Color out of Space: Análisis del Blu-Ray

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We analyzed in Cinemascomics the Blu-Ray of Color out of Space, in a special two-disc edition.

In Cinemascomics we have analyzed the domestic edition on Blu-Ray of Color out of Space, with the long-awaited return of Richard Stanley to directing after twenty years, and with Nicolas Cage as the headliner.

The film is an adaptation of the short story by HP Lovecraft, entitled “The Colour out of Space”; and it is marketed in Spain by A Contracorriente Films, which can now be enjoyed on DVD and Blu-ray, as well as digital rental and sale, through the main platforms operating in Spain.

The film is written and directed by Richard Stanley (‘Hardware: Scheduled to Kill’), signing the libretto with Scarlett Amaris (Blood Bags); featuring a cast led by Oscar winner Nicolas Cage (‘Mom and Dad’), Joely Richardson (‘The Journey of Their Lives’) and Madeleine Arthur (‘Big Eyes’). He participated in the Midnight Madness, within the Toronto Festival of the year 2019, and also in the Official Section at the Sitges Festival of the year 2019.

SYNOPSIS

The Gardners are forced to move to a remote farm deep in New England. While they are busy adjusting to their new life, a meteor crashes into their garden. When the authorities and the media arrive, the mysterious aerolite appears to have melted into the ground. However, they will soon discover that it has been infecting the terrain with a brilliant otherworldly color. To their horror, the family will discover that this alien force is gradually mutating every life form it touches … including themselves.

Color out of Space has an approximate duration of 111 minutes and is not recommended for children under 16 years of age, being a horror film brimming with science fiction that is shown in its version on Blu-Ray with a multitude of extras, which we have analyzed for the Cinemascomics readers, in a digipack edition with two flaps inside a rigid cardboard sleeve, with drawings and colors dedicated to the meteorite. The Blu-Ray review is completely spoiler-free, in case you haven’t had a chance to see it yet and want to know what extras it contains.

Technical characteristics:

  • Picture: 2.39:1, 1080p.
  • Sound: English and Spanish DTS-HD Master Audio 5.1.
  • Subtitles in Spanish and Basque.
  • Discos: Two (Movie and Extras)

Trailers other titles:

  • Vivarium.
  • Mom and Dad.
  • Revenge.

TV Spots:

Two television commercials.

Cinematic trailer:

The visual effects:

Breakdown VFX:

We see the process of implantation of digital effects in real images, as well as other images generated directly by computer. All the digital effects of the film were in charge of the Spanish studio USER T38.

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Design, visual effects and color:

They explain that in the year 1927, HP-Lovecraft wrote ‘The Color that Fell from the Sky’, an account in which a meteorite crashed in Arkham, Massachusetts, and contaminated all the surrounding life. Almost a hundred years later, Richard Stanley and Spectrevision set out to adapt the tale for film, asking User T38 to design and create the monsters, visual effects, and color that give the story its name. In this way, the designer in charge of the project, Sergio Rozas, talks about how the project was conceived, his involvement in all phases of pre-production, help and support during the filming and post-production of the film, his team developing all the digital effects of tape ; stating that it was a pleasure, since they are great fans of Lovecraft’s work.

Gallery:

Frames comparing the different layers and shades of color, the different phases of the design of the praying mantis and the cat; [SPOILER] the transformation of Jack and Theresa, the alpacas and Ezra [SPOILER]. We also see, finally, [SPOILER] the world of aliens [SPOILER].

How it was made:

Titled ‘Hot Pink Horror’ (‘Terror en Rosa Intenso’), begins with the script, where producer Josh Waller explains that they were looking for an adaptation of Lovecraft to adapt to the cinema, but they wanted it to be as authentic as possible, because they consider that no previous adaptation of the artist’s work it truly reflects the terror that their writings want to permeate. Director Richard Stanley was also in charge of writing the adapted screenplay and bringing Lovecraft into the 21st century.

In this way, they explain how they started the project with a director who had not made a film for 20 years, confessing the filmmaker himself that he came to think that he would not do it again (after how he ended his intervention as director of the film ‘The Island of Dr. Moreau’, from which he asserts that he was not technically fired, but that John Frankenheimer ended up shooting. So the cast were delighted and curious to be directed by him, as part of his first film project in two decades.

