Even though she’s got a machine-gun leg, it’s not jokey in any way.” Rodriguez added: “It takes place at night, and weird things happen, yet everything is played very seriously, so you buy into it. Carpenter’s movies, “Planet Terror” is “very brooding.” Rodriguez said “Planet Terror” was inspired by the early-’80s movies of John Carpenter, who directed seminal horror films (“Halloween,” “The Thing”) as well as action movies (“Escape From New York”). The virus has a gruesome effect of course: Not only do the victims’ bodies start to disintegrate (lots of bubbly skin, pus-filled sores and tumors), but they become murderous zombies. Residents quickly become infected and crowd the local hospital. In the film a biochemical weapon is released from an abandoned military base - thus the Army trucks - in a small Texas town outside Austin. ‘What happened to that guy?’ The only way to do a missing reel is, it’s got to be something you can’t wait to see.” “And then the next reel starts, and all of the sudden, people who don’t like each other suddenly like each other now. They might very well be screaming my name: ‘Quentin, you bastard! We hate you!’ “I guarantee you, when it pops up ‘Missing Reel,’ the entire theater is going to scream. “My whole thing is to play with the audience,” said Mr. The texture, all the scratches, makes it look really creepy, like you’re watching something you’re not supposed to, where anything could happen at any moment.”Īnd since the old grindhouse films were often missing reels, both filmmakers have purposefully cut out a segment of their movies. “It feels like it’s a popular film that’s been screened a bunch of times. As part of the game, the two directors have “aged” their movies, adding scratches, dust and dirt to the prints. (In that spirit “Planet Terror” isn’t about another planet at all, but our own, at a particularly bad moment.) The theaters too were sometimes a fright.Īudiences aren’t supposed to be comfortable with this new film. The films, often shown back to back, were plugged with garish posters that promised more than their pathetically low budgets could deliver. The film also stands to benefit from a series of grindhouse movies currently appearing every Friday on IFC.īy the filmmakers’ lights “Grindhouse” is a gift to moviegoers who miss, or missed, the experience of watching B-grade genre pictures of the sort that in the ’50s, ’60s and ’70s sold what the big studios wouldn’t: usually sex and gore.
Weinstein refers may take some explaining, a process that will get help from a partnership with Yahoo and “as big a TV and marketing campaign as possible,” Mr. “These guys took something old and are making it new.”Įven in the era of all-knowing fandom, the reinvention to which Mr. “The whole theatrical business is looking for something new, a little showmanship,” he said recently. To hear Bob Weinstein tell it, the industry itself has something riding on the exercise. The experiment, if it works, will be a triumph both for the filmmakers and for Weinstein, which is readying the largest promotional push since its founders, the brothers Bob and Harvey Weinstein, established the studio on their exit from the Walt Disney Company’s Miramax unit in 2005. The films are connected by trailers for four movies that do not exist, by four directors who do - Eli Roth (whose most recent real film was “Hostel”), Rob Zombie (“House of 1,000 Corpses”), Edgar Wright (“Shaun of the Dead”) and Mr. Tarantino’s “Death Proof,” clocking in at 90 minutes, has to do with a murderous stuntman and his car. Rodriguez, is 80 minutes long, and tells a story of, well, biochemical terror.
“Grindhouse” is being billed not as one movie, but two for the price of a single ticket. “Your mind just goes to the craziest idea to lure people into the theater, and then you write your script around those elements.” Rodriguez said of his high-caliber epiphany during an interview at his Troublemaker Studios here last month. “I thought, ‘Nobody’s ever thought of that before,’ ” Mr. Rodriguez and his collaborator Quentin Tarantino, both of whom have been laboring for months to shock and amaze an audience that thinks it has seen it all. The result is spattered throughout “Planet Terror,” a movie within the forthcoming meta-movie “Grindhouse,” from Mr. Her ex-boyfriend, played by Freddy Rodriguez (no relation to the director), helps her fight back, attaching an automatic weapon to what’s left. McGowan’s character, a go-go dancer, has lost her limb to zombies. Rodriguez’s notion evolved, the leg became a stump on the body of the 33-year-old actress Rose McGowan. The answer, he decided, was a machine-gun leg.Īs Mr. STUCK in traffic here some months ago, the director Robert Rodriguez - many of whose films had already dabbled in cannibalism, torture and murders of every degree and then some - began wondering how to get attention for his next effort.
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