Horror 2006, The List

[hypnocil addict]

Originally posted by RavageRitual
yea saw 3 will deffinatly be coming out, the first two made butloads, so you can expact another. I amagine it tyo be really shitty though, because the producer died....

call me jessica simpson, but isnt the producer just the person who pays for it to be done or something? there for they could just find another?

[RavageRitual]

Originally posted by hypnocil addict
call me jessica simpson, but isnt the producer just the person who pays for it to be done or something? there for they could just find another?

You asked for it.....

For decades, this has been one of the great unanswered questions in Hollywood, to the point where it's almost a joke. It's still a classic question for many reasons: There's no official line-by-line job description for the role, the list of potential responsibilities is impossibly huge, and no two producers handle the position in exactly the same way. Consequently, it has remained a conundrum, both for industry insiders who are stymied when asked for a twenty-five-words-or-less summary, as well as general audiences who are bewildered by all the titles in the credits.

First, almost invariably, the producer is the first person attached to a film project. Whether it's a book or a play the production company (often abbreviated "prodco") has acquired for adaptation, or a true-life story, or whatever, the producer is usually the first person to officially begin work on the project. (An exception might be in the case of a "spec," i.e. an existing screenplay, purchased by the prodco, in which case the writer was obviously the first person involved. Still, the script lands first in the hands of a producer, or, alternatively, the prodco immediately assigns a producer to the project. Either way, the writer usually gets kicked off at the first opportunity, leaving the producer as the sole authority.) The principle of producer-arrives-first is true even when the project is generated by an actor, who may have acquired the right to adapt a magazine article or remake an old movie or television show (usually by "taking an option"), or a director, who may likewise have existing source material or may have written the script him- or herself. In both of these cases, the actor or director usually ends up with a "producer" title on the film in addition to acting or directing, and therefore in a practical sense it can be said that the producer is still the first one on the project.

Second, in the majority of cases, the producer recruits and hires the talent who will work on the project. In the early stages, this usually includes the writer, whose work the producer directs and supervises as the book, play, video game, story pitch, or whatever is adapted into a screenplay. (Sometimes, of course, the script comes later, as for remakes or adaptations of existing movies, television shows, and so on. It isn't as common, though.) Following the completion of at least a first draft, the producer then sets about attracting a director, cinematographer, costumer, art director, casting director, editor, topline stars, and so forth. Exceptions, of course, may crop up if the producer is also the director, or if the producer signs a director who insists on certain collaborators (John Landis, for example, always uses costume designer Deborah Nadoolman on all of his productions). Movie stars can also create complications, as they may bring their own makeup artists or costumers (e.g., Edward Norton almost always demands that his character wear Armani). But even considering exceptions like these, it's generally the producer's responsibility to assemble the creative team that will work on the film.

Third, many producers -- but by no means all -- are a daily on-set presence during and after actual production of the film. They often act in a supervisory capacity (see next paragraph), but on most projects will maintain a low profile, ceding major artistic decisions to the director. Instead, the producer is there as a technical and logistical problem-solver, making practical and procedural decisions so the director is free to focus on the creative work of actually making the film. For example, if the film crew is scheduled for an outdoor location shoot, but the weather looks uncooperative, it falls to the producer to make certain there will be a backup shooting alternative available, and to coordinate all of the crew and equipment required should it be necessary to retreat to the backup location. This active role continues through postproduction, as the producer remains available for consultation on editing, music, marketing, and so on. Again, the relative power and prestige of the producer -- as compared to the director -- will determine which of them takes the lead role and has the effective final say on these decisions. Still, the producer is always in the loop.

