Features, Interviews, rare photographs and Transparencies, Posters and Friendly chat at the UK Peter Cushing Appreciation Society Facebook Fan Page. PCASUK established in 1956 and open to everyone worldwide. Celebrating the Peter Cushing Centenary on MAY 26th the anniversary of Peter Cushing's birth.
Media will present award-winning writer/director Nimród Antal’s
(PREDATORS, KONTROLL) captivating 3D concert/suspense film METALLICA
THROUGH THE NEVER featuring one of music’s most enduring and iconic
bands to international buyers at this year’s upcoming Cannes Film
Market, it was announced today by Exclusive Media’s President of
International Sales and Distribution, Alex Walton.
Metallica members Lars Ulrich, James Hetfield, Kirk Hammett and Robert
Trujillo, a cast of thousands of their fans and breakout star Dane
DeHaan (CHRONICLE, THE AMAZING SPIDER-MAN 2), METALLICA THROUGH THE
NEVER is produced by former IMAX film producer Charlotte Huggins
(JOURNEY TO THE CENTER OF THE EARTH, JOURNEY 2: THE MYSTERIOUS ISLAND).
The film marries groundbreaking footage and editing techniques with a
compelling narrative, in which a crewmember (played by DeHaan) is sent
out on a mission during Metallica's roaring live set in front of a
sold-out arena. While on this mission, he unexpectedly has his life
turned completely upside down.
Picturehouse will distribute the film in North America exclusively in IMAX® theatres on Sept. 27, 2013 and will expand on Oct. 4, 2013.
Walton negotiated the rights deal for the film on behalf of Exclusive
Mediawith Picturehouse’s Bob Berney and QPrime's Cliff Burnstein and
“This feature film is a wild and a refreshingly unique cinematic
experience – a Metallica extravaganza that will electrify fans and
movie-goers around the world,” said Alex Walton.
wading through multiple international distribution options for our
film, we are excited to be partnering up with the folks at Exclusive
Media, who we feel understand Metallica and understand our film better
than anyone else," said Metallica's Lars Ulrich. "Throw in the
cherry-on-top, launching our international sales with a couple of
screenings at the film market during alittle up-and-coming film festival
in Cannes, and it feels like we're off to a pretty rockin' start."
they formed in 1981, Metallica have gone from anunderground heavy metal
band to one of the most influential and commercially successful rock
bands in history, with an intensely loyal fan base. Over the course of
three decades, Metallica has conquered the world, selling over 100
million albums, 5 million videos and DVDs, playing for millions in
concerts all over the world, won multiple awards including nine Grammys
and have become the most played artist on rock radio. They created a
mass audience for the metal genre and made it possible for many other
aggressive-sounding bands to get signed and heard. In 2012 the band
earned $86.1 million with 30 shows during their worldwide tour, making
them the 8th highest grossing heavy metal/hard rock concert tour of the
year.The band crossed over into the film world with the documentary,
METALLICA: SOME KIND OF MONSTER, directed by acclaimed filmmakers Joe
Berlinger and Bruce Sinofsky. Premiering at the 2004 Sundance Film
Festival, the film was nominated for several critics’ choice awards and
appeared on many “Top 10 Films of the Year” lists and won “Best
Documentary” at the 2005 Independent Spirit Awards. Their latest album,
Death Magnetic, was certified platinum just six weeks after it debuted
atop the Billboard Top 200 Album chart in October.
DeHaan is a rising star after headlining 20th Century Fox's box office
hit CHRONICLE, The Weinstein Company's LAWLESS directed by John Hillcoat
and starring Shia LaBeouf, Tom Hardy, Gary Oldman and Guy Pearce and
most recently starring opposite Ryan Gosling and Bradley Cooper in Derek
Cianfrance’s critically acclaimed THE PLACE BEYOND THE PINES. DeHaan
recently completed production on DEVIL’S KNOT opposite Reese Witherspoon
and Colin Firth and John Krokidas’ KILL YOUR DARLINGS, based on the
life of poet Allen Ginsberg starring Daniel Radcliffe. DeHaan is
currently filming Columbia Pictures’ THE AMAZING SPIDER-MAN 2 opposite
Andrew Garfield and Emma Stone, set for release in 2014.
