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It meant I could create this character in a completely different way. It became about hearing him and feeling him rather than seeing him. And you only see him in flashes, so they become very intense character revealing moments. I've never played someone so dark before.
It was interesting to go there. None of us had ever made a PoV [point-of-view] film before.kessai-payment.com/hukusyuu/logiciels-espion/jazit-application-pour.php
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There was this whole element of the character that was basically the camera. I've never worked so closely with a DP [director of photography] before. I would be behind him the whole time, tapping on his shoulder to make him move faster or slower. It was a totally fascinating way to work.
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Director Khalfoun told an interviewer, "He has this good guy sort of package. Usually an actor's baggage can hurt your character, but he really is just this good guy sort of persona so I couldn't wait to turn him into a horrible beast. I think for his fans it's shocking too, and it adds to the shock value of the film. I wanted the audience to feel trapped in his body. The cinema plays a big part in that concept since you are stuck in your seat forced to experience the events with little control over the outcome.
Much like Frank is stuck in his body. You are therefore at the same time complicit and repulsed. Therein lies the horror.
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Maxime was effectively the character as well as me, and the rest of Frank had to be created locally through his inner monologue, which I recorded on an audio stage afterwards We approached the point-of-view thing with a certain naivety. At first, we thought we'd use a body double.
We quickly discovered that didn't work. So I was there the whole time, dancing around behind the camera, leaning forward to put my hand in the frame.
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Every sequence was a learning process. Wood told another viewer, however, that they did use a body double 's hands in some scenes: "I also had a counterpart who could 'be' my left or my right hand because I couldn't always use both hands in a natural way, depending on where the camera was. So we literally held things together and handed things off as if it were the same person. It was a lot of choreography! Most of the time I couldn't get both of my hands on either side of the camera, because the rig was too big.
So there'd be times when I'd be on one side with my right hand, and then my double would be on the left side with his left hand, so we'd have to work together a lot, like moving an object from one hand to another. And if you're trying to do that with two different hands, it's pretty challenging to make that look pretty natural. Blocking the scenes, Wood said, was "a 'puzzle' as they had to map out how each scene was covered within the context of the POV nature.
I was thinking about how I was going to fit into the construct of a shot. It had more to do with physicality than my emotional state of being except for the reflections that were relatively intense moments. Khalfoun said, "It was a real marriage between Maxime's camera work and Elijah. You see Frank throughout the movie sporadically and Elijah was there to make sure the camera moved the right way and the lines were delivered correctly. It was important he be there. It was the first time I had seen an actor work so closely and technically with the camera to guide it through where he would be or actually do.
Only some of Wood's dialogue was recorded while shooting. Wood said that the additional dialogue recording ADR was crucial to creating the character of Frank: "I knew that the character had to come alive when you didn't see him. So most of that was done in the ADR stage in post-production; I felt the character was kind of created there, for the most part.
The film poster was designed by the award-winning Sam Ashby. The film was scored by French composer Robin Coudert , credited simply as "Rob". Bloody Disgusting judged the music to be "one of the best parts" of the film,  and Screen International wrote that the "'80s style synth score is reminiscent of John Carpenter ,"  a horror movie director who has provided the musical score for many of his own films. The Hollywood Reporter declared, "The nerve-shredding score, by the mono-monikered Rob, salutes the music Italian prog-rockers Goblin provided for [Dario] Argento 's early horror-thrillers, the s electronica lending a deeply melancholic city-at-night vibe.
A red band trailer was released May 25,  and the film was screened at the Cannes Film Festival the following day. Maniac opened in German theaters in December , and in many other European countries in March DVD release company Blue Underground is cited in the opening credits. The consensus says, "Shocking and bloody, Maniac is smarter than your average psychological slasher, but it's often undermined by its excessive gore.
Front Row Reviews called it "one of the strongest and most beautiful classic horror stories of our generation Complex magazine wrote that "having seen it, we can confirm that Maniac is an early frontrunner for 's best horror movie. Megan Lehmann, who watched the film at the Cannes Film Festival for The Hollywood Reporter , wrote in her review, "Wood's limpid saucer eyes are used here to telegraph unhinged blood-lust and insanity, even if only sporadically, as he plays a sicko with mommy issues who scalps his female victims.
The twist, and what helps elevate the nasty, no-holds-barred Maniac from the grindhouse to an out-of-competition midnight-screening slot in Cannes, is that the entire movie is shot from the killer's POV — we only glimpse Wood in reflection and in photographs. It's a daring decision, potentially stripping the film of the suspense of not knowing where the killer is and obliquely inviting the audience to have empathy with him.