Fourth, and perhaps most importantly, the producer is generally regarded by the studio or production company as the ultimate authority on the project, the person who is actually in charge of the film. This may or may not be true in reality; for example, Jane Hamsher, Don Murphy, and Clayton Townsend served as producers on Natural Born Killers, but you don't have to have read Hamsher's very funny behind-the-scenes book Killer Instinct to know that director Oliver Stone was the true Big Kahuna on the project. Regardless, when the studio or prodco has questions or concerns, they call the producer first, not the director. Sometimes, this is accurate, and the producer is in fact the real authority on the film. Enemy of the State, Con Air, Coyote Ugly, and Gone in 60 Seconds were all directed by different men (Tony Scott, Simon West, David McNally, and Dominic Sena, respectively), but the fact that they're all so generically similar can be attributed to their being produced by the same man, Jerry Bruckheimer, a very powerful producer who puts his indelible stamp on everything he does.

Regardless of who actually wears the big pants on a film, the producer almost always ends up heading the financial and organizational aspect of the production. He or she supervises the budgeting process, approves major expenses, and answers to the studio or production company when there are problems. The producer also has veto power over most of the director's decisions, although in the interest of maintaining a happy set, this is usually not exercised except in crisis situations. (This changes, of course, if the director is powerful enough to have negotiated "final cut" on the film, or other perks.) And when things go wrong on the set -- if, say, on a location shoot, so many local residents have showed up to gawk that they're getting in the way, or maybe the costume truck got towed away by mistake -- it's the producer who's expected to be in charge of fixing the problem.

As mentioned above, the producer's role continues through postproduction, into editing, scoring, and especially marketing and distribution. Most directors will be fairly active while the film is being edited and scored; it's then the producer's job to look at the first cut of the film (done by the director and editor) and suggest revisions before the studio or production company get to see it. As the project marches toward completion, most directors begin to fade out of the picture. The producer usually takes the lead on cutting television commercials and theatrical trailers, deciding on posters, billboards, and other marketing material, and negotiating distribution deals with the exhibitors. The director may still be involved in certain aspects of the filmmaking process (particularly in visual-effects-heavy projects, where some effects shots are being completed two weeks before the film is scheduled to open), but when it comes to actually getting the film onto screens and convincing audiences to go to the cinema to see it, that's the producer's job.

[hypnocil addict]

Originally posted by RavageRitual
You asked for it.....

For decades, this has been one of the great unanswered questions in Hollywood, to the point where it's almost a joke. It's still a classic question for many reasons: There's no official line-by-line job description for the role, the list of potential responsibilities is impossibly huge, and no two producers handle the position in exactly the same way. Consequently, it has remained a conundrum, both for industry insiders who are stymied when asked for a twenty-five-words-or-less summary, as well as general audiences who are bewildered by all the titles in the credits.

First, almost invariably, the producer is the first person attached to a film project. Whether it's a book or a play the production company (often abbreviated "prodco") has acquired for adaptation, or a true-life story, or whatever, the producer is usually the first person to officially begin work on the project. (An exception might be in the case of a "spec," i.e. an existing screenplay, purchased by the prodco, in which case the writer was obviously the first person involved. Still, the script lands first in the hands of a producer, or, alternatively, the prodco immediately assigns a producer to the project. Either way, the writer usually gets kicked off at the first opportunity, leaving the producer as the sole authority.) The principle of producer-arrives-first is true even when the project is generated by an actor, who may have acquired the right to adapt a magazine article or remake an old movie or television show (usually by "taking an option"), or a director, who may likewise have existing source material or may have written the script him- or herself. In both of these cases, the actor or director usually ends up with a "producer" title on the film in addition to acting or directing, and therefore in a practical sense it can be said that the producer is still the first one on the project.

