The Thing [Blu-ray] [4K UHD]

£12.205
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The Thing [Blu-ray] [4K UHD]

The Thing [Blu-ray] [4K UHD]

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Where Carpenter was clearly inspired by Ridley Scott's 1979 masterpiece, his own alien movie is original and intriguing in its own right. There's a rhythm and an environment that equals Scott's in every way. John Carpenter’s iconic 1982 classic, THE THING , one of the most celebrated sci-fi horror movies ever made, has been newly remastered and restored and will be available in stunning 4K Ultra HD for the very first time in the UK on 20 September 2021, courtesy of Universal Pictures Home Entertainment. Universal's UHD release of The Thing has been long anticipated and the disc does not disappoint. The video and audio presentations are very For more about The Thing 4K and the The Thing 4K Blu-ray release, see the The Thing 4K Blu-ray Review published by Martin Liebman on September 15, 2021 where this Blu-ray release scored 4.0 out of 5. DTS:X audio. A few supplements not included on Universal's original Blu-ray are now available on the UHD disc. The bundled Blu-ray is identical to

Sounds from the Cold – Interviews with Supervising Sound Editor David Lewis Yewdall and Special Sound Effects Designer Alan Howarth (14:53, 1080p) deadly creature in their midst, one that can absorb and imitate any life form it so chooses, leaving in the opening sequence), intense red blood, healthy skin tones, and bold colors on various items throughout the compound, whether clothes or An elderly Caucasian male with a long white mustache. He is wearing a cowboy hat and striped waistcoat while holding a microphone. He is standing in front of a screen.A creature bearing the face of a dog lies on the floor. Various unnatural formations such as legs and tentacles are present on its body. I've asked [Carpenter], as he was preparing some electronic music with an assistant to edit on the film, "Why did you call me, if you want to do it on your own?" He surprised me, he said – "I got married to your music. This is why I've called you." ... Then when he showed me the film, later when I wrote the music, we didn't exchange ideas. He ran away, nearly ashamed of showing it to me. I wrote the music on my own without his advice. Naturally, as I had become quite clever since 1982, I've written several scores relating to my life. And I had written one, which was electronic music. And [Carpenter] took the electronic score. An elderly Caucasian man with a gray mustache and gray receding hair faces the camera with a neutral expression. Art Booklet (includes production notes, excerpt of the script, behind the scenes photos, early concepts) Art director John J. Lloyd oversaw the design and construction of all the sets, as there were no existing locations used in the film. Cundey suggested that the sets should have ceilings and pipes seen on camera to make the spaces seem more claustrophobic.

John Carpenter's The Thing: Terror Takes Shape (1080p, 4x3, 1:23:53): A in-depth documentary with interviews with key castA special opening premiere of The Thing was held at the Hollywood Pacific Theatre, hosted by Elvira, Mistress of the Dark. Do we really need to talk about the film also coming at the tail end of one of the greatest director's runs in cinema history ( Assault on Precinct 13, Halloween, The Fog, Escape from New York, this), whilst at the same time representing somewhat of a departure for a filmmaker used to doing most things himself (writing, composing, etc)?

Does the cast, a mixture of classic Hollywood leading men and wonderfully grizzled character actors, who all inhabit their roles, making each one unique and memorable, even with very little screentime for most, need discussing any further? I’m a massive John Carpenter fan and The Thing is one of my favourite films so when Arrow Video announced they were releasing a 4K restoration of it on Blu-ray I had to take a look. So without further ado here’s my The Thing Blu-ray Review. A satisfying example of a movie that today – 18 years after – looks downright muscular in its simplicity.excellent depth and accuracy without absorbing detail or devouring shadowy elements within. General tones are far more vivid and pure. Viewers will Do we really need to mention yet again, its history and its dismal box office in a summer that is undeniably the greatest period of cinema releases ever, one that sees most of those releases still talked about reverentially nearly forty years later?

