Word: filming
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Dates: during 1990-1999
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...that their first feature is headed for $100 million at the domestic box office, Myrick and Sanchez have just one sure thing ahead of them: the sophomore jinx. They describe their next film, a comedy called Heart of Love, as "Mad Mad Mad World meets Monty Python meets Airplane! meets the stupidest movie you've ever seen." Could it tank? Of course--like most indie or studio films. "We know we're gonna bomb," says Sanchez. "We're gonna live with that bomb and nurture it and then watch it explode...
They seem to realize that the flip side of phenomenon is fluke. Blair Witch, a film that antagonizes as many folks as it enthralls, could be as fleeting a fad as Deely Bobbers, and with no profound meaning for the future of film--except perhaps that struggling filmmakers with a marketable attitude will for a short, happy time be overpaid by studio bosses hoping against reason for another Blair Witch...
...There's no good lesson to learn here," says Pierson, the indie guru whose cable show helped get the Blair rolling. "It's not an independent-film phenomenon. What you really have is a convergence of old and new media." And a film that blends the thrill of the unseen with the art of the sell. That's true Witch craft...
Lance Morrow's excellent report [CINEMA, July 19] on the recently released documentary film Return with Honor gives well-deserved recognition to the heroism of the American POWs who endured years of unspeakable torture at the hands of the North Vietnamese. In his televised interview, my father Commander Jeremiah Denton stunned and infuriated his captors by defying them directly with words that pledged his support to the American government "as long as I live...
...archetype of these renegade fright fests is Night of the Living Dead, George Romero's 1968 horror film about ghouls who rise from the grave to devour the living. Made by a bunch of unknowns in Pittsburgh, Pa., for a piddling $114,000, the film has a grainy look, cheesy acting and a preposterous premise. But the characters we root for are eliminated with grisly dispatch, and the claustrophobic tension mounts so ruthlessly that many early filmgoers had to leave the theater midway--in shock. Sequels and imitators notwithstanding, it remains the most terrifying movie ever made...