Holness had previously worked on the cult television series ; which he both wrote, directed, and starred in as the title character, as well as the publication of several short stories.
Freeway (1988 film) - Wikipedia. Фильмы о судмаринах. Фильм делья. The basis for the story was partially drawn from theories on the uncanny by Sigmund Freud. Holness responded positively to the inclusion of the soundtrack, feeling that it effectively captured the main character's mental state. Sound effects and experimental electronic music studio The Radiophonic Workshop composed the film's score. The head, neck, and body of the "Possum" was constructed as a simple hand puppet, with the body constructed out of foam latex and the head made out of silicone. It must be experienced in all its horrifying glory, but beware its dark delights." Dennis Harvey of praised Harris' and Armstrong's performances, atmosphere, soundtrack, and "striking aesthetic". The story centred on a character unable to verbally and emotionally express himself due to childhood trauma, choosing instead to do so by creating a horrific puppet. Part of the decision to cut back on the character's screen time came from Holness' feelings that the audience would become desensitized to the puppet's horrific appearance and thus not be as effective. The film's "Possum" marionette was designed by Sydney-based Odd Studios. After returning to his childhood home, Phillip, a disgraced children's puppeteer, is forced to confront his wicked uncle and the secrets that have tortured his entire life. All the while he is haunted by a horrific spider-like marionette called Possum. Certainly with I knew I needed to extend the narrative a bit, to widen it in order for it to be a film in which nothing much on the face of it happens. When the film was originally announced, Holness stated in an interview with ScreenDaily, "The film draws on the dark nightmares of silent expressionist horror, British classics such as and , as well as the claustrophobic suburban gothic of Pete Walker's. According to Holness, the publishers had all the writers read Freud's theory of the uncanny. While developing the character for the film, Holness felt that the puppet's original design was "too much", prompting the decision to conceal the creature's design for as long as possible. Further inspiration for the film came from silent films such as Murnau's. The character's initial design proved to be not as effective as originally thought, with Holness feeling that the puppet's face was 'too expressive'. However, the setting was later changed to Norfolk, due to its similarities and atmosphere, the latter of which Holness stated contributed to the overall mood and feel of the film. Holness later describe the shooting experience as dark and very intense, stating, "there were many scenes in this film that were incredibly difficult and intense to shoot, particularly the final scene. The studio responded enthusiastically to the project after being shown the initial edit for the film, offering to compose the film's soundtrack, much to the director's surprise. Holness and Boulding later met with members of the newly revived Radiophonic Workshop, in order to get permission to use the soundtrack for the film. The puppet's complexity, including its eight limbs, required multiple puppeteers to operate it during filming. It's shiver-inducing, claustrophobic, hauntingly brilliant nightmare fuel, powered by an engagingly disturbing central performance from Sean Harris. The director also learned early in principal photography that he didn't need to shoot that many takes for scenes with Harris, as the actor "usually nailed it straight away".
Майкл А. Делия (Michael A. Delia) фильмы фильмография. s visual style was inspired by public information films that Holness had seen during his youth. marks the feature film debut of English comedian, author, and director Matthew Holness. Holness would later discover that the Stiffkey marshes location, where the crew had filmed, was the fabled Black Shuck was purported to haunt. The publishers then had the writers "pick a fear that appealed and write a story for a modern audience". Holness later offered praise to the studio's scoring of the film, "What's so brilliant about them is that it's not just music, it's sound design, it's the whole package. Hailstone then sculpted the "Possum"'s face, which was made to resemble Harris' character, in three to four hours, with Holness approving the final design. This marked the studio's first soundtrack purposely constructed for a feature film. The setting of the original short story was based on a stretch of the coast in Kent near Whitstable. Both Harris and Armstrong only interacted with each other while filming their scenes together, as they wanted to create a genuine feeling of separation and tension during their scenes together. Holness ended up choosing two, a fear of doppelgängers and a fear of ventriloquists' dummies, combining the two fears so as to avoid being clichéd. Having only worked in television, Holness stated that the biggest difference in directing a feature film, for him, was the opportunity to work with "proper actors", who had a different discipline as opposed to television. Macabre artworks, and taxedermy were heavily referenced during the design process. With only a week before filming was scheduled to commence, Holness and Hailstone came up with the idea of having the character's face be inexpressive in which the audience could project their own fears onto it. After the story's publication, Holness soon forgot about the idea until he had begun working on developing a possible horror film. That same day, the film was screened at the Dead of Night Film Festival in Liverpool. Evans Andy Blithe as Michael's Father Pamela Cook as Mother in Park Both Holness' original short story and the subsequent adaptation was partially based upon the theories of the uncanny by neurologist Sigmund Freud. Additional filming took place in Great Yarmouth, and Suffolk, with Holness referring to the locations as "stunning and completely unique". The films deeply disturbed Holness, who later recalled, "They were put on between children's programming during the day; you'd see these horrific, terrifying films – you got the impression that the adult world was a very tribal place. The role instead went to Sean Harris, who had responded strongly to the idea of starring in the film after reading the script. The studio had previously contributed to productions of , , , and. Of course, now we know several of those films are fronted by real-life monsters". It will set up camp in a dark corner of your mind and linger there, its many legs hanging ominously in wait to pounce. Concluding his review, Brown wrote, " builds toward a revelation, but for such a visually oriented, sparsely written film, that revelation is surprisingly reliant on dialogue. Initially the film's editor Tommy Boulding had used old music soundtrack from BBC Radiophonic Workshop as a temporary placement for the film's soundtrack, in order to properly assess the flow of the film. According to Holness, the role of Phillip was originally written with the intention of having John Amplas, who had starred in George Romero's , in the lead role. The film's reasonably low budget and tight production schedule limited the amount of time that the studio could spend on designing and constructing the character. Now suddenly, the whole film became Phillip's." Radiophonic's score of the film also featured unreleased material by the studio's original member Delia Derbyshire. These films, which were intended to shock youth out of making bad decisions, often depicted children being kidnapped, maimed, and/or killed