Podcasts about haxan films

Tim Sutton (Marble Hornets) joins the lads for a bit of light camping and intense witch-hunting as they cover Eduardo Sánchez and Daniel Myrick's 1999 horror phenomenon: The Blair Witch Project. Topics include the film's DIY filmmaking, the unprecedented marketing, and what it means to reap the consequences of a nation's wrongdoings when you're just trying to make a dang student film.   Tim Sutton: Twitter // Instagram   Marble Hornets: Youtube    Media Referenced in this Episode: The Blair Witch Project. Dir. Eduardo Sánchez and Daniel Myrick. Haxan Films. 1999 Curse of the Blair Witch. Dir. Eduardo Sánchez and Daniel Myrick. Haxan Films. 1999. 8 Days in the Woods: The Making of The Blair Witch Project by Matt Blazi. “The Blair Thumb”. Dir. Steve Odekerk. 2002 The Blair Witch Project: The Dossier by D.A. Stern. Onyx Publishing. 1999. The Blair Witch Project: An Oral History by Scott Meslow. The Week. January 13th, 2015. The Blair Witch Project's Heather Donahue Is Alive and Well by Scott Meslow. GQ. September 16th, 2016. The Official Blair Witch Website The extended fan cut of The Blair Witch Project Old archived list of Blair Witch parody sites   TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com   Interstitial: “1:49 AM on November 3rd, 2024” // Written And Performed by A.J. Ditty // “Brothers on a Hotel Bed” Piano Cover by Stephen Guilbert

This week, I invited author, writer, and director, Jamie Nash on the show to discuss his ‘Save The Cats Writes for TV' formula in his new book, Save the Cat!® Writes for TV: The Last Book on Creating Binge-Worthy Content You'll Ever Need.Jamie is a horror and children's film screenwriter with fifteen years of experience writing projects for  Nickelodeon, Liongate, Discovery, Amazon Prime, Netflix, etc, and also teaches screenwriting to college students.Some of his most notable horror credits include V/H/S/2, Lovely Molly, and Seventh Moon, A Comedy of Horrors, and Two Front Teeth. And others like Adventures of a Teenage Dragon Slayer, Tiny Christmas, etc.Screenwriting, for Jamie, was a side project he pursued at leisure when he wasn't working his Computer gaming/programming job. It wasn't until early 2004 that he sold his first script, a horror feature titled, Altered, to Haxan Films that was later directed in 2006 by one of the Blair Witch Project directors, Eduardo Sánchez. The story premised on a group of men whose lives were forever changed by a strange occurrence who, fifteen years later Now, will spend a night together ... in terror.With some financial success and notoriety from Altered, Jamie quit his computer consultant job with Citigroup and went full-time on screenwriting in 2008. Jamie is one of those writers who stay busy. He writes about five to six scripts a year for pilots, TV shows, podcasts, novels, etc. This justifies why he has a Writers Guild. It takes a lot of brainpower to create multiple plots that are so different in many ways within a short period of time. An example is his 2017 screenplays, The Night Watchman and Tiny Christmas. Two very distinct writing and audiences. He co-wrote The Night Watchman with Ken Arnold and Dan DeLuca. It is basically a story of three inept night watchmen, aided by a young rookie and a fearless tabloid journalist, fight an epic battle for their lives against a horde of hungry vampires.Tiny Christmas on the other hand is about a girl and her quirky cousin who are accidentally zapped by a shrinking ray at the hands of one of Santa's inept elves on Christmas Eve and they must learn to trust and appreciate each other and work as a team to get back home before Christmas, or risk staying tiny forever.[presto_player id=41043]On March 30th, 2021, he released his third book, Save the Cat!® Writes for TV in which he shares the essence of writing pilots as pitches for screenwriters considering television because more than 80% of jobs in the Writers Guild of America are skewed towards the television.Nash takes up Snyder's torch to lay out a step-by-step approach using Blake's principles for both new and experienced writers, including:-How to write and structure a compelling TV pilot that can launch both your series and your TV writing career-All the nuances, tricks, and techniques of pilot-writing: the Opening Pitch, the Guided Tour, the Whiff of Change, and more-The 8 Save the Cat! TV Franchise Types that will improve your story and your pitch-The not-so-secret TV Pitch Template that turns your TV series into the necessary read-over-lunch industry document-a how-to in creating layered characters who are driven by complex internal struggles-Beat sheets of the pilots of Barry, Ozark, Grey's Anatomy, The Marvelous Mrs. Maisel, What We Do in the Shadows, Black-ish, The Mandalorian, This Is Us, Law, and Order: SVU, and more to help you crack your storyCreate your binge-worthy TV series with Save the Cat! Writes for TV We talked some more about his own indie film hustle journey--working overtime to get a headstart in the industry, we also talked about his networking technique that keeps him booked and busy. I could talk another hour more with Jamie. He is so candid about his process and the drive behind it.Enjoy this conversation with Jamie Nash.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Hey, what's up. We've got a special one this week, we are joined by Eduardo Sanchez of Haxan Films. Man of many hats including The Blair Witch Project, Exists and the new project titled Black Velvet Faires. We get into a very nice discussion covering a wide range of subjects including some news you'll definitely want to stick around for (: You can find more from Eduardo here: @sanchezonthemic on Twitter and Instagram http://www.haxan.com/ https://www.facebook.com/groups/Haxanfilms/ More Blade at: ⁠https://linktr.ee/Bladeisspooky⁠ You can find the Bordello Boys on Twitter: @Bladeisspooky @danzach13 @ugtpod

