John Carpenter

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DarkImbecile
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Re: John Carpenter

#26 Post by DarkImbecile » Thu May 16, 2019 1:06 pm

John Carpenter hints at possible future TV and feature directing projects, while also just being generally amusing in Cannes:
THR wrote:The director also had a laissez faire attitude towards remakes of his past films like the upcoming Escape From New York, saying he wouldn't want a say in Leigh Whannell's new version. But he added he enjoys the executive producer role.

“Based on something I've written, in that case I sit on my couch and put my hand out and a check arrives and I do nothing for it," he said. "That's the kind of remake I'm talking about."
...

He also added he's not upset by the similarities between Metal Gear Solid and the lead character from Escape from New York. “The director tried to buy me off, sent a free copy and said 'You're such an inspiration,' and I thought: why don't you send money?"
...

He is being honored with the Director's Fortnight Golden Coach award during the festival, which went to Martin Scorsese last year, and joked: “My getting this award was a huge mistake.”

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colinr0380
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Re: John Carpenter

#27 Post by colinr0380 » Thu Jul 11, 2019 5:11 pm

It was interesting whilst watching the Red Letter Media piece on In The Mouth of Madness to wonder if Christophe Gans may have been influenced a bit by this film for the structure of the Silent Hill film, which similarly has characters going into a town, pinballs them between a few key locations and then has them escape it only for the horror to have stayed with the characters instead of dissipating. Though of course the Silent Hill games themselves perhaps could have influenced Carpenter! And Gans was a part of that 1993 Necronomicon anthology film (and directed the most evocative segment of it, The Drowned), so maybe he was just on the same kind of thought process as Carpenter! And that adds to the sense that Lovecraft was in the air around 1993-94!

Also during their discussion of late (or rather 90s) John Carpenter, they bring up Ghosts of Mars (which I think works really well, just not as an action film), Memoirs of an Invisible Man (which does not quite work because its comedy and thriller elements keep clashing, especially the need to keep Chevy Chase on screen even when he's invisible. Weirdly it has almost exactly the same tonal problems as that Chevy Chase Benji movie Oh! Heavenly Dog, in that you cannot generate actual tension with a star like Chevy Chase being on screen, but you need him to be on screen to be the audience draw for the film!), Escape From L.A. (which I generally agree with their opinion of, though the replacement of Donald Pleasance's wishy-washy British(?) US President from New York with the extreme right wing pro-death penalty evangelical preacher President being held hostage by his naive liberal Stockholm Syndromed rebel daughter is a neat new premise. And of course the roving band of insane plastic surgeons led by Bruce Campbell is a fun touch, though like much else in the film a bit too satirically goofy to inspire any particular feelings of fear), and Vampires (which I really don't like the tone of, especially in the treatment of the innocent caught in between the vampires and the vampire hunters and being brutalised by both sides. Though I concede maybe that is meant to be the point), but I really wish they had talked a little about Carpenter's remake of Village of the Damned which is a surprisingly successful, though gorier, remake of the rather genteel original film. That's really the only problem with that film, in that lovers of the original might be rather repulsed by some of the goings on in the remake, but I think its worth bracketing together with Abel Ferrara's Body Snatchers film in terms of 90s horror remakes with highly interesting aspects to them, even if they might not entirely work. It also has that astonishing gender-politiced, abortion rights inflected exit for Kirstie Alley's character...
Spoiler for the fate of the Kirstie Alley characterShow
, as the overly masculinised clinically detached doctor, and the only woman who can see the threat posed by the children from the very beginning (and who has been hiding and experimenting on various 'still born' foetuses), which is suggested to be because she is infertile and therefore beyond their 'influence'. So the kids band together in revenge to forced her to perform a similar self autopsy (or a kind of ironic hysterectomy?) to the ones that she 'inflicted' on their bretheren.
(Also to keep with the British horror interest that Carpenter appears to have, along with writing scripts under the "Martin Quatermass" pseudonym and the remake of Village of the Damned, I think that post-apocalyptic quiet scene in the ruined bar in In The Mouth of Madness that gets discussed in that video above might just be Carpenter's homage to that similar quiet moment of reflection between a couple of characters that occurs just before the climax of Quatermass and the Pit)

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