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Lin Shaye: Telling a Story with the Godmother of Horror

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Once Wan secured the casting of his leads, they all gathered to begin work on the film.

“It’s one of those three week shoots with an $800,000 budget. And we were shooting in Highland Park, and we had honey wagons kind of lined up and there was some guy who kept marching back and forth with a cellphone. And I went to security and I said, ‘Keep an eye on this guy because he’s walking by our trailers looking like he’s just talking on his phone.’ I didn’t realize it was Jason Blum until later,” the actress laughed. “I sat down for lunch that day and there he was sitting across from me and I said, ‘Oh my god, I nearly had you arrested.'”

It was after the success of the second film that Wan approached her with the news that he wanted to tailor the franchise around her character, Elise, because audiences seemed to connect to her. After three films, Shaye knows the character better than anyone and she admits to feeling very protective of Elise and what she would and wouldn’t do and she elaborated with a short conversation she’d had with Leigh when they were preparing for the fourth installment.

Whannell had approached Lin and told her he’d put a lot of her into the new script, and she laughed but after she read it she approached the writer of all four films in the franchise about a couple of sticking points for her.

“When this film opens, now these guys (Specks and Tucker) are living in my house, and we’ve become a family together and they’re like my sons. So, he had her saying “damn it” or something like that and I said to him  that Elise does not swear. She doesn’t call the guys “guys” she calls them “boys” and she does not swear except every so often when she squares off with a demon. And I don’t know why I know that but I totally know that.”

Luckily, from the beginning, Leigh has been open to discussing points like this with her. She said she’s often joked with him that he writes in Australian.

“Leigh is one of the most exquisite writers. There’s a cadence and an inversion of thought that is very kind of European, not American, in the way he writes. We’re very glib. We’re very colloquial. The way he writes is very beautiful and every word is picked for a reason.”

At one point, while filming the third installment, she was having trouble with particular line. She kept saying “the night” instead of “the darkness” and Leigh finally stopped everything and told her gently that the word should be “darkness” because “darkness” and “night” are two different things and completely change the context of what she was saying.

“And he was completely right,” she continued. “So, if I feel like something needs to shift, he and I would have a discussion about it. He’d say I need this word because this word means this. Or this word means that. So, if I felt like something was being expressed differently than the way Elise would do it, then he and I would talk about it.”

The actress considers herself thrice blessed with the directors she’s had in the franchise. Each has brought their own experience and perspective to the films and each, she says, has taught her something new.

“James is a visionary,” she began. “When I worked with James, I never got one note from him the entire shoot except things like discussing the Further. It wasn’t about a certain way of feeling or anything like that. He figured that was my job. He would bring in the detail that he paints his story with. He knows how he wants it to look. He sees the world through a camera lens. And he’s also a fantastic artist.”

“With Leigh, it was different because he’s also an actor and a writer. He pushes me in different ways and I learn a lot from him and his perspective. I remember one time I was playing the intention of a scene to make Specks feel better and explain that what he did was really the right thing to do. I played it another way trying to comfort him and we ended up doing it a couple of times. And then Leigh sort of reluctantly said, ‘I don’t think that’s what this is. I think this is a more cosmic thought that she’s having about the world.’ And he was 100% right. And suddenly the whole scene took on this gravity. There was a gravity to what she was talking about. It didn’t have an actor’s intention or a character intention. It didn’t have any of that stuff, which would work, but this had so much more gravity and information, like cosmic information in it. And the scene was totally gorgeous.”

And what about her newest director?

“Adam Robitel is a fantastic listener. He’s a much better listener than I am. I’m not a very good listener sometimes. I’ll confess that. I get a little bit like, ‘leave me alone I know how to do this’ and then I get it wrong and I feel so stupid. But then I will admit that I made a mistake. I give up easily when I know I’m wrong. I learned a lot about myself on this shoot. I grew up a lot on this set. An example, I was worried because this was a really emotional story and I didn’t want Elise to be crying through this whole movie. And he said, “As long as there is emotional truth to what you’re doing, don’t worry. You know he said, you can do it and then we can do another version where you’re less outwardly emotional and just have the emotion underneath the surface. And that’s what we would often do.  We’d do the same scene in maybe two different ways, but the emotional content was there just expressed differently in two different takes. He never shut me down. That’s really heavenly as an actor.”

So what’s on the horizon for the actress? With Insidious Chapter 4 in post production, you can also look for her in an upcoming release called Midnight Man with Robert Englund and also in Darren Lynn Bousman’s new film, Abattoir. One of Lin’s latest films just released on VOD and in limited theatrical release. That movie is Jack Goes Home, and in my own humble opinion, it’s one of the finest performances she’s ever given.

As my time with Lin was coming to a close, she reflected a bit on what she wants her life to be and unsurprisingly, it’s all about continuing her art.

“I mean here I am. I just turned 73, and I’m an action hero. I mean, I think, “Holy Shit” and I say fuck and shit a lot. But, I love being different people. I love stepping into the tornado of someone else. That’s what I hope continues if I have a wish for my own career.  I hope I can continue to play all kinds of people and expose them in a way that they’ve never been exposed before. There’s some element that makes it memorable and reaches down into your insides to make you think of something you haven’t thought about. That’s why I do what I do. I just hope people don’t get sick of me and I hope that I can work until the day I die.”

We do too, Lin. We hope the same thing.

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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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