Show Notes: Eduardo's Socials: Twitter: https://twitter.com/Sanchezonthemic  Instagram: https://www.instagram.com/sanchezonthemic/  Haxan Films: http://www.haxan.com/  Check out Satanic Hispanics in theatres on September 14th: https://satanichispanicsfilm.com/  Who's There? Socials: Twitter: https://www.twitter.com/WhosTherePc Instagram: https://www.instagram.com/WhosTherepc  Email: whostherepc@gmail.com  Website: https://www.whostherepodcast.com  In this episode I talked with Eduardo Sánchez about the process of filming The Blair Witch Project, his feelings on the two sequels, why he's excited about his latest movie Satanic Hispanics (in theatres this Thursday!), why he hates being scared, but why he knows the horror genre is so special, and more! --- Support this podcast: https://podcasters.spotify.com/pod/show/whostherepod/support

Professional screenwriters share their career journey, and provide valuable advice to aspiring writers, at the Big Apple Film Festival Screenwriters Conference. Hosted by Big Apple Film Festival moderator, Craig Price. JOSE RIVERA José Rivera's screenplay The Motorcycle Diaries was nominated for Best Adapted Screenplay Oscar— making him the first Puerto Rican writer ever nominated for an Academy Award—as well as a BAFTA and Writers Guild Award and received top screenwriting awards in Argentina and Spain. Other films include On the Road, Trade and The 33. Rivera co-created and produced Eerie, Indiana, (NBC) and was a consultant and staff writer on Penny Dreadful: City of Angels (Showtime). He has written 18 episodes of the Netflix series based on One Hundred Years of Solitude. Rivera wrote and directed the short films The Fall of a Sparrow and The Civet, both of which were official selections of the Big Apple Film Festival. His latest screenplay is A Song for the Recycled Orchestra. He has served on the boards of TCG and the Sundance Institute and was a Creative Advisor at Sundance Screenwriting Labs in Utah, Jordan and India. Jose is a recipient of two Obie Awards for Marisol and References to Salvador Dali Make Me Hot, both produced by the Public Theater. Plays seen at the Goodman include Cloud Tectonics, Boleros for the Disenchanted, Massacre (Sing to Your Children), Another Word for Beauty, Sueño and The Untranslatable Secrets of Nikki Corona, which appeared as part of New Stages. JAMIE NASH Jamie Nash optioned his first screenplay in 2004 to Haxan Films . That script then turned into his first produced film, the horror-feature Altered. distributed by Universal Home Entertainment and Rogue Pictures. It also started a decade-long collaboration with Eduardo Sanchez, co-director of famed found-footage flick The Blair Witch Project.

On this episode of Mothboys, the boys celebrate 4 years of the podcast by discussing Bigfoot, Blair Witch, Star Wars, and so much more with legendary horror director Eduardo Sánchez. Thank you everyone for four amazing years of the show, we are constantly amazed at the love and support you give us and we appreciate you all so much.Mothboys is sponsored by:Visit Braxton, WV-Braxton County, West Virginia is Home of the Flatwoods Monster, as well as sightings of Bigfoot, UFO's  and ghosts… Visit the link above for more information on all the wonderful things that Braxton County offers.Eduardo Sánchez is a Cuban-born American director, known for his work in the horror genre. His most famous credit is for co-directing and writing the 1999 psychological horror film The Blair Witch Project with Daniel Myrick. To learn more about Eduardo and his films, visit Haxan Films.Follow along on our moth-journey on Instagram at @mothboyspodcast and on Facebook at Mothboys.

