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Jamie Lee Curtis: Fè nan yon Rèn Rèl - Prom lannwit

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In some ways Prom Night represented a chance for Jamie Lee Curtis to create a new high school experience, putting aside the element of the masked killer in Prom lannwit, that she had never enjoyed and this is especially true in terms of prom night and the dancing that’s a rite of passage for graduating high school students.

Whereas Curtis herself had been largely ostracized throughout her high school years, which would manifest in Curtis’ bleak outlook towards the future, Kim Hammond is one of the most popular girls in high school, and is going to the prom with one of the most popular boys in school in the form of Casey Stevens’ Nick McBride character. In many ways this was the kind of teenage experience that Curtis herself could only have dreamed of back at Choate, with the exception of being stalked by an axe-wielding killer.

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Perhaps Curtis’ most memorable scene in Prom lannwit is when Kim and Nick, Hamilton High’s Prom King and Prom Queen, have their big dance scene in the school gymnasium. The outrageous dance sequence, which lasts about three minutes in the film and features an array of disco moves and poses, required a lot of practice on the part of Curtis and Stevens who had worked hard, both before and during the film’s production, to get the dance moves just right in concert with dance choreographer Pamela Malcolm, Paul Lynch’s sister.

WILLIAM GRAY: Jamie was very much a natural dancer and the scene wasn’t that difficult for her whereas Casey really struggled with the dancing and had to work a lot harder than Jamie did to get the moves right. The scene was embarrassing. We copied everything on Prom lannwit, and with that scene we were copying Samdi swa Lafyèv. The biggest debate we had when we were planning the film was whether to use disco music or rock music. We went with disco because of the success of Saturday Night Fever.

PAUL LYNCH: In the script it said there was a wild disco sequence so we had to create a sequence out of that. Peter Simpson and I felt like we needed a big dance scene in the film and that’s why I had my sister, who was a dance choreographer, work on dancing with Jamie and Casey Stevens for ten days before we started shooting. I wanted a dance sequence that would at least hold a candle to something like Saturday Night Fever, if not being quite as good. I thought the scene turned out good, and most of that was due to Jamie who was a very good dancer. Casey had to work a lot harder to get the dance moves down.

PAMELA MALCOLM: We had fun with the scene, but it was the end of filming and it was really hot and humid in the gymnasium. Paul could barely stand up during the filming of the scene because it was so hot and Jamie really carried the scene because Casey had two left feet. We also had to work around Jamie’s back at all times, and eventually we got through the scene. Poor Casey was such a nice guy, and I think he’d had his fill of Jamie by the end of filming. Casey trained for hours and hours in the dance studio but he couldn’t do lifts, and some other ambitious dance sequences that I’d planned for the scene. A few years after we made Prom Night, Paul told me that Casey was sick with AIDS and then I heard that he died, and that made me very sad.

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DAVID MUCCI: The dance scene was really crazy and fun. Casey had a stunt double who was standing off in the corner with a wig and everything, but Casey was really determined to try and do the dance scene himself. They used a double for Casey in some of the takes, if you watch the film closely.

ROBERT NEW: Casey and Jamie worked for two weeks on the dancing. Jamie was really into the dancing and really burned it up on the dance floor whereas Casey wasn’t that much into it. Jamie pulled Casey around the dance floor and carried him through the scene. They got along fine, although I think Casey was a bit in awe of Jamie. In terms of shooting the dance number, we had the scene well-covered and shot from an angle. The biggest challenge was with the dance floor itself because it was an under-lit plastic floor and if you stomped on the floor, the cameras would shake so we used a Steadicam for much of the dance scene. We shot the scene off the floor, with the camera off the floor, and we used a Dolly on the dance floor when Casey and Jamie were twirling around the dance floor.

MARY BETH RUBENS: Jamie had legs that went on forever, and an incredible amount of energy. She was tireless and she just kept going and going, and she was a great dancer.

SHELDON RYBOWSKI: Before they filmed the scene, Jamie walked out and surveyed the stage and planned out all the moves she was going to do. She was very prepared. My one scene with Jamie in the film was when I arrived at the prom with Joy Thompson, and I handed Casey Stevens a joint and then I kissed Jamie on the cheek. I was supposed to shake Jamie’s hand or something, but I kissed her on the cheek instead and she was shocked. She went “Oh,” but she was really cool about it, and then we had to do more takes for continuity purposes, and I had to kiss her cheek over and over again.

