Brad Caleb Kane (“IT: Welcome to Derry”), showrunner of A24’s upcoming prequel series, shared the news on Instagram.

“Lunch with the maestro and composer of the iconic [Friday the 13th] Ki Ki Ki Ma Ma Ma theme [Harry Manfredini]. Cookin’ up some fresh nightmare fuel for ya,” Kane captioned a photo of the two them at lunch.

It’s unclear if Manfredini will be the series’ main composer or take on a different role — contributor, consultant, or perhaps writing the opening title theme? — but in any event, his involvement is a show of good faith for fans.

Linda Cardellini stars in “Crystal Lake” as Mrs. Voorhees, a mother who gave up a singing career to raise her special needs child, only to take a dark turn when she loses her son — Jason Voorhees.

William Catlett (Abigail), Cameron Scoggins (“Nashville”), Devin Kessler (“Godfather of Harlem”), and Gwendolyn Sundstrom also star, with Callum Vinson (“Chucky”) as young Jason.

The eight-episode series is set to be directed by Michael Lennox (“Derry Girls”), Celine Held & Logan George (Caddo Lake), and Quyen Tran (“The Pitt”).

A staple of the series, Manfredini composed the scores for nine of its twelve installments: Friday the 13th, Friday the 13th Part 2, Friday the 13th Part III, Friday the 13th: The Final Chapter, Friday the 13th: A New Beginning, Friday the 13th Part VI: Jason Lives, Friday the 13th Part VII: The New Blood, Jason Goes to Hell: The Final Friday, and Jason X.

Manfredini also worked on Friday the 13th: The Game and the Crystal Lake Memories documentary, along with such cult classics as House, Wishmaster, Swamp Thing, DeepStar Six, and The Hills Have Eyes Part II.

“Crystal Lake” is due out on Peacock later this year.

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As previously reported, James A. Janisse and Chelsea Rebecca from Bloody FM’s mega popular horror podcast Dead Meat will be hosting the festivities. Together, they will interview Cunningham and Manfredini prior to the screening, so plan to arrive early at The Autry Museum in Griffith Park (4700 Western Heritage Way, Los Angeles, CA 90027).

Camp Crystal Lake is open for one night only and tickets are selling fast. Get yours now!

Guests can also look forward to themed photo ops courtesy of Paramount Scares and the Mystic Museum, swag giveaways, spooky marketplace, interactive horror trivia, and more. A lineup of LA’s favorite food trucks will be on-site, offering delicious eats for purchase, alongside a full bar serving specialty cocktails inspired by the film. There will also be live music from DJ Splyce.

Doors open at 8pm and programming starts at 10pm. General Admission Tickets are $25, but secure your tickets ASAP. After all, VIP is already sold out. Seating is first come, first serve for both General Admission and Reserved sections. Chairs are not included.

Originally released in 1980, Friday the 13th tells the terrifying story of a group of counselors at a remote summer camp who are stalked by an unseen killer as a dark secret from the camp’s past comes to light. The film became a landmark in the horror genre, launching a legendary franchise that has thrilled audiences for decades.

Additional SFC schedule announcements are coming soon and will continue throughout the season, including additional surprise special events.

SFC is owned and produced by TIL Events (www.tilevents.com).

The post Sean S. Cunningham to Attend Bloody Disgusting’s ‘Friday the 13th’ Anniversary Event in LA This Friday! appeared first on Bloody Disgusting!.

Harry Manfredini’s score for Friday the 13th is iconic. More than just beautifully evocative and eerily unsettling, the music is one of the key elements that elevates the film from a copycat cash grab to a worthy slasher successor. Manfredini’s score is as integral to the Friday the 13th franchise as Jason himself, offering a seamless blend of his original ideas and potent reference points. To celebrate this Friday, the 13th, let’s examine what makes Manfredini’s score such a powerful asset to the film and a pivotal score that helped redefine the slasher sound.

When Sean S. Cunningham took out an ad in Variety, he boldly announced Friday the 13th would be “The Most Terrifying Film Ever Made.” Now, the only real problem with this declaration was that neither a film nor script existed at that point. Once the narrative pieces finally began to fall into place, the pressure was on to deliver the terrifying goods. With Halloween having set the standard for what a new era of horror could look and sound like, Cunningham knew that a good score would be crucial to the film’s overall success. Luckily, he knew just the guy to call.

