A Nightmare A Day: Day 1 (A Nightmare On Elm Street)

So, halloween is approaching. The night of scares, the night of horror, the night of staying indoors with all the lights off and pretending you’re not in. To prepare for this we thought we’d do something special. On Halloween itself I’ll be posting a blog about my love for Eternal Darkness, and on Monday they’ll be a blog about Silent Hill. But we thought we’d go a bit further than that. So I’ve started “Nightmare A Day” Every day until halloween I’ll be watching a film from Nightmare On Elm Street series and basically writing up my thoughts as I watch them. If this goes well we’ll be doing this again for other releases. It just felt right to do it with this because the iconic images contained, and as a tribute to the recently departed Wes Craven. We start at the beginning (obviously), enjoy:

Nothing is as creepy as this though
Nothing is as creepy as this though

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  • Kind of masterful opening, you’d expect there to be a reveal of the gloves later on, but nope right there in the pre-credits sequence. Kind of cool. Add five awesome points. Although I have to deduct those points for the images being ridiculously small. I don’t know if it was a problem with the conversion to DVD or not (I doubt it, but let’s be kind), but it’s quite offputting, so it loses those points almost immediately.
  • “introducing Johnny Depp”. So you’re to blame for Mortdecai
  • And there’s a random goat. For a lewton bus. Or to put it another way: Wes Craven had a low budget and access to a goat for some reason.
  • Is that a f*cking synthesiser? You’ve lost more of those awesome points I gave you earlier. I suppose this is why when people talk about this film they don’t mention the soundtrack like they do when talking about Halloween etc.
  • That sounds like a laser blast sound used as a jump scare. I get it was the 80’s and the sound guys had cocaine blocking their ears, but still.
  • Who the hell brings a gardening tool to a party? This douche, (Rod) that’s who. I hope he dies.
  • Girl is so pleased Rod brought a gardening tool she let’s him put his Rod/tool inside her. What a hoe.
  • Freddy coming through roof is fantastic image it has to be said.
  • “Morality sucks”. Wow, this film’s so 80’s it even quotes the Conservative Party slogan from the Thatcher era.
  • Time of first death: 16 minutes. Details: actually really damn creepy. She’s being attacked in the dream world but we only see it from the real world. So instead of an intense fight we just see her writing about screaming as blood appears on her, then she kind of crawls backwards up the wall and across ceiling. Really creepily done and a brilliant set-piece.
  • Freddy cuts himself a lot in this film. I get why, is an effective way to scare someone, but it’s done so quickly it kind of loses it’s creepiness. It’s too quick and clean which robs of it of any impact.
  • Bathtub scene, with no nudity. If this film was shot today I’m fairly certain this scene would be mostly nipple shots, I hate hollywood sometimes.
  • So her friend died and she’s being hunted down, so she decides to watch a nice relaxing movie: The Evil Dead.
  • “what happened to your arm?” “i burned it in english class”. And he doesn’t make a joke about it, damn you Johnny Depp you suck.
  • “Oh god I look 20 years old”, as someone who’s nearly 30, f*ck you! Wait, wouldn’t it be good to look slightly older at that point as it means you might get served alcohol?
  • Time Of Second death: 43 Minutes. The “rod getting hanged” scene: the nike shoes were on screen a bit too long for my liking and makes it seem like product placement. Didn’t like this death that much mainly because it happened to a character we hadn’t seen in a long time, (in contrast, Tina was one of the first people we saw and it could be argued that she’s taking the role of the main character until her death).
  • Why is Rod the first guy to get a funeral scene when his characterisation literally begins and ends with “penis”?
  • “mommy killed him” mommy also hides alcohol around the house and decided to keep a souvenir of the person she killed twenty years ago, so something tells me she’s not a good person.
  • “you’re the jock, you have a baseball bat or something” that’s racist!
  • Johnny Depp’s character comes to his room and wakes him up in order to tell him to go to sleep.
  • Although his dad is only in it for about 2 scenes so far and already seems like a massive jerkass.
  • Time of the death of Depp: 70 minutes. This is probably the most iconic death in the series, he gets dragged into the bed and blood splatters everywhere, but personally it doesn’t do much for me.
  • She managed to do a lot of booby trapping in a house in only twenty minutes. And all just after reading a book about it. I’m fairly certain this section is a horror version of Home Alone, if the horrific version of Home Alone wasn’t Home Alone 3.
  • Wait, did she just shout the villain into non-existence? See, this is why English horror films are different. If shouting at a villain killed it all horror films set in Britain would last about 5 minutes. Yeah, they’ll be people apologising as you kill them “oh, I appear to have got my blood on your knives, ever so sorry old chap” “oh, you appear to have dropped your weapon, here you go” but all killers make a mistake, in American films it’s usually something like not taking opportunities to kill, in British ones it would be when the killer makes tea and puts the milk in first, then they’ll be shouted at so much they’ll die without a sequel. Actually someone should do that, a short horror film where the killer stalks someone and in the end they just shout out “OH F*CK OFF YOU F*CKING F*CK before I beat your head in, I’m hungover and got work in a few hours, I don’t need this shit”
  • So, that’s an ending. Bad body-double aside this is just weird. The only way it makes sense is if you take it not as the dream of the lead character, but as a dream of the mother. Which makes more sense as she is revealed to have died in a later film, but also makes less sense as she’s dreaming about her daughters friends waaaaay too much. Unless she’s dreaming of them all as she feels guilty for their deaths and that haunts her every waking moment. I might be giving this film too much credit.
  • Surprisingly low amount of deaths. If we include the mother’s death that’s only 4 in the entire film. Yet still chilling.

