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[Interview] Screenwriter Gary Dauberman – Annabelle: Creation

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Annabelle: Creation takes place approximately a decade before 2014’s Annabelle, which makes AnnabelleCreation a prequel to a prequel. Set in 1957, Annabelle: Creation explores the origin of the cursed Annabelle doll. The film tells the story of a doll-maker and his wife who welcome a nun and her six orphans into their California farmhouse. In May, I had the chance to interview Annabelle: Creation screenwriter Gary Dauberman, whose upcoming credits include IT, the feature film adaptation of Stephen King’s 1986 novel, and The Nun, which is a spin-off of The Conjuring.

DG: How was the decision made to do a prequel to Annabelle, and how did you come up with a storyline for this second film?

GD:  It was a true collaborative effort between me and the producers. James [Wan] had a very specific idea on the location and a few of the characters he thought would be fun to play around with when making the second movie. As usual, he was right. And we all knew we wanted to dig into the origin of the Annabelle doll. It just felt like a natural way into the story. Where’d she come from? Who made her? How did the evil that’s attached to her come to be? Once we had those answers, I started to hammer out a basic structure we could all look at. And then from there I set out writing the script. It all came together pretty quickly.

DG: How does Annabelle’s spirit attack in this film, and how would you describe the doll’s appearance in the film?

GD: The entity attached to the doll uses many forms to attack those unfortunate enough to draw its attention. I see the Annabelle Doll as like the master of ceremonies of the chaos she conducts around her. This evil attached to her wants a soul and is determined to get what it wants and uses these attacks as a way to achieve its goal.

DG: How would you describe the dynamic that exists in the story between the doll-maker and his wife, the nun and the girls, and Annabelle?

GD:  At the beginning of our movie, the Annabelle doll represents a future for the doll-maker and his wife and young daughter. But when we catch up to them many years later, we see that this Doll now represents a terrible past that he and his wife have been trying to forget. And they have. Or at least they’ve learned to live with it in their own quiet way. So much so that they open their house to those in need. But like that old saying goes ‘No good deed goes unpunished’ and the Mullins — and those they take in — are certainly put through the wringer by the end of the movie.

DG: How would you describe the “creation” of Annabelle, Annabelle’s true origin?

GD: Oh man. I’d rather not give too many details here but her creation is borne out of an act of desperation. Oftentimes desperation tends to cloud reason and that is something we take great advantage of in the movie.

DG: What time period does is this film set in, and how does this time period affect the characters and the story?

GD: The story takes place in the late 1950s. It was a time period when a lot of orphanages run by the Catholic Church were being closed down and the majority of orphans were put into foster care. This became one of the leaping off points for the story. We come into it with Sister Charlotte desperately wanting to keep the orphans under her care together. So with the help of Father Massey, she finds the Mullins — a couple still reeling from the death of their young daughter many years earlier.

DG: How would you describe Sister Charlotte’s role and presence in the film?

GD: Sister Charlotte is the maternal figure of the movie and she understands the orphans have like sisters in their time together. They might not be blood but all they have is each other. And rather than seeing the girls split up, she worked hard to find a home for all of them, which is how they end up at the Mullins Farmhouse. It’s another act of desperation, and it ultimately puts her and the girls at risk.

DG: What do you think sets this film apart from Annabelle and the Conjuring films, and what do you think audiences will find most compelling and frightening about this film?

GD: Well, look, we’re in The Conjuring universe, so we work hard to stay true to the high quality James established in the first and second Conjuring. No easy feat but I think David more than rose to the occasion. The desolate setting of the farmhouse with its dust bowl-like landscape gives this movie a very cool and classic feel to it and it really allowed us to be as imaginative as we wanted with the scares. I mean, sure, go ahead and scream for help but who is going to hear you all the way out here? So in this one — as opposed to the first Annabelle — we were able to go bigger, bolder and wilder with the scares.

DG: What did David F. Sandberg bring to this film that surprised you, that’s unique from other directors who might’ve been hired to direct this film?

GD: I’ve been a fan of David’s before he came onto the movie. I’ve learned so much about filmmaking just by being an early follower of his shorts, and I knew this guy had an insane amount of talent already. When he came on board, I can’t tell you how excited I was and he exceeded my expectations. He just makes everything better, y’know? “Hey David, what about this scare?” “That’s cool but what about if you did this to it?” “Uh, yeah. That’s way better. Let’s go with that.” But I don’t know if that was surprising given what I knew of his talent. Definitely inspiring though. Maybe the most surprising thing was the amount of Coke Zeroes that guy drinks.

DG: Do you see any room for more Annabelle films, another Annabelle prequel or maybe a sequel, and what is the connection between your upcoming film The Nun and the Annabelle films?

GD: I think this movie will prove by the end of it that there is more to the Annabelle story that needs to be told. I mean, the mere fact that she’s a doll kind of allows that. How many kids out there have the same doll? Visually, I mean. Same packaging, same hair, same eyes, same whatever. But it’s unique to them, right? Same doll but each kid creates a different back-story, a different history, a different story which makes their doll their very own even though it might look like a million others out there. It’s kind of the opposite for Annabelle. She remains the same but the people she encounters all have different stories and different fears and she’s going to use those for her own purposes until you discover — much too late — that she isn’t the toy… you are. And she’s playing you.

Annabelle: Creation arrives in theaters on August 11.

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

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Strange Darling Kyle Gallner

‘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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the first omen trailer

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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