“Terrifier 2” relies almost entirely on practical effects, though your film subtly integrates digital in a few key scenes.
The reactions of people getting sick and not being able to watch it, that’s a testament to the skill going into these effects. You’re talking masters of their craft really creating these things. That’s a rare movie where they appreciated the grotesque artistry that went into something like that.īut for the most part, when it comes to movies with graphic violence, I don’t think they’ve ever been nominated for an award. Which ones come to mind, and did any of these inspire you to try and top yourself from the original “Terrifier”?ĭamien Leone: One that comes to mind is “The Fly,” David Cronenberg’s version, which is one of the greatest horror movies of all time and one of the most disgusting movies ever. IndieWire: In talking about brutal, disgusting genre movies that have achieved at the Oscars, there are outliers. “Terrifier 2” Courtesy Everett Collection This interview has been edited for clarity and length. It’s very rare that a horror film gets the praise it deserves, especially one that has some really graphic violence or something really disgusting.” The context takes over the dialogue, whereas you’re not thinking about the hours of sculpting and the materials that you’re using. “It’s always been because it has such a visceral reaction from the audience, where the last thing they do is appreciate the art form and appreciate how much work goes into creating something like that. “Oh without a doubt, and it’s always kind of frowned upon,” Leone said of gory practical effects historically making the cut at the Oscars. The scene, which IndieWire discussed with Leone, among other topics below, is almost operatic in its violence, with the filmmaker and his producing partner Phil Falcone mounting the majority of the practical effects themselves.īut is the Academy allergic to hardcore movies of this kind? If anything, “Terrifier 2” is deliberately missing that dose of irony that makes us feel safe in the razor-wire clutches of a slasher movie. The woman (part prosthesis, part actual human actress, and part CGI creation in one clever little way) survives, and it’s not played for laughs. Oh, and then she’s doused in acid and salt, with Art the Clown’s impassive rictus grin intact throughout as he merrily goes about brutality. In one scene that leaves anyone who’s seen it gasping for air, a woman is scalped with bandage scissors, disemboweled, repeatedly impaled, and ripped apart limb from limb.
“Terrifier 2” is hardly an Oscar contender, but in that category, it deserves your attention. That’s a far cry from the glue-and-paper clips release of 2016’s “Terrifier,” and its unexpected success empowered distributor Bloody Disgusting (working with Cinedigm on theatrical) to mount an Oscar campaign for its outré makeup effects. Some people have seen it three times,” director Damien Leone told IndieWire in an interview. I’ve heard people keep going to the movies to see it. “It’s very unprecedented for a sequel to a very obscure movie, that’s a hardcore, unrated slasher movie that’s two hours and 18 minutes long. The sequel has already grossed more than $10 million worldwide and, at its apex, screened in over 1,500 theaters in the U.S. And you wouldn’t know it from the budget: “Terrifier 2” is a marvel of practical effects made for $250,000. He hacks, saws, and dismembers his way across nearly two and a half hours of unparalleled slasher set pieces filled with putridly realistic-looking entrails and viscera made from actual meat and other tasty sundries from the horror artisan’s toolbox. Enter Damien Leone’s “ Terrifier 2” into this year’s mix, a Halloween box-office sleeper about a serial-killing clown named Art (David Howard Thornton). In short, the Academy tends to shy away from hardcore genre movies that test audience’s limits, especially those using practical effects that often look and feel all too harrowingly real while retaining more charm than their CGI-pumped contemporaries. Why ‘Little Mermaid’ Director Rob Marshall Cut a Classic Animated Sequence from His Live-Action Version
0 kommentar(er)
