From the get-go, Fede and Sam Raimi gave us complete creative control and gave us the chance to do whatever we wanted to.įede’s call was, “Ale, do you want to do the Evil Dead titles?” My answer was, “Who do I have to kill?”Ĭould you tell us about the original concept for the title sequence and how it was developed?ĪD: The original concept was really simple, to pay tribute to the gory aspects of the Evil Dead films. How did you become involved with the film?ĪD: Fede needed a strong and memorable ending to his film, and thought Aparato would be the perfect place to create something epic − on a budget.ĪD: We have a long relationship with Fede, and thought this was a perfect opportunity to work together again. I've been in charge of the creative direction since 2010 when I was invited to join the company. Demonic scripture flashes, blood rains, and the screen is consumed by flame.Ī discussion with Aparato Creative Director ALEJANDRO DAMIANI and Director FEDE ALVAREZ.ĪD: Aparato was founded in 2008 by Fede Alvarez, Guillermo Carbonell, and Pedro Lafferanderie, and quickly became one of the leading VFX Houses in Uruguay and the region. Limbs are hacked, nails pierce muscle and splinter wood, and a smoking chainsaw chews through flesh and bone in an ever more violent summary of Deadite deaths and self-inflicted savagery.
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Soon, the vital fluid begins splattering the walls and floors, the ferocity of Roque Baños’ score increasing to match the foul play. Globules of blood hover in the murk, like the embers of a dying fire a rivulet of red slinks down a decaying staircase, dripping into a waiting pool of carnage. All shown in excruciating detail.A bloodshot title card and the hammering notes of a dread chorale close out a weekend getaway quite literally from Hell.īefore the audience is allowed to escape this cabin in the woods though, Aparato’s gruesome title sequence for Evil Dead – an “homage to gore,” as Director Fede Alvarez calls it – forces them to relive every murderous detail of the proceedings in a ghastly instant replay of sorts. Over the course of a rainy night that seems like it'll never end, we're treated to multiple scenes of projectile vomiting, dozens of nail-gun shots penetrating flesh and bone, black ooze and blood everywhere, dismemberment and stabbings. The gore factor goes all the way to 11, with admittedly impressive makeup and special effects. Cue the ominous score, the cheap scares and the increasingly moronic behavior by David and his dunderheaded friends. Geez, whose idea was it to invite Eric on this trip?Įnter the she-bitch from hell, who's possessing Mia and intent on offing everyone in sight in the most disgusting, prolonged manner possible. Eric, who for some reason is groomed and dressed as if he'd just come back from a Kurt Cobain look-alike contest, opens a book that says "leave this book alone" and starts reciting a chant that should never be recited.
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Olivia's a registered nurse, but she doesn't seem smart enough to know how to register for Google Plus. (When they finally do try to leave, there's a conveniently biblical-style rainstorm flooding the exit road.)
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Soon after that, Mia starts having visions and speaking in a demonic voice. Within a few hours, the dog finds a blood-covered trap door leading to a basement filled with strung-up cat carcasses and a book of evil curses. Gee, the family must have had a blast there, especially with Mom battling insanity, and Dad - well, we never hear about Dad. Like most cabins in the woods, this cabin in the woods seems to be miles away from any other cabins or any signs of life. Even before we learn Mia's trying to kick smack, we know this kid has problems because she's got a bit of a goth look going, she believes in the spirit world, and she likes to sketch. Shiloh Fernandez is the dull and dimwitted David, who returns to the family's old cabin along with his new girlfriend, Natalie ( Elizabeth Blackmore) his former childhood friends Eric ( Lou Taylor Pucci) and Olivia ( Jessica Lucas), and his little sister, Mia ( Jane Levy).
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On its own, it's an irredeemable, sadistic torture chamber reveling in the bloody, cringe-inducing deaths of some of the stupidest people ever to spend a rainy night in a remote cabin in the woods. This isn't a strict remake of Sam Raimi 's hugely influential 1981 horror classic, but it does include the basic framework and some visual nods to the original.