Second, in the majority of cases, the producer recruits and hires the talent who will work on the project. In the early stages, this usually includes the writer, whose work the producer directs and supervises as the book, play, video game, story pitch, or whatever is adapted into a screenplay. (Sometimes, of course, the script comes later, as for remakes or adaptations of existing movies, television shows, and so on. It isn't as common, though.) Following the completion of at least a first draft, the producer then sets about attracting a director, cinematographer, costumer, art director, casting director, editor, topline stars, and so forth. Exceptions, of course, may crop up if the producer is also the director, or if the producer signs a director who insists on certain collaborators (John Landis, for example, always uses costume designer Deborah Nadoolman on all of his productions). Movie stars can also create complications, as they may bring their own makeup artists or costumers (e.g., Edward Norton almost always demands that his character wear Armani). But even considering exceptions like these, it's generally the producer's responsibility to assemble the creative team that will work on the film.

Third, many producers -- but by no means all -- are a daily on-set presence during and after actual production of the film. They often act in a supervisory capacity (see next paragraph), but on most projects will maintain a low profile, ceding major artistic decisions to the director. Instead, the producer is there as a technical and logistical problem-solver, making practical and procedural decisions so the director is free to focus on the creative work of actually making the film. For example, if the film crew is scheduled for an outdoor location shoot, but the weather looks uncooperative, it falls to the producer to make certain there will be a backup shooting alternative available, and to coordinate all of the crew and equipment required should it be necessary to retreat to the backup location. This active role continues through postproduction, as the producer remains available for consultation on editing, music, marketing, and so on. Again, the relative power and prestige of the producer -- as compared to the director -- will determine which of them takes the lead role and has the effective final say on these decisions. Still, the producer is always in the loop.

Fourth, and perhaps most importantly, the producer is generally regarded by the studio or production company as the ultimate authority on the project, the person who is actually in charge of the film. This may or may not be true in reality; for example, Jane Hamsher, Don Murphy, and Clayton Townsend served as producers on Natural Born Killers, but you don't have to have read Hamsher's very funny behind-the-scenes book Killer Instinct to know that director Oliver Stone was the true Big Kahuna on the project. Regardless, when the studio or prodco has questions or concerns, they call the producer first, not the director. Sometimes, this is accurate, and the producer is in fact the real authority on the film. Enemy of the State, Con Air, Coyote Ugly, and Gone in 60 Seconds were all directed by different men (Tony Scott, Simon West, David McNally, and Dominic Sena, respectively), but the fact that they're all so generically similar can be attributed to their being produced by the same man, Jerry Bruckheimer, a very powerful producer who puts his indelible stamp on everything he does.

Regardless of who actually wears the big pants on a film, the producer almost always ends up heading the financial and organizational aspect of the production. He or she supervises the budgeting process, approves major expenses, and answers to the studio or production company when there are problems. The producer also has veto power over most of the director's decisions, although in the interest of maintaining a happy set, this is usually not exercised except in crisis situations. (This changes, of course, if the director is powerful enough to have negotiated "final cut" on the film, or other perks.) And when things go wrong on the set -- if, say, on a location shoot, so many local residents have showed up to gawk that they're getting in the way, or maybe the costume truck got towed away by mistake -- it's the producer who's expected to be in charge of fixing the problem.

As mentioned above, the producer's role continues through postproduction, into editing, scoring, and especially marketing and distribution. Most directors will be fairly active while the film is being edited and scored; it's then the producer's job to look at the first cut of the film (done by the director and editor) and suggest revisions before the studio or production company get to see it. As the project marches toward completion, most directors begin to fade out of the picture. The producer usually takes the lead on cutting television commercials and theatrical trailers, deciding on posters, billboards, and other marketing material, and negotiating distribution deals with the exhibitors. The director may still be involved in certain aspects of the filmmaking process (particularly in visual-effects-heavy projects, where some effects shots are being completed two weeks before the film is scheduled to open), but when it comes to actually getting the film onto screens and convincing audiences to go to the cinema to see it, that's the producer's job.

i believe i said jessica simpson, not albert einstein :D

[hypnocil addict]

Originally posted by bwind22
What about the TCM prequel and 28 Weeks Later?

I thought those were both due out in '06 too.

Anyone...? Anyone...? Bueller...? Anyone...?

has the TCM prequel gone into production yet or is it just a myth right now?

