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Hell has been a concept dating back thousands of years, persisting throughout human civilization in some form or another to taunt humanity about the afterlife. Damnation, torture, torment, lakes of fire, punishment for misdeeds or blasphemy… there’s always one of those things involved somewhere. Movies have taken the idea into a whole new dimension of weird though, showcasing every type of Hell imaginable from the mundane to the bizarre.
One of the earliest found footage films, Cannibal Holocaust wasn’t just a revolutionary horror film but a groundbreaking film of realism and terror. That said, Cannibal Holocaust was a complete f*cking mess from start to finish, with the director being arrested and charged with obscenity almost immediately after the theatrical debut of the film.
Faced with a limited budget, Francis Ford Coppola declared early on that “the costumes will be the set.” For its costume designer, he picked Eiko Ishioka, an art director and graphic artist whose poster for Apocalypse Now (1979) he had loved a few years earlier. Something of an unexpected choice, Ishioka had never before seen a vampire movie and had limited costume design experience in feature films.
Mixing Eastern and Western cultural influences, she drew upon everything from insects and lizards to armadillos and red-blood corpuscles for inspiration, creating costumes that evoked haute couture, superhero attire, and traditional Japanese formal wear.
Mary Elizabeth Mastrantonio in The Abyss.
The scene is legendary because it caused her to storm off set and threaten not to finish the film if James Cameron forced her to do any more takes.
In the scene, Mastrantonio’s character, Lindsey, has just drowned and been hauled back to the oil rig, and her husband Bud (Ed Harris), along with their crew mates, are trying to revive her. Mastrantonio was soaking wet and freezing cold, lying on a metal grate. Her shirt was torn and her breasts exposed, and Harris had to shake her, scream at her, and repeatedly slap her across the face (to which she, of course, could not react, and had to play dead).
Why did Michael Corleone go through the trouble of assassinating Stracci and Cuneo, too, instead of limiting the bloodletting to just Barzini and Tattaglia?
Actually, in the novel, Michael did only hit Barzini and Tattaglia.
According to the original source material, Stracci and Cuneo were considered less antagonistic of the Five Families, and they never put their full weight behind Barzini and Tattaglia.
I’m a big Hollywood studio and I want to make a movie called Big Movie. It’s expected to break box-office records.
The first thing I do is create a holding company called Big Movie Holdings, Inc. While it was started by me, it is actually a completely independent company. I will do a deal with this company: it gets the rights to produce, market and hold the movie rights to Big Movie on one condition: it hires me to do the marketing and distribution.
