Interview: Composer Jonathan Beard Talks Scoring the Post-Apocalyptic Feature WHAT STILL REMAINS

Post-apocalyptic storytelling is painted by the fears of its filmmaker. The way humanity devolves into chaos and the balance of light and dark looking for a better tomorrow. Whether it is a natural disaster, unspeakable violence, disease or belief, the end of the world storytelling is a platform for emotional performances, cinematography, and score at the forefront. What Still Remains tells the story of a young woman named Anna (Lulu Antariksa), who has cut herself off from the world which is now rebuilding after a terrible disease. Isolated and dead inside after the loss of her family, Anna meets a traveler named Peter (Colin O’Donoghue) who offers her a new home and chance to come live in the community he is from. Understanding her chances of survival and being open to what these survivors might be able to offer her, Anna agrees to follow Peter to the community and escaping the danger of being alone. Lead by survivors Judith (Mimi Rogers) and Zack (Jeff Kober), the community follows the law of religion to keep order amongst the chaos of a new world. With each day that goes by, the personal agendas and religious conflict from within divides them. Each moment causes more tension to mount as the community must deal with not only the direction going forward but also the siege by an outside tribe of savage humans called the ‘Berserkers.’ As these events unfold and the community deals attempts to keep order, Anna must not only deal with the grief of her lost family, but she must be true to herself amongst the darkness and find her way in this new world. In the same mold of storytelling (minus the zombies) like AMC’s The Walking Dead, comes What Still Remains.

Blending a smart and reactionary array of instrumentation to fully flush out the film’s pulse, the score for What Still Remains tells more than a story but the scope of a journey where the pieces are being picked up from a lost world and its survivors who have to rebuild. Infused with an emotion and power, the film’s score finds a partnership with the sound design to help to fully flush out the films narrative, conflict, and characters. Over the last fifteen years, composer Jonathan Beard has been involved with film music in nearly 100 major studio music departments and on every level. Beard has worked in a variety of studio music departments on the likes of Deadpool, The Nun, The Cloverfield Paradox, Happy Death Day, The Dark Tower (that’s only a portion since 2017), plus more. Gaining experience and honing his craft, Beard’s first genre feature film composition is brought to life with this thriller. Leaving his fingerprint of this emotional and tense themes, we grabbed Beard to talk about that fingerprint as a rising composer. We talk with Beard about the relationship between him and director Mendoza, where his influences fall within the genre, the process of creating a score for the lead character of Anna, as well as what challenges came when taking on a feature of this nature.

Watch What Still Remains on VOD or pick up your copy of right now! Follow the film and watch the trailer on it’s IMDB page. Find out more about composer Jonathan Beard on his website.

Dread Central: Hello Jonathan, thank you for taking the time to answer some questions on What Still Remains. First, can you discuss how you became attached to the film?

Jonathan Beard: Thank you so much for having me, Jay! My path to getting attached to What Still Remains came through a short film I had previously scored called A Killer of Men. That film was directed by WSR’s producer Gregg Meller and produced by WSR director Josh Mendoza. We all became friends through that project, and I was thrilled when Josh invited me back to the team for What Still Remains.

DC: This is Josh Mendoza’s first feature. What was it like to collaborate on such an experience and what did your experience in film score and music bring to the production to make this the best overall collaboration?

JB: While Josh had not directed a feature before, his previous production and writing experience (as well as personality) made him a very steady hand leading and guiding the ship. Often with music, new directors have minimal previous experience dealing with the scoring process. It’s my job as the composer to help work through the process with them! However, we worked very quickly.  He was very secure and clear about what he wanted musically. He gave precise creative notes when they were necessary, and was simultaneously open to ideas I had, that he wouldn’t have necessarily thought of. This is an immensely enjoyable type of creative environment in which to compose!

DC: If I am reading this correctly, this is your first project as a composer that borders on horror. Can you talk about if you are a fan of the genre and what genre films you are a fan when it comes to scoring?

