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"laurie john carpenter" Discussed on Halloween Unmasked
"TV. Spoke to your window. Turn off the lights. Away here. Why sitting here with all the lights off? I don't know. She doesn't know, but she knows she loves it. A lot of people feel almost a sense of euphoria and part of that is because endorphins and neuro transmitters like dopamine and serotonin are also released during those high arousal states. And in the absence of real threat we can, you know, use those in a way that feels good. That makes us feel, you know, kind of relaxed and even a little just kind of chilled out. Margie has even hooked up people to electrodes to measure the changes in brainwaves before and after doing something scary. And she's seen firsthand that that is why you leave a horror movie feeling awesome in that is part of what keeps you buying tickets them in the first place. I mean, we live pretty safe lives safer than our ancestors, at least, but scary flicks let our body chemicals have a blast even if you're not consciously thinking about dopamine and serotonin, you're aware that going to a movie, like Halloween is great. If you have a crush is any of this at all connected to why people pick out horror films for like. Dates? Yes, yes. So scary movies can be really good for dates because when we're with people that we like in a highly intense situation, like a scary movie, we bond more closely to them, and so it is true. You know, you really do kind of bond with the people that you're with under these high stress or fun. Scary activities. All of your chemicals are working to create that high arousal experience. And if you're with somebody that you're like or your tracked into it can intensify those feelings, Michael, Myers, matchmaker, and that bonding sensation is also Ihor movies are way way way better in theaters when you're surrounded by people, instead of just at home on the couch, it does intensify the emotional experience. So you hear your friends laughing or just even strangers, laughing or screaming, and you start doing the same and it really does bond people and create a sense of of solidarity. Sense that you know, you're all in this together and it is dark hyme called it the collective effervescence. You feel that that shared emotional kind of bonding that makes me think we could solve the world's problems of. We just put everybody in America in giant horror movie. Yes, yeah. I mean, you know, when we asked people how close they feel to each other afterwards, people do feel more close. You've shared this highly emotional experience and you've been bonded. You've been brought together. Of course, some movies are scarier than others. I'm sure you've seen horror films where you really just bonded with your friends over how boring it was. Filmmakers have tricks. They used freak audiences out, and John carpenter uses them a lot better than a lot of movies. I am not gonna bother to pick on. So let's analyze why Halloween is so scary. The technical choices that John carpenter made the head people losing their minds because when you think about it, this is a movie without that many murders Michael kills his sister, Judith, Myers, at the beginning, and then a full fifty minutes goes by with babysitters. Talking about boys before Laura's curly haired friend anti-gay stabbed in the car, and even then there's no shocking gore. There's nothing off that makes us flinch. There's also almost no jump scares that. Scary movie cliche of walking down a quiet dark hallway, something so overdone, that even the sitcom community made fun of it. Just a cat. Let's keep moving. All the. Off with that task. Throwing. Not keep moving because there is an insane cat down here. But what about the Samis backburner Troy. This cat has to be dealt with when you're scare tactics, work best on community. I am not abreast. Halloween has to proper fake out. Jump scares one when Laurie bumps into sheriff bracket on the street. And then again, when the rain gutter smashes through the window of the old Myers place in Dr Lummus freaks out and grabs his gun. I do. Seems to me of just playing scared, jump scares work, the way that hitting your funny bone with a hammer works, but I'm glad that Halloween only has two because I think they're often a little cheap compared to that pleasurable rollercoaster of tear that Margie describes. Jump scares are more like someone kicking the back of your chair. When I see movies that are just, you know, jump scare after jump scare. It is exhausting. You know, you do kind of get saturated from it, and it doesn't really feel like a fulfilling. Scare. It just feels like, okay, I get it. You know, lots of jump scares. Instead, John carpenter chose to build suspense. Michael Myers says knife and John carpenter has his opinion. That is what a good horror movie is. When you buy a ticket to scary movie, you know that something bad is coming. The fun is that you don't know when the slow burn is is where you become invested in the story, and you start carrying about the characters. And when it's slow, you do get more invested. And so the scares feel more more real really, and then the payoff is is is bigger that patients isn't just about the plot. It's also in the camerawork picture, the shots in Halloween picture, Lori, walking to school and walking home. Think about how far away the camera stays from Laurie John carpenter and his director of photography Nin Cundy talked about leaving big blank spaces, wide streets, giant front yards exposed windows, so that. We the audience would have to nervously scan all the corners of the screen to see where Michael Myers might be coming. It is mental torture. It is delightful, mental torture, and only in the last ten minutes when Laurie finally meets Michael, when we know exactly where Michael is, does the camera lettuce spend time with her up close to stare right into her face as she screams dean Kunde who helped design. Those shots was producer Debra hills higher. She'd met dean while he was doing the cinematography for a bunch of sexploitation thrillers with names like creature from black lake and Elsa harem keeper of the oil sheiks. They both worked on a movie called Satan's cheerleaders, where after playing sexy tackle football, a pom pom squad gets interrogated to see if any of them qualifies to be the devil's virgin brides. She the unspoiled maiden. She the one chosen to be bride kidding me in a maiden, a cheerleader for three years. They they were, what would I call something that they wanted for drive in theaters projector fodder because there had to be something running on the screen to semi entertain the the couple in the back seat and they were not scary when dean I got hired to be the cinematographer for this babysitter murders movie. He figured it might just be more of the same. But then he met John. John was the first rector I met who had the same sensibilities as I, which is to use the camera to tell visual story to tell the story. He was very much about using the camera to take the audience on this emotional journey. How you use the camera is what can create. This is pants how you compose a shot, creates suspense. If you put a character way off to one side of the frame, your eye. Tends to look at the empty part and say, what's going to happen over there in your? I always goes to the part of the frame that's got new information incoming, especially at night when the sun goes down, dean didn't turn on the lights, the way that you are. I might when we come home and we feel a little spooked instead he let the screen fill up with shadows. He knew that with the audience couldn't see would drive them insane. If I can't see there what could be there who could be there and what kind of knife would he have? It's always about manipulating what the audience sees are what you want them to see and how you want them to feel picture. That scene right after Lori, discovers Annie and Linda in Bob's dead bodies. She's sobbing in the hallway next to a dark doorway where Michaels white masks slowly patiently agonizingly emerges. It seems like good, nothing lurking. And then slowly John. Description was it's like the audiences is are getting used to the dark. So you know, I, I put a little light with a dimmer and turned it all away off and then very slowly brought it up a little bit a little bit a little bit till the audience could see. Michael Myers lurking. It was this intake of breath, an intake of breath. And then a screaming release.