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Bjech. Mit Carpenter wird heute wahrscheinlich viel verbunden, was mit Lovecraft zu tun hat. :) Obwohl er nur wenig in der Richtung und vor allem nie einen "echten" Lovecraft gemacht hat. Schade, dass Guillermo del Toro Mountains Of Madness aufgegeben hat. Tolle Story. Eis. Ausserirdische. Hm, warte! Kommt bekannt vor. :D Aber in diesem Projekt scheint gerüchteweise wieder etwas Leben drin zu sein. Abwarten!;)

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Shout Factory, die schon schicke Collector's Editions von THE THING, PRINCE OF DARKNESS und THEY LIVE! veröffentlicht haben, bringen nun auch BODY BAGS auf Blu-ray (wenn ich mich nicht irre die erste BD-Veröffentlichung weltweit). Leider wieder nur Region A, aber bisher tauchten diese Titel früher oder später dann auch bei uns auf. Dazu müsste BODY BAGS bei uns vom Index runter, aber in Zeiten von FSK-16-Freigaben für HELLRAISER und EVIL DEAD dürfte das eigentlich kein Problem sein.

BODY BAGS war eine Art Pilot für eine TV-Serie, die aber nie realisiert wurde. Carpenter selbst führt als lebende Leiche durch den Film, der aus drei Kurzgeschichten besteht. Zwei davon inszenierte Carpenter, die dritte machte Tobe Hooper.

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Zitat

Synopsis

“Stacy Keach is superb and David Warner is appropriately nutty…” – eFilmCritic.com

Two Masters of Horror – John Carpenter (Halloween, The Thing) and Tobe Hooper (The Texas Chain Saw Massacre, Lifeforce) – come together to create a chilling anthology of terror.

Alex Datcher (Passenger 57) stars as a woman working the late shift at “The Gas Station” while a killer is on the loose. Then, Stacy Keach (Road Games) can’t stand the thought of losing his “Hair” and he’ll do anything to keep it. And finally, Mark Hamill (Star Wars) portrays a baseball player that submits to an “Eye” transplant after he loses an eye in a car accident.

Featuring guest appearances by Deborah Harry, Sheena Easton, Twiggy, David Naughton (An American Werewolf In London), John Agar (Tarantula), David Warner (Time After Time) and cameos by Wes Craven, Tobe Hooper and Roger Corman, Body Bags delivers a fright-filled night of horror.

Why We Love It

“With John Carpenter's 'Body Bags', there is no shortage of blood, thrills, and laughs. Packed with tons of cameos, and some great stories, 'Body Bags' is a great addition to any collection of horror movies.” High Def Digest

“Scream Factory, who gives this film a treatment we never thought possible. And this is a film that upon looking back, is actually deserving. It’s a fun little movie that I think people have forgotten and will be pleasantly surprised when venturing back to it.” Why So Blu

“Scream Factory does a fantastic job at supplying extra features on their discs, but this would make the perfect companion piece to any new release Carpenter Blu-rays you decide to pick up.” Liberal Dead

Bonus Features

    • Audio Commentary With Director John Carpenter And Actor Robert Carradine On "The Gas Station"
    • Audio Commentary With Director John Carpenter And Actor Stacy Keach On "Hair"
    • Audio Commentary With Producer Sandy King And Justin Beahm On "Eye"
    • Unzipping Body Bags Featurette With John Carpenter, Producer Sandy King And Actors Stacy Keach And Robert Carradine
    • Trailer

Quelle

 

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John Carpenter wird an einer "Big Trouble in China"-Comicreihe mitschreiben
 

Zitat

 

A new limited comic book series, Big Trouble in Little China: Old Man Jack, is on the way from BOOM! Studios. Carpenter is penning the four issues alongside Borderlands 2 writer Anthony Burch, with art by Jorge Corona. The new series is set to take place in the year 2020 at a time when Ching Dai — the unseen God of the East from the original film — has unleashed the forces of Hell on Earth. 60-year-old Jack Burton is the only one who can save the world, and he sets out from Florida for his final ride aboard the Pork-Chop Express in order to do so. The first issue premieres this September, and you can check out the awesome cover below:

