What Are Horror Master John Carpenter’s Favorite Films?

Though director John Carpenter might enjoy making horror flicks, his cinematic diet surprisingly doesn’t have as much blood and guts.

John Carpenter has spent his career scaring the bejeezus out of movie-goers, and since it’s almost Halloween, it seems right to talk about the films that inspired him to make films that helped contribute to one of the most beloved horror subgenres in cinema. In the video below, Fandor has put together a list of the director’s favorite films, but interestingly enough, you’re not going to see a whole lot of blood, butcher’s knives, or Captain Kirk death masks in the films that shaped Carpenter as a filmmaker. However, that doesn’t mean the films on his list aren’t dark and twisted, as you’ll soon see.

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NYCC Exclusive: John Boyega Talks Pacific Rim Uprising

NYCC Exclusive: John Boyega Talks Pacific Rim Uprising

NYCC Exclusive: John Boyega talks Pacific Rim Uprising

Last week, Legendary Pictures and Universal Pictures brought the new trailer for Pacific Rim Uprising to their New York Comic Con presentation, after which ComingSoon.net had the chance to sit down 1:1 with the film’s star and producer, John Boyega. The Star Wars actor plays Jake Pentecost, the son of Idris Elba’s character from the first film. Check out the interview below!

RELATED: The Pacific Rim Uprising Trailer from NYCC is Here!

John Boyega (Star Wars: The Force Awakens) stars as the rebellious Jake Pentecost, a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous “Kaiju.” Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through our cities and bring the world to its knees, he is given one last chance to live up to his father’s legacy by his estranged sister, Mako Mori (Rinko Kikuchi)—who is leading a brave new generation of pilots that have grown up in the shadow of war. As they seek justice for the fallen, their only hope is to unite together in a global uprising against the forces of extinction. Jake is joined by gifted rival pilot Lambert (The Fate of the Furious‘ Scott Eastwood) and 15-year-old Jaeger hacker Amara (newcomer Cailee Spaeny), as the heroes of the PPDC become the only family he has left. Rising up to become the most powerful defense force to ever walk the earth, they will set course for a spectacular all-new adventure on a towering scale.

Pacific Rim Uprising is directed by Steven S. DeKnight (Netflix’s Daredevil, STARZ’s Spartacus) and opens in 2D, 3D and IMAX 3D theaters on March 23, 2018.

Comingsoon.net: I guess my first question to you is… are people making a lot of “Adventure Time” jokes to you now that you’ve played both Finn and Jake?

John Boyega: (laughs) That’s so cool! No, but I welcome all of them. That is cool.

CS: Nobody’s pointing that out?

Boyega: No, nobody’s pointed that out. That is hilarious!

CS: Are you a fan of the show?

Boyega: I love “Adventure Time.” I think I might put up tweets that say, ”I’d really like to see some Finn and Jake concept art” now. That’s so crazy I never knew that, geez.


CS: So in this movie you are playing the son of Idris Elba’s character, and even though you are English, did you have to use a different regional dialect to match his?

Boyega: I use my natural one. I didn’t use my natural one for “Star Wars,” so that was completely different. I’m into characters. The great thing is there is a distinct difference between Jake and Finn, obviously. That was something I definitely integrated into the character-building. Also because I didn’t want to distract the “Star Wars” fans as they watch “Pacific Rim.” I wanted there to be a specific difference in demeanor and energy. And that’s something that went into it in terms of my voice. I use a low register most of the time, I just used my natural tone.

CS: I just know that there are different regions. I don’t know which regions Idris and you are from?

Boyega: I’m from South London but I did cater towards Idris’ kind of easy-sort of an East London accent.

CS: What do you think is the biggest non-cosmetic difference between Finn and Jake?

Boyega: I think obviously, circumstantially they are living in both worlds where Finn kind of had his freedom taken away from him. And Jake has had all the freedom he can get. Jake is definitely a lot cockier and has a lot more of a no-care attitude. Whereas Finn has a natural heart in him. And if they would meet, they would get along but they would be different for sure.

