Universal relaxation law

The origin pic Dracula: Year Zero had been set for an August 8, 2014 release but is now being shifted back to October 3, 2014, Universal Pictures said today. Meanwhile, Universal also said it will release the comedy Search Party on September 12, 2014.
It means Legendary thinks it’s crap but Uni has a very, very few well-developed other movies that Tull can sink his money into.
Put a stake in this movie, it’s officially a bomb due to Legendary and the dull minds of their creative team pushing their way in. Legendary has cash burning a hole in their accounts, so they need to start putting that money to use. Then again, we should start the countdown on the Tull interview where he takes credit for everything in the nearly finished film. I wont go crying bomb just yet as an October release does work much better then an August one. The movie is actually slightly under budget, on schedule, with a director Uni is so comfortable with they pulled their overseeing execs out a few weeks ago.
6NBCUniversal acquired some of ITC's assets when Universal Pictures merged with PolyGram, but ITV plc still owns ITC's films and shows.
7NBCUniversal has some of AFD's assets, but Vivendi now owns EMI's films and ITV plc owns ITC's films. 9Co-owned with The Blackstone Group and Bain Capital; NBCUniversal owns 25% of the channel under The Weather Company.
10Joint venture with Ion Media Networks, DreamWorks Classics, Corus Entertainment and Scholastic. Universal Studios Japan based in Osaka , Japan is one of three Universal Studios theme parks, is owned and operated by USJ Co., Ltd. Robert Weine’s 1919 Das Cabinet des Dr Caligari (recently remastered and rereleased) is regularly credited as the first ‘Horror Movie’ proper and titles like Der Golem (1920) and Murnau’s Nosferatu Eine Symphonie Des Grauens (1922) featured characters that would be reinterpreted for the next one hundred years.
Universal managed to resurrect their monster collection and destroy it in one fell swoop when they made the uber-awful Van Helsing in 2004.
Lon Chaney, the legendary “Man of A Thousand Faces,” had already enjoyed several fantasy hits for Universal Studios, including his seminal Hunchback of Notre Dame in 1923. A silent film – though overdubbed and re-edited in later versions – Phantom was a box office sensation and its success was something producer Carl Laemmle Jr was keen to repeat. Based more accurately on the stage play by Hamilton Deane and John L Balderstone than Stoker’s novel, Dracula was a box office phenomenon and was the starting pistol that got Universal’s horror cycle off and running.
The first, Transylvanian-set half of the film is pure gold: practically every line and every shot is iconic.
Far more impressive is the Spanish version, shot after hours by George Melford using all the same sets, starring Carlos Villarias as Conde Dracula.
Dracula’s Van Helsing actor Edward Van Sloan appears from behind the curtain to announce Frankenstein and to offer the audience one last chance to head for the exits. Then there was James Whale, a creative visionary who had been greatly influenced by the German Expressionism of the 1920s. Something of a let down monster-wise, since the reanimated, bandage-wrapped Mummy from all the posters appears in only one scene. The unfortunate orator (Bramwell Fletcher) is reduced to a gibbering wreck, outdoing Dwight Frye’s trademark hysterical laughter as we glimpse the mummy’s bandages disappearing out through the tomb-door.
Karl Freund, one of the greatest pre-war cinematographers (responsible for Der Golem, Metropolis and Universal’s Dracula) was given his first turn in the director’s chair by Carl Laemmle, and the film benefits from Freund’s atmospheric illuminations. The joker in the Universal Horror pack, this comic thriller was James Whale at his wittiest.
A completely studio-based film, its staginess can be attributed its genesis, the novel Benighted by playwright J.B.