Originally from Chicago, Harry Manfredini inherited his love for movies and music from his Italian parents. Enamored with music at an early age, the power it possesses to shape and manipulate emotions on such a deep level quickly drew him to the field of composing. Having previously worked together on Manny’s Orphans and Here Come the Tigers, Cunningham and Manfredini developed a solid working dynamic with high professional respect. 

This fact proved invaluable when Manfredini screened an early cut of Friday the 13th for the first time. While watching the film (without music or sound effects), Manfredini quickly realized that his work was cut out for him. Unlike Halloween that provided Michael Myers plenty of screen time to creep audiences out, Friday the 13th utilized POV shots to embody its killer. Although an effective way to build intrigue and maintain tension, there was just one little problem with the POV perspective – it wasn’t scary. 

With no real frame of reference for who the killer is, what they look like, or when the shot presented is actually the killer’s perspective and not just a slightly shaky cam shot, the need to sonically telegraph the killer’s presence was paramount. In a 2020 interview with Limelight Magazine, Manfredini recalled this issue saying:

“I told Sean that because we don’t see the killer until the ninth reel, we needed to somehow introduce them in reel one. I suggested that we only have music when the camera is from the viewpoint of the killer, making it immediately indicative that we’re now seeing with their eyes.”

Taking a cue from Psycho, Black Christmas and John Williams’ classic score for Jaws, Manfredini set forth to use his score to give the audience something tangible to cling to. When Cunningham suggested a choir element of some sort, Manfredini recalled a piece by Polish composer Krzysztof Penderecki that employed prominent, striking vocalizations. Inspired by the technique, Manfredini gravitated towards one scene in particular to draw from. 

Recalling a close-up shot towards the end of the film where Pamela Voorhees says, “Kill her mommy,” Manfredini took the ‘ki’ from ‘kill’ and the ‘ma’ sound from ‘mommy.’ Then, to further distort and unease he executed the sounds in a harsh and rhythmic way and ran them through an Echoplex delay module. Not only did the resulting ‘ki ki ki ma ma ma’ motif become the alarm signaling the killer’s presence, it injected a new energy into the film that allowed scenes to shift from innocuous to dangerous at the drop of a hat. Additionally, the choice to use a human voice for the subtext laden effect versus a more electronic sound allows the killer to retain an important (and scary) level of humanity.

For the rest of the score, Manfredini chose to embrace a more traditional approach in terms of instrumentation. With Friday the 13th dually representative of ’70s film aesthetics and a more progressive 80s approach to horror and gore, Manfredini’s Psycho and Jaws-inspired use of strings blends seamlessly with restrained electronic elements. Though standing in direct stylistic contrast to Carpenter’s icy synth minimalism in Halloween, Manfredini similarly encountered budget restrictions that forced him to get creative. Only able to hire a small crew of 12 musicians, Manfredini implemented a variety of layering and orchestration techniques to give the final product a robust energy. And, the challenges didn’t end there. 

To ensure the final shocking twist in the film hit as hard as possible, Alice was allowed to drift away in the canoe for a strategically long time. To support this false ending set-up, Manfredini was tasked with coming up with a piece of music that would assuage any concerns or doubts about Alice’s safety. While the producers originally wanted a Dolly Parton song for that scene, the small budget simply wouldn’t allow it.

Rather than come up with something totally disconnected from the rest of the score, Manfredini had the brilliant idea to expand and rework a short country song that he had written for the restaurant scene earlier in the movie. Teaming up with vocalist Angela Rotella, the track “Sail Away Tiny Sparrow” was born with lyrics that kept the Dolly Parton spirit alive. Rarely has the saying “necessity is the mother of invention” ever been more true than in relation to the many obstacles and hurdles that Friday the 13th had to overcome; Manfredini’s score included.

In the end, Manfredini’s thoughtful observations and dedication to serving the best interest of the film resulted in a score that will forever live in the Horror Score Hall of Fame. Inarguably iconic from start to finish, the ripples of effectiveness contained within Manfredini’s work deeply influenced the wave of slasher films to come. With its symbiotic relationship between sound and character, the inextricable fusion adds a persona, presence, and weight to an otherwise silent antagonist. 