JB: I am a huge fan of psychological thrillers that overlap into the world of horror. Silence of the Lambs, for instance, is one of my favorite movies of all time. Howard Shore’s score is so claustrophobic in its intimacy; to me, it plays a huge role in the effectiveness of the film.  It is also a special thing when the music gets to speak on multiple “emotional levels” of an unsettling story simultaneously. A number of Bernard Herrmann’s scores for Hitchcock, as a classic example, or more recently Bear McCreary’s scores for the last two Cloverfield films, do this virtuosically. I love that!

 I also have a fondness for the inventiveness of many classic slasher film scores – Friday the 13th, the original Halloween, etc. I was fairly young but remember vividly when Scream came out, and Kevin Williamson’s script so smartly reinvigorated the genre. Some of the self-awareness of that film, as well as Wes Craven’s New Nightmare. Marco Beltrami’s score for Scream was so evocative and unsettling. It helped take him to the A-list of film composing. His score played an important role in Scream’s dramatic success.

 DC: How does your experience in the music departments on TV, video games, and genre work (like Penny Dreadful, Kong, Brimstone, and 10 Cloverfield Lane) influence the score and help to form it?

JB: The composers of the scores you mentioned, and I’m thrilled to work as an orchestrator, are some of the best in the business.  I learn so much from them, just seeing (and being a part of) how they work, seeing their musical approaches to dramatic challenges, and how to deliver excellent work at an elite level. While the films I take on as a composer are usually smaller and quirkier, there is no way I could not be positively affected by the examples these composers set!

 DC: What Still Remains is an ensemble piece for the most part. However, you have one main character in Anna (Lulu Antariksa) who is the thread throughout this narrative. What was it like to compose themes that represented a community in flux and a young woman who is at a crossroads?

JB: Lulu’s portrayal of Anna is so wonderfully understated, subtle, and strong.  The most notable element of Anna as a character is that she is the one constant force for good in the film, whereas every other person around her exists in a dark shade of gray at best. For the musical motifs in the score that primarily represent the community she joins, we wove layers of subtle sound design and “unnatural” sounds throughout their arrangements.  The theme for the Berserkers, the most straightforward “villains” of the film (though they too exist in shades of gray), is 100% electronic sound-design.  Anna’s thematic material, comparatively, is primarily made up of acoustic strings – quietly strong, accompanying her journey, but also anchoring her decency and hope.

DC: How did the score evolve from the first time you saw the film to what we hear on the final product?

JB: It depends on the definition of first seeing! I was signed to the project before production started and composed the Berserkers’ “whistling motif” before shooting began (since it shows up on screen throughout the film), based off of the script. I also visited the set during filming and recorded some of the actors’ performances for inspiration.  I then started composing my main themes inspired by my set visit as well as early bits of rough footage, and some of that thematic material went into the film largely unchanged. By the time we were looking at the first rough-cut assembly of the film, a number of the score ingredients were solidly in place, including our primary musical “colors” of sound design and chamber orchestra. From there, it was mostly a process of passing music back and forth with Josh to get his insights and finesse cues into their final versions.

 DC: Did any other post-apocalyptic films influence how you constructed the score for the film? Did locations and sets influence it?

JB: I would say my approach to the score is more directly influenced by the psychological thriller genre than post-apocalyptic films per se, though I recognize there are a number of them that make use of sound design in their scores, which What Still Remains certainly contains. The locations definitely influenced me, along with the performances of our stellar cast.

DC: What challenges came with composing the score?

JB: The biggest challenges were the ones we attacked early on: finding the right sound-palette and dramatic tone for what is both a subtly complex emotional story and a slowly building dread into explosive violence. We tried out a few different versions of the Berserker “whistle” motif, which needed to be both strangely menacing and easy enough to whistle! The whistle motif gets woven into the orchestral fabric of the score as well.  Also, because I was brought on early in the process, we were able to take our time to find that electronics-vs.-orchestra color balance representing our different factions of characters, and I think the score is stronger for it.

DC: What scene from this film, do you feel defines your work on this project?