ABOUT Michael Monello:Michael's Profile: https://www.linkedin.com/in/mikemonello/Websitescampfirenyc.com/ Emailmike@mikemonello.comTwittermikemonelloBio: Mike Monello is a true pioneer when it comes to immersive storytelling and innovative marketing.In the late 1990s, Monello and his partners at Haxan Films created The Blair Witch Project, a story told across the burgeoning internet, a sci-fi channel pseudo-documentary, books, comics, games, and a feature film, which became a pop-culture touchstone and inspired legions of found-footage movies in its wake. It forever changed how fans engage with story and how marketers approach the internet.Inspired by the possibilities for engaging connected fan cultures and communities online, Monello co-founded Campfire in 2005. There, he leads an agency that has developed and created groundbreaking participatory stories and experiences for HBO, Amazon, Netflix, Cinemax, Discovery, National Geographic, Harley- Davidson, Infiniti, and more. Campfire won Small Agency Campaign of the Year via AdAge in 2013 and Small Agency of the Year via Online Marketing Media and Advertising Awards in 2012, and has been awarded top honors at the Emmys, Cannes Lions Festival, Clios, One Show, and more. Monello serves on the Peabody Board of Jurors, and regularly speaks at high-profile events. SHOW INTRODUCTION:I am not a huge fan of the horror genre of movies. As a kid I regularly covered my eyes when the Wicked Witch of the West showed up on screen in the Wizard of Oz.I saw Amityville Horror as a 13 year old and late into my adult years, looking out of a darkened home window was slightly un-nerving thinking that there was certainly something evil looking back. I saw Friday the 13th and growing up in Montreal during the reign of the Montreal Canadians and so I watched a good bit of hockey but never thought of goalie's masks quite the same way. I sat through episodes Night Gallery, the Wolfman and Frankenstein with childhood friends trying to not look at the screen all the while putting on an air of calm remaining cool. As a 10-year-old, I scrambled under the flaps of circus show tent at a local fair when a man miraculously turned into a raging gorilla right in front of my eyes. Oh… and thank you Mr. Spielberg for making me afraid of my closet, and that a portal to the netherworld could be in there, and believing that every house could possibly be built on and Indian burial ground Oh and, of course, making sure I'd never look at open water the same way.This may have all had to do with growing up with older brothers that thought it hilarious the wear a gorilla mask and jump out at my younger brother and me with the lights off in the basement. Except in that case, I brandished a big wooden shoe polishing brush and delivered a great whack to that nasty gorilla's head. Or it may be that I have a particularly active imagination and believe in the power of story's ability to go deep into our neurobiology and create ‘as if' experiences inside us. Story is so profoundly woven into our very beings that, without it, there would be a vacuum of basic understanding of our world and what to it means to part of it all.So, with all of this in mind, it's likely no surprise that I haven't watched the Exorcist and have kept away from The Blair Witch Project.But Blair Witch is something entirely different. It didn't just scare the crap out of millions of people, it shifted the film industry on its axis creating a new paradigm for storytelling where film and the burgeoning internet merged, blurring boundaries between these two vehicles for connecting fans to the profound power of a story.It broke what was acceptable in terms of camera work replacing locked off cameras for a handheld approach where being all bumpy was perfectly OK. It was largely credited with creating the “found footage” technique that has become so common in years since its release.The opening scenes left you questioning what was real, was this really found footage by a group of student film makers who ventured into the woods to capture a story of a reported witch but never came back? When The Blair Witch Project premiered at the Sundance Film Festival in 1999, it its promotional marketing campaign actually listed the actors as either "missing" or "deceased". It grossed over $250 making it one of the most successful independent films of all time.Michael Monello, and his partners at Haxan Films, were the creators of this paradigm shifting approach to film making, forever changing how fans engage with story and how marketers approach the internet.Inspired by the possibilities for engaging connected fan cultures and communities online, Monello co-founded Campfire in 2005, and ever since, has built an impressive and exciting career in immersive storytelling and innovative marketing.At Campfire, he leads an agency that has developed and created more groundbreaking participatory stories and experiences for HBO, Amazon, Netflix, Cinemax, Discovery, National Geographic, Harley- Davidson, Infiniti, and more. Campfire won Small Agency Campaign of the Year by AdAge in 2013 and Small Agency of the Year by Online Marketing Media and Advertising Awards in 2012, and has been awarded top honors at the Emmys, Cannes Lions Festival, Clios, and more. This is a talk that goes into Projects Beyond Blair Witch and dives into the power of story, engaging the internet in creating famdom, the meta-verse, NFT's and more. Michael Monello has a really interesting take on immersive experiences and believes that ‘its not really a thing until someone is experiencing it. He likens creating immersive experiences to architecture saying that you can build a really beautiful building, but is it really finished if it sits unoccupied and unused.'That question is fundamentally at the core of this podcast where we focus on “DATA: Design, Architecture, Technology and the Arts.”Michael Monello's work crosses these disciplines with the same facility and passion that had him crossing boundaries since creating The Blair Witch Project over 20 years ago. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites: https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. 