CS: So Jake has lived kind of more of a frivolous life.

Boyega: Yes, because we wanted to show the story in a different light. We are living in a world in which it is not going well in terms of unity and there is a lot of conflict. There are a lot of people who benefit from it not because they are wealthy, or because they have the best name, but because they are smart and witty, and we wanted to explore that part: the underground crime-lord kid. How does he survive within this world? Obviously he is more of a distinct contrast to his father. But this is not like a caricature of [Elba’s character] Stacker, he’s not just walking around with his demeanor, but he’s a lot more free.

CS: In the original movie, Idris seemed to take a lot of his performance cues from anime, almost like a cartoon character.

Boyega: It was fantastic! He was totally stern. Imagine having a man like that with a son that doesn’t quite live up to that. You probably understand why we probably didn’t see Jake, and that’s what we explored.

Screen Shot 2017-10-13 at 10.17.56 AM

CS: I understand there is also a little bit of friction between you and your sister, Mako.

Boyega: It is a troubling and interesting relationship. If there was a love that they both have for each other, she understood that when Jake was going away. It was his choice. It reminds my older sister and me. I love her, but I also love the ability to understand who she is as an individual regardless of how you feel about her. I think that is something that they both share.

CS: I’ve heard the movie compared a lot to “Top Gun” in the sense that it is not just about Jaegers vs. Kaijus, it is also about the competition between Jaeger pilots.

Boyega: There is big, massive competition between Jaeger pilots, but it’s like “Top Gun” in a sense. One question that nobody has asked is, “Where are all the adult Jaeger pilots?” The ones that are professional and the ones that matter. Where are they? We have the circumstance where the kids are the only hope, and they have to jump into tech. That resonates with me especially as a sci-fi reference to “The Goonies” and “E.T.” Kids having to learn and step up, “Attack the Block,” and go against an enemy that is far-fetched. But they have some good weapons, though.

CS: Guillermo del Toro worked on the project a bit before Steven DeKnight took over. What do you think changed the most between those two guys?

Boyega: I think it definitely changed just in terms of freedom and creative freedom also. I think Guillermo was right in wanting the franchise to take a different path and different route. What I like is it really does promote the change in tone in franchise films because that’s sort of the state of war and events. Each event feels different. But at the same time, we still have those things that we can relate to, and go back to the original. We haven’t gone far in changing the story. I still have to be Drift compatible, the robots are not acrobatic. At the same time after you still have to pilot these things, those are elements we had too.

CS: So by bringing in a new auteur you get the same sort of eclecticism that franchises like “Alien” or “Mission: Impossible” have.

Boyega: And with the distinct decision to expand the franchise and expanding universe to give the fans an interactive say is something that influenced this as well.

Screen Shot 2017-10-13 at 10.22.40 AM

CS: I guess there’s a huge difference between a 40-year-old franchise like “Star Wars” and a four-year-old one like “Pacific Rim.” Isn’t there a lot more wiggle room playing in this sandbox than in George Lucas’s?

Boyega: Definitely, in the other realm you are just part of the jigsaw puzzle. And to continue a legacy with it is fantastic, but also what drew me to this is it wasn’t just doing another franchise. It was about being involved behind the scenes: being a part of the creative team and the minds that would hopefully allow this franchise to expand.

CS: You are a big genre fan, but what was your specific role as a producer? What expertise did you bring in shepherding a big badass movie like this one?

Boyega: The greatest thing is I met with a fantastic production team, and the producers there are like the guardian angels of projects. And each angel does his own thing. Whether it be financial responsibility, time, which we all have our eye on because we cannot go over budget. But a big thing for me was creative collaboration of the project, working closely with visual effects teams was a massive thing for me. Most of the privisual CGI went to me, and I would then decide what would happen and the ways in which we can make this better. Pre-viz is something that is beautiful and something that I promoted a lot. We have to go in there with a plan, and if things would change, it would be up to me to discuss with the actors but with the producing hat on. That then affects the way they do action. But there were many notes that I came in with and many ideas. One thing that kind of was my pitch to the studio was, “what the fans really want to see,” and trust me, what they want to see is fights in the daylight and advanced tech taken to another level. They also want to see more character, more breakdown on the specifics of this franchise, to make the complicated uncomplicated. And just to have fun, and any time I could implement that into it, I would.