The characters are broadly brushed and larger than life, particularly Charles Laughton as a proud, posturing self-made industrialist with a tragic background, and the patriarch of the eerie Femm family, played by Ernest Thesiger who spins comic gold from every line, even one as benign as “Have a potato.” Ironically, amidst this strange comedy of manners, Karloff puts in the most frightening performance of his career as the brutish, mute butler, Morgan, whose fondness for the bottle has terrifying consequences for everyone. While Dracula, Frankenstein and The Mummy were hardly short of atmospherics and striking visuals, there was a conspicuous absence of special effects on display – Dracula’s transformations always occurred off-screen, for example.
A typically Whaleian mix of fantasy horror and subversive comedy, the scenes featuring a dancing shirt and a bicycle that seemingly pedals itself were Avatar-level special effects in 1933 and much of the trickery still astounds today. A rather fine sequel, The Return of The Invisible Man was released in 1940, starring a caddish Vincent Price. If The Godfather Part II is generally agreed to be the greatest sequel ever made, Bride of Frankenstein is a worthy silver medal winner. It is beyond a doubt, the strangest film in Universal’s catalogue of horrors, and in truth barely qualifies as a horror movie at all. The creature he creates in collaboration with Dr Frankenstein (Colin Clive, this time looking rather lost among the madness) is Elsa Lanchester’s title character, announced wittily by Franz Waxman’s nuptial score. One of my first TV memories was watching Frankenstein Meets The Wolf Man in front of the fire with my mum on Halloween night – about 1981, I reckon. Wonderful list and the Spanish version filmed on the same set parallel to Lugosi is superb and in so many ways superior.
Writer Scot Armstrong (Road Trip, Old School and The Hangover: Part II) makes his directorial debut in the story of a man (Thomas Middleditch) who in 24 hours goes from standing at the altar next to the love of his life to shivering in just a pair of gold leggings in the Mexican desert.
The Hollywood Sign is a trademark and intellectual property of Hollywood Chamber of Commerce. The cinematograph, after all was invented during the time of the Victorian Gothic renaissance, the popular bloody excesses of The Grand Guignol Theatre Company and Jack The Ripper. Their contract player Lon Chaney was a huge star of the 1920s silent movies and he excelled in horrific fantasy pictures in which he was transformed by elaborate and extraordinarily painful make-up effects. Many of the members left and were replaced during the band’s tenure, but the look and the sound are unmistakably from the same source. After the success of Dracula and Frankenstein in the early 1930s, the popularity began to wane. Now, writers Alex Kurtzman and Robert Orci (Star Trek, The Amazing Spider-Man 2) have been hired to create a Marvel-style Universal ‘Universe’ which will bring their library of copyrighted Monsters back to life once more. Two years later, he created one of the most famous images in horror history by brutalising his own face into the skull-like visage of Gaston Leroux’s Phantom of The Opera.
The moment when Mary Philbin’s Christine rips away the Phantom’s mask to reveal his grotesque face for the first time, was a seminal moment of brain-bruising terror for me as a young child – coaxed from underneath my bed only by the promise of a new Star Wars figure.
Laemmle had set up the production as a vehicle for Lon Chaney, but the star died of throat cancer in 1928.
Once the action moves to England – more accurately a series of film sets in Los Angeles full of ex-pat Brit actors still used to the mannered genuflection of silent movies – it all slows down maddeningly into a talky melodrama.
Melford’s whizzing camera and experimental compositions expose Browning’s blocky, silent movie background.
Kenneth Strickfaden, for example essentially invented the architecture of the ‘Mad Scientist’s Laboratory,’ imitated for decades up to and including Tim Burton’s Frankenweenie (2013).
Whale’s use of lighting informed the entire Universal horror cycle, as did his use of close-ups and zooms – most effectively here in the moment when the Monster first appears, backing through a door and turning slowly to face the audience. From then on, the movie is a twisted romance, as Imhotep (in the guise of contemporary Egyptian “Ardath Bey”) seeks out the reincarnation of his true love. The single, back-lit close-up shot of Karloff as Ardath Bey; his face as wizened as a fingerprint, his spot-lit eyes staring out of deep, black eye sockets, is perhaps the most haunting image in the entire Universal Horror canon. It slipped out largely unnoticed in America and was presumed lost through studio negligence, until a print was restored by experimental director (and Whale’s friend) Curtis Harrington in 1968. Frankenstein’s Una O’ Connor is also on hand, dependably cocking her head and shrieking at almost dog-whistle frequency.

Fans of both films should hunt down the 1986 sketch-movie Amazon Women On The Moon purely for the scene where The Invisible Man removes his bandages to reveal a completely visible, nude and deluded Ed Begley Jr, unaware of his lack of transparency.
Buoyed by the huge success of Frankenstein and The Invisible Man, James Whale was not a director to brook studio interference when he finally caved in to demands to make a Frankenstein sequel. It is a film obsessed with ideas, and it has at its centre a character completely free from imagination-strangling social mores. It is testament to Lanchester that her Bride, lightening bolt hair et al, became one of the most iconic images of the 20th century despite being on screen for less than five minutes. I don’t feel they get quite enough credit in film academia for their, aside from influence and iconography, immense aesthetic quality.
The park is similar to Universal Orlando Resort , since it contains many of the same rides. One of the most reassuringly comfortable sounds in all of cinema, personally, is the artificial ‘Thunder’ effect that Universal used; clearly a metal sheet being waved in front of a microphone, but instantly, pleasingly evocative nonetheless. Another tidal wave of interest occurred in the 1940s, ebbing away by the end of the decade. London After Midnight director Tod Browning was hired and despite Laemmle’s reservations, the star of the touring production, Hungarian Bela Lugosi was cast as the title character. Villarias’s campery however, reminds you that Dracula’s greatest asset was always Lugosi’s extraordinarily creepy interpretation. Then there was Jack Pierce, who assembled the most iconic make-up design of the 20th century. Unlike, Dracula’s shoulder-shrug of a climax, Frankenstein concludes with the pyrotechnic spectacle of flaming windmill that is still thrilling to watch today. The Human Centipede, Dracula: Prince of Darkness, House of Wax, in fact any horror movie in fact where unlucky travelers find themselves taking refuge in a sinister house and wish they hadn’t, can all trace their bloodlines back to The Old Dark House. Whale’s camera rarely stays still for long though – the shot of Boris Karloff staring through a keyhole is especially unsettling. Dr Pretorius (an astonishing Ernest Thesiger essentially playing his director) has created a collection of miniature humans, including a mermaid and a randy king who escapes his glass jar to get at his similarly tiny queen.
Genuinely great films, especially Bride, that masterpiece, which never fails to make me tear up. Most visitors are Japanese tourists or tourists from other Asian countries as the Republic of China and South Korea . 11 million people joined Universal Studios Japan in its first year of operation, the hit faster than any park reached.
Monsters, characters, make-up and titles were created that have become so iconic that even children today can identify them from a single image.
The films were subsequently rediscovered in the 1950s and 1960s on television by a generation of children that included little Stevie Spielberg, Marty Scorsese, Johnny Landis and Joey Dante.
Delaying the release of the pic would make sense if Legendary was coming aboard, as it might need more time to put its stamp on the movie. First, struggling British actor Boris Karloff – credited as ‘?’ in the opening titles – who replaced Bela Lugosi in the role of The Monster and made himself immortal in the process. Who in their right mind would claim Universal’s Dracula on a par (or, dare I say superior) to the masterpieces Nosferatu or Vampyr?
Boris Karloff’s interactions with a blind man pierce this hardened soul more than Darabont could ever dream of.

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