On this episode, we spoke with Jamie Nash, writer of Save the Cat! Writes for TV: The Last Book on Creating Binge-Worthy Content You'll Ever Need.  Jamie Nash has been a working screenwriter for more than a decade.  He's written feature films for Lionsgate, Haxan Films and Nickelodeon, among others.  He is primarily a genre writer for Horror and Family (a weird combo, right?), he somehow makes it work.  His new book SAVE THE CAT! WRITES FOR TV is now available here: https://www.amazon.com/dp/0984157697/ref=cm_sw_em_r_mt_dp_TCZGP3Q9AAY1CGNW5BNG. Make sure you visit Jamies site here: jamienash.net. On this episode you will hear about: How Jamie broke into TV writing, even though he started out as a computer scientist and programmer The dirty secret about making it in screenwriting How Jamie met Blake Snyder, which eventually led to the writing of Save the Cat! Why consistently writing several scripts a year has helped him to maintain his success How Jamie's background in juggling relates to his entrepreneurial spirit How to hack storytelling Production Credits: The Self Made Strategies Podcast is a SoftStix Productions LLC jawn. This episode was hosted and produced by Tony Lopes, and edited by Michael Leary.  Jamie Nash  joined us remotely, via Google Meet. Executive Producer - Tony Lopes (SoftStix Productions LLC - info@softstixproductions.com) Host - Tony Lopes Guest - Jamie Nash Editor - Michael Leary (onefifteenfilms.com) The Self Made Strategies Podcast is sponsored by Lopes Law LLC (www.LopesLawLLC.com). Make sure you subscribe to the Self Made Strategies Podcast on your favorite podcasting platform, so you can catch the latest episodes. Copyright 2018 - 2021 SoftStix Productions LLC, all rights reserved. www.selfmadestrategies.com  

This week, I invited author, writer, and director, Jamie Nash on the show to discuss his ‘Save The Cats Writes for TV’ formula in his new book, Save the Cat!® Writes for TV: The Last Book on Creating Binge-Worthy Content You'll Ever Need.Jamie is a horror and children’s film screenwriter with fifteen years of experience writing projects for  Nickelodeon, Liongate, Discovery, Amazon Prime, Netflix, etc, and also teaches screenwriting to college students.Some of his most notable horror credits include V/H/S/2, Lovely Molly, and Seventh Moon, A Comedy of Horrors, and Two Front Teeth. And others like Adventures of a Teenage Dragon Slayer, Tiny Christmas, etc.Screenwriting, for Jamie, was a side project he pursued at leisure when he wasn’t working his Computer gaming/programming job. It wasn’t until early 2004 that he sold his first script, a horror feature titled, Altered, to Haxan Films that was later directed in 2006 by one of the Blair Witch Project directors, Eduardo Sánchez. The story premised on a group of men whose lives were forever changed by a strange occurrence who, fifteen years later Now, will spend a night together ... in terror.With some financial success and notoriety from Altered, Jamie quit his computer consultant job with Citigroup and went full-time on screenwriting in 2008.Jamie is one of those writers who stay busy. He writes about five to six scripts a year for pilots, TV shows, podcasts, novels, etc. This justifies why he has a Writers Guild. It takes a lot of brainpower to create multiple plots that are so different in many ways within a short period of time. An example is his 2017 screenplays, The Night Watchman and Tiny Christmas. Two very distinct writing and audiences. He co-wrote The Night Watchman with Ken Arnold and Dan DeLuca. It is basically a story of three inept night watchmen, aided by a young rookie and a fearless tabloid journalist, fight an epic battle for their lives against a horde of hungry vampires.Tiny Christmas on the other hand is about a girl and her quirky cousin who are accidentally zapped by a shrinking ray at the hands of one of Santa’s inept elves on Christmas Eve and they must learn to trust and appreciate each other and work as a team to get back home before Christmas, or risk staying tiny forever.On March 30th, 2021, he released his third book, Save the Cat!® Writes for TV in which he shares the essence of writing pilots as pitches for screenwriters considering television because more than 80% of jobs in the Writers Guild of America are skewed towards the television.Nash takes up Snyder's torch to lay out a step-by-step approach using Blake's principles for both new and experienced writers, including:-How to write and structure a compelling TV pilot that can launch both your series and your TV writing career-All the nuances, tricks, and techniques of pilot-writing: the Opening Pitch, the Guided Tour, the Whiff of Change, and more-The 8 Save the Cat! TV Franchise Types that will improve your story and your pitch-The not-so-secret TV Pitch Template that turns your TV series into the necessary read-over-lunch industry document-a how-to in creating layered characters who are driven by complex internal struggles-Beat sheets of the pilots of Barry, Ozark, Grey's Anatomy, The Marvelous Mrs. Maisel, What We Do in the Shadows, Black-ish, The Mandalorian, This Is Us, Law, and Order: SVU, and more to help you crack your storyCreate your binge-worthy TV series with Save the Cat! Writes for TV We talked some more about his own indie film hustle journey--working overtime to get a headstart in the industry, we also talked about his networking technique that keeps him booked and busy. I could talk another hour more with Jamie. He is so candid about his process and the drive behind it.Enjoy this conversation with Jamie Nash.