JOY THOMPSON: I remember that Casey Stevens had a hard time doing the dancing while Jamie found it quite easy. As for the dancing, that was the type of thing kids were doing back in 1979 so when we were watching them do the scene it wasn’t that funny.

STEVE WRIGHT: We had two cameras for that dance sequence, and there was also dry ice and the floor was covered with oil and I remember that Jamie actually slipped and hit the floor hard during one take.

The climactic scene in Prom lannwit occurs when Kim and Nick are confronted by the masked killer on the stage. The axe-wielding killer grapples with Nick who eventually pushes him away after which Kim grabs the axe and smacks the killer in the head. The killer was played by stuntman Terry Martin, although actor Michael Tough donned the killer’s black mask at certain times during filming. “The axe fight scene took place at the end of our filming schedule and everyone was very hot and frustrated,” recalls Robert New. “Before we shot the scene, Paul stood up and lectured the cast and crew to pull it together because it was a dangerous scene and someone could get hurt, and Paul wanted everyone to band together and pull the scene out. I remember that Casey had a stunt double for the scene and that Jamie was very adept at doing the action and physical stuff.”

Both this scene, and the film’s final scene which takes place outside the gymnasium, were shot on the last two days of filming. It was a very grueling finish to what had been a relatively peaceful and routine shoot, and this was primarily because Toronto was going through a record heat wave during the end of Prom lannwit’s filming schedule. “We shot that scene on a Saturday, all day and all night, and then we finished the movie on Sunday and the heat was unbelievable,” recalls Lynch. “It was the worst heat wave Toronto had ever seen those last two days and everyone was very tired and uncomfortable. We just wanted to finish it.”

The final scene in the film, which also represents Curtis’ dramatic highlight in the film, happens outside the gymnasium. It’s in this scene that Prom Night’s wounded and dying killer stumbles outside and then falls to the ground. Curtis runs out, leans down to the killer whom she immediately recognizes as her brother, Alex. She pulls off Alex’s black mask, and then her face trembles like crazy with emotion and grief as she watches her brother die, recognizing also that Alex murdered her friends who were responsible, six years earlier, for the death of Alex and Kim’s sister, Robin.

It was a very emotional scene and so Lynch and cinematographer Robert New decided to focus the camera tight on Curtis’ eyes as she convulses and trembles with emotion. In the shooting script, Kim says nothing, but when Curtis and Lynch were discussing the scene, Lynch decided that Curtis should say something to her dying brother. “I felt like Jamie should say something, anything, to end the movie, some line of dialogue that people would remember, but we couldn’t think of anything good,” recalls Lynch. “As it turns out, Jamie didn’t need to say anything because her reaction was so poignant and powerful. When the music hits at the end of the film, it just makes it a great scene.”

PAUL LYNCH: It was a very powerful scene, and I was almost staggered by it when I saw it. When the music hits and you see Jamie’s face, it’s just very emotional, and I felt I had created something very beautiful. I believe at that moment that Jamie’s character has lost her mind, and that her life will never be the same after that night. Jamie deserves half the credit for that scene, and the movie, because she had the ability to project so much emotion. I let Jamie make her own choices in that scene, as with the rest of the film, and she was brilliant.

ROBERT NEW: Jamie emotionally transformed that scene into a very touching scene and it was very powerful to watch. She went to a place in that scene that Paul didn’t expect and it left Paul and the rest of us a bit awestruck actually.

MARY BETH RUBENS: Jamie had bottomless depth as an actress, and a strong connection to human feelings. She also has an ability to make you feel what she’s going through and that’s because she has such a strong presence. In that scene, when the camera hit her face, you could see her whole body vibrate.

MICHAEL TOUGH: This was a very hard scene for me. I’d never done a dramatic and emotional scene like this before and I spent hours trying to get ready. I remember Jamie being very supportive during my pacing time just off set. She kept encouraging me and reminding me to not get too worked-up off camera. Save some of it. I remember crying during the actual scene and I remember being exhausted after we did that scene. That was one of those moments in an actor’s career where you understand why you love what you do. I truly was passionate about acting back then. It wasn’t until a couple of years later that I was a jaded and cynical old pro!

STEVE WRIGHT: Jamie was going to say something in that scene, but then she changed her mind and told us she wasn’t going to say anything, as was in the script. When we filmed the scene, she leaned down to her brother and she said something. She changed her mind, and the boom guy and the sound guys were really angry because they had to record this and Jamie said she wasn’t going to say anything. That’s why you don’t hear her say anything in the film.