Cunningham fully acknowledged this fact when he said, “I’m sure that without Harry’s music and without those sound effects, we never would have had the success that finally happened.” But more than that, Manfredini solidified a sonic formula that would soon become the slasher gold standard. Films like A Nightmare on Elm Street, Candyman, Slumber Party Massacre, My Bloody Valentine and more took careful note of Manfredini’s work and sought to replicate the magic for themselves. While some succeeded more than others, there’s no arguing that Friday the 13th and Manfredini’s music opened the floodgates, allowing a new wave of creators, composers, and killers to burst out of the shadows and into our horror-loving hearts.

Dying for more Friday the 13th content? Today — September 13, 2024 — Paramount Scares and Bloody Disgusting are presenting an eight-film marathon on the Friday the 13th franchise. Not in the area? Can’t make it? Paramount Scares and Fangoria are also presenting nationwide screenings of FRIDAY THE 13th – The Final Chapter.

The post Killer Score: How Harry Manfredini Helped Redefine the Slasher Sound [Friday the 13th Week] appeared first on Bloody Disgusting!.

The dark side of wish fulfillment is explored in the upcoming feature-length horror film Wish, which asks the question: How far would you go to have your dreams come true?

The production team has announced the inclusion of legendary composer Harry Manfredini to create the soundtrack for Wish. Read on for more information and find a sneak peek below.

Set in modern-day Florida, Wish follows the story of a struggling female writer who, in her pursuit of success, uncovers a terrifying secret – her friends are making deadly wishes to an evil Djinn. One by one, as these seemingly innocent wishes come true, they unleash horrific consequences, leading to a cascade of mysterious and gruesome deaths. The film delves into the human obsession with shortcuts to success and the tragic price that comes with it.

“Wish is a dark, psychological horror film that explores the desperation of wanting a better life and the dangers that come with taking the easy way out,” says director Robert Massetti. “With Harry Manfredini’s masterful touch, we will heighten the suspense and terror with a score that taps into the primal fears of our audience, much like his unforgettable work on Friday the 13th.”

Wish is produced by FEAR FILM Studios, with the team promising “stunning practical makeup effects and creature design to maximize the terror without reliance on CGI.”

For more information on Wish, visit the film’s ongoing Indiegogo campaign.

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RelyOnHorror‘s William Lockwood recently attended Camp No-Be-Bo-Sco’s Crystal Lake Reunion event, where he met up with Manfredini to talk about his experiences composing the scores for the Friday the 13th series, as well as the 2017 game by IllFonic and Gun Interactive.

According to Manfredini, he’ll be working on the music for a new, as yet unannounced Friday the 13th game!

Manfredini says that the new game is being developed by a different developer this time around, and will feature “more realistic looking” characters. It will also apparently not be in the asymmetrical multiplayer vein of the previous game, though he couldn’t elaborate on the details.

This is about all anyone knows at the present time about this new game, so it’s something we’ll have to keep an eye on.

Meanwhile, Gun Interactive is in the midst of developing The Texas Chain Saw Massacre, which is set to launch for the PlayStation 4, PlayStation 5, Xbox One, Xbox Series, and PC via Steam on August 18. It will also be available day one on Xbox Game Pass.

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We’ve learned this week that La-La Land Records will be releasing Manfredini’s Friday the 13th: The Game soundtrack in a 2-CD set later this month, confirmed via Twitter!

The CD set will be released on September 11. Listen to a track below.

Coming this month from @LaLaLandRecords – @MissionFilm 2-CD set by @Lornebalfe – #FridayThe13thTheGame 2-CD set by #HarryManfredini – Expanded #TheSandlot CD by #DavidNewman – @KingCohenMovie feature film #BluRay & #soundtrack CD by @joekraemer pic.twitter.com/855nNpkG8S

— La-La Land Records (@LaLaLandRecords) September 1, 2018

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“First of all, please let me say that The Violence Movie was never meant for public consumption,” explained Eric. “My little brother and I were teenagers and we loved movies like Friday The 13th, Halloween and A Nightmare on Elm Street. It was summer 1988 and we had nothing to do so I had this ‘brilliant’ idea to pool our money, rent a VHS video camera at Erol’s and had 24 hours (before we had to return the camera) to make our ‘movie’. I scribbled a story and script out on scrap paper, had my brother call his best friend to join in our adventure and we just kind of made it up as we went along. I dumped it down to my Sony Betamax to edit it and the back to VHS to add music from my record collection, which included generous use of my Friday the 13th album, and we had this funny short to share with our family and friends.”