Quick summary: odd music choices but works in parts.

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Why we love Session 9 (and why you should see it)

Well as my colleague continues to beat on with his more relatable posts about films and TV shows normal people actually watch. I’ll cover our indie quota (aka I might have a pretentious taste in movies) and talk about the, should be better known stuff.

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Now with that said, welcome to our belated horror special, to celebrate this month of horror we call October. On today’s menu the 2001 psychological horror, Session 9, and why I love it, and you should see it. I didn’t really need to repeat that, as the title already says it.

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They look pretty guilt ridden. This wasn’t just a pointless image to pad out he words….promise…

Like with mysteries, I’ve always had a fascination with psychological horror. Starting from when I was a young teenager and got into the Silent Hill games (listen out for the coming static), and it mutated from there. But really, psychological is my favorite brand of horror, topping everything from the creature feature to slasher flicks. As I believe the scariest things always come from ourselves, and that’s what the genre reflects. Because what really keeps you up at night? The thoughts of a zombie munching its way through your abdomen, or the guilt over the bad things you’ve done?

Sequence 02To put it in movies, Session 9 is The Shining with a dash of Repulsion, but not as visually out there as either. Set over a week (and yes it even has the obligatory names of the week title cards) it follows a group of five asbestos removers as they work at a condemned Insane Asylum. Which is filmed at the real condemned Danvers State Asylum, where the majority of the film takes place. The work is hard, the personalities clash, and the weight of the place is suffocating. As in a much slower burn (yet much shorter film) than The Shining, our characters begin to crack and question what they’re doing there.

Danvers_State_Hospital
Danvers State Asylum, classic.

Though still fairly obscure, what’s helped build Session 9’s cult film status (a status any fucking film can lay claim to now a days), is it retrospectively has a great cast. Helmed by Brad Anderson, who would go onto direct The Machinist (aka, HOLY SHIT Christian Bale is an insane method actor). And led by a pre-cheesy one liner spewing, shade darning David Caruso of CSI: Miami fame (or infamy depending on who you ask….infamy definitely infamy), and the genuinely amazing and underrated Peter Mullan.
They and their lesser known co-stars do a perfect job filling out their somewhat stock characters into a likeable bunch. From Mullan and Caruso’s hard-boiled boss and cool right hand dynamic, to the annoying young one, the fun sleazy one, and the smart one whose a bit too obsessed with the Asylum. No one you haven’t seen before, but no one you will forget.

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How is there no cast photo! This was the closest I could get. And it’s still missing the sleazy one!