JB: I would offer three if I may.  #1 would be “Peter’s Theme,” which we first hear in full during a very unsettling baptism scene.  #2 would be a scene that, on its surface, doesn’t necessarily seem that exciting: a dialog scene between Anna and Ben, the village head of security.  (The music cue that accompanies this scene is “Ben and Anna Dance with Words.”) However, what’s being discussed on the surface is 100% cover for what’s being insinuated below the surface, something that this film does repeatedly so well.  The score gets to weave between those two levels.  Finally, #3 would have to be the final scene of the film (“Requiem and the Ocean”), where we hear Anna’s theme in its most affirmative iteration, celebrating her own sense of strength and self-belief.

DC: There is a lot of gray area with these characters due to the situation they are put in to survive and the amount of power in a post-apocalyptic world. Does that pose a challenge for you as the composer to find the right theme to bring them life and show who they are?

JB: In many ways, this lack of clarity on characters’ motivations, the ambiguity of whether they are “good” or “bad” people…that was the most fun element to tackle in the score. For example, Peter (O’Donoghue) presents a delicious musical opportunity: an intriguing and initially sympathetic character that is ultimately not what he seems. The theme for Peter is built around an unsettling four-note motif that blurs major and minor modes, as well as a repetition that becomes more claustrophobic and intense as it progresses. Without giving too much away, there are a couple of major scenes (including the baptism) where this theme gets to flex its dramatic muscles!

DC: What instrumentation did you feel fit this score? Did that change from the beginning to what we see on the screen?

JB: We figured out pretty early on that the electronic sound design/chamber orchestra hybrid would work well. That was pretty much set before the film was even finished shooting. From there, it just came down to execution and filling in the remaining gaps. On the electronic side, the very talented Sam Estes came in and collaborated with me on some austere and unusual sound design, which you hear in the Berserkers theme every time they show up. As an example, on the acoustic side, when we figured out that the contrabassoon should take the main melodic solo in Peter’s Theme, it gave us all chills!

DC: How does it feel now to see the film out and the score such a crucial part of this film?

 JB: In a word: fantastic. The response to this film has been overwhelmingly positive, and I’m thrilled to have been a part of the immensely talented team that Josh and Gregg assembled. The cast is so talented, and to have the music join them – as almost a quiet behind-the-scenes character – in telling this story is an honor.

The post Interview: Composer Jonathan Beard Talks Scoring the Post-Apocalyptic Feature WHAT STILL REMAINS appeared first on Dread Central.

The 10 Best Easter Eggs in Horror!

Between Castle Rock, the new Halloween, Chilling Adventures of Sabrina, and the hidden ghosts of The Haunting of Hill House, Easter eggs in horror seem to be a major trend in 2018. Though it’s hardly the first time they’ve popped up in horror. Some Easter eggs are well-placed plot clues for the eagle-eyed viewer, sometimes they’re homages to horror fandom, and sometimes they’re a fun volley between filmmakers. No matter their use, a horror Easter egg is almost always fun to spot.

Here are the 10 greatest uses of the Easter egg in horror.

King Kong (2005) – Sumatran Rat-Monkey

The cause of Peter Jackson’s splatter-filled zombie mayhem in Braindead (Dead Alive) is the bite of the Sumatran-Ray Monkey. The film’s prologue explains that the vile creature hails from Skull Island, an animal created from giant plague rats raping small tree monkeys. Skull Island happens to be the very island from which King Kong hails. Jackson brings this full circle in his 2005 film King Kong, when a crate labeled “Sumatran Rat Monkey” is seen in the cargo hold of the SS Venture. Not only is it great seeing a low budget splatter film get a nod in a giant blockbuster feature, but it’s always reassuring to know Jackson hadn’t forgotten his roots.

Land of the Dead – Photo Booth Zombies

Co-writers Edgar Wright and Simon Pegg crammed just about every zombie homage and reference they could into their zombie rom com Shaun of the Dead. But for all the nods to just about every entry in the zombie pantheon, it was clear that the work of George A. Romero was held in the highest regard. Romero was so affected by this that he asked the pair to appear in Land of the Dead. Wright and Pegg appear as zombies, chained up in the carnival scene where humans can get their pics taken with them. They’re credited as “Photo Booth Zombies.”