Antal is best known for writing and directing the acclaimed film
KONTROLL, which won numerous awards, including the Award of the Youth at
the 2004 Cannes Film Festival, the Golden Hugo (main prize) at the
Chicago International Film Festival, as well as a European Film Award
nomination for Best Director. Antal's box office hits include VACANCY,
starring Kate Beckinsale and Luke Wilson, released by Sony, ARMORED,
starring Matt Dillon, released by Screen Gems and Robert Rodriguez’s
PREDATORS starring Oscar®-winning actor Adrien Brody released by 20th
Huggins is one of the most prolific producers of 3D films in the world.
Huggins’ credits include worldwide box office hits JOURNEY 2: THE
MYSTERIOUS ISLAND starring Josh Hutcherson, Dwayne Johnson and Michael
Caine and JOURNEY TO THE CENTER OF THE EARTH. Huggins’ also produced
FLY ME TO THE MOON, a 3D digitally animated film featuring the voice
talents of Tim Curry, Nicollette Sheridan, Kelly Ripa, Christopher
Lloyd, and a cameo fromformer astronaut Buzz Aldrin.
Banner above: Some of Peter Cushing's iconic roles, Van Helsing from Hammer Films 'Brides of Dracula', Baron Frankenstein from 'The Curse of Frankenstein' Arthur Grimsdyke from Amicus films 'Tales From The Crypt', DR Who from 'Dr Who and the Daleks' and 'Daleks Invasion Earth 2150 AD' and Sherlock Holmes from Hammer Films 'The Hound of the Baskervilles'.
CAST: Jeff Goldblum (Seth Brundle), Geena Davis (Veronica Quaife), John Getz (Stathis Borans)
Director – David Cronenberg, Screenplay –
David Cronenberg & Charles Edward Pogue, Based on the 1958 Film
& the Short Story by George Langelaan, Producer – Stuart Cornfeld,
Photography – Mark Irwin, Music – Howard Shore, Mechanical Effects – Jon
Berg, Makeup Effects – Chris Walas, Production Design – Carol Spier.
Production Company – Brooksfilm/20th Century Fox. USA. 1986.
Scientist Seth Brundle meets journalist
Veronica Quaife at a scientific conference and tempts her into coming
back to his lab to see his revolutionary design for a teleportation
device. He persuades her to move in and watch as he irons out the final
bugs and write an article about it. The two become lovers. Determined to
prove the device works, Brundle climbs into the telepod and transmits
himself. The teleportation is successful. Afterwards, Brundle
demonstrates amazing physical stamina, but in the following weeks he
begins to develop a bad case of eczema and then body parts start
dropping off. He then discovers that during the teleportation both he
and a housefly that was trapped in the telepod were reintegrated at a
basic molecular level and that he is now transforming into a human/fly
In pre-release interviews for The Fly,
writer/director David Cronenberg recounted a witty story about how as a
child he entered a promotional competition when the original The Fly
(1958) came out, which challenged people to prove that the film’s
premise was not scientifically possible. He succeeded – not a
particularly hard task (see discussion of the problems inherent in the
original at the above link), but was failed by the theatre management.
28 years later with this remake, Cronenberg was allowed the best
possible comeuppance in a way that the theatre management of the time
would never have believed possible.
The Fly 1986 came out amid a host of mid 1980s remakes of classic 1950s science-fiction films. In its own way, the original The Fly
was a classic monster movie, but its science amok polemics and pitiful
“help me, help me”’s were not enough to stand up in the 1980s; David
Cronenberg realizes this but he is not interested in making any 1950s
type of film. Rather than parodying, quoting or deconstructing the
original, Cronenberg takes the basic idea and reworks it in much more
fascinating directions. He has thrown out the substantial illogicities
and implausibilities that came in the original’s script – that of a fly
and a man ending up with either’s body parts jumbled up – and instead
makes a much more credible story about the fusion between the two into a
hybrid entity. His is a darker, inner vision of the story where the
original idea has been colluded with Cronenberg’s frequent bodily horror
obsessions. It is more like Franz Kafka’s Metamorphosis (1915) but with more slime.