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Quelle: http://www.comettv.com/2017/06/john-carpenter-co-writing-big-trouble-in-little-china-sequel-story-old-man-jack/

 

 

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Zum neuen Album, JOHN CARPENTER ANTHOLOGY, gibt es auch wieder eine Tour. Scheinbar ist das jetzt Carpenters neue Leidenschaft, nachdem er keinen Bock mehr auf Filme hat. ;)

Zitat

We’re also pleased to share the dates for John Carpenter’s fall Anthology Tour, and to share a presale code exclusively for newsletter subscribers. To get tickets for any of these shows this Thursday, August 24 at 10 a.m., before they go on sale to the general public, enter presale code ANTHOLOGY.

Oct-29: Las Vegas, NV, The Joint at Hard Rock Casino [TICKETS]

Oct-31: Los Angeles, CA, Hollywood Palladium [TICKETS]

Nov-02: Anaheim, CA, City National Grove [TICKETS]

Nov-04: San Francisco, CA, The Warfield [TICKETS]

Nov-05: Santa Cruz, CA, The Catalyst [TICKETS]

Nov-07: Maplewood, MN, Myth Live [TICKETS]

Nov-09: Chicago, IL, Aragon Ballroom [TICKETS]

Nov-10: Detroit, MI, El Club [TICKETS]

Nov-12: Toronto, ON, The Danforth Music Hall [TICKETS]

Nov-13: Montreal, QC, Metropolis [TICKETS]

Nov-15: Boston, MA, Royale [TICKETS]

Nov-16: New York, NY, Terminal 5 [TICKETS]

Nov-18: Philadelphia, PA, The Trocadero [TICKETS]

Nov-19: Syracuse, NY, The Palace Theatre [TICKETS]

 

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Interview mit Carpenter über sein neues Album, den neuen HALLOWEEN und das Filmemachen im Allgemeinen.

Zitat

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John Carpenter, the director of such genre-defining shockers as Halloween, The Fog, The Thing, and Christine, permanently scarred our collective childhood with his knack for spooky storytelling. Now, at the age of 69, he’s not only experiencing a deserved career Renaissance, he’s also embracing his status as — plot twist! — a recording artist.

Carpenter, whose father was a college music professor, often found himself scoring his own films to keep the production costs low. He later collaborated with son Cody Carpenter and godson Daniel Davies for two albums of instrumentals, 2015’s Lost Themes and 2016’s Lost Themes II. Last year saw the trio hit the road in support of the LPs.

Carpenter and sons now have third album Anthology: Movie Themes 1974–1998 out this month via Sacred Bones. On it, the three of them give a modern day take on 13 of the filmmaker’s creepiest theme songs. An accompanying trek across North America will see them play 14 dates, including, appropriately, a Halloween night stop at the Hollywood Palladium in Los Angeles.

In addition to the music, Carpenter has three new projects cooking with Universal, the studio that released his heart-pounding take on Howard Hawks’ The Thing in 1982. Most notable are two forthcoming TV series — Nightside and Tales For A Halloween Night — plus a 2018 sequel to Halloween that has Jamie Lee Curtis set to reprise her role as Laurie Strode.

Horror master John Carpenter may be experiencing his busiest decade since the 1980s, but that didn’t prevent him from giving us some insight on what’s lurking up his sleeve. Read a Q&A with the horror legend below.

STEREOGUM: We last spoke in 2014. You’ve become quite the rock star since then.

JOHN CARPENTER: [Laughs] Well, that’s very kind of you. I don’t think I have, but thank you.

STEREOGUM: What was life on the road last year like for you, traveling around with your son and godson?

CARPENTER: Oh, it’s fabulous. I just had a great time. It’s funny, because I hate traveling. But this was just so much more fun than making movies.

STEREOGUM: Anthology is now your third album. Are you digging the process of making records more so than scoring films?

CARPENTER: It’s just a different process. You’re after a different effect. When you’re making an album, it doesn’t have to support an image or a scene. It exists for itself. It’s just different. I’m used to music not having to be overly complex.

