Exclusives
Horror Nights ’09: ‘Saw VI’ Co-Writers/Director Talk Franchise Spin, Amanda’s Big Return
While Friday night you got to see the final trailer for Lionsgate’s forthcoming Saw VI, BD was on the red carpet of the Chiller Eyegore awards (in lieu of the opening of this year’s Halloween Horror Nights at Universal Studios Hollywood) chatting it up with Saw VI co-writers Marcus Dunstan and Patrick Melton, along with long time editor-turned-director Kevin Greutert. Beyond the break you can see what they had to say about Jigsaw’s latest game that kicks off on October 23. Watch the stuff about Amanda, very interesting….
Every year we joke that Lionsgate keeps everything top secret, so asking questions is very difficult. When asked what they COULD tell us, director Kevin Greutert joked, “[SAW VI] is very retro in it’s look in that it’s 2-D” (everyone laughs)
“Looks wise we had spoken earlier that they both have a love for the Giallo films,” co-writer Patrick Melton adds, “it’s like the first film aesthetically, it definitely has that vibe to it. We wrap things up a bit at the end, which is a new thing.”
Co-writer Marcus Dunstan continues talking about the color palette, “It’s really colorful for a SAW film. There’s a lot of very distinct use of color in the various sets and it’s also – as much as it has the dirty looks that were used to – there are a few scenes that are in unexpected environments.”
When asked if Kevin would return ever to the franchise, Melton explained that he’s intricate to the story. “Hopefully he’ll be with us just in terms of creating continual storytelling, because Kevin’s been a storyteller since the first entry. In this one he really kicks the entire storytelling aspect in the ass in a great way. It’s not only a satisfying movie, whether it had a numeral six behind it or not, it’s just a terrific movie and he’s an exciting filmmaker.”
Critically, SAW V is the least favorite in the franchise, Melton talks about where they took the sixth film. “One thing that we were very mindful of was the main story, the emotional element that’s going to grab the audience. There’s always that new character, and for sixth there is a new character, his name is William (Peter Outerbridge),” he explains, “and instead of just dripping him into the SAW world we really tried to ground him out as an interesting, flawed character that we could get behind as an audience, so when he does enter the world were already sort of there. We feel that by the end were pretty emotional hooked into his plight.”
But the real shocker came when Dunstan revealed that SAW VI is the first SAW film to take on real world issues. “For the first time in a SAW film it takes advantage of a very timely issue, which hasn’t happened before. It’s topical,” he explains adding that you can flip on the TV and find something relevant. “There’s something you can turn on the TV everyday and see people fighting about it, cursing about it, hurting each other…wouldn’t it be nice to see a horror movie come out and say `you really wanna know how bad it is?’ and that’s what Kevin did.”
Every Saw film has a different forulma and group that the audience follows, Kevin explains, “There are three main storylines. It has all sorts of connections back to back with Jigsaw and Amanda….”
“Amanda?,” I say.
Dunstan reveals, “Once again she’s providing a wonderful emotional center, but also once again brings closure to a few story loops that have been lingering out there and that only this entry – once again with this particular timely character and what Tobin Bell’s character went through – can be answered now, and also give you just a bit of ultimate satisfaction from having invested your time in the first films.”
Greutert teases that we’re all going to be shocked when we see Amanda’s (played by Shawnee Smith) role. “I got to say, I watch the fan forums to see what people are speculating, no one’s touched some of the big things that photo of Amanda [reveal]. They’re going to see it in the movie and go HOLY SHIT!’”
We won’t be waiting long because Jigsaw’s latest game begins on October 23.
Pictured: Co-writers Marcus Dunstan, left, and Patrick Melton, middle, along with long time editor-turned-director Kevin Greutert
Exclusives
New Documentaries Explore the Cult Legacies of ‘The Keep’ and ‘Wolfen’; Watch the Trailers Now [Exclusive]
Undersung werewolf gem Wolfen and Michael Mann’s The Keep get the spotlight in a pair of feature documentaries acquired by Antenna Releasing.
A World War II Fairy Tale, which covers the infamous production of and reception to The Keep, will receive a limited theatrical release in October, followed by a TVOD release on Apple/Amazon. The Keep will also screen as a double feature for some showings.
For Uncovering Wolfen, Antenna eyes a limited theatrical release for 2027. Both films are currently available for booking via Antenna prior to their theatrical and digital releases.
Both documentaries are directed by Stewart Buck, who co-helms with Stéphane Piter on A World War II Fairy Tale.
“We at Antenna are obsessed with film history,” said Chief Acquisitions Officer Billy Ray Brewton. “Stewart has done such a remarkable job of really diving into the deepest recesses of how these films were made and, in doing so, has created the definitive histories of both projects.”
“We’re delighted to be partnering with Antenna Releasing!” said director Buck. “It’s refreshing to see a filmmaker-friendly approach to distribution with people who know what it’s like to be in the trenches with independent projects that struggle to find a home in the crowded marketplace.”
Check out our exclusive trailer and poster reveal of both documentaries below.
Released in 1983, Michael Mann’s The Keep was a notorious box office bomb, critically lambasted and all but forgotten for years, save for the fascination with Tangerine Dream’s iconic score. In recent years, the film has enjoyed a bit of a resurgence and is widely considered a cult classic, though director Michael Mann and many cast members refuse to acknowledge it.
Wolfen, on the other hand, was critical success but was overshadowed heavily by its flashier 1981 siblings An American Werewolf in London and The Howling. It’s also a trailblazer for socio-political horror, and the doc will explore that via the craftspeople who made it.
Look for them both in theaters soon. Stay tuned for more as it arrives.
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