Many years passed, the brothers grew up and Eric became a successful producer in indie film circles and creator of the MVD Rewind Collection. Having long moved on to new projects, Eric had mostly let this first filmmaking venture fall off into obscurity. And then last year it suddenly resurfaced when a friend Eric had previously shown the film to wanted to upload it to Sundance Now. For the full details on that you can refer to my article from last August, but long story short Eric was actually able to bring Manfredini on to create an original score, re-edit the film, submit it to Sundance Now and have it premiere at the New Jersey Horror Con and Film Festival.

What I didn’t know at the time is way back all those years ago, Eric and David actually made a sequel because as we know all great slashers get a sequel.

“I made a few copies [of The Violence Movie] and the tapes were passed around locally and we became local legends so, a year later we made a sequel…The Violence Movie 2,” Eric said in a Facebook post. “I basically was Adam F. Goldberg or Chris Strompolos (and probably everyone else here… I’m sure there are a lot of collectors that made their own horror movies with their parent’s camcorder as well).”

The screening of the first film was so popular at the New Jersey Horror Con that audience members in attendance wanted to buy copies but the brothers didn’t have any on had. That will all change on May 8th when MVD Entertainment Group releases The Violence Movies: Parts 1 & 2 on DVD!

The DVD will run your $12.95 and can be pre-ordered now from Amazon. If you’d like to get a taste of what the films offer before the DVD release you can currently stream the first entry on Prime. I’m super stoked for this release. I think it’s an awesome story that all horror fans can relate with.

THE VIOLENCE MOVIE
When a deranged killer (David E. Wilkinson, ”Jersey Girl”… but as a lame extra in a scene with Ben Affleck… still counts!) escapes from prison, he inexplicably invades the home of Joey Hammond (Joseph Shaugnessy) who must fight for his life in order to stay alive.

THE VIOLENCE MOVIE 2
Was it real or was it a dream? For some unexplained reason Joey Hammond (Joseph Shaughnessy) returns in this action packed sequel. This time the crazed serial killer (David Wilkinson) is relentless in his pursuit of the innocent Joey with 2 times the action, 2 times the gore, 2 times the body count, and 2 times the fun (well, not really)! It’s the sequel in which you will keep asking yourself, ”Why?”

SPECIAL FEATURES
• Audio Commentary featuring star David Wilkinson and writer / director Eric D. Wilkinson
• Unreleased alternate version of ‘The Violence Movie 2’ with optional audio commentary
• Deleted scenes and outtakes from ‘The Violence Movie’ and ‘The Violence Movie 2’
• ‘Violence in 2003: The brothers Wilkinson re-visit the scene of the crime (the original location) for re-shoots 15 years later
• The original opening credit sequences for both ‘The Violence Movie’ and ‘The Violence Movie 2’
• The Violence Movie Trailer
• Original ‘Script’ (if you want to call it that… basically a bunch of scribble on scrap paper)
• Photo Gallery
• Reversible artwork (Violence Movie 2 artwork of the inside)
• Collectible Poster

The post ‘The Violence Movie’ and Its Sequel Are Coming to DVD appeared first on Bloody Disgusting!.

Composed by Harry Manfredini (Friday the 13th), the soundtracks to both House 1 & 2 are perfect for setting the appropriately spooky, yet whimsical mood at your Halloween party. Waxwork teamed up with Manfredini to acquire the original soundtracks to both cult-classic films, and re-master the complete recordings for vinyl.

The deluxe double LP release marks Waxwork Records’ very first double soundtrack album. Disc 1 of the set features the re-mastered 1986 soundtrack to HOUSE, and Disc 2 features the re-mastered 1987 soundtrack to HOUSE 2: The Second Story.

HOUSE 1 & 2 Original Motion Picture Soundtracks features include 180 gram colored vinyl, deluxe packaging, old-style tip on gatefold jackets, re-mastered audio, and all new artwork by Gary Pullin. The packaging layout of the album also features another first for Waxwork Records with the inclusion of a vertically illustrated inner gatefold jacket.

The 180 gram 2xLP is available on “Big Ben” colored vinyl (Metallic Gold and Brown with Black Smoke) or “Crystal Skull” colored vinyl (Crystal Clear Vinyl with Blue Smoke).

Grab yours through Waxwork Records beginning Friday, October 6!