STEREOGUM: How did the decision to re-record your classic movie themes come about as opposed to, say, making another album of original material like Lost Themes?

CARPENTER: My son and godson and I had talked about doing this album. “Well, why don’t we do the movies?” So we picked some themes that we liked and we thought would work from a different era — from ’74 through ’98 — that lent themselves to the synthesizer. I also [re-recorded] scores that were written by somebody else — Jack Nietzsche did Starman and Ennio Morricone did The Thing. I did “The March Of The Children” that Dave Davies had written for Village Of The Damned. So it was fun, too, doing what was essentially other people’s music.

STEREOGUM: Which was your favorite to revisit for Anthology?

CARPENTER: I really enjoyed playing the “Santiago” theme from Vampires.

STEREOGUM: You recently stepped behind the camera for the first time in seven years to direct the new video for your Christine theme song. What can you tell us about the star of it, Rita Volk.

CARPENTER: Her agent had reached out to my wife and I. She had seen my movies — she’s Uzbekistani, I think, or Ukrainian. But anyway, she had learned to speak English by watching movies. I met her and I really liked her a lot, so I thought, let me give her a chance with this; she might be really good. And it turns out she was! She makes the whole video. Everything else [in it] is just kind of silly bullshit. She had to carry the whole thing with her expressions. It’s all non-verbal acting.

STEREOGUM: Where did the Plymouth Fury featured in the video come from?

CARPENTER: That was from Florida, as I remember. We drove it across the country [to Los Angeles]. It was one of the cars from the film. It has the blackened windows and everything. There were a whole bunch of them. I had the chance to take one with me back when I made the film. But what am I gonna do with the damn thing? I don’t want a damn car.

STEREOGUM: Speaking of Christine, Harry Dean Stanton recently passed away. What sticks out in your mind from directing him in that movie and Escape From New York?

CARPENTER: You could always count on Harry Dean. He was a consummate actor. He had just an amazing career as a character actor for years. He was in How The West Was Won. I saw that when I was a teenager! He was such a wonderful man, and I’m really gonna miss him. But he made it to 91. That’s incredible.

STEREOGUM: Congrats, by the way, on Zoo, which has turned out to be a hit for CBS. How did you end up recording the theme song for it?

CARPENTER: Thank you. Daniel, Cody and I did it. We were just asked to, and I said, “Hell, finally somebody’s asking me to do music for them. I’m there!” It was easy and fun.

STEREOGUM: You’re touring and putting albums out, plus you have two series, Nightside and Tales For A Halloween Night, in development. Are you getting asked more to contribute scores for television and film now?

CARPENTER: No. Hell no. Nobody wants me to do anything for them. They want me to go away. We’ll see. I may do the music for the new Halloween movie. That would be pretty easy to do.

STEREOGUM: Since you brought it up, let’s talk about Universal’s upcoming Halloween sequel. You’re executive-producing the film. Scoring it seems like a natural fit for you.

CARPENTER: Sure. I’d like to do it. I’ve worked with them a little bit on the script. I’m just around to be a cheerleader for everybody.

STEREOGUM: Jamie Lee Curtis is coming back for the new Halloween. Did you get involved with getting her on board?

CARPENTER: No. She talked to the director. Her part was written into the script and they had this idea — it’s kind of a… I don’t know how to describe it. It’s almost an alternative reality. It picks up after the first one and it pretends that none of the other [sequels] were made. It’s gonna be fun. There’s a really talented director and it was well-written. I’m impressed.

STEREOGUM:You and Cody and Daniel are going on tour again soon. What can we expect this time around?

CARPENTER: The majority of the show is movie-based. There’ll be some music we haven’t played before, and we have clips for that. I’m a movie composer, so we’re gonna show movies.

STEREOGUM: Let’s end on a movie note, then. It’s been seven years since your last film was released. Is directing another one off the table for you at this point in your career?

CARPENTER: No. Oh, no. I’d do it. I’ll be directing for [Nightside and Tales For A Halloween Night]. You know, you get to be my age and you have to pick your shots. I’m just slower than I was when I was young. Back then, you put on a pair of shoes, got some coffee and it was, “Off you go; let’s go make a movie!” But now, oh, god — are you kidding? It’s hard to get up in the morning. But, sure, I’d love to do a movie if it was the right film and I thought I could do a good job with it.