[GOODandEVIL666]

thanks for the lists NOTLD 3-D??? explain if you will...

[RavageRitual]

Originally posted by GOODandEVIL666
thanks for the lists NOTLD 3-D??? explain if you will...

Plot Summary

In this film Barb and her bro arrivate late for the burial of their aunt only to flee zombies and get rescued by a local college student. They then seek refuge at a nearby farmhouse, where they spend the rest of their days.

LATEST NEWS

11/19/05
A Jan 27th limited theatrical release has been set for select cities. The exact cities will be determined shortly.

DETAILS

- The film will get a limited theatrical release starting in January '06 and go from city to city, slowly expanding as time goes on.
- 15 CG shots to the film will be in the film.
- The film is currently in post-production, working out the sound and CGI-effects.
- It's said that this film is a "re-imagining", but also remaining faithful to the original. It's also said that it'll serve as somewhat of a starting off point from the original.
- Dean Jones and Starr Jones and their American Makeup and Effects Company handled the extensive special makeup effects.
- Yes, this film is in 3D.
- Robert Valding wrote the script for this update.
- A remake of the classic 1968 George A. Romero film.

Link To Website.....

www.nightofthelivingdead3d.com

Hope this all helps you out.

[crazy raplh]

the grudge 2 hmm or saw 3

[thatsnot_horror]

im not as excited as i think i was going to be...but there is a few good ones on there from the sounds of it

[The_Return]

Originally posted by hypnocil addict
has the TCM prequel gone into production yet or is it just a myth right now?

Dont quote me on this, but Im pretty sure it's in post-production now. There's interviews with cast/crew on the main page here.

[RavageRitual]

Originally posted by hypnocil addict
has the TCM prequel gone into production yet or is it just a myth right now?

Texas Chainsaw Massacre: The Origin

PLOT SUMMARY

On one last road trip before they're sent to serve in Vietnam, two friends and their girlfriends get into an accident that calls their local sheriff to the scene. Thus begins a terrifying experience where the teens are taken to a secluded house of horrors, where a young, would-be killer is being nurtured.

LATEST NEWS
12/12/05
You can expect the movie to have more gore than the previous film. Also, it looks like the old Origin title has made its return.

9/26/05
It has been confirmed that Andrew Bryniarski will reprise his role as Leatherface. Also Taylor Handley from The O.C. series has been cast as one of the leads who crosses paths with the infamous chainsaw wielder.

8/10/05
An October 6th theatrical release is set. Also the sub-title has been changed from "The Origin" to the bland "The Beginning".

DETAILS

- Actor Taylor Handley will play the Sheriff, while R. Lee Ermy plays the deputy.
- Previously had the subtitle "The Origin".
- You can expect actor R. Lee Ermy to have a lot of screen time.
- Takes place 3 years before the events of the remake.
- Leatherface will obviously return and hopes of the family from the remake as well.
- Plans are to start shooting in the Summer in Austin, TX.
- You can expect some of the actors from the remake to appear in this film.
- Sheldon Turner is writing the script.
- Much like the remake, it will be once again produced by Michael Bay's Platinum Dunes company.
- This is the obvious prequel to the TCM remake.

Originally posted by alkytrio666

I'm actually looking forward to The Hills Have Eyes remake...so shoot me in the head. Is there a trailer out yet?

Heres all I know Alky..

THE HILLS HAVE EYES
March 10, 2006

You can see the trailor here..
http://www.apple.com/trailers/fox_se...eyes/trailera/

Or you can go to theatres and check out Wolf Creek, and in the previews youll see a trailor for THHE.

PLOT SUMMARY

The story follows a suburban American family who take a trip cross-country, but after their trailer breaks down in the New Mexico desert, they are preyed upon by a family of deformed hill people.