The reason Session 9 wasn’t a hit is a simple one. It just doesn’t have much mass appeal (or at the time, even much niche appeal). It lacks the bloodiness for gore hounds, or the jump-a-minute scares for tweens. It even lacks the out-there bizarreness of other psycho -horrors like Jacob’s ladder, or the prestige of budding atmospheric driven horrors like The Others (released the same year). But what it lacks in prestige it makes up for in fledgling filmic style. The camera is always moving, and moving with a purpose, to show and to tell, and the editing is the same, carefully cutting with meaning to foreshadow the coming tragedy.

session-9-suit
Okay, it does have it’s speckles of bizarreness.

Walking the line between true film and a bit home movie-ey, it creates a vividly oppressive atmosphere, without losing its sense of realism. You can feel the dust in the air, the sprinkles of asbestos  , the crackle of old tape recordings, and the cold dark as it lurks round every corner. Though never hide-behind-your-hands scary, it’s a creepy film that rots in your stomach and leaves you infected. Even as the plot gets more ambiguous and the characters get crazier, it never loses the feeling of being just five guys doing this shitty job, just to scrape by and gets some cash. Unlike a lot of modern horror films, it never lacks or loses its human centre (cough cough Until Dawn, cough cough, I know it’s a game).

wheel chair

Even if it wasn’t seen by many people, it has left a long and well warn impression on those who did. Going on to inspire imagery in Silent Hill 3, specifically the hospital level, and though far from a ‘classic’ is now a well-regarded for its atmosphere, story, and themes amongst horror aficionados. And is a personal favorite of mine in the horror genre, if I hadn’t mentioned. It also features one of my most beloved ending lines in cinema, quoted in the picture below, but without the context of the film holds little weight. So SEE IT, if you want to know what it means, and afflict this haunting picture onto yourself.

wounded

It also left us with this; either a funny but completely out of place bit of over the top hilarity, or Brad Anderson can join the ranks of other great directors, like Tommy Wiseau, of unintentionally being funny when trying too hard. But I think it’s probably the former.

If you like Session 9, I also recommend.

recommended

Why We Love…Persepolis

When we first thought of this blog we wanted to write about more than film, we wanted to write about everything we loved; television, video games, music, all forms of media. Whilst we haven’t done this yet we will be for halloween. So with that in mind bare in mind how highly I rate this film when I say it’s one of the best things I own, not just film. If I had to take five forms of media with me on a desert island, well, then I’d take five books etc on how to survive in the wilderness, I’m not an idiot, but I would darn well regret not taking this.

jackson

So, onto the actual story. This is hard-hitting, it’s the true story of a girl growing up in Iran against the backdrop of the Islamic Revolution, and it’s just as happy as it sounds. Although this is a really brutal story, one that encompasses all manner of horrible things: war, assassinations, rape, suicide, Austria. Yet it is genuinely laugh out loud funny too, because, whilst all these awful things are happening, she is still a teenager for a lot of it, so is still sarcastic and cynical.

persepolis

I could spend the rest of this review telling you how important this film (and the book, especially the book) are in understanding a lot of the problems that in the Middle East, I could tell you how this film important this film is, instead I’ll just tell you why this film is important to me on a personal level. I brought this film on a whim. I was walking around Woolworths (which really dates this story) one day between split shifts, I saw this DVD cover, the tagline: War. Revolution. Family. Punk Rock. All Part Of Growing Up. I was suitably intrigued and decided to buy it.

punk

It’s strange to think how close I came to not buying this, that I’m only aware of one of my favourite films, and one of my favourite graphic novels through impulse buying. There’s so much that could have stopped this happening, if I wasn’t in the right mix of bored and just-been-paid I wouldn’t have brought it. I sometimes wonder whether I would have got into this film any other way. Yes, the writer later directed a Ryan Reynolds film (which was amazing by the way) but despite how much of a fan I was of the film, I’m not sure whether I would have checked out the directors previous films. It does have a good cast, Sean Penn in particular is amazing, but I’m not sure whether that would have been enough to make me watch it. There’s always personal recommendation, but for some reason I’m not sure I would have reacted well to “animated Iranian film that’s really brutal and depressing”.

