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tobe hooper interview

HOOPER: To me, Texas Chain Saw Massacre is more than a horror film. When people heard it for the first time, they were passing out in the audience. Perhaps not surprisingly, a fresh wave of “Who really directed Poltergeist?” conversation got going after Hooper’s passing. There’s this disturbing scene of violence about what’s going to happen to these animals—and by inference, to these young people. And so, you’re on your first studio film, hired by Steven. And to this day, a lot of people assume Steven Spielberg directed it — even though the credits list a man named Tobe Hooper. No, actually, Spielberg’s contract stipulated that he couldn’t direct another project while working on E.T., which is why he had Hooper be Poltergeist’s director-in-name-only. And we are good friends. SHOCK: I first saw the film in the shortened American version, with the incredible Michael Kamen music mixed with the Henry Mancini stuff and I have to admit that I think it’s a better cut. It took years to reestablish those friendships but I knew what I needed to get. HOOPER: The bottom line was really simple: it was one of the first really big paying jobs offered to any director for a packaged deal, ever. Two years ago we did costumes for Don Giovanni at the Walt Disney Concert Hall, and Frank Gehry designed the sets. “That is why I will never again not direct a film I write. Lucky guy. If that’s true, you can’t help but wonder how tense that laughter must have been — particularly for Hooper. By Kate and laura Mulleavy Photography Sebastian Kim. Hooper, who was actually three years older than his producer, seemed like one more protégé who was about to get the Spielberg bump, jumping from low-budget movies to blockbuster fare. All of us — whether we’re film critics or just filmgoers — like to think we know how movies are made. Instead, we watch the film still unsure whose achievement it is. A ghost story about some spooky paranormal spirits that descend on a Southern California family, it redefined suburban horror and made glowing television screens a triggering image for Gen-Xers. “Smart and insightful reported features about modern masculinity.”, “@WeAreMel is phenomenal ... the best outlet covering digital culture today.”, “I just laughed out loud for a solid five minutes.”, “The rare men’s magazine that has taken upon itself to investigate masculinity, not enforce it. It gets And it was banned in a number of countries too, wasn’t it? I’m as bored as you are with the endless “Snyder Cut” conversation — they’re rereleasing the movie, big wow — but the only element of that whole debacle that interests me is that it represents a rare instance in which we’re not sure who actually made the film we saw. The rare times that there’s this kind of directing controversy, the temptation is to watch the final film and play detective: Can you tell which person was more likely to make this? They probably felt like they were really experiencing that kind of terror. Each Friday, we’re presenting, honoring the greatest, goofiest and most memorable aspects of blockbuster seasons gone by. LAURA: Some of our favorite horror films have political undertones, like Night of the Living Dead [1968]. LAURA: Which is exciting for us, because we’ve never seen it that way. is what I love. — Rona and the Hoon (@FilmWhanau) August 13, 2020, Poltergeist opened on June 4, 1982, and on its opening weekend, it landed at No. KATE: I read that when you were doing the restoration, you heard sounds you didn’t even know existed. When Pam is hanged on the meat hook, you don’t see penetration. (Or, with Solo or Justice League, you watch individual shots and try to guess which director’s sensibility feels more aligned with it. They don’t just diminish Hooper, they emasculate him. (For the record, actress Zelda Rubinstein, who played the clairvoyant, , “I can tell you that Steven directed all six days I was there. But all is not lost. ). Or a Lord and Miller scene? There is total identification and no mercy; there is no chance of comprehension and only the desperate instinct of self-defense. Pam’s costume was designed with no back to make her look even more vulnerable. But Hooper had something else in mind, as he, Hooper had developed an idea for a ghost story long before Spielberg’s call, but when the two set to work, the division of labor seemed pretty straightforward: Spielberg would handle the screenplay and produce, while Hooper would direct. We had London rebuilt on the back lot with all the tubing’s for the flames and a hell of a lot of extras. But what makes Texas Chain Saw Massacre a great work of art is that it operates on so many different levels. It’s a real human skeleton underneath it. Even when Hooper’s friends stood up for him, they ended up making the director sound like he was a little overwhelmed by the situation and by Spielberg. I’m going to Cannes in a few weeks because it’s going to be screened in the Directors’ Fortnight there this year. You know, that whole summer blockbuster phenomenon? Is that a Ron Howard scene? HOOPER: A little bit, yes. The terror is real. But brick by brick, Hooper was the one who made this film. In 2017, John Leonetti, who was an assistant cameraman on Poltergeist — his brother Matt was the cinematographer — asserted, “Candidly… Steven Spielberg directed that movie. And now with the restoration, you can see even better the membranes that are in between the veins. LAURA: People always ask Kate and me why we like horror films so much. It would have been a very different picture if he had done it. It’s a tough business.”. You feel as if she’s really being torn to shreds. It was just better that they seemed like real people. Seemingly, it was an arrangement with which Spielberg would be familiar. Mick Garris, who directed. “So I did very much believe that there’s an energy that can manifest itself, that’s beyond our hearing and sight.”. In his, , “There’s some controversy about the individual contributions to the film made by Mr. Spielberg and Mr. Hooper. SHOCK: So your first picture for Cannon was LIFEFORCE. Then there were the conspiracy theories that started popping up. [signs his name] That’s way cool. And I guess on the drive from Austin to Dallas on the weekends, I’d pass this slaughterhouse. —Christopher Bollen. It just wasn’t done because of some convention. Still, Hank (Mancini) did a great job. HOOPER: Yeah, it is. The language of horror wasn’t established yet. The plot of the film is gorgeously simple: five youths in a van visit a remote house in central Texas that belonged to the grandfather of the lead protagonist, Sally Hardesty, and quickly become victims—and possibly food—for a family of cannibals that resides next door. KATE: I was thinking about that because you are always acutely aware of how little she has on—the vulnerability of her back is eerie. All I’m sure of is that the job of a film director is viewed as a hallowed, mighty position — you’re a god whose every whim must be obeyed. and disagreements. [Kate and Laura laugh] But driving home I was thinking about it.

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