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Wes Anderson says he’s considered doing a horror movie and a Christmas movie while at a Rome Film Festival keynote, Filmmaker Magazine reports:
I have thought of doing a horror movie, and I have thought of doing a Christmas movie. Horror is an area where if a filmmaker really wants to use all the tricks, the techniques to affect your emotions…. With the kind of movies I do, you’re supposed to say is this part supposed to be funny, or is this part supposed to be sad? Well, you say, I don’t know. I’m not sure. This is the way we wanted it. When you make a horror or a thriller, you say you’re supposed to be scared here. You’re supposed to be relieved here. Here we’re explaining something so you know the next part so you’ll be more scared then. I like the idea of the requirements and the obligations of working in a genre like that. I’ve done some scenes like that, but I’d like to do a scary movie.
Watch a video homage to scenes shot during magic hour:
AV Club chimes in with the 25 best horror movies since 2000:
Is it too soon to call It Follows one of the great horror movies of the new millennium? Though it crept into theaters just a few months ago, David Robert Mitchell’s fledgling fright flick already feels like a classic of the genre, something we’ll be watching between fingers for years to come. Part of that is a deliberate timelessness: Beyond fashionable nods to the widescreen touchstones of John Carpenter (including a terrific throwback synth score), there’s almost nothing about the film, or its vaguely retro Michigan setting, that could betray it as a product of our here and now. Furthermore, Mitchell exploits his brilliantly simple premise—a supernatural spin on that irrational feeling that someone is right behind you, getting closer with every step—through the kind of formal ingenuity that never goes out of style, using offscreen and background space to score big scares. It Follows may be brand new, but it works in the primal manner of something much older, like a revered Halloween staple or an urban legend passed down through the ages.
Watch Benicio Del Toro discuss making Sicario and finding the ending on set with VICE:
Movie Mezzanine‘s Kenji Fujishima reflects on Re-Animator at 30:
I find Stuart Gordon’s 1985 film Re-Animator, for all its no-holds-barred gore and taboo-busting black humor, sneakily profound. It’s a film that manages to have it both ways—finding dark comedy in death while still, at heart, taking death and our emotions toward it deeply seriously—without short-changing either its comic and dramatic sides.