Raevupalavik

[Trash]

Ega ta üheksakümnendate alguses videolaenutuste jaoks piraatfilme ei tõlkinud...tuleks nagu tuttav ette

Üks tõlge oli: Keegi lendas üle kägu pesa.

Ja Night of the Living Dead oli Elav laibad tuleb tagasi.

[MNC]

"mängu Doom generatsioon" on mu lemmik.

[Ralf]

Püsigem teemas, lapsed.

Kaks intervjuud "Cabin Feveri" Director's Cuti kohta:

How hands-on were you in developing the un-rated director’s cut of the film for the new Blu-ray version?
I was very hands-on. I’ve been pushing for this since the movie was re-cut by the studio years ago. They has always said they would eventually do one. There were a lot of regime changes at Lionsgate. Thankfully, there were a few people who kept it alive. It was actually the success of Inglorious Bastards that sparked it. The Hollyshorts Film Festival gave me an award last summer in August and asked me if I wanted to do a screening. I said that I wanted to do a screening of the director’s cut and there was only one print and I had it. We showed it, and it brought the house down. Everyone was saying, “Why isn’t this out?” After Inglorious opened, friends of mine said that they could get it pushed through.
I talked to the CEO of Lionsgate, John Feltheimer — I actually saw him at a Boston Red Sox party - and I grabbed him and I was like “new transfer, new transfer.” He said, “How much is it going to cost?” I said, “C’mon dude!” He was like, “Alright. Anything you want.” It’s a catalogue title, so it’s hard to get the funding to do it. Sometimes they just upgrade it but we wanted a really nice new transfer. I supervised the transfer. Everyone fought to get a new 7.1 mix. Some of the dialogue was cleaned up and we had a fantastic mixing team. It’s not that much of a difference but to me the director’s cut makes more sense and it’s a better film. There are a lot of questions that happen as a result of certain cuts. Characters say lines that don’t exactly make sense, even in the context of Cabin Fever, which has a lot of weird lines. I wanted to add more things to give fans a reason to buy it. The gore looks spectacular and the sound is fantastic. And I did a new commentary with most of the cast. I added two of my animated shorts and there was a problem in the audio transfer so I was bummed because half the audio is missing. But because of BD-Live, in a week or two we’ll upload it to the site and people will be able to watch it with the complete audio. The technology is really cool.

How were you able to keep your own cut all this time?
When they bought the movie, there was an original transfer made. But we couldn’t find it so we had to go to the vault and get the negative. I was amazed at how much stuff had disappeared in just seven years. Not through anyone’s fault. It’s just what happens. Stuff gets moved. We had to go back to the original elements and piece it together. I thought we’d have to transfer the missing pieces from my print, which I didn’t want to do. We wanted it from the original negative. Luckily, we had it.

You made the movie years ago. What was it like going back to it? Did you see things that would you have done things differently?
I saw things I would have done differently the night it premiered. That’s part of making a film. You have to divorce yourself from that. Looking back now and watching it on the big-screen, I am so proud of what we accomplished. I really feel that what made the movie special was the cast and production design. We assembled the best team we could. My DP has gone on to do shoot Fame and Death Race. Our production designer is now a Stallone guy and has done Rambo and The Expendables. Cerina Vincent is a published author now and it’s great to see everyone is still doing stuff. Rider Strong is directing. It’s like going back to camp and having a reunion with your favorite people. I missed it so much and when we were doing the audio commentary, all I could think it that I cannot wait to make another movie.

You’ve been focused on acting.
Well, yeah, when Quentin Tarantino calls, you come charging. It’s an incredible opportunity and I had a great time doing it but there’s nothing that thrills me like directing a movie and watching it with an audience. It reminded me that this is what I need to be focused on entirely.

What’s it been like to work with Tarantino, someone you idolized?
It’s incredible. It’s an interesting transition when there are people who are your idols and then your peers and then your friends. It’s hard to think of the way I thought of him before. You always have a fantasy that you have a lot in common. There are certain celebrities where you think, “If I met this person, we would get along so well.” And when it happens and you do get along, it’s a strange and wonderful feeling. There’s a real mutual respect. His support has meant so much to me. That’s why I want to support his in any way I could. He’s a wonderful guy. He supports everyone. He’s so happy for people. So many people in Hollywood are jealous and want everyone to fail. He doesn’t. He wants everyone to make great movies.

What are you working on now?
I’m producing a few movies and we’re finalizing a deal for Cotton, which will be announced very soon. And RZA’s movie, The Man with the Iron First, which I’m producing with Strike Entertainment, we’re looking to start shooting in August. I’m finishing my script, Endangered Species. This whole awards season, Quentin wants me at every event. How can I say no? It’s been a wonderful distraction. I think after the Oscars, that will be the end of it. I’m trying to write as much as I can but I don’t want to miss this moment and then think I should have taken the time to enjoy that moment.

Shock Till You Drop: Talk about the supervising process you went through to get this Blu-Ray off the ground.
Eli Roth: This is something I've been pushing for since the movie was first cut by the studio. All of the cuts were made for time, like four or five minutes, but there was one cut involving a scare that I was bummed about. There's other stuff, just dialogue and character things that don't make sense. Now they make sense when you watch the movie. I thought one of the things that made the movie work was the characters. The weird characters. It's a hang out movie. You put the movie on and you feel like you're hanging out with those characters. Part of the thing they said to appease me is they told me we’d do a director's cut DVD. But then there various changes over there and it never got done. Before Inglourious Basterds came out, there was a screening in August of this cut. I hadn't shown it since the Toronto Film Festival. People went crazy for it and I thought it was a shame is wasn't being shown. Then after Basterds came out, suddenly my fan base grew and the people at Lionsgate were able to push it through. They were great about it. We got another transfer and much to our surprise, a lot of the elements were gone. Some tapes were missing so we had to go back to the original negative and cleaned up the picture. We remixed the sound to 7.1 and cleaned up a lot of the dialogue, got a good mix. It looks and sounds spectacular.