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As for the music, it was handled by franchise staple Harry Manfredini!

Manfredini composed a new (but perfectly familiar) score for Friday the 13th: The Game, and we’ve just learned that Waxwork Records plans on releasing that score on vinyl. Waxwork’s Kevin Bergeron made the exciting reveal in a chat with Geek.com this week.

“Oh we’re doin’ it. It’s going to be this crazy expansive double (maybe even triple) LP thing,” he told the site. “I mean the game is so awesome and so much fun to play. And yes, it will be more than just retro Jason’s theme. It’s going to be all the music from the game. I even want to license that Misfits song that plays in the main cabin. We’re pretty tight with Jerry Only, so we just have to reach out at some point.”

Stay tuned for more info!

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You really have to wonder how desperate New Line Cinema was to accept the whole “Jason in space” idea so quickly. They didn’t want to hear any other ideas? Not a single one? Hell, even Kane Hodder hesitated when he read the script for the film. Who could blame him? The last horror franchises to go to space (Critters, Leprechaun, Hellraiser) were all duds. Jason X is the kind of movie that ends up on the How Did This Get Made? podcast. Nevertheless, it was made and we’re stuck with it forever. Even knowing that space is known to kill horror franchises, New Line moved forward with Jason X because they needed to make another Friday the 13th film but they had to make it different enough so that it wouldn’t interfere with any potential Freddy Vs. Jason storyline (and there were a lot of potential Freddy Vs. Jason storylines).

To stand out from earlier installments, a significant amount of self-referential humor and camp was injected into Jason X. This was, of course, influenced by the massive success of Scream back in 1996. The original script for the film was darker than the final product would turn out to be, but the studio kept insisting that the film be more like Scream. What the studio didn’t realize was that Jason X would be released at the tail end of Scream’s success. In fact, it came out two years after Scream 3 was released to a tepid critical response, and by that point that meta well had dried up. When Jason X was released on April 26, 2002, no one cared. To say the film was late to the party would be an understatement.

It is important to note that while Jason X was released in 2002, the movie was actually filmed in 2000. This doesn’t completely excuse its dated attempts at meta humor, but it does somewhat explain it’s “late to the party” feel. During filming Michael De Luca, the President of Production of New Line Cinema, left the company. Unfortunately for Jason X all support for the film left with him. You see, De Luca was one of the main reasons Jason X even got the greenlight. After he left the film was shelved for roughly 18 months before finally being released in April 2002 (though it did get released in Germany in July 2001). That delay didn’t help the film, as a copy of it leaked online, making it one of the most pirated movies of that year. Upon its American release it received even worse reviews than Jason Goes to Hell and earned its place as the lowest grossing film in the franchise. Ouch.

I’m not writing this article to tell you that Jason X is a good movie. It’s not. It’s actually a laughably bad movie. That being said, I can’t help but sort of love it. I actually rank it 5th in the franchise. I started writing this article as a defense of Jason X and about halfway through realized that I can’t really defend it. I can explain my admiration for it though, and it really all boils down to the lack of pretension in the film. Jason X is never particularly scary, and the jokes miss more than they hit, but it still feels very much like a Friday the 13th film.

Director James Isaac doesn’t really have a signature style, choosing to film the movie in as straightforward a way as possible. Isaac, who died from multiple myeloma back in 2012, has even stated that he wishes he could have filmed the script that the initially read before all of the tweaks, but the film we have is still a solid effort from the director. This isn’t to say that Isaac made a gem of a movie of course. Let’s be honest, even with its $13 million(?!) budget, Jason X looks like a SyFy movie. Would you believe that there were 800 special effects shots in the film?

The cast, which includes a pre-Lizzie McGuire Movie Yani Gellman, Peter Mensah and a cameo be David Cronenberg, is mostly made up of unknowns. They do their best with the material, but they can’t help the fact that (at the time) they were just a bunch of C-level actors trying to make a quick buck off of a dying horror franchise. Still, a handful of them really look like they are having fun, particularly Andromeda’s Lisa Ryder as the android Kay-Em 14. That’s all you can really ask from the cast of a Friday the 13th film, isn’t it? If the cast isn’t having fun, the audience isn’t either. As dumb as Jason X is, at least it’s fun and entertaining. On top of that, it knows exactly what it’s trying to be. That may not be as big a deal to some of you, but I have a great deal of respect for films that know what they are. That trait makes a film more likable, and Jason X is infinitely more likable because it doesn’t take itself seriously.

