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Tom de Ville, Alex Wolpert, and Nick Hudson on Creating ‘Corvidae’

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Writer/director Tom de Ville had no idea when he wrote the script for his short filmĀ Corvidae just how long it would take to bring his dark fairy tale to life. In fact, when he and his fellow producers Nick Hudson and Alex Wolpert joined me to discuss the film in a recent interview, I was surprised to learn the 11 minute which debuted this weekend at Fright Fest in London was over a decade in the making.

“I actually came up with the idea and wrote the script 15 years ago after I read an article about how smart crows are and how they can actually hold grudges,” de Ville explained. “I was fascinated by that idea and I turned it into a story about a girl who helps a crow and they help her in return.”

The script sat on a shelf for almost 10 years, but it was never far from de Ville’s thoughts, and a few years ago, when a friend told him she knew someone who was looking to produce short films, he excitedly forwarded the script to Alex Wolpert who then forwarded it along to Nick Hudson.

The men were knocked out by what they read, and it wasn’t long before the film was in production, and de Ville found himself in the director’s chair.

“I loved the fact that it was so evocative and brooding,” Wolpert said. “It wasn’t crude; it came across beautifully on the page. I was really rattled by it.”

“That darkness spoke to me,” Hudson agreed. “I had a German mother who would find the most terrifying books to read to me when I was a child, and the script was very much like those stories.”

de Ville was actually ahead of the game when it came time to start bringing the pieces ofĀ Corvidae together. Early on, he’d had concept art drawn up by both Brad Kovar and Dave Lupton.

The talented artists seemed to intrinsically understand the story that the writer was trying to tell, and much of their work such as Lupton’s bully masks and Kovar sense of movement and environment translated directly to the screen. The artwork also served them all well when it was time to talk casting.

Concept art by Dave Lupton

“One of the things I like most about Nick and Alex is their commitment to working with the best people,” de Ville said. “I remember Alex, during our casting meeting, saying ‘What aboutĀ Game of Thrones They’ve got some great child actors on there.’ As soon as he said it, Maisie Williams popped into my head.”

Game of ThronesĀ had only two seasons under its belt at the time, but Williams was already proving herself a talented actress capable of expressing a great deal of emotion in a single look. That talent would be key as her role, and the film itself, were almost completely silent.

They sent the script to her agent who passed it along and after a Skype meeting with de Ville, the young actress agreed to come aboard.

“Everyone expects this tale of us camping outside her home to try to get her involved in the film,” Hudson laughed. “But it was really by the book, and a lot of credit goes to Maisie for seeing it and responding so quickly. We were pretty ambitious, but so was she.”

Still, there were more challenges ahead for the first time director, some of which he had not anticipated at all.

“I like the idea of a silent film because it seems more filmic in its visual nature,” the writer/director pointed out. “And I love the idea that the lack of dialogue makes it seem a bit more universal, but I, rather foolishly, also thought that lack of dialogue meant that I wouldn’t really need a sound department!”

“We really had to heighten sound even more,” Hudson agreed.

“It’s true we had to make up for the lack of dialogue in all kinds of ways,” Wolpert also chimed in. “But it’s nice that people around the world can watch it without having to read or resort to bad dubbing.”

The men lucked out again, though, as sound designer Vincent Watts and composer Adam Norden joined the project. They instinctively understood the needs of the film, and used their considerable gifts to heighten the already intense film.

Norden’s theme for the central character, Jay (Williams), is especially good with its ability to encapsulate a multitude of emotions throughout its variations in the film, climbing from hushed somber tones to an almost primal shriek as the story’s events unfold. Watts, meanwhile, fills each moment with just the right amount of natural and ambient sounds to flesh out the world ofĀ Corvidae beautifully.

Now, after almost five years in post-production, working on the film’s completion as time permitted around other projects and as technology progressed to meet their needs, the three are excited to release their film into the world, and all three pointed to the things they’ve learned and why they’ve come to love the art of a short film.

“In one sense, itā€™s always been a great medium to develop material. We believe that a short has potential to go to the next level,” Wolpert explained. “[Corvidae] has been a fantastic exploration of the material that showed me that itā€™s got real legs and it has the depth to develop it further.”

“With a short, youā€™re not worried distribution based on box office performance. I think thatā€™s kind of liberating,” Hudson added. “For me, itā€™s a nice experimental way of telling compelling stories.”

“It was a real process but it was one that Iā€™m so glad that I could go through it because I learned an incredible amount,” de Ville pointed out. “It gave me so much confidence to do other things. Thatā€™s the joy of making short films.”

Corvidae made its debut this weekend at Fright Fest in London and will soon be hitting the road for showings on the international film festival circuit. Check out the trailer below!

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ā€˜Strange Darlingā€™ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

ā€˜Strange Darling,ā€™ 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. Heā€™s clearly a student of the game, one who studied his forebearsā€™ 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, ā€œIt 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 itā€™s such an interesting way into a sci-fi world. Iā€™ve always wanted to do sci-fi. So weā€™ll see what happens.ā€œ

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 sexualityā€”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. Itā€™s the theme of our film. Itā€™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 peopleā€™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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