CS: That is very savvy of you to hone in on it because if you talk to a lot of the directors who work on big tentpole movies, especially in the big Marvel movies, the pre-visuals are already done on the big set pieces before they even come on.

Boyega: It was the case with this one, but I have a great working relationship and Universal was a fantastic studio. I’ve had a great opportunity to give my say, and even in terms of this trailer, it was a long process for this trailer as well in terms of developing it to the point where it can get everybody excited. We have so much content it really is about how much do we show? And when.

CS: Do you have your eye on directing someday? It sounds like it.

Boyega: I don’t know, maybe…

The post NYCC Exclusive: John Boyega Talks Pacific Rim Uprising appeared first on ComingSoon.net.


Bird Box: John Malkovich to Join Sandra Bullock in Cast

John Malkovich set to join Sandra Bullock in Bird Box

John Malkovich set to join Sandra Bullock in Bird Box

John Malkovich (Dangerous LiasonsBurn After Reading) has signed on to join Sandra Bullock (GravityCrash) in the upcoming Netflix film Bird Box, according to Variety. Based on The High Strung rocker Josh Malerman’s 2014 novel, Bird Box follows a woman named Malorie who is trying to get her two children to safety during a major attack by an alien force. It involves a 20-mile trip downriver in a rowboat while blindfolded. He’s also reportedly in talks to join Mark Wahlberg in Mile 22 at STX.

Before Netflix took over, Universal acquired the book in 2013 with screenwriter Eric Heisserer (Arrival) penning the screenplay. Mama and IT helmer Andy Muschietti was originally attached as director, but now Oscar winner Susanne Bier (In a Better WorldThe Night Manager) will direct from Heisserer’s script.

Netflix film chief Scott Stuber (TedPatriots Day) will produce Bird Box for an August production start.

Here is the description for “Bird Box” on Amazon:

“Five years after it began, a handful of scattered survivors remain, including Malorie and her two young children. Living in an abandoned house near the river, she has dreamed of fleeing to a place where they might be safe. Now, that the boy and girl are four, it is time to go. But the journey ahead will be terrifying: twenty miles downriver in a rowboat—blindfolded—with nothing to rely on but her wits and the children’s trained ears. One wrong choice and they will die. And something is following them. But is it man, animal, or monster?

“Engulfed in darkness, surrounded by sounds both familiar and frightening, Malorie embarks on a harrowing odyssey—a trip that takes her into an unseen world and back into the past, to the companions who once saved her. Under the guidance of the stalwart Tom, a motely group of strangers banded together against the unseen terror, creating order from the chaos. But when supplies ran low, they were forced to venture outside—and confront the ultimate question: in a world gone mad, who can really be trusted?”

What do you think of John Malkovich joining Bird Box?

(Photo Credit: Getty Images)

The post Bird Box: John Malkovich to Join Sandra Bullock in Cast appeared first on ComingSoon.net.


Third Trailer for Animated Movie ‘Ferdinand’ with Voice of John Cena

Ferdinand Trailer

“Don’t judge a bull by its cover.” 20th Century Fox and Blue Sky Studios have debuted yet another trailer, the third official trailer, for the animated film Ferdinand, about a bull raised by a family in Spain and taken to be a fighter, who really prefers to smell flowers instead of battle against matadors. This trailer is all about the cast and the announcement that Nick Jonas has recorded a song for the film. John Cena voices Ferdinand the bull, which might be one of the best voice choices all year. The rest of the voice cast includes Kate McKinnon, Gina Rodriguez, Daveed Diggs, Gabriel Iglesias, Bobby Cannavale, David Tennant, Anthony Anderson, Flula Borg, Jerrod Carmichael, Boris Kodjoe, and Raúl Esparza. This does look quite charming and most of all, it seems to have an important message we can all learn from. ›››