For the most part Khalfoun and cinematographer Maxime Alexandre pull it off, although the technique more than once tips over from inventively arty to film-school-grad pretentious. Slasher-movie fans, however, need not be put off by the stylized camera work and arty patina: this is down and dirty genre filmmaking, and the various slaughters, excruciatingly detailed scalpings and other atrocities are no less gruesome because of the highfalutin approach The movie is essentially a sadistic art-house bloodbath, with opera music and ballet dancers and funky little art galleries.
A reviewer for SciFiNow praised the film's "fresh and challenging approach" and said, "Khalfoun's version is arguably a more troubling piece of work than its predecessor. By forcing us to see through the eyes of a man who brutally murders women, the issues of voyeurism and misogyny rear their ugly heads before you've even settled in Maniac is certainly brutal and gory, but it's the manner in which the violence is presented that really turns the stomach. This unsavoury but powerful trick is contrasted by the decision to switch out the grimy night-time world of Eighties New York for the neon landscape of Los Angeles, complete with a superb synth-heavy soundtrack that makes the film feel more like Nicolas Winding Refn's Drive than anything from the gloomy Platinum Dunes remake stable or the winking throwbacks of the Grindhouse movies.
Daniel Krupa reviewed the film for the IGN website, calling it "violent, gruesome, shocking, and extremely cruel" but "also entertaining, darkly amusing, smart, and impeccably well-made. It's uncomfortable and queasy stuff, but it occasionally achieves a kind of weird beauty.
Wood communicates Frank's mental illness by muttering to himself and carrying on conversations with his mannequins — grunting like a rabid animal as he stalks his prey — while Arnezeder makes for a compelling, sympathetic ' final girl ' who challenges Wood's maniac in unconventional ways. Overall, Maniac is a well-made, artistic take on Lustig's guerrilla-gore flick that manages to give the viewer the requisite blood and brutality while adding some much-needed psychological underpinning to the characters and their motivations.
There's a lot to appreciate in Khalfoun's film — a stylish, modern-day slasher that is deeply disturbing and compelling. The ScreenRant. With a voice that mixes breathy, genuinely unsettling obsession with a childlike honesty, Wood's interpretation of Frank looks to be a new creature entirely. New Empress Magazine criticized the film, saying, "The digital cinematography by Maxime Alexandre uses an annoyingly stylized gloss over a lot of the potential scuzziness, leaving run-down downtown Los Angeles as industrial and neglected, but not forbidding, creating an atmosphere reminiscent of a video game.
The aesthetic choices also make the murders seem unreal and even pixelated, with a blotchy and heightened crimson colour accompanying every scalping. Such a pity then, that the opportunity for a truly horrifying cinematic experience has been botched through odd directional choices by Franck Khalfoun and photography that creates style over substance, reducing the impact of a serial killer with so much potential to horrify and disturb us. Khalfoun said that audience members have vomited and fainted, and he took the reactions "as a compliment," explaining, "We had a screening here in Los Angeles and somebody passed out, which I pat myself on the back for.
The movie had to creep on you — it's a different kind of fear; it's more of a nauseating fear. You really have the opportunity to maybe feel the [nausea] of committing crime rather than glorifying it just for the aspect of fun and thrill. The audience gets to experience for the first time how sick [it is to commit murder] — we're certainly not condoning it, but making a real statement about serial killers. From Wikipedia, the free encyclopedia. And for some, it seems so rooted in our collective consciousness, that it must to hold some a grain of truth, if not more.
Of course the most profound emergence in the last few decades has been as the unstoppable villain of a most visceral sort, the slasher film. The film made in , has a unique predigree, it was produced by Harvey Weinstein. It seems that these stories had a profound effect on many of the baby boomers of today, many of whom grew up and brought their own versions of the CROSPEY legend to popular culture.
Other people attribute the hauntings to a specific event: The death of a year-old girl, who was abducted and murdered in Tour the Billopp House also known as the Conference House in Tottenville, a Staten Island neighborhood located at the southwestern extremity of the borough. While touring the inside of the house, listen carefully for mysterious knocks, coughs, sneezes and footsteps.
While exiting the property, take note of the large knoll located within the vicinity of the Billop House. This knoll once held the remains of many Native Americans.
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Since the remains were exhumed in by a retired Army General, there has been an increase in paranormal activity on the property see Resources below for more information. Lay the flowers down and remain on your best behavior if you wish to pacify the angry ghosts that can and will appear without warning.