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I do love when stuff like that happens, when you take a chance and are rewarded. When you buy an album based purely on the album title and it turns out amazing.

LBD

When you buy a book based on the title and it turns out hilarious.

SNOW WHITE

When you see a film purely because you have a cineworld card and it turns out to be one of the best you’ve seen all year.

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Admittedly it doesn’t work out all the time.

F*ck this film. Seriously
F*ck this film. Seriously

But when it does you feel superb. You have got into something on your own, something you can recommend to others, which will hopefully become someone’s new favourite film/book/album etc.

I wasn't kidding about it being brutal
I wasn’t kidding about it being brutal

As much as I hate to, I will have to end this on a downer note. The book is very important, it teaches so much about life and freedom that if I ran an educational programme I would make it compulsory. So what was the American reaction to a book that showcases the struggles of everyday Muslims, that details the western intervention that led to the modern troubles, and that portrays non-Christians in a sympathetic light? It became the second most challenged book in American schools in 2014. Congratulations American schools, you’re now on an equal footing with other bastions of freedom like Iran and Lebanon. I hope you’re f*cking proud of all your freedoms.

Watch if you like:

  • Grave Of The Fireflies. Also brutal, also brilliant.
  • The Voices

Why I love Zodiac

This isn’t a review; it is a spiel about our love of films and what not. So expect spoilers, biased opinions and general rants.

zodiac
Easily the best poster, and of course its the one you can’t get.

I’m not sure where my love of mysteries started, probably from a childhood (and teenhood, and adulthood) of watching Scooby Doo, nothing major, but a place to start. Now, from LA Confidential, to Memories of Murder, it’s hard to think of a mystery film I haven’t seen, (but please don’t try, I hate having to face my lies) but Zodiac is one of, if not, the best.

Scooby_Doo zodiax

Right out the gate I’ve gotta say, it’s my favorite Fincher film, followed closely by The Social Network and Gone Girl (yes you read that right, neither Se7en nor Fight Club do I consider his best). And Zodiac is a near three hour, investigative murder mystery journalism film, where they never catch the killer. And damn it’s riveting. It’s that last bit, about the Zodiac never being caught, being one reason to why I love and find this film so re-watchable (I watch it almost Bi-monthly). As unlike almost every other serial killer flick, when you know who did it, you can never not know, no matter how enjoyable of a film it is, the first watch is usually the best. That’s part of what makes Zodiac special, though it hazards a guess at who the Zodiac was, and follows it through with compelling, even satisfying evidence, you never know 100%, so with every watch your still looking, thinking, trying to see if there was anything you missed that could lead you to the Zodiac.

fincher filmns
I really don’t have any deep problems with any of Fincher’s films, I just thought this made a good image….Expect maybe Se7en!

It also features one of my favorite scenes in cinema, it happens in the last fifteen minutes of the film (I love it when the best part of the film is near the end, it’s something to look forward to during it), and it doesn’t feature a gun fight, it doesn’t move me to tears, it’s not shot in partially amazing fashion; it’s just two guys (Gyllenhaal’s cartoonist and Ruffalo’s detective respectively), sitting in a café, as Gyllenhaal lays out the entire case, the entire film in front of us. Every complex facet of evidence, every casual event, all the major characters, it’s all led to this, and it’s explained in a perfectly written scene, with an enthrallingly intense turn from Gyllenhaal, till it climaxes with this films closes thing to a big reveal. And god it’s satisfying.

cafe
Never has the choice over salt or pepper been so intense.

This scene also sums up why it’s my favorite serial killer film, and the tagline summaries it perfectly too. “There’s more than one way to lose your life to a killer”. It’s a film about obsession, and how it can eat you alive. Unlike films where you’re worried about the characters  dying, there’s rarely a moment where you think someone’s going to be killed (outside the victims obviously),  but as it unfolds and the characters (mainly Gyllenhaal) fall deeper and deeper and deeper, even when its all said and done, you can’t help but wonder. Can they live again?