Prom lannwit wrapped filming on September 13, 1979 and then Curtis, who’d pretty much kept to herself throughout filming, was gone, back to Los Angeles where she would soon begin work on Bwouya a re-shoots as well as filming her guest appearance on Buck Rogers nan 25yèm syèk la.

In November, Curtis would return to Canada, to Montreal, for the filming of her next horror film, Tren Laterè. None of the cast and crew of Prom lannwit—save for Eddie Benton whom Curtis recalls last seeing about ten years ago—would ever see Curtis again. “No, Jamie got on a plane right after we finished filming and I’ve never seen or spoken to her since,” says Lynch. “The only time I’ve seen her is in watching all of the great work she’s done over the past three decades since we did Prom lannwit. I feel very lucky to have worked with her on the film.”

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This excerpt is from the book Jamie Lee Curtis: Rèn Rèl, ki disponib nan papye a, epi sou limen.

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Nouvo afich revele pou siviv kreyati Nicolas Cage a 'Arcadian' [trelè]

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Nicolas Cage Arcadian

Nan dènye antrepriz sinematik ki gen Nicolas Cage, "Arcadian" parèt kòm yon karakteristik kreyati konvenkan, ki gen anpil sispens, laterè, ak pwofondè emosyonèl. RLJE Films te pibliye dènyèman yon seri nouvo imaj ak yon afich kaptivan, ki ofri odyans lan yon aperçu nan mond lan etranj ak sezisman. "Arkadyen". Pwograme pou frape teyat sou Avril 12, 2024, fim nan pral pita disponib sou Shudder ak AMC +, asire yon odyans lajè ka fè eksperyans naratif kaptivan li yo.

Arcadian Trelè fim

Motion Picture Association (MPA) te bay fim sa a yon evalyasyon "R" pou li "imaj san," allusion sou eksperyans nan visceral ak entans ap tann telespektatè yo. Fim nan trase enspirasyon nan referans laterè aklame tankou "Yon kote ki trankil," resi yon istwa pòs-Apokalips sou yon papa ak de pitit gason l 'k ap navige nan yon mond dezolasyon. Apre yon evènman katastwofik ki depeple planèt la, fanmi an fè fas a defi a doub pou siviv anviwònman distopik yo ak evite bèt misterye nocturne.

Jaeden Martell, li te ye pou wòl li nan, ansanm ak Nicolas Cage nan vwayaj sa a "IT" (2017), Maxwell Jenkins soti nan "Pèdi nan espas," ak Sadie Soverall, prezante nan "Sò: Winx Saga a." Dirije pa Ben Brewer ("Konfians nan") ak ekri pa Mike Nilon ("Braven"), "Arkadyen" pwomèt yon melanj inik nan rakonte istwa poignant ak laterè siviv elèktrisan.

Maxwell Jenkins, Nicolas Cage, ak Jaeden Martell 

Kritik yo deja kòmanse fè lwanj "Arkadyen" pou desen mons imajinè li yo ak sekans aksyon grizant, ak yon revizyon soti nan Sanglan degoutan mete aksan sou balans fim nan ant eleman emosyonèl vini nan laj ak laterè kè-bat. Malgre pataje eleman tematik ak fim genre menm jan an, "Arkadyen" mete tèt li apa atravè apwòch kreyatif li yo ak trase aksyon kondwi, pwomèt yon eksperyans sinema plen ak mistè, sispens, ak emosyon inplakabl.

Arcadian Afich fim ofisyèl

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'Winnie the Pooh: Blood and Honey 3' se yon ale ak bidjè amelyore ak nouvo karaktè

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Winnie Pooh 3

Wow, yo ap fè bagay yo soti vit! Sekans kap vini an "Winnie Pooh: san ak siwo myèl 3" ofisyèlman ap vanse, li pwomèt yon naratif elaji ak yon pi gwo bidjè ak entwodiksyon karaktè yo renmen anpil nan istwa orijinal AA Milne yo. Kòm konfime pa Varyete, twazyèm tranch nan franchiz laterè a pral akeyi lapen, heffalumps yo, ak woozles yo nan naratif nwa ak trese li yo.

Fen sa a se yon pati nan yon linivè sinema anbisye ki reimajine istwa timoun yo kòm istwa laterè. Akote "Winnie Pooh: san ak siwo myèl" ak premye fen li yo, linivè a gen ladan fim tankou "Kochma Neverland Peter Pan a", "Bambi: Rekondisyon an," ak "Pinokyo dekole". Fim sa yo mete yo konvèje nan evènman an kwazman "Poohniverse: Monstr Asanble," prevwa pou yon lage 2025.