As mentioned above, the jokes are hit or miss in the film, but the one joke that really lands is the now-famous virtual reality sequence in which Jason is transported back to Camp Crystal Lake via virtual reality, in a meta sequence that comments on the more ridiculous aspects of the franchise while paying its respects at the same time. Hell, it even recreates one of the best kills of the franchise with a pair of sleeping bags.

Take 92 minutes today to rewatch Jason X. Maybe it’s not as bad as you remember. Or maybe it’s worse than you remember. Either way, try to go in with an open mind and just have fun with it. That’s the way Jason X was meant to be seen. It’s neither the best nor the worst entry in the Friday the 13th series, but it has its charms.

All facts referenced in this article were sourced from Daniel Farrands’s 2013 documentary Crystal Lake Memories.

The post This Doesn’t Suck on So Many Levels: A Look Back at ‘Jason X’ appeared first on Bloody Disgusting!.

The site writes that the film is about, “…a serial killer, Peter “The Doll Maker” Harris, who returns to his ancestral family estate after being released from the state’s hospital for the criminally insane after twenty years – a “cured” man. Once inside the old house, anguished memories from a tortured childhood and visitations from past victims shake Peter’s resolve, but it isn’t until the lovely young Ashley enters his life that Peter makes a fateful decision — one that rekindles old desires that have always ended in murder.”

On top of Halloween masks, there will also be several dolls created by Guastini, which will also be part of the merchandise push around the film’s release.

Produced by Amy Williams, Rock Paper Dead has a tentative release date of Halloween 2017.

The post ‘Rock Paper Dead’ Combines Several Horror Icons appeared first on Bloody Disgusting!.

The label also states that the, “…release will feature a 3D lenticular cover, art from the deleted ending, blue & red 3D glasses vinyl, and more.”

Check out the teaser below and we’ll keep you updated as we learn more!

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It’s a beautiful night to be outside. It’s chilly, but not enough that it’s uncomfortable. What is uncomfortable is the sudden sharp pain you feel in your stomach. You look down to see six inches of dirty steel protruding from your stomach. As the light leaves your eyes, you wonder if there will ever be a third Condemned game, and if it’ll be any good. Then, you go to sleep.

As relaxing as that meditation exercise was for all of us, it wouldn’t have been as effective if we didn’t have a track from composer Harry Manfredini’s Friday the 13th: The Game OST to build off of. There will be more like it in the full game, so long as it gets another $15k before its Kickstarter campaign wraps up on Friday (Nov 13).

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You might’ve noticed the special Happy Halloween Manfredini gave out exclusively to the 8,130 people who have helped the game’s crowdfunding campaign raise just under $550k of its $700k goal with 16 days left in it. If you’d like to be special, you can get in on that by supporting Friday the 13th: The Game on its Kickstarter page.

In related news, the folks at Gun Media and Illfonic are hosting a Reddit AMA right now, in case you have a Q you’d like to get A’d.

The post A Message from ‘Friday the 13th: The Game’ Composer Harry Manfredini [Exclusive] appeared first on Bloody Disgusting!.

Friday the 13th: The Game is an officially licensed title that includes the work of original film composer Harry Manfredini and Kane Hodder (who played Voorhees in several of the films’ titles), and it received the blessings of creator Sean S. Cunningham himself.

Now, just like any good Kickstarter, there need to be what are called “stretch goals”, which are milestones after the initial goal has been reached. These stretch goals can bring additional content to the game in multiple forms, such as new characters, new levels, and even behind-the-scenes information that would’ve otherwise never been seen.

We’re here to tell you about three stretch goals that studio Gun Media has set, each of which is something pretty incredible to fans of the franchise!

Check it all out below and make sure to support the game at the above link!

1) Savini Workshop is at 750k – Behind the scenes interview added to the game. Watch Savini, Sultan of Splatter, and his apprentice create an all-new Jason. That’s right….an all-new Jason Voorhees created by Tom and his team.

2) Tommy Jarvis is at 1,200,000 – Tommy Jarvis returns to Crystal Lake to help collect and decipher information about Jason Voorhees! This will mean a playable Tommy Jarvis, with his own unique skill set. We also have something more unique planned if the budget allows – perhaps do enough for Tommy and a secret awaits?

