My favorite example is the idea that “Frankenstein” and “My Fair Lady” are actually the same story. There is a theory, in screenwriting circles, that there exist only something like 30 story possibilities and that any story one can invent falls into one of these categories.
Splice 2 sequel movie#
Similarly, will movie scientists ever learn not to deceive Mother Nature? I hope not, otherwise they would ruin a good chunk of the horror film genre, or in the case of “Splice” horror/sci-fi/thriller genres. That was the whole point.The movie “Splice” reminded me of the old margarine commercial in which Mother Nature, annoyed at having been fooled into thinking that a certain brand margarine tasted like butter declared “It’s not nice to fool Mother Nature,” a statement followed by ominous thunder for emphasis. We watch the humans turn into monsters as the monster reveals its humanity. This is a movie that looks at things in great detail, that examines the nuances in the interactions between its characters. There have been other monster movies that had sex, but they don’t treat it seriously. “Look, if I’d had to take the sex out of this movie, I wouldn’t have made it. And the people who don’t like it are probably responding to the same things. It’s about what is acceptable and what isn’t. It’s about the relationship between the creator and the creation. The verdict? “The people who like the movie,” he says, “are responding to the fact that there’s an emotional component to it.
Since then, with Silver and co-producer Guillermo del Toro’s backing, he has brought the movie to festivals in Glasgow, London and Gérardmer, France, before returning to America for the first time since Sundance to screen it at the San Francisco Film Festival. Six months ago, he didn’t think Splice was going to get made at all. I would definitely do it again.” You can’t blame Natali if he seems delighted by even the possibility of a second act. And after working with them, I wondered why I was ever an independent. wants a Splice sequel, I’d want to be involved in shepherding the story along in the direction I would have taken it. People assume I was responsible for them, and I wasn’t. “I don’t want to say anything disparaging about those movies, but it’s not what I would have done. “My first film, Cube, has two sequels that I had nothing to do with,” he says. But having toiled for years as an independent filmmaker before enjoying what he calls a “fantastic marriage” with a major studio, he says he’ll be back, in some capacity, if the story continues. It’s nothing less than a miracle.” Natali doesn’t want to talk about the ending of Splice – at least not in print – but he acknowledges that it leaves the door open for a sequel. He’s one of the only producers who knows what he likes and has the power to make it happen. “They have completely embraced everything that is disturbing and weird about it, and I attribute that to Joel. Was the Canadian director worried that Silver would caution him to lighten up the movie’s darkest moments? “I didn’t know what was going to happen after Warner Bros.
And the sexual component of the film is something we’ve seen in science-fiction literature but not in movies – at least not treated in a mature way.” The sexual component he’s referring to – without spoiling the movie’s secrets, it’s creepier than it is erotic – is edgy enough that Natali never thought to screen Splice for mega-producer Joel Silver, who became the project’s unlikely guardian angel after this year’s Sundance Film Festival. “The real genetic-engineering technology that exists and the issues it raises are very much in the public consciousness. “There’s a hunger out there for this,” he says. Natali, 41, who spent 12 years trying to get the movie made – he calls it a personal story that kept calling him back – believes Splice is as much a meditation on modern science and dysfunctional relationships as it is a creature feature. Rather than embracing the sensational, Natali, who co-wrote the original story, seems more interested in the human drama that unfolds as two genetic engineers, played by Adrien Brody and Sarah Polley, form a precarious bond with the creature their human-DNA experiment has produced. The difference, in Vincenzo Natali’s chilling, cerebral Splice, is that the premise is handled with unusual restraint. Mankind once again pays the ultimate price for trying to play God. It sounds like the premise of a thousand monster movies: Brilliant but reckless scientists perform an ill-advised experiment, unleashing into the world a deadly beast.
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