Stephen King's "IT" remake has found a writer - Part 2

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I've spoken with a few people who went to the test screenings and they basically said that there are a few jump scares, but they're tastefully done, and not that many.
Now lets be clear, anyone who's seen paranormal activity, some instances from insidious, and most modern horror films, its when a scene gets incredibly quiet and focuses in on a particular image only to boast a loud sound effect with another popping image. There is nothing like that in this film. Most of the scares happen in continuation, something is unfolding on camera and it's terrifying, and there's very subtle things that happen on screen that are incredibly unsettling, the same way the novel has them.
 
Now lets be clear, anyone who's seen paranormal activity, some instances from insidious, and most modern horror films, its when a scene gets incredibly quiet and focuses in on a particular image only to boast a loud sound effect with another popping image. There is nothing like that in this film. Most of the scares happen in continuation, something is unfolding on camera and it's terrifying, and there's very subtle things that happen on screen that are incredibly unsettling, the same way the novel has them.

Sounds like I'm really going to enjoy the film. Been waiting for the book to be done justice in all its' R-Rated glory!
 
Geez, what is it with the hate for jump scares? If they're done well, what's the big deal? Hating on jump scares in a horror film reminds me of all those people who ranted about JJ Abrams' use of lens flares. If that's the worst thing about a movie, then it mustn't have many other flaws.
 
OMG that It in the Hat trailer had me dying. Especially the last shot. :D
 
I agree that jump scares can actually be quite effective and even memorable in some films. There's just too many "fake scares" associated with them. In other words, a misdirection and over use of loud music to startle the audience when nothing scary or threatening is actually happening....and too many horror films that aren't effectively creepy or engaging use them way too much to make up for it's lack in quality.
 
Yeah, I agree that a lot of horror movies overuse them. But nine times out of ten, those movies weren't very good to begin with. Like, Paranormal Activity 17: Still Active will probably suck, even if there are no jump scares at all.
 
I like jump scares when they are used sparingly.
 
I agree that jump scares can actually be quite effective and even memorable in some films. There's just too many "fake scares" associated with them. In other words, a misdirection and over use of loud music to startle the audience when nothing scary or threatening is actually happening....and too many horror films that aren't effectively creepy or engaging use them way too much to make up for it's lack in quality.

Absolutely. Give me slow burning, creepy atmosphere over jump scares any day.
 
Jumpscares when they are done well I am ok with them. They work effectively. But jumpscares should never be used as main element of building your movie. And in last decade or two they become "safety" for poor/bad directors who dont know how to direct a movie to effectively scare you. And you usually in horror genre have 100 of those directors every year. Giving they work on almost non existent budget with bad actors, bad scripts, trying to get through into Hollywood as not many have the eye for that.

That's why I have great respect for guys who can build a tension, create and establish a atmosphere and work in those almost non existent conditions to create and succeed in doing something special. And when those kind of directors use jumpscares tactic in those movies you get great shock value and add something to your film.
 
Geez, what is it with the hate for jump scares? If they're done well, what's the big deal? Hating on jump scares in a horror film reminds me of all those people who ranted about JJ Abrams' use of lens flares. If that's the worst thing about a movie, then it mustn't have many other flaws.

I agree and in the case of some films say Friday the 13th they're part of the fun. I guess its just balancing not overdoing it and not using it as your only thing.
 
When it comes to jump scares, less is more. Most of the time they're too predictable in horror movies. I'd even go so far as to say that jump scares are more effective in non-horror movies because you're really not expecting them. For example, remember that scene in Spider-Man where the Green Goblin just randomly pops up on screen out of nowhere when Peter has a nightmare? The whole theater jumped.
 
When it comes to jump scares, less is more. Most of the time they're too predictable in horror movies. I'd even go so far as to say that jump scares are more effective in non-horror movies because you're really not expecting them. For example, remember that scene in Spider-Man where the Green Goblin just randomly pops up on screen out of nowhere when Peter has a nightmare? The whole theater jumped.

Or that fake Batman hitting the window in front of Mayor Richard Alpert in TDK
 
Jump scares sparingly is the way to go.

Okay for those who have seen it, what were the biggest changes from the book? Can you talk about those?
 
This argument is by and large espoused by people who have only seen the mini series and not read the book. Tim Curry's Pennywise isn't actually all that representative of the book's version - just that first encounter with Georgie. And even then, King's description isn't exactly 'friendly'. The whole sequence is dripping with dread and malice. Pennywise is a nasty bastard more or less from the get go.

Bingo. The whole 'Pennywise looks too scary' argument also annoys the heck out of me. In the book he always looks terrifying barring the very beginning and that's purely because he wants Georgie to lean in closer to him. Once Georgie is within striking distance, Pennywise immediately changes. The whole point is that he feeds off the children's fear. The first time he appears to Ben he's in his mummy/clown form, the first time he appears to Eddie he's the leper, with Stan it's the dead boys in the Standpipe, Mike it's the giant bird, Beverley it's the voices down the drain and the blood, e.t.c.

From what we've seen so far, this Pennywise is much closer to book Pennywise and I love it, I can't wait to see his different forms (mummy, leper, werewolf, e.t.c). I also wonder if we'll get Mike's giant bird in this version.
 
I did it. I read the first 50 pages decades ago as a 10 year old (pages that have vividly stuck with me) and now at 33 I can FINALLY say I have read Stephen King’s IT and WOW… that’s it?