10 Cloverfield Lane – Connecting Universe

The Cloverfield universe is unique in that while each are standalone films, they’re connected by a larger mythology that’s only really explained by digging into the Alternate Reality Games that lead up into the theatrical releases of each entry. While 10 Cloverfield Lane is more of a blood relative than actual sequel to Cloverfield, there are Easter eggs throughout that serve as connective tissue, like Michelle stumbling across a letter addressed to Howard from Bold Futura. It’s inconsequential to the main plot, but hardcore Cloverfield fans will recognize this company as a subsidiary of Tagruato, the company ultimately responsible for unleashing the monstrous creature in the original film. The date on the letter also places it before the events of the first film, making this universe’s timeline all the more complex.

Bride of Chucky – Evidence Locker

From the opening moments, the tone is set when Charles Lee Ray’s ex-girlfriend and former accomplice retrieves Chucky’s remains from the police evidence locker. It seems as though all major horror franchises exist within the same universe, as Chucky’s remains are kept with the likes of Jason Voorhees’s hockey mask, Freddy Krueger’s glove, Michael Myers’ mask, Leatherface’s chainsaw, and even the puppets from Puppet Master. Granted, these are all off-brand references (Wisconsin Chainsaw Massacre), but the implication remains on this tongue-in-cheek Easter egg jackpot. This Easter egg wins extra points, considering director Ronny Yu would go on to helm Freddy vs Jason a few years later.

Jason Goes to Hell: The Final Friday – Jason vs. Freddy…vs. Ash?

The final moments stole the show of this weird sequel, in which Freddy’s glove bursts out of the ground and pulls Jason’s mask down below. The implications of an epic battle between the two horror juggernauts is a main event fans salivated over. But there’s a much bigger horror franchise that looms over this sequel; the Evil Dead series. There are nods to other films found within the Voorhees home, particularly that of the Crate from Creepshow in a blink-and-you’ll-miss-it moment, but hero Steven actually picks up and flips through the Necronomicon. More than that, it’s the Kandarian dagger that’s used to kill Jason. This didn’t just tease a Freddy vs. Jason showdown, but a Freddy vs. Jason vs. Ash battle. Too bad no one asked permission from Sam Raimi for the use of these props, and he didn’t approve.

Scream – Janitor Fred

In a film that lovingly deconstructs horror tropes and is filled with references and nods to horror films, this particular Easter egg wins, hands down. When Principal Himbry (Henry Winkler) is being targeted by the killer after the school has emptied for the day, he steps out into the quiet hall and finds janitor Fred mopping the floors. Fred is wearing a Freddy Krueger-like sweater and hat, but more importantly, Fred is played by Krueger’s creator Wes Craven. Not only is this cameo a reminder that this wasn’t the first time Craven changed the horror landscape, but that the director also had a major sense of humor. He’ll be forever missed, and Janitor Fred is only one of a million reasons why.

Final Destination series – Death’s Clues

The 2000 supernatural thriller that kicked off a major franchise set the precedent with elaborate death sequences that lent well to majorly effective suspense and tension that had us sinking into our seats. We know that Death is coming to reclaim its victims, we just don’t know when. But Death cleverly tells us repeatedly how each one is going to die. Death doles out clever clues for each death for those that are paying close attention. Example: Evan Lewis meets a gnarly demise in Final Destination 2 when his eye gets impaled by his escape ladder. It’s hinted at over and over, beginning with his fridge magnets spelling out E-Y-E.

Saw – Hospital Bed Reveal

James Wan and Leigh Whannell have mastered the art of dropping Easter eggs since their major horror debut in Saw. Billy the Puppet appears in just about everything from Insidious to Dead Silence, and they often sneak each other into their respective films. That’s only the tip of the iceberg. So, we’re going back to the beginning, in which the duo spelled out the killer’s identity long before the major reveal. In a brilliant misdirect, a flashback scene shows Dr. Lawrence Gordon being approached by detectives in regard to linking evidence found at one of Jigsaw’s games. Gordon happened to be in the middle of discussing terminal patient John Kramer at his bedside. If the detectives would’ve looked down, they would’ve seen Kramer’s designs of the “reverse bear trap” laid out for all to see.