Regarding the protagonist, they thought of Nicolas Cage because while filming Mady confessed to the producers that family dramas were his favorite genre. Thus, the cast raves about the actor, with his dedication, talent and madness. But also during filming, because they claim that it is collaborative, funny and teaches young actors, offering to improvise with them. They then discuss the addition of the rest of the cast, such as Tommy Chong as Ezra.

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They go on to explain that they shot in Sintra, which is supposed to be New England, because they needed a lush, green place to recreate the summer and the formidable, dense forest. In this way, they talk about the way they filmed outdoors in locations in Portugal, places that fell in love with the entire cast.

Regarding the visual and digital effects, the director comments that he is very happy with User T38’s contribution, because they were very fond of Lovecraft’s work and understood the material they had in hand, taking care of all the digital effects that appear in the headband. But there were also handcrafted and practical effects during filming, and we see how they created the animatronic puppets, supervised by Dan Martin, Head of the Creatures and Visual Effects Department. They end with the last day of shooting and with the director speaking wonders of the technical team and the talent of all its members.

At the Toronto festival:

Interviews:

Within the Midnight Madness of the Toronto International Film Festival 2019, by Robert Mitchell, we see how the reporter interviews director Richard Stanley, Nicolas Cage, Joely Richardson, Madeleine Arthur, Elliot Knight and Brendan at the festival photocall Meyer.

Premiere:

Peter Kuplowsky presents the premiere of the film at the 2019 Toronto International Film Festival Midnight Madness, along with Nicolas Cage, Richard Stanley and the rest of the main cast, who discuss the film, with anecdotes from the shooting and answers to questions from the film. public Assistant.

Press conference at the Sitges Festival:

The director attends the press in Sitges, at the Fantastic Film Festival of Catalonia, combining Spanish and Catalan in the director’s responses to questions from the media about the film and how he got involved in the project.

Director interview:

The filmmaker explains how he got into the movie business, how he was able to make Hardware (Scheduled to Kill), with such a tight budget and being true to his ideas, how he tried to be on set for as long as possible, how the film changed when it was released. It involved Miramax, the production company’s bans, the casting choice between rock stars of the time to appear in Hardware, the scenes that Miramax did not let him shoot and the differences between its montage and the one released in theaters, the differences in Hardware (1990) and Terminator (1984), the film’s references to previous films and to the script for the sequel that is already written but there is a rights issue between film production companies.

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But he also talks about Demon of the Desert (1992), which was to be his first film but it came after Hardware, because he didn’t have the money to finish it until he succeeded with Hardware; as well as talks about the possible spiritual sequel to Demon of the Desert that he would like to start filming.

She continues talking about how she does not like Miramax’s montage of Demon of the Desert, about her problems during production and says that she was cursed and glassy, ​​like all those who talk about demonic subjects. But he also dares to explain his experience during the production of The Island of Doctor Moreau, and the reasons why he believes it failed, in addition to assuring that they did not fire him, but that they stopped filming and paid them; And, once they decided to resume filming, they were already hiring a totally new team.

In addition, it tells how he infiltrated the new John Frankenheimer shoot and acted as an extra without the director or production company New Line finding out. In turn, he exposes his opinion on the film and the changes in the final version with respect to its original script. But he does not hold a grudge against New Line, because he asserts that almost everyone who finally participated in the film did worse than him and some misfortune happened, both cast members and technical team.

The movies that made me:

Podcast with Richard Stanley, hosted by Josh Olsen and Joe Dante.

Richard Stanley shorts:

  • The Sea of Perdition (2006).
  • Voices of the Moon (1990)
  • Incidents in an Expanding Universe (1985)
  • Rites of Passage (1983)

Short films by Patrick Müller:

  • The Garden (2019).
  • The Color Out of Space (2017)

Finally, we hope you enjoy buying Color out of Space, now available to take home on DVD and Blu-ray, as well as digital rental and sale; and so you can see it as many times as you want.

You can see our review of the film below

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