Shock: Any chance you'll get this on the road and show it in a few more theaters?
Roth: That's not up to me, but of course I'd love to. If Lionsgate wanted to, I'd totally support it. But we recorded a new commentary with some of the cast members. There was one unavailable and was shooting but we got everyone else. Blu-Ray is such a new technology that, when we transferred two more of my animated shorts The Rotten Fruit, they had two channels of audio, one of the channels was missing. So the music and voices is gone. So in Blu-Ray live, they take that audio, uploaded it and people can now put the disc in and play those shorts with Blu-Ray live. Because of an error in the manufacturing, we can now correct it by putting that one little thing online. It's a really cool technology.

Shock: Some filmmakers are finding Blu-Ray to be too revealing in regards to enhancing certain flaws, whether it be in the make-up or another area of the production. Revisiting this film, did you ever cringe at times about something you didn't notice before?
Roth: Well, as a director, you always cringe about certain things in your movies, but I was concerned about what you're talking about. Going under the microscope of hi-def. The make-up artists had to make it look real to the naked eye or they won't work on camera. So up close, those things are disgusting. I really wasn't that worried. I wanted practical make-up. I wanted people to be shocked by what those guys did and the whole fun was, while people were starting to move towards CG, I wanted to do what they did in the '70s and'80s. But still, it looks gorgeous in this transfer.

Shock: We're edging towards a ten year anniversary already for this film…
Roth: I know, we didn't want to wait ten years to release this, with Inglourious Basterds coming out. I wanted to use that momentum.

Shock: Well, when you get behind the camera again for your next project, how do you think you'll be different aesthetically than when you were when you first started rolling Cabin Fever?
Roth: You're never conscious of how you're going to change. With Hostel and Cabin Fever there was a very conscious change in that part of the fun of Cabin Fever was homaging my favorite horror movies. On Hostel, I wanted to shoot from the gut and find my way through a scene. Not do shots from other movies. After watching Hostel, I was watching a lot of early ‘70s giallo films. That influenced Hostel Part 2. And then even shooting Nation's Pride for Inglourious Basterds, the way I shot things I was framing things differently. I was going for a different style to evoke that period but I think the whole way I'll approach scenes now will be different, having gone through what I went through with Quentin. I watched how he deals with actors, goes through a scene and finds the shots. It all comes from the performance and that's definitely what I want to do.

Shock: Now this release ties in with the debut of Cabin Fever 2...
Roth: I was the one who suggested Ti West to direct it. They asked me who I thought should write it and I said Randy Pearlstein, who I wrote the first one with, and he said they should set it at the prom. It's fun for me because I had nothing to do with the film. The creative team kept the spirit of it and I'm excited to see what happens with it and subjectively see a Cabin Fever movie I had nothing to do with. I love Ti, I love House of the Devil and I think he's great. I don't think of it as Cabin Fever 2, and I don't mean that as a slight to the movie, I just think of it as something else because that's just how my brain works. Cabin Fever - so much of my life is in that movie, the dialogue and it's a personal film for me. To see a movie that's a sequel to that, well, it's not my life experience but I'm looking forward to it.

Shock: Are you getting close to returning to the director's chair for a feature?
Roth: Well, I've been writing. The awards season has been a fun distraction. Critic's Choice, SAG, Golden Globes. I don't want to miss any of this. I don't know when I'll ever be in this position again. To be an actor in a movie of this stature is such an incredible honor. I don't want to look back and think I should have taken the time to enjoy this. A lot of time I get caught up in what the next thing is. With Hostel, I didn't take the time to enjoy that. I was so caught up in getting the next thing going that I didn't take that moment to being the number one movie and enjoying the accomplishment.

Shock: Savoring the moments.
Roth: Savoring the moments, and I may not be getting all of the writing done that I want to, but I'm plugging away. I probably won't finish up the script until after the Oscars.

Shock: The script is done for Endangered Species, no?
Roth: The script is complete and Quentin read it. I won't do anything until he reads it first and he had some notes. I wasn't sure what direction to go in, so I wrote one version of it and it's the kind of thing where you've got two hundred pages written and it has to be a hundred. So, I'm trying to figure out what to chop, condense and organize. It's going to take a little work.

Kuigi mulle ei meeldinud see film teistkordsel vaatamisel nii väga kui algselt, kavatsen ma ka pikendatud variandi ära vaadata (või siis lisastseend) ja loodan, et inimesed, kes "Cabin Feveriga" tuttavad pole, saavad seda nüüd ka vaadata.

[Trash]

Püsigem teemas, lapsed.

Lapsed püsivad teemas, mehed räägivad kõigest.

Käbipalavik.

[damon]

Halb ei olnud.
Omapärane oleks vist õigem sõna.
Õuduka alla ei kvalifitseeru. Thriller samuti mitte.
Krt seda teab, peaks vist uue kategooria leiutama ?
"Verd" kulus filmi tehes palju.

Lemmikhinne 7/10 tuleb ära.

[Forzelius]

Praegu lugesin alles Ralfi kopitud intervjuud - täitsa huvitav lugemine. Lahe lugeda sellest, kuidas tüüp algul idoliseeris QT'd ja nüüd sõbrad on.

[Ronet]

Algas nagu iga teine kabiinikas ja siis mingist hetkest läks eriti ägedaks. Parajalt jabur ja verine.

7/10