Evil Dead II – Freddy Krueger’s Glove

There’s long-running history of jabs between horror masters Sam Raimi and Wes Craven that began when Raimi included a torn poster of The Hills Have Eyes in his breakout film The Evil Dead. Craven noticed, and returned the nod by having Nancy Thompson fall asleep to The Evil Dead in A Nightmare on Elm Street. Raimi opted to be a bit less subtle when he filmed Evil Dead II, and hung Freddy’s glove in both the cellar and the work shed, in prominent view. That glove never left, either, as it was once again displayed in the cellar in Ash vs. Evil Dead.

Predator 2 – Trophy Room

The cinematic moment that firmly put Predator in the same universe as Alien, and it was glorious. Just before the final showdown between protagonist Harrigan (Danny Glover) and the Predator that’s made Los Angeles its hunting ground, he finds its spaceship hidden underground. The battle takes place in the ship’s trophy room. Of all the skulls on display, the one fans zeroed in on was that of the Xenomorph. Suddenly, we didn’t really care about Harrigan versus Predator. We wanted to see a Predator square off against a Xenomorph. I still do.

Halloween Overtakes Scream to Become the Biggest Slasher Film of All Time

Michael Myers has indeed come home. Three weeks into its release, David Gordon Green’s Halloween has earned a whopping $229.6 million worldwide, unseating Wes Craven’s 1996 meta classic Scream as the most successful slasher film of all time. And right

The post Halloween Overtakes Scream to Become the Biggest Slasher Film of All Time appeared first on HalloweenMovies™ | The Official Halloween Website.

The Slasher genre is resurrected in 2018! The Boogymen are back!

The Slasher genre is resurrected in 2018! The Boogymen are back!

Slasher films defined my generation. Back in the glorious days of the 80’s, we wee-little horror tikes were graciously weaned off the blood and mayhem splattering (oh so marvelously) across cinema screens. From sea to shining sea there was a flowing fountain of blood spilling over and flooding right before our little eyes. Our senses […]

The post The Slasher genre is resurrected in 2018! The Boogymen are back! appeared first on Horror News and Movie Reviews.

David Arquette Wants SCREAM 5 to Be a Tribute to Wes Craven

Halloween (2018) may have surpassed Scream (1996) as top-grossing slasher movie in history, but don’t count Ghostface out just yet. Though the franchise is technically still alive in the form of a TV Series, there hasn’t been a new Scream flick since 2011’s soft-reboot (aka Scream 4). If David Arquette has his druthers, though, Deputy Dewey will be back for another feature film installment of Wes Craven’s seminal meta-horror franchise.

Related Article: HALLOWEEN Beats SCREAM As Highest Grossing Slasher Film Ever

Craven directed all 4 Scream movies, and franchise lead Neve Campbell previously declared that the filmmaker is the heart and soul of the series. When Craven passed away in 2015, we all assumed it was the end of the road for Sidney and company. While the idea of making another Scream movie without Craven at the helm seems sacrilegious to some, Arquette sees it as an opportunity to pay tribute to the vastly influential fear practitioner.

Here’s what he recently told Slasher Radio when asked about making a 5th chapter of Scream:

“Yeah, absolutely. I would love to do that. I think [Craven would] still be a part of it in an incredible way. It would be like a tribute almost. Yeah, I think it would be really fun. I love everyone involved in it. Neve is such an anchor, and so incredible as an actress. I think there’s something there.”

For now, it’s all just theoretical, but the success of Blumhouse’s Halloween proves there’s a definite resurgence in horror audiences’ affinity for brutal slashers. And with reboots of A Nightmare on Elm Street and Friday the 13th in various stages of pre-production, Ghostface might be called back into action. Time will tell.