Sou entènèt jwèt Winnie Pooh Poohniverse

Kreyasyon fim sa yo te posib lè liv timoun AA Milne an 1926 "Winnie-the-Pooh" te antre nan domèn piblik ane pase a, sa ki te pèmèt kreateur yo eksplore karaktè cheri sa yo nan fason san parèy. Direktè Rhys Frake-Waterfield ak pwodiktè Scott Jeffrey Chambers, nan Jagged Edge Productions, te dirije chaj la nan efò inovatè sa a.

Enklizyon lapen, heffalumps, ak woozles nan fen k ap vini an entwodui yon nouvo kouch franchiz la. Nan istwa orijinal Milne yo, heffalumps yo imajine bèt ki sanble ak elefan, pandan y ap woozles yo li te ye pou karakteristik yo tankou belèt ak yon tandans pou vòlè siwo myèl. Wòl yo nan naratif la rete yo dwe wè, men adisyon yo pwomèt yo anrichi linivè a laterè ak koneksyon pi fon ak materyèl sous la.

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Ki jan yo gade 'Late Night with the Devil' soti nan Kay: Dat ak platfòm

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Sou entènèt jwèt Late Night With The Devil

Pou fanatik ki anvi plonje nan youn nan fim laterè ki pi pale sou ane sa a soti nan konfò pwòp lakay yo, "Late Night ak Dyab la" ap disponib pou difizyon sèlman sou Shudder kòmanse 19 avril 2024. Anons sa a te trè antisipe apre fim nan siksè teyat lage pa IFC Films, ki te wè li te genyen revizyon enpresyonan ak yon wikenn ouvèti rekò pou distribitè a.

"Late Night ak Dyab la" Emerge kòm yon fim laterè rekòmandasyon, kaptivan odyans ak kritik menm jan, ak Stephen King tèt li ofri gwo lwanj pou fim nan 1977-set. Ak David Dastmalchian, fim nan dewoulman jou Halloween lan pandan yon emisyon diskisyon an dirèk nan mitan lannwit ki degaje sa ki mal atravè nasyon an. Fim sa a ki te jwenn yon seri fim pa sèlman bay pè, men tou li kaptire otantikman ayestetik ane 1970 yo, ki atire telespektatè yo nan senaryo kochma li yo.

David Dastmalchian nan Lannwit ak Dyab la

Premye siksè nan bwat fim nan, ouvèti a $2.8 milyon dola nan 1,034 teyat, souliye gwo apeti li epi li make pi wo wikenn ouvèti pou yon lage IFC Films. Aklame kritik, "Late Night ak Dyab la" gen yon evalyasyon 96% pozitif sou Rotten Tomatoes soti nan 135 revizyon, ak konsansis la fè lwanj li pou rajenisman genre laterè posesyon ak montre pèfòmans eksepsyonèl David Dastmalchian a.

Rotten Tomatoes nòt apati 3/28/2024

Simon Rother nan iHorror.com Encapsule atiran fim nan, mete aksan sou bon jan kalite immersion li yo ki transpòte telespektatè tounen nan ane 1970 yo, fè yo santi yo kòm si yo fè pati nan etranj "Night Owls" emisyon Halloween lan. Rother felisite fim nan pou script li yo byen fabrike ak vwayaj emosyonèl ak chokan li mennen telespektatè yo sou, li deklare, "Tout eksperyans sa a pral fè telespektatè fim frè Cairnes yo kole sou ekran yo... Script la, depi nan kòmansman rive nan fen, byen koud ansanm ak yon fen ki pral gen machwè sou planche a." Ou ka li revizyon an konplè isit la.

Rother plis ankouraje odyans yo gade fim nan, mete aksan sou plizyè aspè li yo: "Kèlkeswa li disponib pou ou, ou dwe eseye wè dènye pwojè frè Cairnes yo paske li pral fè ou ri, li pral trennen ou soti, li pral sezi ou, e li ka menm frape yon kòd emosyonèl."

Mete pou difizyon sou Shudder le 19 avril 2024, "Late Night ak Dyab la" ofri yon melanj konvenkan nan laterè, istwa, ak kè. Fim sa a se pa sèlman yon moun ki dwe gade pou fanatik laterè men pou nenpòt moun ki ap chèche byen amize ak deplase pa yon eksperyans sinema ki redefini limit yo nan genre li yo.

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