Continue reading Third Trailer for Animated Movie ‘Ferdinand’ with Voice of John Cena


John Woo’s Newest Action Movie ‘Manhunt’ Gets a 90s-Esque Trailer

Manhunt Trailer

He’s back!! Media Asia has debuted a new international trailer for John Woo’s latest action film Manhunt, being described as a return to his action roots in the vein of his 1989 classic The Killer. Let’s hope that’s all true, because we haven’t really seen a great action movie from John Woo in a while. Manhunt is about an innocent prosecutor who sets out on a mission to clear his name after being framed for crimes he didn’t commit. Zhang Hanyu stars as the prosecutor, and the cast includes Masaharu Fukuyama, Qi Wei, and Ha Ji Won. This is actually a remake of the 1976 Japanese film Kimi yo Fundo no Kawa o Watare. I’ll be seeing this at the Venice Film Festival when it premieres there in a few weeks. The footage in this trailer looks very weird like it’s straight from the 90s, but here’s to hoping Woo is totally back and better than ever. ›››

Continue reading John Woo’s Newest Action Movie ‘Manhunt’ Gets a 90s-Esque Trailer


Preacher Episode 2.05 Annotations: John Wayne and Dallas

Preacher Episode 2.04 Annotations: Who is Viktor?

Preacher Episode 2.05 Annotations: John Wayne and Dallas

Welcome back brothers and sisters to our weekly feature, the Preacher Book Club, where we talk about the latest episode of AMC‘s Preacher, dissecting the episode at hand, annotating the changes made from the Garth Ennis/Steve Dillon comic book series and attempting to predict about what will be coming next. So let’s dive right into our thoughts and annotations on Preacher Episode 2.05!


As pointed out last season, this whole subplot of Jesse and Tulip as bank robbers that work for the mysterious Danni is an all new addition to the series and was not in the comics. Jesse and Tulip also never had a pregnancy that was lost and they never worked with a guy named Carlos. However, it is nice to see the scene being set for what was done in season one in this episode, especially since the show kind of blew everything up there in that finale.

John Wayne

In the comics, Jesse’s obsession with John Wayne stems from a few different places. When Jesse’s father fought in the Vietnam War, Wayne visited his platoon and every soldier a custom lighter with “F*ck Communism” etched into, the very light that Jesse carries around with him. Later still, after seeing his father die, Jesse is watching a John Wayne movie on television (specifically McLintock!, the same movie seen in the episode) when John Wayne himself reaches through the TV and starts talking to Jesse. Wayne follows Jesse around throughout the comics as sort of his guardian angel or imaginary friend, offering guidance and pushing him along when he needs it. It’s a shame that’s not happening on the show, but they’re working around it well enough. There is another nod to Wayne later when we see the type of cigarettes that Jesse smokes: Pilgrims.


Like this whole backstory, there never was a Reggie in the Preacher comics.

Preacher Episode 2.05 Annotations: John Wayne and Dallas


Tulip is correct. Boo-Berry IS awesome.

“Going back to Annville”

In the comics, the thing that tears Jesse and Tulip apart is Jesse’s family, who kidnap him and bring him back home, and not Jesse’s own choice to leave and start over. It’s certainly a dynamic change from the source material but offers a little more opportunity for dramatic exploration than a simple misunderstanding.

“I was rich once”

Cassidy makes this remark after he enters Viktor’s home, but in Cassidy’s past that we know from the comics this isn’t true. In fact it’s quite the opposite, he just travels from city to city, making friends and seeing them dissolve from drug addictions, and living in poverty. Perhaps he said this as a way of concealing the fact that this remains true in the series.