You can give the trailer and synopsis for Scream 4 a spin below.

It has been many years since the Ghostface Killer cut a deadly path through the town of Woodsboro. In order to get over the trauma of those horrific events, Sidney Prescott (Neve Campbell) has written a self-help book. She returns to Woodsboro for her book tour, and reconnects with old friends Gale Weathers (Courteney Cox) and Sheriff Dewey (David Arquette). However, Sidney’s arrival also sparks the return of Ghostface, putting Sidney and everyone she loves in danger.

Are you a fan of the Scream franchise? Would you be down for another Scream feature film, even without Wes Craven? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!

The post David Arquette Wants SCREAM 5 to Be a Tribute to Wes Craven appeared first on Dread Central.

David Arquette Talks Potential for ‘Scream 5’; “I Would Love to Do That”

With Wes Craven gone, can the Scream film franchise continue? Should it?

It’s now been over 20 years since Scream changed the game and seven years since the most recent installment of the series was released (Scream 4 is fantastic, BTW), and many horror fans have spent those seven years wondering if we’ll ever see the iconic Ghostface mask back up on the big screen. Writer Kevin Williamson has noted that he and Craven had planned on fifth and sixth installments that they never got to make, and both he and Neve Campbell have repeatedly stressed that they’re unsure if there’s a future for the film series without Craven.

What does David Arquette think about the potential future for the original Scream franchise? Speaking with Slasher Radio this week, he expressed that he’d love to make Scream 5.

Yeah, absolutely. I would love to do that,” Arquette answered, when asked if he’d return for another movie. “I think [Craven would] still be a part of it in an incredible way. It would be like a tribute almost. Yeah, I think it would be really fun. I love everyone involved in it. Neve is such an anchor, and so incredible as an actress. I think there’s something there.”

He added, “Who knows.. I think it’d be fun. I think we lost some of the fans along the way, but I think there could be a resurgence at some point… where there’s more nostalgia for it.

Never say never, right?!

Black & Gold – music video by Bringer

Black & Gold is a 2018 music video directed by Bobby Ross for Tulsa-based three piece rock band Bringer – comprised of Seth Park, Jill Park, and Charlie Spears – that spoofs 1996 meta-slasher movie Scream.


HORRORPEDIA is truly independent and we rely solely on the very minor income generated by affiliate links and internet ads to stay online. Please support us by not blocking ads on our site. Thank you.

Quick links to contents:

A | B | C | D | E  | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

The post Black & Gold – music video by Bringer appeared first on HORRORPEDIA.

Return of the Horror Icon: Where the Franchises Reside and How a Universe Can Be Created

In October 1978, the world was first introduced to Michael Myers in John Carpenter‘s slasher Halloween. An independent production, the film was a huge box office success and was the catalyst behind the creation and introduction of future slasher films such as Sean Cunningham‘s Friday the 13th in 1980 and Wes Craven‘s A Nightmare On Elm Street in 1984. All three franchises would become a huge phenomenon that penetrated deep into pop culture in such a way that Michael, Jason Voorhees and Freddy Krueger have become the faces of horror.

This is not to say they were the first. In fact, another slasher icon was birthed back in 1974 when Tobe Hooper gave birth to Leatherface in The Texas Chain Saw Massacre, another independent horror feature that would become a horror staple. This would carve an earlier path to the aforementioned “big three” that dominated much of the 80s.

Over the years, many filmmakers attempted and failed to recreate this magic, although a few have poked through: Clive Barker‘s directorial debut, Hellraiser (1987), which introduced Pinhead and the Cenobites to horror audiences; the Tom Holland-directed Child’s Play (1988), created by Don Mancini, about a serial killer doll named Chucky; and lastly, Wes Craven‘s ultra-meta Scream, spooking newer/younger horror fans with Ghostface.