//

John Carpenter tour dates:

10/29 Las Vegas, NV @ The Joint at Hard Rock Casino
10/31 Los Angeles, CA @ Hollywood Palladium
11/02 Anaheim, CA @ City National Grove
11/04 San Francisco, CA @ The Warfield
11/05 Santa Cruz, CA @ The Catalyst
11/07 Maplewood, MN @ Myth Live
11/09 Chicago, IL @ Aragon Ballroom
11/10 Detroit, MI @ El Club
11/12 Toronto, ON @ The Danforth Music Hall
11/13 Montreal, QC @ Metropolis
11/15 Boston, MA @ Royale
11/16 New York, NY @ Terminal 5
11/18 Philadelphia, PA @ The Trocadero
11/19 Syracuse, NY @ The Palace Theatre

John Carpenter’s third album Anthology: Movie Themes 1974–1998 will be released 10/20 via Sacred Bones. Pre-order it here.

 

 

 

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Ich habe das Video heute früh über Youtube auch als "Empfehlung" erhalten.

Mir gefällt diese "Interpretation" überhaupt nicht. Ich kann mit dem "Stil" der beiden überhaupt nichts anfangen und immer diese extreme Verzerrung (vor Allem zumEnde hin) die immer eine Art "Klimax" darstellen soll, finde ich total lahm und unerträglich anzuhören.

Aber ich lese immer gerne Interviews von John Carpenter und hoffe, dass er für den neuen Halloween-Film an die Tasten zurückkehrt. Vielleicht schafft er ja eine interessante Neuinterpretation seiner Arbeit (gerne mit seinem Sohn und den anderen Musikern mit denen er an seinen Solo-Alben gewerkelt hat). :)

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Am 13.10.2017 um 14:38 schrieb Nightwalker:

Ich habe das Video heute früh über Youtube auch als "Empfehlung" erhalten.

Mir gefällt diese "Interpretation" überhaupt nicht. Ich kann mit dem "Stil" der beiden überhaupt nichts anfangen und immer diese extreme Verzerrung (vor Allem zumEnde hin) die immer eine Art "Klimax" darstellen soll, finde ich total lahm und unerträglich anzuhören.

Ich finde es auch nicht so dolle. Vor allem klingt es so, wie man es von Reznor und Ross erwarten würde, also auch keine große Überraschung. Allgemein finde ich es zwar toll, dass Carpenter auf seine alten Tage noch mal so ein Comeback erlebt, aber leider wird die Kuh bereits zu stark gemolken. Hier noch ein Best-of-Album, da noch eine Neueinspielung, dort noch ein Remix und alles in zig Varianten. Es würde mich nicht wundern, wenn diese Version nur der Vorbote eines ganzen Albums ist, auf dem Carpenters Themen neu interpretiert wurden. Das kann man dann auch noch mal vermarkten und am besten gleich noch ein Remix-Album der Remixe hinterher. ;)

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Interessantes Detail auf dem neuen Anthology-Album: Carpenter wird als Komponist aller Stücke genannt (mit Ausnahme von THE THING und STARMAN, die jeweils Morricone und Nietzsche zugeschrieben sind), selbst bei Sachen wie THEY LIVE und PRINCE OF DARKNESS. Alan Howarths Name taucht nirgendwo mehr auf. Selbst bei IN THE MOUTH OF MADNESS wird nur Carpenter als Komponist genannt, Jim Lang wird ebenfalls nicht erwähnt. Entweder Fehler vom Label oder doch die Bestätigung, dass Carpenter der eigentliche Komponist der Musik ist, während seine Helfer, wie Howarth und Lang, "nur" für das Programming und den Sound zuständig waren.

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Jetzt erst gesehen: Cody Carpenter hat eine Suite seines Scores zu "John Carpenter's Cigarette Burns", der ersten Folge, die Carpenter für die "Masters of Horror"-Reihe gedreht hat, auf YouTube veröffentlicht:

 

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