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[Exclusive] Nick Antosca Reflects on His ‘Friday the 13th’ Reboot That Almost Was!

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“It shouldn’t be that hard to make a Friday the 13th movie.”

It’s never easy being a horror fan, especially when waiting for a new Friday the 13th. Even though there were eight films released in the 1980s, the franchise feels cursed. There have only been four more in the past 25+ years. In fact, the Platinum Dunes reboot is already nearing its ninth anniversary!

After Paramount Pictures traded the rights to Christopher Nolan’s Interstellar to Warner Bros. in exchange for the full rights to Jason Voorhees and the Friday the 13th franchise, it felt like a new film was imminent. With the trade rights lapsing this coming January, Platinum Dunes and Paramount has been working feverishly to get Jason Voorhees back into theaters. Only, with multiple changes in leadership and the constant moving direction of the genre (found-footage coming and going), andthe failure of Rings being the final nail in the coffin, Paramount canned the plans for Friday the 13th for good.

Now, while we wait for the rights to revert back to Warners, all we can do is look back and wonder, “What if?”

While the previous incarnation sounded like dynamite, the David Bruckner-Nick Antosca screenplay was pure fire. I’ve read it and was absolutely floored with how cool it was, especially being that it was the first draft. (Guess what? You can read it too!) Since the project was canned back in 2015, Antosca has moved on to work on other classic genre offerings including NBC’s “Hannibal” and Syfy’s “Channel Zero”, which returns for second season “No-End House” on September 20th. With “Channel Zero” coming back, we caught up with Antosca who explained his inspiration behind his initial Friday the 13th script.

“The Paramount Friday the 13th movies,” Antosca said of his inspiration, adding Dazed and Confused, Fast Times at Ridgemont High, and John Hughes movies to the mix. “Plus Jaws, a little bit. We just wanted to make a classic Jason movie, with kids at camp who get slaughtered, and great kills and some characters you actually enjoy hanging out with til they die.”

For those who read the script, it felt like they found a way to mix three of the best Jasons into one movie, including Kane Hodder’s beast-like nightmare of a slasher.

“David Bruckner and I talked about how to make a consistent Jason throughout our movie, but nod to the different Jasons,” he revealed. “I prefer supernatural Jason, personally. And I loved the imagery of him under the water.”

Jason Voorhees’ mythology is a bit complicated as the entire franchise is riddled with plotholes. Antosca talks a bit about the challenges in cracking the story.

“We just accepted from the beginning that we would have to pick and choose elements of the mythology to make a coherent one within one movie. It’s obviously not consistent over the course of the franchise, but you have a lot to work with. We adjusted the timeline a bit to make sense.”

The coolest aspect of Antosca and Bruckner’s Friday the 13th was that it would be period, taking fans back to the 1980s.

“To me, that just feels right,” he said of the decision to set it during the original’s time period. “That’s the Jason movie I want to see. It’s the same impulse that fed into ‘Stranger Things’ and a lot of 80s nostalgia that we now see popping up. It was in the air a few years ago. I’d still love to see a new Friday the 13th set in the ‘80s.

For those interested in “the process”, Antosca’s Friday the 13th was a first draft, meaning there was quite a bit of work to do. Here’s what he expected to change in his next pass.

“I’m sure there was more character work to do. There always is. The draft that got out there is a first draft, and I only ever had a chance to do one draft. I’m sure we would have kept tweaking the kills too.”

And of course, it wouldn’t be Friday the 13th if a sequel wasn’t set up. Here’s where Antosca wanted to take the Voorhees family.

“We had aimed for a winter-set sequel,” he confirms while revealing more plans. “The details were not hashed out, but it would have involved people returning to the site of the horrific massacre in the first movie — probably just six months later.”

So what happened? With Platinum Dunes ready to go, Paramount got cold feet.

“I know Platinum Dunes was ready to go — they were enthusiastic,” he reveals. “I heard various things — Paramount changed their mind about the 80’s setting, they wanted more mythology. Also, there was some corporate changeover in the ranks there, and the people who were in charge when I was hired were no longer there. The new folks may have wanted to put their own stamp on it. It happens. I was curious to see the version they did make, and I was disappointed when that fell apart too.

“It shouldn’t be that hard to make a Friday the 13th movie.”

Watch Antosca’s “Channel Zero: No-End House” on Syfy September 20th.

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

Interviews

“I Don’t See Retiring from This” – Joe Bob Briggs Talks New “Last Drive-In” Format and the Show’s Future [Interview]

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Hey everybody, have you heard the news? Joe Bob is back in town!

The Last Drive-In with Joe Bob Briggs has returned for its sixth season on Shudder. While the show’s format has been slightly revised adopting a new biweekly schedule with one film instead of a double feature the beloved horror host’s approach is much the same.

“It didn’t really change anything,” Briggs tells Bloody Disgusting. “We were crowding all of our movies into 10 weeks once a year and then having specials, and we found that people would rather have more weeks. It’s actually more movies than we had before.

“And some of the people on the East coast fall asleep in the second movie,” he laughs. “It’s about a five-hour show when it’s a double feature because we talk so much. Also, it’s hard to get thematic double features every single time. So our specials are still double features, but our regular episodes are single features.”

The season kicked off last week with The Last Drive-In Live: A Tribute to Roger Corman, celebrating the legendary filmmaker’s first 70 years in Hollywood with a double feature of 1959’s A Bucket of Blood and 1983’s Deathstalker. The special was filmed live in front of a fervent audience of Briggs’ fan base lovingly dubbed the Mutant Family at Joe Bob’s Drive-In Jamboree in Las Vegas last October.

In addition to his usual hosting duties, Briggs conducted a career-spanning interview with Corman and his wife, fellow producer Julie Corman. They were also joined by one of Corman’s oldest friends and collaborators, Bruce Dern. In a heartfelt moment of mutual admiration, Briggs and Corman exchanged lifetime achievement awards on hubcaps.