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1366152370258903047 CW: Mental Illness, Miscarriage It’s Blair Witch Week on Pod Sematary! Chris & Kelsey spend a night (or five) in the Black Hills Forest and stumble across some DV tapes with Blair Witch movies on them. The Classic Film: Book of Shadows: Blair Witch 2 (2000) "A group of tourists arrives in Burkittsville, Maryland after seeing The Blair Witch Project to explore the mythology and phenomenon, only to come face to face with their own neuroses and possibly the witch herself” (IMDb.com). Producers capitalize on the next new thing, The Blair Witch Project, by immediately making a sequel that has none of the elements that made the original popular. Imagine how that turned out. The Modern Film: Blair Witch (2016) "After discovering a video showing what he believes to be his vanished sister Heather, James and a group of friends head to the forest believed to be inhabited by the Blair Witch” (IMDb.com). See, this is how you make a Blair Witch sequel. It ain't superb, but it's certainly not sacrilege. Audio Sources: "Anything Could Happen" written by Ellie Goulding & Jim Eliot and performed by Ellie Goulding "Blair Witch" (2016) produced by Lionsgate, et al. "Book of Shadows: Blair Witch 2" produced by Artisan Entertainment & Haxan Films "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones

The Blair Witch Project Secuelas: 2 (The Book Of Shadows: Blair Witch 2 del 2000 y Blair Witch de 2016). Budget: 200,000 USD en otros sitios mencionan que el presupuesto origina fue de 60,000 USDCabe mencionar que tenían varios proyectos pero al decidir cual, eligieron este porque era el que podían hacer con el budget de 60k USD. Año: 1999 Director: Daniel Myrick & Eduardo Sanchez Actores: Heather Donahue, Michael Williams & Joshua Leonard Datos curiosos: La película se filmó en 8 días pero tardó 8 meses en edición Los directores les dieron cada día menos y menos comida para promover el conflicto entre los perosnajes. Los últimos dos días solo comieron una barrita de energía, fruta y agua. SinopsisNarra la historia de 3 cineastas que mientras recorren la llamada colina negra con el objetivo de realizar un documental sobre una leyenda conocida como La Bruja de Blair, desaparecen misteriosamente.Una año mas tarde sus pertenencias son encontradas junto con grabaciones realizadas por ellos mismos en sus utimos días perdidos en el bosque.Inicios2 estudiantes de cine cuando en 1993 se les ocurrió hacer una película de horror al estilo documental luego de notar que los documentales sobre hechos paranormales eran igual de aterradores que mas películas de horror tradicionales.Crearon un documental sobre la leyenda de la bruja de Blair y sobre la desaparición y posterior búsqueda de 3 estudiantes de cine.Este documental de 8 minutos fue emitido en un programa de televisión llamado Split Screen en 1997.Originalmente se llamaba The Black Hill Project.Realizaron una convocatoria para los actores donde solicitaron que tuvieran buenas habilidades de improvisación y advertían que era una película de horror que se filmaría en el bosque. Eduardo Sánchez, uno de los directores comenta que anunciaron los roles como una dramatización improvisada. Esto no era común de ver, las películas están estrictamente basadas en guiones. Se sorprendieron el día de la audición en ver que había una cola de actores que daba vuelta a la manzana. La prueba de improvisación era la siguiente: a cada actor, le decían que estaban en la cárcel y tenían una audiencia con los oficiales que concedían libertad. Tenían que argumentar por qué debían dejarlos salir, dado que tenían una cadena perpetua. Las grabaciones se realizaron en 1997 con un resultado final