He really embraces the wind out of nowhere and the camera shaking, and the inventive, interactive lighting. Deming recounted that, “Sam loves B-movie stuff. Even the scenes involving the garage or street lamps were never given corrected bulbs to add to this “heightened sense of realism.” This realistic lighting shifts to darkness as Christine descends into the world of the supernatural, often shown in canted angles and close-ups. Deming wanted realistic lighting to be used for this transformation. It is almost inconceivable that her initially bright world edges into one of darkness and decay. Throughout the film, we, the audience, remain focused on Christine. We covered scenes and gave her extra-tight close-ups, because we want the audience to be in her place.” This movie wouldn’t work without us caring about Christine. We stayed right on Christine’s face a lot of the time. In his production notes, Deming writes, “From the beginning, Sam and I talked about being with her as much as we subjectively could throughout the film. In Drag Me to Hell, Raimi and Deming play with our assumptions of a scene and explore why we care about characters like Christine (Alison Lohman), and why we want to see them overcome their doom. From all the films Deming has worked on, it is incredible to see his recognition of horror tropes and how he deconstructs and reorders them on screen. As a cinematographer, Deming builds lived-in worlds, even when those worlds are filled with supernatural and frightening beings. In the last decade, Deming again reunited with Raimi for Oz the Great and Powerful and with Lynch for his revival of the Twin Peaks series. Russell ( I Heart Huckabees) and, most notably, David Lynch ( Lost Highway, Mulholland Dr.). Since then, Deming continued working in a number of genres with other notable directors, including Wes Craven ( Scream 2), David O. Finally, when the third and final film in that franchise was released, Raimi dug up the screenplay titled The Curse, which would become Drag Me to Hell.ĭrag Me to Hell is also a return for cinematographer Peter Deming, who previously worked with Raimi on 1987’s Evil Dead II. The story was written right after 1993’s Army of Darkness however, the idea was shelved while Raimi directed the Spider-Man films. This is what makes Drag Me to Hell both a return to form as well as a contemporary Raimi shock, schlock, and fun film. Raimi has written and directed well-known cult classics, many of them synonymous with the horror-comedy genre. For many of the films he directs, he mixes horror and comedy to play with the audience’s expectations. Evil Dead II and The Cabin in the Woods exemplify this effect of watching horrid events transpire, while never forgetting their comically outlandish and goofy nature. However, like the genre of horror-comedy itself, there must be a balance to the schadenfreude. There is something utterly fascinating about doomed characters who you, as the viewer, hope will defeat the evil presence looming over their heads, while also wanting to watch the horrible misfortunes that invade their lives. The screening will be followed by a discussion with Drag Me to Hell's cinematographer and UW alum Peter Deming. A 35mm print of Drag Me to Hell will be screened in 4070 Vilas Hall on Saturday, April 21 at 7 p.m. He said he went on to receive the script piece-by-piece and didn't know for sure he was Ghostface until he got to the end.These notes on Sam Raimi's Drag Me to Hell (2009) were written by WUD Film’s Kristen Johnson-Salazar. Meanwhile, Dermot Mulroney, who plays Detective Bailey, said in an interview with The Independent, "I was told by my agent, 'Good news, we have a call from Scream VI, they want you, they can't tell you anything else, but they need to let you know that you are the bad guy.' It wasn't called 'Ghostface' there it was just 'the bad guy.'" "One of the best parts of all of that was they didn't get the third act of the script at all," he said in the same Collider interview, "so they’re in their costume fittings and they tried on their costumes, and then we came in and like, 'There’s one more thing you have to try on,' and then we brought out the Ghostface robe and a mask so they could try it on for the first time. It was a surprise for Jack Champion and Liana Liberato, who play Ethan and Quinn respectively, according to Gillet's fellow Radio Silence member and Scream VI producer, Chad Villella. The Ghostfaces didn't know they were going to be Ghostfaces right off the bat.
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