#THE ANDROMEDA STRAIN MOVIE BLACK LINES FULL#
#THE ANDROMEDA STRAIN MOVIE BLACK LINES TV#

Some of the actors вЂ“ like Shane Twerdun вЂ“ come from a strong improvisational background, how much was this utilized in the film? ItвЂ™s a really unique group of characters youвЂ™ve put together, and the ensemble cast really works. ItвЂ™s worth checking out if you havenвЂ™t seen it. TheВ cinematographyВ is completely unique and the setting is haunting. When I watched it again as an adult, I was able to appreciate it in a whole new light. As a child, I had absolutely no idea what was going on, but I really admired it. It posed many questions and didnвЂ™t spoon-feed the answers to the audience. It was so slow moving and smartвЂ“it really forced you to listen as it slowly set up a very complex ideology. I came upon it completely by accident, and was strangely mesmerized by how boring it was. I watched The Andromeda Strain when I was nine or ten years old, late at night while surfing through channels. But when we arenвЂ™t in that crazy world, we still see the consequences of actions unseen. Eyes Wide Shut is a perfect exampleвЂ“ThereвЂ™s only one scene in the middle of the film where we see this mysterious hidden world. There always a much more complex narrative happening, and he only ever offers glimpses into the reality of his films. Kubrick is always telling the real story behind closed doors.

(The biggest problem with modern horror is the paceвЂ“terrible character development and too much emphasis on being вЂњscaryвЂќ, but I digress) He spends lots of time with character development, which I absolutely adore.

#THE ANDROMEDA STRAIN MOVIE BLACK LINES FULL#

Films like Full Metal Jacket, The Shining and Eyes Wide Shut are perfect examples of how pacing can createВ unprecedentedВ tone. Kubrick was the undisputed champion of tone and atmosphere. The Shining was the biggest tonal inspiration. These are men getting the job done.В No other movies that I know about really have that quality. These arenвЂ™t men struggling with their emotions. They donвЂ™t die while running, crying and screaming, while tripping and falling on the ground. None of the characters are caught making-out or smoking a doobie. I admire The ThingвЂ™s grit and the almost вЂњhyper-masculineвЂќ approach. My favourite aspects of CarpenterвЂ™s The Thing are the setting and the charactersвЂ“and I think that shows in Black Mountain Side. Other movies I drew inspiration from include The Fly (1986), Altered States (1980) and Alien (1979). The two biggest inspirations were The Shining (1980) and The Andromeda Strain (1971). NS: While The Thing is certainly one of my favourite horror movies, it actually wasnвЂ™t the main inspiration for the film. Was this the straight-up inspiration for the film or were there other factors at work in developing the tone of the film? KJ: One of the obvious reference points everyone makes when writing about the film is John CarpenterвЂ™s remake of The Thing.

On the eve of the SF Indie screening, I spoke to director Nick Szostakiwskyj about his cinematic inspirations, the trickery of locations, and the filmвЂ™s interface between science and existentialism.Д«UY TICKETS TO THE SF INDIE SCREENING HERE. I saw the film at the 2014 Blood in the Snow Film Festival (a weekend event in Toronto focused on showcasing new Canadian genre films), where it picked up the award for best cinematography, and immediately went after it for SF Indie, where it has its Bay Area premiere this Saturday at the Roxie. With a handful of Vancouver-based actors вЂ“ including frequent Larry Kent collaborators Shane Twerdun and Andrew Moxham вЂ“ director Nick SzostakiwskyjвЂ™s sophomore feature is a masterful exercise in mounting suspense, carried off by both cinematographer Cameron TremblayвЂ™s gorgeous, snowy tableaux and this tight ensemble of emerging thesps who bring his increasingly paranoid characters to life.

#THE ANDROMEDA STRAIN MOVIE BLACK LINES TV#

It sounds clichГ©, but many filmmakers have tapped the tundra for this very quality itвЂ™s a characteristic of nature-based horror films in general (from Aussie fave Long Weekend (1978) to Swedish TV sensation Twelve Months of Summer (1988)), adapted somewhat from the Romantic tradition of literature and visual arts, but especially potent when that landscape is frozen cold. The blinding whiteness of the snow, and the silence that snow brings with it, seems to invite a paralyzing terror of the imagination вЂ“ like a blank canvas for our fears to be projected on. The popular subgenre of snowbound horror вЂ“ often specifically located at a remote scientific outpost, as in TV movie A Cold NightвЂ™s Death (1973) John CarpenterвЂ™s The Thing (1981) or Larry FessendenвЂ™s The Last Winter (2006) вЂ“ emphasizes the natural terror of isolation and disconnection from normalized modes of вЂcivilizationвЂ™. With its vast expanses of uninhabited land, CanadaвЂ™s frozen north is relatively unexplored cinematic turf in terms of its genre potential.

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