de 19 horas de filmación. La version definitiva se redujo a 88 minutos de duración. Aquí cabe resaltar el método utilizado para la filmación. Los actores no solamente iban a actuar, también iban a filmar. Recibieron clases de manipulación de cámaras previo al inicio de la filmación Josh y Heather, pues serían los únicos que manipularían los aparatos. Antes de la película, Heather nunca había utilizado una cámara en su vida. Básicamente, se les entregaba un outline de hacia donde iba la filmación. Luego, se encontraban solos en el bosque improvisando y grabando las escenas. Ahora, para encontrar el outline tenían GPS que les decía a donde tenían que ir para encontrar las instrucciones de lo siguiente. Al llegar había tres botellas de plático donde cada uno debía de leer su parte y no podían compartirla con los otros. Esto me recuerda a murder mystery haha Los actores sabían que durante las noches, iban a ser molestados por los directores, lo cuál podía volverse creepy, asustarlos de verdad y mezclar la realidad con la simulación. Para esto, tenían una palabra como código la cual haría que salieran de "actuación" y resolvieran asuntos técnicos o dudas. La palabra clave era: Taco. A pesar de tener dicha palabra, solo la usar un par de veces. Entonces, todas las escenas donde le pegan a la tienda de campaña o por ejemplo, en la mañana cuando se encuentran piedras o lo de los dientes, los actores no sabían necesariamente que iba a pasar. En parte, eran reacciones verdad e improvisadas. Antes de su estreno los directores y productores habían creado una pagina web con reportajes, segmentos de la película, diarios, entrevistas y la historia detrás del mito y todo lo relacionado con la desaparición de los cineastas y posterior hallazgo de las grabaciones. la página fue hecha por el director Eduardo Sánchez, quien al no tener los recursos, optó por el mismo darse la tarea de crear la página y pagar el dominio, lo cual costaba 15 dólares al mes. Algo razonable para pagar. Primero compartieron la información en un foro y hubo personas interesadas que les compartieron información referente al tema - ej. fueron a buscar al bosque o información de la leyenda. Al tener algo de información, inició lo que sería la primera comunidad virtual en esos tiempos que el internet apenas comenzaba. Esto fue lo que inicitó a Eduardo a crear la página y empezar a poner ahí los resultados de la investigación así como la información que recibía de otras personas. Toda este material era ficticio, pero los cibernautas de ese entonces creían que los sucesos eran reales. Ya que Haxan Films tenía los derechos de los metrajes encontrados para publicar al mundo estos hechos paranormales.En 1999 se presento en el festival de cine de Sundance y sobrepaso todas las expectativas de sus creadores. Sundance es el evento para filmes independientes más importantes que existe. Aplicaron a varios festivales y les sorprendió haber sido seleccionados para Sundance. Además, su filme quedó catalogado en la sección de media noche, una sección que en ese tiempo, pasaba de noche, no tenía relevancia y básicamente ponían las películas que estaban "raras" y no sabían cómo iba a reaccionar la audiencia. Eduardo cuenta que pensó en pedirles si la podían cambiar a otra sección... pero luego pensó que ya de entrada estar en Sundance era un super logro y que pues no era apropiado pedir el cambio. Resulta que gracias al éxito de la Bruja de Blair, esta sección se popularizó y ahora las pelícluas de horror con mayor potencial, las colocan ahí. El estudio Artisan Entretaiment compraron los derecho de distribución por 1M de USD.Estando en Sundance, fue que vendieron los derechos y al venderlos, se vende todo! Es por ello que