LATEST NEWS

12/04/05
According to Empire Online the MPAA slapped the film with an NC-17 rating deeming it "too intense and gory". Here's what producer Wes Craven had to say: "It’s a very strong picture and we’re trying to figure out what to do with that, without ruining it. “We have to deliver an R rating. We looked at it last night in the screening room and before we started, we said to Alex ‘what do you think?’ And he said ‘this is a PG-13 now’. And one of our producers said ‘Alex, can we commit you to an insane asylum if this isn’t an R?’ and then he showed it to us and ohmigod, there’s no way you would get an R for that."

6/03/05
DC spoke with director Alexandre Aja about the film, where he reveals what to expect: "...what we're trying to do is keep the spirit of those films [Last House on the Left, The Hills Have Eyes original] again and update it, first of all, but then also focus on the family facing something in the hills instead of the feral 'Hills' family versus and American family. We're gonna keep the same setting and it'll go in the same direction of the survival story with a lot of tension and gory elements, for us it's the perfect step to develop and push further what we tried in 'High Tension'."

2/17/05
The following is a cast breakdown of the deformed family that was first posted at Fango. You'll notice the characters of Jupiter, Ruby, and Pluto return:

RUBY: The youngest of the hill people, 14 years old (but 18+ or emancipated preferred). Very small—five feet tall, frail, but rather pretty despite her abnormally large eyes and deformed hands. She wears a hooded sweatshirt, preventing us from seeing the part of her skull that is permanently caved in. Ruby is intrigued by this "normal" family—particularly Bobby, who is the first boy her own age she has ever met before. She is the only one of the hill people with a sense of right and wrong—she tries to help the family and protect Catherine, the baby.

PAPA JUPE (JUPITER): The leader of the mutant hill people, around 50 years old, his voice is deep, distorted and devilish; he has long hair and a beard, and evil eyes. He is the most menacing and violent of the hill people.

BIG BRAIN: One of the hill people, confined to a wheelchair. His head is 10 times bigger than his face—his head is so heavy that he is unable to hold it up, it rests back on his chair. His body is skeletal, his voice is weak and asthmatic. He is the character most representative of the damage the hill people have suffered from the nuclear fallout. He tells Doug of the fate of the hill people, of the disregard the government showed for their plight.

LIZARD: One of the mutant hill people, so named both because of his almost supernatural agility and because of the spiky chain he uses to provoke car accidents (when not is use, it drags behind him like a lizard tail). Extremely thin, and pale, with a cleft lip and a deformed jaw. He is, quite simply, a savage with no sense of pity. Scary and sadistic.

PLUTO: A giant, one of the hill people, bald, hulking and terrifying, but with the face of a cruel child, with asymmetrical eyes. And there is something childlike and dim about him, despite his huge size. And yet he is capable of terrible violence.

GOGGLE: One of the mutant hill people, so named because he keeps watch on the desert through a pair of binoculars. He has no face—his eyes, nostrils, and mouth exist in a mass of flesh. His voice is rough and deep, his pronunciation is poor and we can’t understand everything he says.

LARGE WOMAN/THE OBESE WOMAN: One of the hill people, Ruby’s mother. As her name suggests, should be very overweight. She also takes care of the handicapped Big Brain. She sits in a rocking chair, holding a huge pig in her arms and petting it like a dog.

CYST: One of the mutant hill people. Enormous cysts disfigure him and cover every part of his body; a metallic brace is screwed on four sides of his head helping him stand straight. No dialogue—his character is mute—but much on-camera time.

DETAILS

- You can expect a backstory with the Hills family as well as more deformities.
- Fox Searchlight is releasing.
- Filming begins in June.
- Dimension Films co-chairman Bob Weinstein is behind this remake.
- Alexandre Aja and Gregory Levasseur (Haute Tension) will write the script.
- Original writer/diretctor Wes Craven will produce alongside Marianne Maddalena and Peter Locke.
- This is a remake of the 1977 Wes Craven flick.