Entertainment
‘Assault on Precinct 13’ and ‘3 from Hell’ actor Austin Stoker has died
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Hulu’shellraisera reinvention ofat Clive BarkerDirector’s 1987 horror classicDavid Bruckneris now available exclusively on Hulu.
In the newhellraiserHulu film, “A young woman struggling with addiction comes into possession of an ancient puzzle box, unaware that her purpose is to summon the Cenobites, a group of sadistic supernatural beings from another dimension.”
The film summons a new batch of cenobites, led by by Jamie Clayton Hell Priest. Bruckner’s vision for the iconic Cenobites forgoes leather and takes self-harm even further. In the case of the priest, the result is extravagant robes made of flesh.
Bloody Disgusting spoke with Bruckner about the Cenobites’ new look, from concept art to prosthetics with practical effects.
“I didn’t know how to reproduce the originalhellraiser“, explained Bruckner the initial concept change. “It’s too good a film to copy it in any way. To be honest, I don’t know where this film will end up in terms of the amount of nostalgia it has to offer, but I find that nostalgia alone is not something that excites me much.Hellraiser’salways been known and revered for its design, and I wanted us to be able to join in that conversation and riff alongside what had come before us. For me, creatively, it’s a way to show appreciation, but you have to be willing to allow it to change in some way. Don’t see this as a violation of what we love, but as an ongoing conversation.”
The approach involved reflecting on past and present eras and the role of cenobites in both.
Bruckner explains:This largely means being open to a contemporary context. Thinking about black leather, in particular, I felt our conversations about BDSM had changed. This fetish culture is something that is much, much more honest than it was in 1987. At the time, we allowed cenobites, cenobites dressed in leather, to scare some suburbanites who were afraid to look at each other one way or another. We do that a lot these days. You talk about a conversation rich in consent and communication. You see echoes of this creeping into fashion. i was kidding that my mom is reading50 shades. It’s all over the place somehow. Not that it’s irrelevant to what Cenobites are in their quest for experience, however extreme that may be, but that such an overt nod might play differently these days. We were exploring alternatives to this.
“How can we do this now in a way that is always shocking and can unsettle us? And we had an idea, and I don’t really remember where the initial idea came from. But the notion came from a conversation about what leather is, if not a representation of the shape of skin that can accentuate the human body in various ways. And we started thinking about extreme versions of body modification, and this idea came up, what if it was their own leather? What if they were so modified that their flesh was cut so extreme that it resembled clothing? And that it had all the personality you could find on a piece of art tuned to a runway model. Except that he was born from the body and might have the potential to capture the regal vanity cenobites carry, which is, again, a reflection of their principled nature towards their pursuits. It was really exciting. I think once we had this idea, we didn’t look back.
Bruckner Credits His Concept and SFX Artists Josh and Sierra Russellwith whom he often collaborated.
“I must sing the praises and highlight the influence of Keith Thompson. Keith Thompson is a concept designer I’ve been working with forThe ritual. He is solely responsible for the vision that is The Ritual monster,” Bruckner tells us. “The Russells and I brought it to life in so many ways. But yeah, Keith has a very, very unique approach to design. He taught me a lot during the time we worked together on what makes good design and what design can you get lost in? I think one of the things that I’ve taken to heart and tried to run with in movies is the idea that often the first flash you see of something can create a fight in your mind. If it’s a big monster in the woods movie, then if you’re waiting for the monster’s reveal there, it’s still a little disappointing the first time you see it. Because, as fans of the genre, everything becomes reductive at some point. We haven’t seen anything new. But it is impossible to do something new.
“But if that second beat of recognition can be something you can lean into, if there are mysteries present in the picture that can get you lost, then you can gain ground in the experience. And so that was the approach of the cenobites. And Keith took this idea of skin, and if it was their own leather, and started exploring.”
In addition to Clayton’s Hell Priest, there are six other cenobites credited: The Chatterer (Jason Liles), The Mourner (Love of God), the breath (Selina Lo), Asphyx (Zachary Hing), The mother (Gorica Regodic) and The Mask (Vukasin Jovanovic). That means lots of design concepts and an even bigger hurdle to bring them to life via special makeup effects.
Bruckner breaks down the process: “Keith Thompson and I did several design rounds in the fall of 2020, and then the Russells came on board, and this is, I think, my fourth film with the Russells at this point. They had the impossible task of figuring out how to achieve this. Dentures are tough anyway, but full dentures are a whole different ballgame. As you mentioned, counting the priest, we have at least seven cenobites in the film, depending on how you think about the course of certain events. It’s a lot of work; that’s a lot of chair time. A lot of creativity comes into play when Josh and Sierra have to figure out how to implement this stuff. There is obviously creative license taking place.
“So there’s another layer of working with them to bring these creatures to life. I will also say that none of this worked for our schedule. It seemed impossible. We have 45 days to shoot this movie. , which is a good amount of time for some movies, but given the amount of gags and craziness on screen, that’s not a lot of time. They came up with a really fascinating way of creating the skin suits which was a two layer approach where you have a muscular base layer and then you have the skin layer on top of it. There is a tension in the movement between these two layers that you might not notice overtly, but you can see a tension between these two textures in a way that your brain recognizes. Then we use a little VFX augmentation to bring it all together and paint the seams.
“It was a logistical challenge to figure out all the visual effects we could do while still feeling totally practical. So how much would that free us up to adapt them faster so we had more time to shoot. We were in the weeds on this, but Josh, Sierra and their team pulled off a huge feat with this, because they had to do all the other gags in the movie as well.
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