aunque Eduardo y Alex les propusieorn realizar la secuela y al querer un descanso de toda la producción de la película, Artisan comoquiera hizo la secuela con otro director.Hasta su estreno oficial, continuaron con la campaña publicitaria a través de internet manteniendo la idea que todo esto era real.Como dato adicional, después del exitaso que tuvieron Eduardo y Daniel decidieron tomarse un break, ya que el producir tu propia película es extremadamente drenador física y mentalmente. No esperaban que iba a tener el revuelo que tuvo, y Eduardo mismo menciona que el prefirió salir de la escena un tiempo y dedicarse a su familia.Años después, creo que como 5 años después, regresó a la escena pero ya estaba muy escondido en el baúl la bruja de blair y pues había desconfianza en su trabajo, así que Eduardo comenta que de cierta forma, tuvo que empezar de cero a reconstruir lazos y ver propuestas para hacer otras películas. Sí se volvió director del género de horror hizo la película de Altered, la cuál es buena,y regresando al género de horror y metraje encontrado ralizó VHS2.Daniel, el co director siguió su camino de manera independiente y realizó otros proyectos como Solstice y ultimadamente Skyman otra película del género de metraje encontrado mezclando eventos supernaturales y el trauma psicológico de abducciones extraterrestes.Me da la impresión que han querido salir del género de metraje encontrado pero están regresando a este...Crítica personal y calificaciónEn la actualidad es una de las mejores películas de su genero sobretodo por impulsar la tecnica de la cámara en mano.La campaña publicitaria a traves de internet considero que fue un acierto en esos años y eran los cimientos para lo que hoy conocemos como "creepy pastas". Supo aprovechar muy bien este elemento de internet donde todo era nuevo para los cibernautas de aquellos añosEs una película cuyo valor reside en su tiempo y los que nos tocó vivirlo con todo lo que estaba a su alrededor: la campaña publicitaria, todas las pláticas con amigos de "será verdad o no?" y el poder ver la página de internet y leer de primera mano sin saber hacen que esta película fuera la cereza del pastel.Es difícil apreciar la película sin todo su contexto. Es por eso que muchas personas hoy en día, la ven por primera vez ya sabiendo que es mentira y resulta que no les genera ninguna reacción. Incluso hasta no la consideran de miedo.Entonces, diciendo ¿es una gran película de horror? como película sola... No. En mi opinión, es una muy mala película con un excelente conepto. ¿Fué una gran película de horror en su momento? Sí, yo me acuerdo que cuando la vi, tuve tanto miedo que no pude ver el final.Ahora que la vi años después, pues no me da miedo porque me han roto el hechizo, ahora sé demasiado de la película para poder disfrutarla.Su contribución al cine de horror y en lo que innovó fue el nivel que estuvieron dispuestos a llevar el contexto, no solo la película, para que fuera real. Inicialmente pensé que el hacerlos a ellos hacer las tomas e improvisar todo podía ser algo "flojo" pero por otro lado, al saber que estaban realmente molestándolos en la noche creo que sí sacó en ellos emociones que resonaron conmigo. De estar en un bosque, aislado oyendo ruidos raros... incontables historias que leemos o vemos donde sabes que va a terminar mal. Estás improvisando, no sabes que viene, tienes que grabar... entonces, al final sí resultó con un efecto positivo, porque amplificó la realidad.Créditos:Radio Horror es producido por Caro Arriaga y Rael Aguilar.Edición por Matías Beltrando desde Destek Soporte.Música Closing Theme Hounds of Love por Dan Luscombe (Intro)Nightlong por FSM Team (Outro)★ Support this podcast on Patreon ★