While most of us horror fans are continually begging for “original” horror, it still brings a tremendous amount of joy to see our favorite characters slashing back on the big screen. Last month, we learned of Orion’s remake of Child’s Play. Then, just this past weekend, Michael Myers slashed up the box office with Halloween, while tonight ABC’s “The Goldbergs” brings the return of Robert Englund in his iconic Freddy Krueger makeup. Shit, we also broke the news that LeBron James‘ SpringHill Entertainment is producing a reboot of Friday the 13th.

The slasher icon has returned from the dead in a big way. 

But what does it all mean? Where are we headed? What can come of this new “horror boom”? I have a lot of insight into what’s been going on (we did break the news of Halloween’s escape from Dimension/The Weinstein Company that helped Blumhouse get the rights to make the new sequel and also told you that Legendary now has the rights to Texas Chain Saw Massacre) and thought it would be fun to go through the major franchises and speculate how it all gels together.

nearing a renewed distribution deal with Warner Bros. Pictures, the parent company to New Line Cinema.

Speaking to the latter, this is where Freddy Krueger and the A Nightmare on Elm Street franchise currently resides. The last we had heard, David Leslie Johnson-McGoldrick (Conjuring 2, Orphan) has been developing the franchise’s return, although it’s been dormant for a few years now. However, the success of Halloween should have jostled it loose.

This brings us to this week’s breaking news that Vertigo Entertainment and LeBron James’ SpringHill Entertainment are in talks to reboot the Friday the 13th franchise with original screenwriter Victor Miller, who is now the sole owner of the U.S. rights to the first film in the franchise (Horror, Inc. is appealing the ruling). While the pieces are still falling into place, Vertigo did just remake Stephen King’s It with New Line Cinema. This is an important piece to the puzzle because New Line Cinema still carries the international distribution rights to the Friday the 13th film franchise. In short, it appears that Vertigo and SpringHill, with the approval of Victor Miller, can make a new movie with New Line Cinema and see it distributed worldwide without any issues.

With Texas Chain Saw Massacre at Legendary and A Nightmare On Elm Street at New Line, it’s 100% possible that we could one day see a newly assembled shared universe between Jason Voorhees, Freddy Krueger and Leatherface, which was once a possibility when New Line controlled all three properties years back.

This brings us to Halloween. After escaping from Dimension Films and The Weinstein Company, Miramax and Trancas producer Malek Akkad made a deal with Blumhouse to produce the next installment that would be distributed through Universal Pictures. While the franchise had originally been handcuffed at Dimension/TWC, it’s now believed to be a free-floater. While there’s no doubt that Halloween currently resides at Universal Pictures with Blumhouse producing, there’s a world in which Michael Myers could eventually slash his way over to New Line Cinema or work something out with the several producers and Universal on some sort of mega-collaboration. This is just wishful thinking on my part, but there’s always the possibility. For now, Blumhouse is currently hard at work developing a sequel to this past weekend’s smash hit. Maybe we’ll be lucky and get a new Halloween by next October?!

Speaking of Dimension Films and The Weinstein Company… Lantern Entertainment’s $289 million purchase of The Weinstein Co. assets has officially closed. We have it on good authority, although unconfirmed, that Lantern is the current rights holder to both Wes Craven’s Scream franchise and Clive Barker’s Hellraiser. There was hope that Pinhead may have escaped in the midst of the legal battle and eventual bankruptcy of TWC, but the asset appears to be locked by the new owners. With that said, we’re hearing it can be pried loose if the right party were to come along. As for Scream, a third series in the can awaiting new distribution after Netflix terminated the output deal they had in place for the show. New series and/or films can be produced in partner with Lantern Entertainment. It’s a major, major property and we don’t expect it to stay dormant for too long.

Lastly, there’s good ol’ Chuckster, who now exists in two separate universes. Franchise writer and creator Don Mancini is not only developing a television series based on the Child’s Play films, but also further sequels, all of which remain canon from the very beginning. Meanwhile, Orion and MGM have already begun filming a remake of the first film with Lars Klevberg in the director’s chair and starring Aubrey Plaza (Life After Beth) and Brian Tyree Henry (“Atlanta”), with Gabriel Bateman (Lights Out) as our new Andy Barclay. Yes, there are two franchises alive and well at the exact same time. This is evidence of just how hot horror and 1980s slashers are at the moment.