John Carpenter’s unquestionable classic on yet another disc release that may well be the best it's looked, even if it's not the best it has sounded… John Carpenter was first approached about the project in 1976 by co-producer and friend Stuart Cohen, but Carpenter was mainly an independent film director, so Universal chose The Texas Chain Saw Massacre (1974) director Tobe Hooper as they already had him under contract. The producers were ultimately unhappy with Hooper and his writing partner Kim Henkel's concept. After several more failed pitches by different writers, and attempts to bring on other directors, such as John Landis, the project was put on hold. Even so, the success of Ridley Scott's 1979 science fiction horror film Alien helped revitalize the project, at which point Carpenter became loosely attached following his success with his influential slasher film Halloween (1978). So where does this new edition stand in relation to those previous releases, specifically the Arrow release which this reviewer still owns, picture wise?

A scene with MacReady absentmindedly inflating a blow-up doll while watching the Norwegian tapes was filmed but was not used in the finished film. The doll would later appear as a jump scare with Nauls. Other scenes featured expanded or alternate deaths for various characters. In the finished film, Fuchs's charred bones are discovered, revealing he has died offscreen, but an alternate take sees his corpse impaled on a wall with a shovel. Nauls was scripted to appear in the finale as a partly assimilated mass of tentacles, but in the film, he simply disappears. Carpenter struggled with a method of conveying to the audience what assimilation by the creature actually meant. Lancaster's original set piece of Bennings's death had him pulled beneath a sheet of ice by the Thing, before resurfacing in different areas in various stages of assimilation. The scene called for a set to be built on one of Universal's largest stages, with sophisticated hydraulics, dogs, and flamethrowers, but it was deemed too costly to produce. A scene was filmed with Bennings being murdered by an unknown assailant, but it was felt that assimilation, leading to his death, was not explained enough. Short on time, and with no interior sets remaining, a small set was built, Maloney was covered with K-Y Jelly, orange dye, and rubber tentacles. Monster gloves for a different creature were repurposed to demonstrate partial assimilation. however, that limitations appears to be inherent to the original sound design. The sound design in total is vital in building the film's tone. Cold, blustery Carpenter was reluctant to join the project, for he thought Hawks's adaptation would be difficult to surpass, although he considered the film's monster to be unnotable. Cohen suggested that he read the original novella. Carpenter found the "creepiness" of the imitations conducted by the creature, and the questions it raised, interesting. He drew parallels between the novella and Agatha Christie's mystery novel And Then There Were None (1939), and noted that the story of Who Goes There? was "timely" for him, meaning he could make it "true to [his] day" as Hawks had in his time. Carpenter, a fan of Hawks's adaptation, paid homage to it in Halloween, and he watched The Thing from Another World several times for inspiration before filming began. Carpenter and cinematographer Dean Cundey first worked together on Halloween, and The Thing was their first big-budget project for a major film studio. In designing the Thing's different forms, Bottin explained that the creature had been all over the galaxy. This allowed it to call on different attributes as necessary, such as stomachs that transform into giant mouths and spider legs sprouting from heads. Bottin said the pressure he experienced caused him to dream about working on designs, some of which he would take note of after waking. One abandoned idea included a series of dead baby monsters, which was deemed "too gross". Bottin admitted he had no idea how his designs would be implemented practically, but Carpenter did not reject them. Carpenter said, "What I didn't want to end up with in this movie was a guy in a suit ... I grew up as a kid watching science-fiction monster movies, and it was always a guy in a suit." According to Cundey, Bottin was very sensitive about his designs, and worried about the film showing too many of them. At one point, as a preemptive move against any censorship, Bottin suggested making the creature's violent transformations and the appearance of the internal organs more fantastical using colors. The decision was made to tone down the color of the blood and viscera, although much of the filming had been completed by that point. The creature effects used a variety of materials including mayonnaise, creamed corn, microwaved bubble gum, and K-Y Jelly.



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