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1251642254017601538 CW: Suicide It’s a Found Footage Documentary Week on Pod Sematary! Chris & Kelsey get into really heated arguments in the middle of the woods! The Classic Film: The Blair Witch Project (1999) "Three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind” (IMDb.com). This film got strong reactions from audiences (and our hosts), and changed the landscape of horror cinema for over a decade, whether we like it or not. The Modern Film: Hell House LLC (2015) "Five years after an unexplained malfunction causes the death of 15 tour-goers and staff on the opening night of a Halloween haunted house tour (Hell House), a documentary film crew visits the scene of the tragedy to investigate what really happened that night” (IMDb.com). Despite coming towards the end of the glut of found footage films over the past two decades, this small, independent project has been the darling of some horror fan circles. We can see why, even if it does make Chris irrationally angry. Audio Sources: "The Blair Witch Project" produced by Haxan Films "Hell House LLC" produced by Cognetti Films "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Scream" produced by Dimension Films & Woods Entertainment

Director Eduardo Sanchez and Producer Gregg Hale of Haxan Films talk weed and their longstanding creative partnership which started with The Blair Witch Project in 1999.

Un jeune homme noir, Chris, est invité chez sa belle-famille avec sa copine blanche. Rapidement, le malaise s’installe, et tout déraille dans un pur cinéma de genre, mais traversé par un propos politique. En résulte un double effet d’angoisse : celle typique des codes du cinéma d’horreur sur lesquelles le film s’appuie, mais aussi l’effroi face au racisme. En mettant en scène un personnage afro-américain, Jordan Peele fait résonner les agressions du quotidien, du contrôle de police aux remarques des beaux-parents. La tension est admirablement bien amenée, le spectateur se retrouve happé jusqu’au dénouement qui flirte avec la comédie et la satire. Loin d’apaiser la violence du propos, le rire amplifie la tension et la terreur. Un premier long métrage remarquablement réalisé, et soutenu par un casting brillant. Animé par Charline Roux avec David Honnorat, Léa Bodin et Max BesnardRÉFÉRENCES CITÉES DANS L’ÉMISSIONKey & Peele (Jordan Peele & Keegan-Michael Key, Comedy Central, 2012-2015), Halloween, la nuit des masques (John Carpenter, Compass International Pictures, 1978), Quinze millions de mérites (Black Mirror Episode 2 Saison 1, Charlie Brooker, Netflix, 2011), Le projet Blair Witch (Daniel Myrick & Eduardo Sànchez, Haxan Films, 1999), Chappelle’s Show (Dave Chappelle & Neal Brennan, Comedy Central, 2003-2006), Rosemary’s Baby (Roman Polanski, Paramount Picture, 1968), The Visit (Shyamalan, Blinding Edge Production, 2015), Tarantino, Red State (Kevin Smith, Lionsgate, 2011), Severance (Christopher Smith, Dan Film & Qwerty Film, 2006), Dear White People (Julien Simien, 2014). RECOMMANDATIONS ET COUPS DE COEURRETROUVEZ LES RECOMMANDATIONS FAITES EN FIN D'ÉMISSION sur la page Soundcloud officielle des recommandations de NoCiné >> @nocine-reco

Artisan Entertainment and Haxan Films wasted no time releasing a sequel to The Blair Witch Project. Intending to capitalize on the first film’s huge success they rushed Book of Shadows: Blair Witch 2 for release while the original film was still part of the cultural zeitgeist. The sequel goes meta as we watch a group of fans of the original film take a pilgrimage to some of its filming sites when strange things begin to happen and some of the team go missing. Despite being directed by acclaimed documentary filmmaker Joe Berlinger Blair Witch 2 never escaped the original’s shadow and has been mostly forgotten. Does Book of Shadows conjure up scares to match the original? Join Arnie, Stuart, and Jakob to find out!

  5 movies made for peanuts that made millions     The film, made on a budget of $950,000[2][3] and shot in 28 days, was a sleeper hit; it made over $225 million,[1] the highest grossing film of 1976, and won three Oscars, including Best Picture. The film received many positive reviews and turned Stallone into a major star.[4] It spawned five sequels: Rocky II, III, IV, V and Rocky Balboa, all written by and starring Stallone.         Halloween is a 1978 American independent slasher horror film directed and scored byJohn Carpenter, co-written with producer Debra Hill, and starring Donald Pleasence andJamie Lee Curtis in her film debut. The film was the first installment in what became theHalloween franchise. The plot is set in the fictional Midwestern town of Haddonfield,Illinois.       The Blair Witch Project is a 1999 American horror film written and directed by Eduardo Sánchez and Daniel Myrick. The film was produced by the Haxan Films production company. Though fictional, it is presented as "found footage", as if pieced together from amateur footage, and popularised this style of horror movie.     Paranormal Activity is a 2007 American supernatural horror film written and directed byOren Peli.[1][2][5] The film centers on a young couple, Katie and Micah, who are haunted by a supernatural presence in their home. It is presented in the style of "found footage", from cameras set up by the couple in an attempt to document what is haunting them.      Mad Max is a 1979 Australian dystopian action film directed by George Miller and revised by Miller and Byron Kennedy over the original script by James McCausland, starring Mel Gibson, who had not yet become famous.    

This is the first every postcast show for the defunct TV series Freakylinks from Haxan Films and Fox Television Networks. I am your host Mondo Strange. This podcast will deal with the TV show, supporting website Freakylinks.com and fan-based website Freakylinks.tv.  This is for all the die hard freakers who have kept the show alive on the Haxan forum boards and are crying out for a DVD set from Fox. Keeping the freakiness ALIVE!Hurdy Gur,Mondo Strange