David Cronenberg’s films are unique mad
scientist films. In the 1930s and 40s, mad scientist films were filled
with the shock of science going amok and of unleashed monsters wreaking
devastating influences on society. In Cronenberg’s films, monstrosity
and transformation always has an ambiguity. Cronenberg’s scientists and
victims seem to throw themselves at the process of transformation and
mutation with fascinated curiosity, ecstatically welcoming their fusion
into Other – the sexual ecstasies found in the mutilation of human flesh
by auto accident in Crash (1996), or of being taken over by fetish-creating parasites in Shivers
(1975). Jeff Goldblum’s Seth Brundle here looks on with a wryly amused
air of scientific curiosity, keeping his fallen-off body parts in the
bathroom and making sardonic comments about turning his medicine cabinet
into “the Brundle Museum of Natural History.” Some people have read The Fly 1986
as a metaphor for AIDS, which a plausible case can be made for,
although AIDS was only just emerging into the public spotlight when the
film was made. Rather, the film seems to echo and mirror Cronenberg’s
peculiar Manichean fascinations with the body as a battleground where
the will can operate in one direction but the body can frequently rebel
or be taken over by other forces – like the images of people being
turned into human VCR’s in Videodrome (1983) or psychological repressions forcing themselves into expression in human flesh in The Brood
For the title creature, Chris Walas created a triumphant mass of rubber
latex – which runs all the way from a few unsightly hairs to full
mechanical creatures. (Chris Walas won that year’s Academy Award for his
work). Unlike its sequel The Fly II
(1989), which was in fact directed by Walas, the film finds a character
inside all the latex. Here Jeff Goldblum gives a joyous, live-wire
performance, which adds a perverse streak of humour to the
transformation. Goldblum has rarely been better in a part.
Most fascinating is the weirdness with
which Cronenberg and Jeff Goldbum take the obsession, turning Brundle
literally, behaviourally into a twitching hyper-kinetic fly, needing to
consume large amounts of sugar and stomach-churningly dealing with the
problems of digesting solid foods. (Although, one illogical move has
Goldblum scaling the walls and ceiling just like a fly would – flies are
only able to do so by surface-tension and in having such a minimal body
weight, something a human would be too big for). In the final vision,
with the Brundelfly turned into a pitifully crying bio-mechanic fusion
melded with the telepods, the film achieves a peculiar kind of poetic
revulsion, as though it were taking classical mad scientist, creation
and laboratory and dissolving them into one.
There is a small tendency to go in for
unnecessary gore that cheapens the film occasionally, particularly a
dream scene where Geena Davis gives birth to giant slug. (One can also
note Cronenberg in the dream sequence cameoing as a gynaecologist, a
move that foreshadows the culmination of his gynaecological obsessions
in his next film Dead Ringers ). The beautiful pale photography of Mark Irwin and the dark, brooding score of Howard Shore is also worthy of note.
David Cronenberg’s other films are:– Stereo (1969), a little-seen film about psychic powers experiments; Crimes of the Future (1970), a film about a future where people have become sterile; Shivers/They Came from Within/The Parasite Murders (1975) about parasites that turn people into sexual fetishists; Rabid (1977) about a vampiric skin graft; The Brood (1979), a remarkable film about experimental psycho-therapies; Fast Company (1979), a non-genre film about car racing; Scanners (1981), a film about psychic powers; Videodrome (1983) about reality-manipulating tv; The Dead Zone (1983), Cronenberg’s adaptation of the Stephen King novel about precognition; Dead Ringers (1988), Cronenberg’s greatest film, about two disturbed twin gynaecologists; M. Butterfly (1993), a non-genre film about a Chinese spy who posed as a woman to seduce a British diplomat; Crash (1996), Cronenberg’s adaptation of J.G. Ballard’s novel about the eroticism of car crashes; eXistenZ (1999), a disappointing film about Virtual Reality; Spider (2002), a subjective film takes place inside the mind of a mentally ill man; the thriller A History of Violence (2005) about an assassin hiding under a different identity; Eastern Promises (2007) about the Russian Mafia; A Dangerous Method (2011) about the early years of psychotherapy; and Cosmopolis
(2012), a surreal vision of near-future economic collapse. Cronenberg
has also made acting appearances in other people’s films, including as a
serial killer psychologist in Clive Barker’s Nightbreed (1990); a Mafia hitman in To Die For (1995); a Mafia head in Blood & Donuts (1995); a member of a hospital board of governors in the medical thriller Extreme Measures (1996); as a gas company exec in Don McKellar’s excellent end of the world drama Last Night (1998); a priest in the serial killer thriller Resurrection (1999); and as a victim in the Friday the 13th film Jason X (2001).
Screenwriter Charles Edward Pogue has also delivered a number of genre scripts, including Psycho III (1986), DragonHeart (1996), Kull the Conqueror (1997) and Hercules (tv mini-series, 2005), as well as a host of Sherlock Holmes tv movies.
The routine sequel was The Fly II (1989). The original Fly movies were The Fly (1958), Return of the Fly (1959) and Curse of the Fly (1965