“Why should I trust a lying, junkie Vampire…”

This line from Jesse, and Cassidy’s reply, is a perfect summation of their friendship. They bust each other, sometimes they come awful close to hitting each other, but deep down they’re brothers and they have a bond that can’t be broken.

The post Preacher Episode 2.05 Annotations: John Wayne and Dallas appeared first on ComingSoon.net.


Interview (Written): Jonathan Goldstein and John Francis Daley

A conversation with two of the screenwriters of Spider-Man: Homecoming.

A Creative Screenwriting interview with Jonathan Goldstein and John Francis Daley who share a co-writing credit for the newest iteration of the Spider-Man franchise along with Jon Watts & Christopher Ford and Chris McKenna & Erik Sommers, screen story by Jonathan Goldsetin & John Francis Daley, Marvel comic book by Stan Lee & Steve Ditko.

Let’s get that obvious question out of the way — being that this is the third cinematic iteration of Spider-Man, what did you consciously try to do differently to set your version apart?

Goldstein: We went in with a take that was diametrically opposed to the Spider-Man movies that had come before. Instead of a movie that focused on the drama and weight of the tragedy that leads to the origin of Spider-Man, we would lean into the high school movie aspects of it.

We really let the adolescent issues that Peter Parker faces breathe, to imagine what it would be like to be a real kid who gets superpowers.

Daley: We think that aspect of the character is what sets him apart from any other superhero in the Marvel Cinematic Universe. He’s a kid that doesn’t have his shit together, is immature, and is very often using his powers for his own personal gain — at least in the beginning.

We liked the element of a learning opportunity, for him to not only learn to be responsible with his abilities, but to also learn how to survive the atmosphere of high school.

Jonathan Goldstein, John Francis Daley

Speaking of that high school angle, a name that has been tossed around in reference to the film’s storytelling is John Hughes. Can you talk about his influence on the screenplay?

Daley: We’re huge John Hughes fans. A movie that we wrote and directed, Vacation, is a reboot of one of his beloved movies. We are very familiar with his work.

What he did so well was find the relatability in his characters. Even characters that you wouldn’t think you would relate to, like the jock in The Breakfast Club, ends up having a whole backstory where he is just trying to fit in. He’s as desperate as the nerdy kid.

We think there’s something very cool about being able to see the world through the eyes of someone like Peter Parker who we can truly relate to — unlike Captain America or any DC Comics superheroes, where you don’t really know what’s going on in their heads.

Goldstein: Another thing I would say that John Hughes did so well was to embrace the reality of what it means to be a kid, and not shy away from it or sugarcoat it. I think that’s why his movies resonate so well with each generation. That’s what we tried to with Peter Parker’s world — put him in a real high school, have it be a real coming-of-age story, and just add spider powers to it.

For the rest of the interview, go here.

Twitter: @CreativeScreen, @JohnFDaley.

Interview (Written): Jonathan Goldstein and John Francis Daley was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

This Week in Trailers: Daisy Ridley & John Boyega Return in ‘Star Wars: The Last Jedi,’ Kathryn Bigelow Unveils ‘Detroit,’ Charlize Theron Stars in ‘Atomic Blonde’

Ansel Elgort and Elle Fanning star in upcoming films ‘Baby Driver’ and ‘3 Generations.’

Watch: The Cinematography of John Alcott, Kubrick’s Right-Hand Man and Master of Natural Light

Here’s a breakdown of cinematographer John Alcott’s techniques.

Make no bones about it: John Alcott is a legend. Stanley Kubrick’s cinematographer is responsible for some of the most stunning imagery in cinema history, including Barry Lyndon, which was meticulously shot using natural light and may as well have been a Romantic painting, and The Shining, which features ingenious camera movement.

Kubrick was a perfectionist and cinematographer in his own right; he demanded much of his DPs, both technically, physically, and emotionally. As a result, the turnover rate for lensing his films was high. Alcott, however, held his ground and was able to deliver on some of the director’s most challenging demands.

In a new video essay, YouTube channel Wolfcrow breaks down Alcott’s techniques.

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