While our younger readers will experience this as the norm, us older horror fans have suffered quite a bit over the years, which is why this horror boom is so exciting. In 2003, Freddy vs. Jason gave us a taste of what could be, only to have the horror world collapse under the feet of the J-horror remake craze. We’ve never recovered as found-footage eventually took hold and left our beloved horror icons in the rearview mirror. Mainstream wants horror to go away – except when they’re busy writing their Halloween-themed listicles all October long – and it’s taken a string of miracles and big-boy-pants risks (It: Chapter One) to reveal to the world that horror is bigger than their hatred of it. It may feel like we’re deep-rooted into what’s to come, but the truth is that we’re just beginning. There’s a horror explosion coming so big that it’s going to surprise everyone… except us.

Dermot Mulroney Takes On TRICK from Horror Master Patrick Lussier

Ellen Wander, CEO of Film Bridge International (Winnie Mandela, Misconduct, Marshall, and Spinning Man) and Gabriela Revilla Lugo of Revek Entertainment (The Tribes of Palos Verdes, The Last Weekend in May, Gone: VR 360) announce the upcoming feature Trick,  a horror thriller to be directed by genre master Patrick Lussier (My Bloody ValentineDrive AngryTerminator: Genisys) and written by Todd Farmer, alongside Lussier.
The story centers on an elusive serial killer, who descends upon a small town annually, bringing terror and death.  He is responsible for gruesome murders year after year, each in different jurisdictions and seemingly unrelated.  No one believes this could be the same killer.  Detective Denver has faced Trick once before – he shot and killed him.  Or so everyone keeps telling him.  However, Denver knows Trick is out there and he’s coming back for revenge.
“After much discussion with Director Lussier, Dermot was the only choice for this role and we are ecstatic that he was able to take on the project.” stated Wander.
Dermot Mulroney (The Family Stone, The Wedding Date) plays Detective Mike Denver. Denver puts his works before anything else in life, including his own marriage but his no-nonsense attitude and steadfast approach makes him a perfect fit for a career in law enforcement. Against everyone else’s judgement, he is convinced that Trick is not only alive and well, but the one responsible for a series of gruesome murders recurring over several years.
Director Patrick Lussier’s lengthy and accomplished résumé includes several of the most successful horror films and television programs in recent years.  His eye for detail was instrumental in editing the numerous Wes Craven films, including the famous Scream franchise, Red Eye, New Nightmare, and Cursed  to name just a few.
Prolific actor Mulroney, has starred in over 70 films in a career  spanning more than 3 decades.  Most recently, he filmed an episode for the highly anticipated Netflix series “Homecoming” starring Julia Roberts, his co star in the box office hit My Best Friend’s Wedding.
Writer Todd Farmer has worked with Patrick Lussier previously.  He has written several genre films including Jason X, My Bloody Valentine and Drive Angry (alongside Lussier).
Ellen S. Wander of Film Bridge International will produce and handle worldwide sales for the film. Gabriela Lugo will also serve as producer. Additionally, Film Bridge International has partnered Chimney’s Fredrik Zander to handle post-production.
Dermot Mulroney is repped by WME.  Patrick Lussier is repped by Paradigm Talent Agency

The post Dermot Mulroney Takes On TRICK from Horror Master Patrick Lussier appeared first on HorrorFix – Horror Movie News Reviews and More!.

Chris R. Wright’s “Ladykillers” Artwork Strips Our Favorite Slashers

All that stalking cardio is paying off in the buff bod department with Chris R. Wright‘s ballpoint pen illustrations series entitled ‘Ladykillers’.

Showing some skin instead of stabbing through it, you’ll see his erotic take on The Shapely man of the moment, Michael Myers, as well as Jason Voorhees on laundry day at Crystal Lake.

Take a look at the killer art below.

Who would you like to see Chris do next?  Visit his Facebook page Brawling with My Biro to pick up original copies, prints & request commissions.