As we near the start of Westworld Season 2, the marketing machine has clicked into gear, teasing with a new teaser , revised new website HERE and cool poster with hidden binary code. Producers Jonathan Nolan spoke to EW today:
“We don’t like to endlessly build mystery; we like to settle our debts by the end of the season,” Nolan said. “We want to feel like the show is rocketing ahead. The first season was a journey inward; this is a journey outward. It’s a search for what else is in the park, and what else is beyond the park.”
As this show attempts to question our understanding of reality, we still haven’t explored outside the confines of this manufactured theme park.
“If we were to describe the show as one camera angle, it would be a steady pull out revealing more and more context,” Nolan says. “So as the hosts learn more about their world—and other worlds, and the real world—the audience is doing the same thing.”
While the creators were hesitant to say if they’d be spending much time in Shogun World, they do confirm that it will take place outside of Westworld.
“This year is much more of a road show—Sweetwater isn’t home anymore,” Nolan tells EW, teasing that leaving behind Westworld is only the beggining into where and when the real world begins. “These hosts don’t live on the same time frame we do and don’t have the four-year life span of replicants [like in Blade Runner]. If left to their own devices, they could live forever. So our story has some real scope to it.”
Certainly they’ve left it open for the inevitable Seasons 3-7, but for now, I can’t wait to see where Season 2 takes us next month.
Welcome to 2036. Niander Wallace introduces his new line of replicants.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
The first of 3 Blade Runner 2049 Short Films.
So soon after the passing of George Romero, it’s sad to report that Tobe Hooper, the horror director best known for helming The Texas Chain Saw Massacre and Poltergeist, died Saturday in Sherman Oaks, Calif., according to the Los Angeles County Coroner. He was 74. The circumstances of his death were not known.
The influential 1974 The Texas Chain Saw Massacre became a seminal horror title for its realistic approach and deranged vision. Shot for less than $300,000, it tells the story of a group of unfortunate friends who encounter a group of cannibals on their way to visit an old homestead. Though it was banned in several countries for violence, it was one of the most profitable independent films of the 1970s in the U.S. The character of Leatherface was loosely based on serial killer Ed Gein.
Hooper also directed the 1986 sequel The Texas Chainsaw Massacre 2, which took a more comedic approach, as part of his Cannon Films deal.
The 1982 Poltergeist, written and produced by Steven Spielberg, also became a classic of the genre. The story of a family coping with a house haunted by unruly ghosts starred JoBeth Williams and Craig T. Nelson. The film was a box office success for MGM and became the eighth-highest grossing film of the year.
After Poltergeist, Hooper directed two movies for Cannon Films, Lifeforce and Invaders from Mars, a remake of the 1953 alien movie.
His 1979 CBS miniseries adaptation of Stephen King’s bestselling novel Salem’s Lot is considered by many fans to be a high-water mark in televisual horror. Combining the intrigue of a nighttime soap opera with the gothic atmosphere of a classic horror film, the two-part program was eventually reedited and released theatrically throughout Europe.
He continued working in television and film throughout the 1990’s and 2000’s, but none of the films had the impact of his early works. His other more recent works included Toolbox Murders, Crocodile, and Mortuary.
Among his other works was the music video for Billy Idol’s “Dancing With Myself.” In 2011 he co-authored a post-modern horror novel titled “Midnight Movie” in which he himself appeared as the main character.
Hooper continued to work on various TV series and films up until 2013, when his last film, Djinn, set in the United Arab Emirates and produced by Image Nation, was released. He is survived by two sons.
Described as Ghostbusters meets The Matrix in this experimental short film from the makers of Wyrmwood: Road of the Dead!
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Legendary filmmaker George A. Romero, father of the modern movie zombie and creator of the ground-breaking Night of the Living Dead and subsequent franchise, has died at 77.
Romero died Sunday in his sleep after a “brief but aggressive battle with lung cancer,” according to a statement by his longtime producing partner, Peter Grunwald. Romero died while listening to the score of one his favourite films, 1952’s “The Quiet Man,” with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side, the family said.
Romero jump-started the zombie genre as the co-writer (with John A. Russo) and director of the 1968 movie Night of the Living Dead, which went to inspire future generations of filmmakers such as Tobe Hooper and John Carpenter that generating big scares didn’t require big budgets. Living Dead spawned an entire school of zombie knockoffs, and Romero’s sequels included 1978’s Dawn of the Dead, 1985’s Day of the Dead, 2005’s Land of the Dead, 2007’s Diary of the Dead and 2009’s George A. Romero’s Survival of the Dead.
In recent years, as the zombie genre had a resurgence, Romero wasn’t always a fan. He told a British newspaper in 2013 that he’d been asked to do some episodes of The Walking Dead, but had no interest.
“Basically it’s just a soap opera with a zombie occasionally,” he told the Big Issue. “I always used the zombie as a character for satire or a political criticism, and I find that missing in what’s happening now.”
Romero took an intellectual view to his depiction of zombies, an approach he found lacking in some of the work that came after him.
“I grew up on these slow-moving-but-you-can’t-stop-them [creatures], where you’ve got to find the Achilles’ heel, or in this case, the Achilles’ brain,” Romero told The LA Times in 2005, referring to the organ whose destruction waylays a zombie. “In [the remake] they’re just dervishes, you don’t recognize any of them, there’s nothing to characterize them…. [But] I like to give even incidental zombies a bit of identification. I just think it’s a nice reminder that they’re us. They walked out of one life and into this.”
A sad day for my fellow horror fans, Romero kick-started so much of what we have come to love over the last 50 years. Rest in Peace.
Revered cinematographer Roger Deakins has ‘never worked on a film with so many different sets and lighting challenges’ as ‘Blade Runner 2049.’
Denis Villeneuve’s sequel to Ridley Scott’s 1982 original film looks to be a jaw-dropping mix of visual feats that stay true to both the story and the technical innovation that made Blade Runner an instant classic. Villeneuve acknowledges this legacy, stating “I have massive respect for the world Ridley created. Blade Runner revolutionized the way we see science fiction.”
Villeneuve is likely the right man for the job, as he took science fiction down an entirely new road himself, ostensibly reinventing the hackneyed alien genre with 2016’s Arrival, for which he was nominated for an Academy Award in Directing.
Blade Runner 2049 indeed brings several heavy-hitters to the table to help ensure its success, including no less of a cinematographer than multiple Oscar-nominated Roger Deakins, who also shot for Villeneuve on 2015’s Sicario. No stranger to complex action movies (the James Bond hit Skyfall, for one), Deakins admits in the featurette, “I’ve never worked on a film with so many different sets and lighting challenges. Technically, it’s quite challenging.”