Jake

Now I know it’s not cool to care about Academy Awards, and I get it, overall they’re pretty cheap with whom and what they consider worthy (no love for Jake Gyllenhaal unless he’s macking on a cowboy it seems). But at the same time, they do tend to choose pretty good films, and Zodiac easily should have been a major awards contender in 2008, for directing, writing, acting (Robert Downy Jr especially), cinematography (the usual Fincher staples), and the reason it wasn’t I completely put on the studio. They released it at the wrong time, and advertised it the wrong way. Selling it as a fun, messed-up, thrills per-minute serial killer film (Se7en cough, cough) and releasing it in spring; instead of in Oscar season (October-December) and as the investigative drama it is (All The President’s Men meets Citizen X), what the makers always intended it to be. But though I blame them for this, I can see why they did it. Coming off the big hit of the very enjoyable thriller Panic Room, and Fincher’s last serial killer film being a massive hit, I see why the studio treated it like they did. They wanted another Se7en, even though Fincher gave them something much more.

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It’s films like Zodiac that made me pretty happy when I heard Fincher’s series with HBO had fallen through, because despite how much I like House of Cards, and have heard that Utopia is a great show, I didn’t want Fincher’s spending all his time on a TV series when he could be making more films like this, or Gone Girl, or The Social Network. TV’s amazing right now (check out last weeks post on Breaking Bad, wink, wink), with a lot of hugely talented people creating epic feats of fiction, so we need to make sure Film stays great, and Fincher’s pretty good at that.
(Yes I’m aware he’s still producing the TV Show Shakedown and Video Synchronicity (both which sound really good), but who the hell knows at this point, and at least he’s not directing the entire series.)

How we (I) made (wrote) Projector.

So as my Troubled Production’s colleague so subtly hinted I should, I’m gonna talk about my influences on writing Projector and how it came to be. There’s not much else I can add about the production, but this is where the story came from, before that.

Projector neon version jpg
The original concept poster. And don’t worry, the tagline is explained.

Well if you’ve seen the film, there’s a flashback during the lengthy Film Noir section where two characters discuss a film idea as they throw a ball, called ‘The Great Party’. In short, its a Great Gatsby  themed film about a guy looking for his girlfriend at a surreal party, where every room uses the same actors to play different characters. That’s the idea Projector stemmed from. But it became something so different; we could still make that film without any crossover of story or events.

The real foundation of Projector started when I decided I needed to tell a story that really meant something to me, something personal, for my final film at university. And not just the typical murder mystery, rom-com, with suicide probably in there, party films, that a lot of film students tend to crap out. So of course I made a film about a struggling filmmaker in the middle of a quarter life crises (I pride myself on originality).

Orginal thought]

A lot of the idea developed from a scheme to make a film where typical film mistakes, audio glitches, double shadows, crew reflections ect, where actually part of the film, with the whole film within a film concept. An idea I thought of mainly as a bit of a middle finger to the people who (rightfully so) complained about the lack of quality in Schism.

get to wrok
Saying its just about a play within a play is actually overly simplifying it a lot.

The films I stole most of my ideas from where mainly Charlie Kaufman’s (a personal favorite writer), Synecdoche, New York and Adaptation. The former, a film about a play writer who’s lines of reality and fiction start to blur as he puts on a play within a play within- you get the idea, and the other about a fictional version of Kaufman writing the film he’s in. Synecdoche ended up having a more lasting impact overall, because in early drafts Projector was about me, I mean of course it’s about me, I mean literally, it was about fictional versions of me and people I know, in a uber-meta self-indulgent kinda way. Luckily the rest of my group had the sense to talk me down from that ledge.

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So instead I went the Woody Allen root and just made the main character so blatantly me, everyone wondered where I got an actor who resembles me so much. Woody’s Star Dust Memories (the first of his films to make me understand why he’s a big deal) was also a key inspiration for me, dealing with a filmmaker in creative crises whose reality blurs into his own films (though oddly enough I wasn’t the one who added his name drop in the script, twice). Now I’m sure for those of you who know a bit about cinema are wondering, “how can you talk thus far about your surreal meta film about film making, without bringing up Fellini’s 81/2?” Well, that’s because I didn’t see it till after I’d written the script. I knew about it, and its influences on the other films that did influences me, but it was only inspiration by association.