“I’ve known Roger for about 35 years, so I’ve only known him for half of his career,” Briggs chuckles. In his long history of reviewing, interviewing, and talking about Corman and his legendary work, one emblematic encounter sticks out to Briggs.

“I remember the very first time I went to the Corman studio, which was a lumber yard on Venice Boulevard. He had a standing set for a spaceship control room, a standing set for a strip club, and I think he had one other one, and then he had all of his editing facilities there, but it was still a lumber yard. They had not really changed any of the buildings or anything.

“He’s showing me around the studio, and we were walking past a pile of debris, and I said, ‘Roger, is that the mutant from Forbidden World?’ It had just been thrown over in a corner. And he just said, ‘Yes, Joe Bob, I believe that is. He was apparently no longer needed.’ I said, ‘Roger, you gotta get with it! That stuff is worth money.’ But he was like, ‘When the movie’s over, the movie’s over.’ That was Roget to a T.”

At least part of Corman’s longevity can be attributed to his shrewd business practices and pragmatic approach to the industry, which has included working in every conceivable genre of cinema. “I couldn’t think of a single genre he has not made,” Briggs says.

“When we did this interview at the Jamboree, I said, ‘I’m gonna name the genre, and you tell me what you love about that genre,’ and every comment that he made involved money and box office performance,” he snickers. “None of it was involved with love of cinema, although I did get him to say that his favorite genre is a genre that he didn’t dabble in much other than his first movie [1954’s Highway Dragnet], and that was film noir.”

While the fourth annual Drive-In Jamboree is still in the planning stage, Briggs is delighted by the event’s continued success. “The Jamboree is something that we literally just threw together. We’ve had three of them now. It’s something where we just show up and try to come up with programming for each day.

But I really think the Jamboree is more about the mutant family meeting the mutant family. It’s more about people who know each other online gathering and partying with each other in person. It’s not so much about what movies we have. I mean, we always have an anniversary movie, and we always have some special guests and everything, but it’s more about the gathering of the mutants. It’s fun from that point of view. They’re exhausting, I can tell you that.”

The zeal among Briggs’ audience has only grown over the years, from hosting Joe Bob’s Drive-In Theater on The Movie Channel from 1986 to 1996, to MonsterVision on TNT from 1996 to 2000, and The Last-Drive-In on Shudder since 2018. “I’m amazed, having been in the business for this many years, that I still have a show at this time, because they say you can’t repeat TV,” Briggs notes.

“Nobody wants to see old TV, and yet I’ve done the same show three times on three different networks, and every time I try to change it everyone says, ‘No, no, don’t change it! That’s the part we love.’ I always want to do something new, and I’m always told, ‘No, you’re the CEO of Coca Cola who went to New Coke.’ You can’t do that. People will revolt. So we’re still doing it.

“It’s one of the few shows that I know of that’s just sort of grown organically over, gosh, almost 40 years. We’ve just added elements to the show. We try things. If something doesn’t work, we throw it away. If something works, we do it forever!”

The mutant family will be happy to know that Briggs plans to continue hosting and writing about movies for as long as he’s able to. “I don’t see retiring from this or retiring from writing. I’m primarily a writer, and the good thing about writing is long after they don’t wanna see you on TV anymore you can still write.

“The difference today, though, is I was pretty much the only guy doing genre films when I started. Now, there are academics that do it. There are entire books written about Dario Argento and Tobe Hooper and even lesser names than those, and there are, of course, a massive number of websites, including your own, so that when something comes out today, there’s immediately a hundred reviews of it; whereas in 1982, I was sort of the only guy, because the movies were considered disposable trash. So I have been surpassed in my deep knowledge, because who can keep up with all that? It’s impossible!”

Diana Prince, who serves as Briggs’ co-host Darcy the Mail Girl and was instrumental in getting him back in the hosting chair, has been promoted to an associate producer this season. “She was sort of always the associate producer, but I guess they finally gave her the title,” Briggs explains.

“Diana Prince is in on all the decisions about programming. I always listen to Austin Jennings, the director, and Diana Prince, the mail girl, because they come from opposite ends of the spectrum in terms of what kind of movies they wanna watch, and we try to strike a balance between. You know, she’s not gonna vote for Possession, and he’s not gonna vote for Mountaintop Motel Massacre,” he chortles.

“They’re probably the principal advisors, as far as what we show. Of course, [Diana] has a lot of social media clout, and she’s extremely knowledgeable about pop culture. Wow! She has seen everything. She’s seen more than I’ve seen!”

While surprises are part of the fun of The Last Drive-In, Briggs previews some of what’s in store this season. “The place we normally live is the neglected ’80 slasher, and we still live there,” he assures. “But we’re gonna pay a lot more attention to the ’70s especially. I’ve always thought the ’70s are more interesting than the ’80s anyway. And we’re gonna pay attention to some really recent stuff.”

He teases, “We’re gonna bring back Joe Bob’s Summer School, which is something that we used to do at MonsterVision. And we may have a marathon. There’s a possibility of that. But I’ll be digging this new format of being on every other week between now and at least up to Labor Day.”

While Briggs’ hosting format hasn’t changed much across four decades, the world around him certainly has and that’s why The Last Drive-In remains relevant. He points out, “In the era of streaming, where everything is menus and there are thousands and thousands and thousands of choices, we are that thing called a curator that can direct you to the fun places on the spectrum of streaming.

“Streaming is very confusing for people, and a lot of people don’t like it for that reason. I hope what we’re doing is cutting through the weeds and bringing things into perspective. And, you know, it’s just more fun to watch a movie with us!” he concludes with a Texas-sized grin.

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