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The Method to Director Osgood Perkins’ Madness

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Gretel & Hansel Director Osgood Perkins could be considered Hollywood horror royalty. For those who don’t know his father is legendary actor Anthony Perkins who played the conflicted killer Norman Bates in Alfred Hitchcock’s Psycho and its subsequent sequels.

Osgood’s latest work is Gretel & Hansel which just opened to some critical acclaim. Horror movies have had a recent renaissance in the past few years, some good, some bad, but ask a horror fan what is considered horror–and what isn’t–and you’ll get varied answers.

I sat down with Osgood to discuss this very topic among other things including what he considers horror. What I discovered is he has a definite vision of where he wants to take things and that includes making the genre just as frightening and just as moody for a younger audience.

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Osgood “Oz” Perkins – Comingsoon.net 

iHorror: When you first saw the script for Gretel & Hansel with the names switched, how did you react?

Osgood Perkins: It seemed to me right off the bat that it was an opportunity to push—not in the direction of, ‘Oh, How can we make this into a pointless horror movie?’—but push it into the direction of making this into a coming-of-age story. For me, I started more thinking of it as ‘becoming of age’ right? And so this quality of like ‘oh if Gretel’s name is foreground then it implies that she’s going to experience a growth’ and so it became about what can that growth be and more importantly what can that growth be vis-à-vis Hansel?

Because if the expectation is that these two go together, how can we make this both a coming-of-age story and make that coming-of-age be related to this intrinsic relationship?

Were you afraid that people would expect more of an action film like the adaptation released in 2013?

Yeah and luckily the draft of the script that came to me was so faithful to the original telling and didn’t clutter the narrative with a bunch of additional characters or dragons or armies or Orcs—nothing was apologized for. We weren’t approaching it from an apologist’s standpoint. I felt the fact that it was such a nice, faithful and humble adherence to the source material is the best part about it by far.

There have been things like Hansel and Gretel: Witch Hunters, which by the way was successful and people liked—I never saw it, I don’t know. But it [Gretel & Hansel] never felt prohibited because of that. If anything it felt like we had rights on our side. We were going to be doing a thing that was gonna be most honorably reflective of what the story actually was, so that was exciting.

You’ve done some things for A24 and fandom is really polarizing right now. Some people think The Witch is horror, some people would argue that. What does horror mean to you?

For me horror is less about turning you off with gruesome, sort of aggressive defiling, all that stuff–which I get–was for a long time the expectation of horror movies and it was going to be like negatively reflective of the ugliness of things.

I think that’s valid.

I think that what I am excited to do is bring the humanist quality back to horror movies and horror stories; the sort of mournfulness of what it’s like to lose, what it’s like to not understand, what it’s like to have your experience clouded, what’s hidden from us. It’s much more about what’s hidden and what’s waiting as opposed to what’s assaulting us at all times.

It’s almost like there’s someone following us, or watching us, in no hurry. It’s called death. I think that is such a richer place to be than how ugly can we make the world seem. I don’t want to be doing that with my day, making the world ugly.

As far as special effects for Gretel & Hansel, are they in real-time, practical?

Yeah, everything we did we tried to do practically in the camera with the actors as much as we could.

Why?

It just fits the tempo better. It fits the rhythm of what we’re doing better. Everybody’s seen the bit of the witch pulling the hair out of her mouth at the table. That, in the movie, is a very slow thing.

In the trailers, they sped it up for the sake of marketing, but in the movie, it’s almost like this sort of silent expression of these horrible things I can do, but with elegance and in no hurry.

And I think there’s a feeling when you let the actor be in control of the timing as opposed to letting the VFX house be in control of the timing. Let the actor feel it and let it be revealed.

With disturbing, moody horror films coming from directors such as Ari Aster and Jordan Peele what are you hoping audiences get from this film?

My aspiration for this movie was to make a scary movie that’s PG-13 and there are very few if any of those. Scary Stories to Tell in the Dark is maybe the only one that can be named recently.

The idea was to sort of say to younger audiences, ‘You’re welcome into this genre, which is a little too much for you, but we’re gonna couch it in a recognizable story of children, we’re gonna couch it in coming-of-age so there’s going to be an uplifting, ultimate feeling but we’re going to paint it very darkly.

We’re gonna stay as close to this original telling as we can–it’s going to be simple, it’s not going to be in your face. To me, if you’re reading a child a fairy tale there’s no in-your-face version of that.

There’s the page-turning version of that. There’s the ‘Now we turn the page and it’s the next thing, and now we turn the page and it’s the next thing,’ so the picture that we make is supposed to have a page-turning quality to it as opposed to rushing toward scares all the time, it’s supposed to be: and then this, and then this, and then this, and then this, in a more measured and composed way that really never gets in your face.

It’s meant to have sort of a presentation of a storybook.

What are you working on next?

The next thing I am doing immediately is I wrote and am going to be directing an episode of the new “Twilight Zone for Jordan Peele who you mentioned before.

They were nice enough to suggest that I kind of build my own episode which is kind of uncommon for that show, so I wrote an original idea and I’m directing it. Which is really fun to honor the all-time great Twilight Zone but to do it with a new flair

Osgood Perkins’ Gretel & Hansel is now playing in theaters nationwide.

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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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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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