3) Pamela is at 4,050,000 – Play as the original killer from the first Friday the 13th film. Jason’s mom, Pamela Voorhees! Complete with a whole new animation set. Everyone knows what Jason can do, but how will Pamela play? Can she morph around the map? Can she still perform all the brutal kills that her baby boy can? Or, will she have to rely on stealth to execute the camp counselors?

The post Here are Some Stretch Goals for ‘Friday the 13th: The Game’ [Exclusive] appeared first on Bloody Disgusting!.

It’s October, which means we want to help you plan your Halloween spookfest! Be it a big costume party, a small gathering of your close friends, a night in with your loved ones, or even just you chilling on your own, the mood needs to be properly set and what better way to do that than with a solid horror score? From playfully delightful to eerily sinister to full out nightmare chaos, we’ve compiled a list of 31 essential horror scores that you need to check out!

Below is full list, which includes composers such as Danny Elfman, Jerry Goldsmith, Goblin, Howard Shore, Douglas Pipes, Takefumi Haketa, Krzysztof Komeda, and much, much more. Additionally, this list isn’t just movies. We’ve also tapped a few video games as well as TV shows, so there’s a nice bit of range to this list.

Give these tracks a listen and let us know which ones you think we missed out on!

1.) The Perfume of the Lady in Black – Nicola Piovani
2.) Suspiria – Goblin
3.) Alien – Jerry Goldsmith
4.) Rosemary’s Baby – Krzysztof Komeda
5.) The Beyond – Fabio Frizzi
6.) Halloween – John Carpenter
7.) Insidious – Joseph Bishara
8.) Friday the 13th – Harry Manfredini
9.) Silent Hill 2 – Akira Yamaoka
10.) Resident Evil 2 – Masami Ueda, Shusaku Uchiyama, Syun Nishigaki
11.) Lord of Illusions – Simon Boswell
12.) Clive Barker’s Undying – Bill Brown
13.) Twin Peaks – Angelo Badalamenti
14.) Nightmare on Elm Street – Charles Bernstein
15.) Hannibal – Brian Reitzell
16.) The Fog – John Carpenter
17.) The Omen – Jerry Goldsmith
18.) Trick r Treat – Douglas Pipes
19.) Psycho – Bernard Herrmann
20.) Evil Dead – Roque Baños
21.) Beetlejuice – Danny Elfman
22.) Jaws – John Williams
23.) Bram Stoker’s Dracula – Wojciech Kilar
24.) Kairo (Pulse) – Takefumi Haketa
25.) It Follows – Disasterpeace
26.) Dawn of the Dead – Goblin
27.) The Addams Family – Marc Shaiman
28.) Sleepy Hollow – Danny Elfman
29.) Cape Fear – Bernard Herrmann
30.) Candyman – Philip Glass
31.) The Fly – Howard Shore

The post 31 Essential Horror Scores appeared first on Bloody Disgusting!.

Waxwork states:

The original master tapes were discovered in the Paramount Pictures vaults by Manfredini and have been faithfully restored, edited, and mastered for vinyl to create the definitve FRIDAY THE 13TH PART II LP release. Features include 180 gram colored wax housed in a heavyweight old-style tip-on jacket with full package artwork by Rich Kelly, and a fold out poster of the album cover art.

The release will come on two vinyl variants, both on 180 gram vinyl: ‘Jason Sack Mask with Blue Splatter’ and ‘Mrs. Voorhees Sweater with Blood Splatter’. Pre-orders will start at a random time tomorrow on Waxwork’s official website, on the absolutely fitting Friday the 13th! The record itself will be released May 8th, 2015.

You can stream samples from the album below.

SIDE A
1. Flashback
2. Alice Hangs Up
3. Keep a cool Head (Main Title)
4. Prowler
5. Ralph Gets Cursed
6. Terry Looks For Muffin
7. Jeff and Sandy Are Watched
8. The Chase / Sheriff Visits / Villa Jason
9. Terry In Lake / Dolly In, Scott Out

SIDE B
10. Vickie Is Watched / Jason at Door
11. Vickie Goes Up
12. Jason and Paul Meet
13. Ragtop and Running Ragged
14. Ginny Under The Bed
15. Ginny Visits Villa Jason
16. Who’s At The Door?
17. Return To Chez Jason / End Title

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Waxwork has already released the score to the original Friday The 13th, which I can personally state is a fantastic release with unbelievable packaging. Also, their release of Rosemary’s Baby is a record that I put on with great frequency.