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But Scrooged was clearly my one true inspiration.

The idea to make parallels with A Christmas Carol came a bit late in the writing, after the first draft I believe. I’d just seen Wild at Heart and loved the way it paralleled The Wizard of Oz, so I thought adding an underline theme of classic literature would be good, but what I thought? What? And I had no idea, till I picked up the mail one day and there was a flyer for a local production of A Christmas Carol, and like Diana on prom night, it hit me; the perfect story to wrap Projector around, three films, three ghosts, and a lead character with a barrel of regrets.

What’s next?

projector

As it was said, the plan is to adapt Projector into a feature, the idea being to add a whole new parallel narrative on top of the already existing one, as well as to develop the original out. The new narrative would follow the same aspiring filmmakers Christopher and Phillip on an odyssey of a night out, going from parties to dives to who knows where, as Christopher talks through Projector with Phillip. Cutting back to that story as he goes, as the night-out starts to parallel with the film and the two- in a complete breakdown of the meta-verse – coincide. But when we’ll write that still waits to be seen.

Why We Love….Breaking Bad

Well where do you start? There’s just so much about this show that works. It didn’t outstay it’s welcome is an important one. I don’t think there’s many fans of the show who think “well it started good, but it went a bit downhill in the later seasons”. This might be because it only had 5 seasons, but American dramas have gone downhill in less.

Just leaving this picture here with no comment
Just leaving this picture here with no comment

In fact it could be said that the final season was one it’s best. It certainly contained one of the best episodes in Ozymandias. Usually the best episode in a final season is the final episode as that’s the culmination of everything, but in this case the third from final episode is one of the greatest, not just of the season, not just of the show, but of any series. People say the calm before the storm is the best narrative place to be, but in this case it’s the storm before the calm. The moment where the entire episode is basically soundtracked by someone next to you going “oh shit, holy shit! Holy mother of!” until you send them off to make tea.

Then they come back and you try to explain this
Then they come back and you try to explain this

The narrative for the show made sense. There weren’t any (that I recall) moments where you felt someone acted out of character or inconsistent with earlier characterisation. Everything people did made sense, ok, maybe it didn’t make logical sense because a lot of the decisions were stupid, but they made narrative sense, you can see why everyone did everything they did.

This is actually more creepy in the show
This is actually more creepy in the show

There’s something else about this show that I love, Walter White Jr. He’s a character with cerebral palsy, but it’s never really mentioned. It would have been so easy to make it a big deal, to discuss it and make it a big part of the father’s motivation. Or even to make him holier than thou, the kind of weirdly condescending attitude a lot of television has towards disabled people, where it makes them oddly overnice and friendly. Here, he’s occasionally a dick, because he’s a teenager, and teenagers are usually dicks.

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Dicks who eat a lot of breakfast

Finally: the performances, it’s been said before that Bryan Cranston gave the performance of a lifetime, but it deserves to be said again: he’s damn good in this. He gave one of the best performances I’ve seen in a drama. He’s matched by the supporting cast too, Aaron Paul, Dean Norris, Giancarlo Esposito (thank you google) et all create a fantastic ensemble cast, great performances and great chemistry, there’s barely a weak link between them. I think I have to bring up the performance of Cranston again though, before this he was mostly known for the role of the dad in Malcolm In The Middle. For British audiences, this would be like Jay from The Inbetweeners next role being the lead in Threads.

Or this guy being the lead in an intense medical drama
Or this guy being the lead in an intense medical drama

I think that might be a small part of why people love this, it’s a genuine surprise. Nobody saw this coming. The brilliance of it kind of sneaked up and surprised everyone, so if you caught on early enough you felt like you were in some kind of secret club. By the time it caught on it became so well known that anybody starting to watch it would have surely felt the slight bit of doubt that it could be overrated. So yes, that’s why we love Breaking Bad, and you should at least give it a try, you owe it that much, and I doubt you’ll regret it.

Oh, and watch Threads, but have something comforting to watch after
Oh, and watch Threads, but have something comforting to watch after

Like it if you like:

  • The Wire
  • House Of Cards
  • Hannibal