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Cast of ‘Friday the 13th Part VII: The New Blood’ Reveal Behind-the-Scenes Details at Shock Stock

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At my recent trip to Shock Stock 2018, guests Kane Hodder, Lar Park-Lincoln (Friday the 13th Part VII, Freddy’s Nightmares), and Parry Shen (the Hatchet series) sat down at a panel to discuss their oeuvre of work. Naturally, Friday the 13th Part VII: The New Blood came up, and some behind-the-scenes details were revealed.

With the upcoming 30th anniversary of Friday the 13th Part VII: The New Blood (released May 13, 1988), this seemed like the perfect opportunity to share some insights on the making of the film.

Friday the 13th Part VII is arguably the most heavily and savagely censored film in the franchise (it had to be submitted to the MPAA nine times before they approved an acceptable version). Kane Hodder revealed that “every single kill in part 7 was cut completely” and had a lot to say on the topic of editing down the kills.

“The timing of our movie was the absolute worst for trying to get something on the screen that’s graphic.” Hodder explains, “For some reason, that time of filmmaking, they were taking out everything. Every single kill I did in that movie was so crazy and over-the-top, and it was cut down to nothing”.

He spoke of the makeup and effects department’s months of work on the incredible detail that went into the kills. “People still love the movie, so it’s amazing to think of how much more enjoyable it would have been had they left some of the makeup effects in”.

The head-squeezing scene was a particularly sad cut as, according to Hodder, the original version was truly gruesome. Everyone’s work, as he said, “looks amazing on screen”. Though some deleted scenes are available, it’s tragic that fans cannot admire that original effort as part of an uncut version of the film.

via IMDb

But for Hodder, the film is about far more than the kills. He explained that it is – and always will be – his favorite movie in the franchise because of the storyline. Tina’s telekinetic powers made Jason’s (after)life a lot more interesting.

“No other time did anyone ever have that effect on Jason before. So as a stunt person, it was great for me because [Tina] made so many things happen to Jason. It was a lot more enjoyable to film as a stunt person.”

via IMDb

For Lar Park-Lincoln, the process of making Friday the 13th Part VII was quite a challenge. Tina goes through so many intense emotional changes through the film, so the common practice of shooting the scenes out of order meant that Park-Lincoln had to diligently track her reactions from scene to scene.

Park-Lincoln spoke fondly of the process, saying, “As an actress, it was really fun because I didn’t use any artificial tears, I didn’t really know about them. I had to really script out the level of the crying and hysteria, which level she was at at each point”.

Despite the many migraines that were caused by being in that intense emotional state for long hours every day, Park-Lincoln emphasized her appreciation for the experience. With a smile, she said “As an actress, I really enjoyed that part”.

via IMDb

An additional challenge, as Hodder explained, was the fact that they shot all of the interior shots over a period of four weeks in LA, then moved to Alabama to shoot all the exterior scenes.

“Imagine the difficulty for [Lar], going from a scene where’s she’s at one level of emotion, then going outside for instance. Now she has to remember how that was a month ago when she shot the interior part of that exact same shot. So, I was always amazed that [Lar] could pull that off”.

Lar now has an acting school in Dallas where she used her skill and experience to develop a technique for actors called script diagramming. “Kind of like script supervision”, she will guide actors on how to break down every scene so they know where their characters leave each take emotionally and how that translates into the next scene.

via IMDb

Another surprising story explained that they were doing pickup shots at the very end of March, 1988. Keep in mind the movie was in theatres on May 13. That’s an insane turnaround time.

While pickups are, again, a very common practice when filmmaking, our use of digital film technology allows actors and directors to check the scenes that were shot at any point in the process. In 1988, the use of film reel – rather than digital – added the challenge of not being able to reference the previous scenes to carry that emotional thread.

Friday the 13th Part VII still managed to stay impressively on schedule, but the hardest part for Hodder was the long hours of filming with the additional three hours of makeup application and removal. Part VII grants the audience with a glimpse of the rotted face of Jason, and that decayed, waterlogged look takes some time to create.

via IMDb

The last two days of principal photography were spent on a whole different kind of challenge – the underwater scenes.

“I had to be underwater for 4 hours at a time without coming up”. Hodder shared, detailing the stressful experience, “I was cabled to the bottom of the pool by my ankle because the foam latex that I’m wearing is very buoyant. So I couldn’t just stay underwater when I wanted to, I had to be held under.”

via Movies Films and Flix

Hodder was supplied oxygen through a scuba system, which of course could not be visible in the shot. Another stunt person was in the tank with him and would swim out to provide him with much-needed oxygen in-between takes.

“It’s a weird feeling, I’m telling you, when you’re holding your breath and you’re getting toward the end of that breath and they haven’t cut yet.” Hodder adds, “It’s a tough way, physically, to end shooting of an already physical movie.”

As a testament to the film’s legacy – even after all of the complexities of making such an intensive movie – Hodder and Park-Lincoln still seem genuinely passionate about it.

 

For more on the Friday the 13th series, check out our article on why the franchise is at a standstill .

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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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