Waxwork has also hinted that there could be even more releases, stating:

For those who survived Friday the 13th, you’ll be happy to know that we have more complete F13 releases on the way.

Excited to see the release of #FridayThe13th Part 2 soundtrack on Vinyl from @waxworkrecords this year. News to come soon!

— Friday The 13th News (@F13thFranchise) February 15, 2015

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Now, we’ve ranked the entire series and there’ve been countless thoughts on which of his victims got it the worst (I still think it’s this one). And we all know that Voorhees is pretty much unstoppable and downright invincible. The amount of damage that he has endured over the years is utterly mindboggling and yet he somehow still manages to keep coming back to kill more and more people. But let’s take this opportunity to focus on the times when Jason himself has met his “demise”.

Also, if you can think of a fun way for Jason or one of his victims to encounter a horrible and painful death, let us know in the comments!

The post Which Jason Voorhees Death Was The Greatest? appeared first on Bloody Disgusting!.

The soundtrack, which was composed by Harry Manfredini, features package artwork by Jay Shaw.

The post Waxwork’s ‘Friday The 13th’ Woodland Green/Blood Splatter Variant Is Gorgeous! appeared first on Bloody Disgusting!.

Waxwork states:

LP details include a heavyweight old-style tip-on gatefold jacket with satin finish housing the restored and remastered score pressed onto 180 gram vinyl. Exclusive liner notes from composer Harry Manfredini and director Sean Cunningham have been contributed to this release. Inserted into each gatefold jacket will be a heavyweight art print illustrated by Jacqui Oakley. The full gatefold art has been created by Jay Shaw. This LP marks the first time the complete Friday the 13th original film score has been released on vinyl.

More details below.

Vinyl details include:
– Limited edition blood filled vinyl limited to 100 units and one per customer.
– Woodland Green with Blood Splatter vinyl
– Crystal Lake Murky Green and Blood 2 color split
– Crystal Lake Murky Green

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For Harry Manfredini‘s Friday The 13th, the album will drop August 29th and feature notes from Manfredini and director Sean Cunningham with artwork by Jay Shaw. There will also be three variants: “Woodland Green and Brown haze with Blood Splatter,” “Deep Murky Green,” and “Blood Filled” (which is limited to just 100 variants).

Head below for artwork and music samples of these releases.

The post Waxwork Unveils Details For ‘Chopping Mall’ And ‘Friday The 13th’ Vinyl Reissues appeared first on Bloody Disgusting!.

Head below for the artwork as well as three preview tracks from the album.

The post Waxwork Records Reveals ‘Friday The 13th’ Vinyl OST Cover Art appeared first on Bloody Disgusting!.

The post Waxwork Records Teases Upcoming ‘Friday The 13th’ Vinyl Reissue appeared first on Bloody Disgusting!.

Below we take a little bit of time to talk about the four composers who have laid their musical stylings upon the Friday The 13th series. We’re going to look at the films that they worked on as well as their other contributions to the horror genre. So head on down and check it all out!

Films: Friday The 13th – Friday The 13th Part VII: The New Blood, Jason Goes To Hell: The Final Friday, Jason X

The original, the master, the founder of what we think of when it comes to the music of the Friday The 13th series. Manfredini is singlehandedly responsible for the infamous “Ki-ki-ki…ma-ma-ma…“, taking Mrs. Voorhees’ recital of, “Kill her, mommy!” as inspiration.

Compared to Bernard Herrmann, Manfredini has scored over 100 projects, including House, Slaughter High, Wishmaster, Swamp Thing, The Children, and more.

Films: Friday The 13th Part VII: A New Blood, Friday The 13th Part VIII: Jason Takes Manhattan

Mollin co-composed Part VII: A New Blood with Harry Manfredini and then took the reins on Part VIII: Jason Takes Manhattan. He is also responsible for composing the music behind Friday The 13th: The Series, the syndicated television series that ran for three seasons.

While Mollin didn’t delve too much into scoring for other horror projects, he did score a few episodes of The Outer Limits and several episodes of Forever Knight.

The post A Retrospective On The Friday 13th Composers! appeared first on Bloody Disgusting!.