evil, a prequel that takes place in Los Angeles in the 1960s. “I didn’t like it very much either. The only reason I would agree to do a second film was to get the chance to improve upon the first film and take the story in a whole new direction. That’s what I feel we’ve done.”

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In July, I had the chance to talk to Flanagan, best known to genre audiences for his breakthrough 2013 film Oculus, about the approach he took with Ouija: Origin of Evil and his plans for the future, which don’t include being involved with the Halloween franchise.
DG: How did you get involved with the Ouija franchise?
MF: I’ve been working with Jason Blum, who helped with Oculus, for a few years now, and I was involved with Ouija, before they did the reshoots on that film, and I contributed some ideas. That film had a rough journey to completion.
DG: Are you saying that you directed parts of Ouija?
MF: No, no, no. I just helped out in terms of contributing ideas in terms of how they went forward. Ouija had a long post-production phase-it was like a whole other movie. Stiles White directed every scene in that film, as far as I know.

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DG: Look, there’s no nice way of saying this. Even though Ouija did well commercially, it did not fare well critically. Are you aware of the negative reaction that audiences hold toward the first film?
MF: Of course. The first film was far from perfect, which the producers acknowledged, which I admired. There will be a tremendous amount of skepticism from people who didn’t like the first film, and I totally understand where they’re coming from. I understand the skepticism. I had a tremendous amount of skepticism when Brad [Fuller] and Jason contacted me about directing and writing a second Ouija film.
DG: How did they convince you?
MF: They were aware of the issues with the first film, and it would’ve been so easy to just do a sequel and say, “The first movie made over $100 Million, so let’s just make the same film again,” but that’s not what they said. What was appealing to me was the thought of doing a sequel, a second film, and getting a chance to improve on a franchise, to make something better, to do something different. I didn’t think they’d go for it. I wasn’t interested in telling a story about teenagers and having them be killed one by one. We’ve seen that movie too many times, and I wanted nothing to do with that. When I met with Jason, he said, “Tell me the horror movie you’d love to make.” I said that I’d love to do a period piece, set in 1965, with a single mother. I wanted to place the story in a time period where being a single mother was especially challenging.

 

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DG: How did you develop the characters and the story?
MF: I wanted to explore family problems and the bonds between parent and child, which is one of the common themes in my films. I wanted to create three different characters, three female characters, and explore this dynamic in the midst of this evil presence. I wanted to show that PG-13 horror can be scary. Some of my favorite films are PG-13, especially The Changeling, which was my biggest influence when we were making this film. It’s a film that was so subtle and didn’t rely on cheap effects and scares but on atmosphere and drama.
DG: How would you describe the dynamic that exists between this single mother and her daughters in the film?
MF: Elizabeth {Reaser} plays Alice, the mother. Annalise [Basso} is Paulina, the older daughter, and Lulu {Wilson} is Doris, the younger daughter. The husband and father died the year before. He was killed in a car accident. Initially, they look at the Ouija board as a way of reconnecting with the father, but there’s no answer. The older sister is skeptical, but the younger sister believes that the Ouija board is a positive force. She desperately wants to speak to her father.
DG: The mother is a fake psychic?
MF: She runs a fake psychic business, and they believe they’re helping people, which is how they justify taking people’s money. Alice’s mother was a fortune teller in the 1920s, and she’s familiar with that mentality and way of life. They go to great lengths to fool people, but it’s not really a scam. Alice really believes she’s helping people. The girls believe that too. We had a lot of fun showing the mechanics of a séance, which I took from The Changeling.
DG: How does the Ouija board, the evil, manifest in the film?
MF: Doris thinks the power of the Ouija board is real and a good thing. She eventually discovers that what’s behind the Ouija board is not good, and it takes over her body. What happens to Doris is not a possession but a symbiotic experience. Doris thinks, initially, that’s she experiencing an authentic connection that is real and good. She thinks it’s a positive experience, and she ends up getting lost in the Ouija board.
DG: How would you describe the atmosphere and visual tone of the film?
MF: My DP [Michael Figmognari] and I were constantly watching The Changeling in prep, in terms of the look and tone. That’s the look and tone we wanted. We wanted this film to look like it was made in the late 1960s. We used antique zoom lenses, not the floating Steadicam technique that’s used so often today. I wanted to use an antique zoom. We even inserted cigarette burns in between the reel changes. What happens to Doris and in the film reminds me of the film Watcher in the Woods, which is one of my favorite films I saw as a kid, one of the scariest films I can remember seeing. The most terrifying scene in this film is one of the simplest scenes I’ve ever shot. We see Doris, the camera’s right on her, and there are no cuts, and she just speaks softly for a minute. We did a slow zoom for the shot, and then she speaks, and it’s just terrifying.
DG: There’s a rumor that you were attached to direct the next Halloween film?
MF: It’s not true. I think that rumor was born out of my relationship with Jason Blum, so the connection is obvious. After the project was announced, I met with Jason. But it was a brief discussion. I did Ouija: Origin of Evil because I wanted to improve on the first film, and that’s not possible with Halloween, which is a perfect film. I think Jason is going about this the right way, in terms of getting John Carpenter on board and then looking at many different directors. But it’s not going to be me. I’d say that Halloween and The Thing, Carpenter’s version, are the two films that had the greatest impact on me, in terms of making me want to become a filmmaker. Those are two of the most influential films in my life and my development as a filmmaker. I’d be too intimidated to follow in Carpenter’s footsteps. Also, I feel that I’ve already made my Halloween with my previous film Hush.
DG: What’s next for you?
MF: I’ve been trying to do a film version of Stephen King’s novel Gerald’s Game for about fifteen years now. Jeff Howard, my writing partner and the co-writer of Ouija: Origin of Evil, and I have completed a script, and I’m hoping that Ouija: Origin of Evil will make enough money to give me the momentum to make this a reality. It’s a matter of finding the money. We have the rights to the book, and a script. But there’s no studio attached yet. It’s a very precious project, and I don’t want to rush it and do it the wrong way. If I can’t do it the right way, I’d rather not do it. I’ve been in touch with Stephen King, and he’s thrilled with the script.
Ouija: Origin of Evil opens in theaters on October 21, 2016

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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