I’m so disappointed. What a meandering, repetitive, self-indulgent, problematic, not-all-that-scary novel. It reads like a first draft. I’m glad the new movies are separating the time lines into two distinct films. The way they were intertwined in the novel just served to rob it of suspense and narrative momentum, and it feels like it ends twice. King can’t help but follow every folksy digression down every cul de sac. And how many scenes of various Losers running from various bully’s do we need to read? How many times does King need to belabor that Eddie’s mom is crushingly co-dependent, that Bev’s dad is a violent *****e, that Henry Bower’s is the biggest meanie-head ever? This book stops in the middle of an attack scene very late into its pages to tell us why Eddie had Perrier in his room and how it helps his indigestion.

And Jesus Christ, the ending. THE ENDING. What. The. ****.

I’m gonna go out on limb here and say this new movie might end up being the best version of this story thus far.
 
From what we've seen so far, this Pennywise is much closer to book Pennywise and I love it, I can't wait to see his different forms (mummy, leper, werewolf, e.t.c). I also wonder if we'll get Mike's giant bird in this version.

Andy Muschietti has stated that some of the forms Pennywise takes from the novel will be different to match the time era of the film, ie 1989. The leper is in the film but it looks like Mike will not see the giant bird and Canadian actress Tatum Lee is playing Judith who is a form Pennywise takes. My guess is Judith is the form that Richie encounters.
 
I did it. I read the first 50 pages decades ago as a 10 year old (pages that have vividly stuck with me) and now at 33 I can FINALLY say I have read Stephen King’s IT and WOW… that’s it?

And Jesus Christ, the ending. THE ENDING. What. The. ****.

I'll probably regret this... but what is it about the ending you don't like? The metaphysical stuff? The macroverse? Chud?
 
I'll probably regret this... but what is it about the ending you don't like? The metaphysical stuff? The macroverse? Chud?

1) the way Bev reignites the bond in the sewers. Ick. 2) the saccharine melodrama soaking the slow motion climax in general.
 
In the mini series Stan (I believe) sees a Mummy right? Is that not in the book?
 
1) the way Bev reignites the bond in the sewers. Ick. 2) the saccharine melodrama soaking the slow motion climax in general.

Oh. I wouldn't class those as the ending though, eh? The climax of the story is the fight against IT. The Bev thing was a mistake, but if you're referring to [BLACKOUT]Bill Denborough Beats The Devil stuff with Audra[/BLACKOUT], it's okay. A bit saccharine, as you say, but it's hardly the actual climax of the story, which is brilliantly done IMO, and one of the few times King sticks the landing.
 
Bingo. The whole 'Pennywise looks too scary' argument also annoys the heck out of me. In the book he always looks terrifying barring the very beginning and that's purely because he wants Georgie to lean in closer to him. Once Georgie is within striking distance, Pennywise immediately changes. The whole point is that he feeds off the children's fear. The first time he appears to Ben he's in his mummy/clown form, the first time he appears to Eddie he's the leper, with Stan it's the dead boys in the Standpipe, Mike it's the giant bird, Beverley it's the voices down the drain and the blood, e.t.c.

From what we've seen so far, this Pennywise is much closer to book Pennywise and I love it, I can't wait to see his different forms (mummy, leper, werewolf, e.t.c). I also wonder if we'll get Mike's giant bird in this version.

He did look terrifying when Georgie first saw him.
He got up and walked over to the stormdrain. He dropped to his knees and peered in. The water made a dank hollow sound as it fell into the darkness. It was a spooky sound. It reminded him of –
“Huh!” The sound was jerked out of him as if on a string, and he recoiled.
There were yellow eyes in there: the sort of eyes he had always imagined but never actually seen down in the basement. It’s an animal, he thought incoherently, that’s all it is, some animal, maybe a housecat that got stuck down in there –
Still, he was ready to run – would run in a second or two, when his mental switchboard had dealt with the shock those two shiny yellow eyes had given him. He felt the rough surface of the macadam under his fingers, and the thin sheet of cold water flowing around them. He saw himself getting up and backing away, and that was when a voice – a perfectly reasonable and rather pleasant voice – spoke to him from inside the stormdrain.
“Hi, Georgie,” it said.
George blinked and looked again. He could barely credit what he saw; it was like something from a made-up story, or a movie where you know the animals will talk and dance. If he had been ten years older, he would not have believed what he was seeing, but he was not sixteen. He was six.
There was a clown in the stormdrain. The light in there was far from good, but it was good enough so that George Denbrough was sure of what he was seeing. It was a clown, like in the circus or on TV. In fact he looked like a cross between Bozo and Clarabell, who talked by honking his (or was it her? – George was never really sure of the gender) horn on Howdy Doody Saturday mornings – Buffalo Bob was just about the only one who could understand Clarabell, and that always cracked George up. The face of the clown in the stormdrain was white, there were funny tufts of red hair on either side of his bald head, and there was a big clown-smile painted over his mouth. If George had been inhabiting a later year, he would have surely thought of Ronald McDonald before Bozo or Clarabell.
The clown held a bunch of balloons, all colors, like gorgeous ripe fruit in one hand.
In the other he held George’s newspaper boat.
“Want your boat, Georgie?” The clown smiled.
George smiled back. He couldn’t help it; it was the kind of smile you just had to answer. “I sure do,” he said.
The clown laughed. “‘I sure do.’ That’s good! That’s very good! And how about a balloon?”
“Well ... sure!” He reached forward ... and then drew his hand reluctantly back. “I’m not supposed to take stuff from strangers. My dad said so.”
“Very wise of your dad,” the clown in the stormdrain said, smiling. How, George wondered, could I have thought his eyes were yellow? They were a bright, dancing blue, the color of his mom’s eyes, and Bill’s. “Very wise indeed. Therefore I will introduce myself. I, Georgie, am Mr. Bob Gray, also known as Pennywise the Dancing Clown. Pennywise, meet George Denbrough. George, meet Pennywise. And now we know each other. I’m not a stranger to you, and you’re not a stranger to me. Kee-rect?”
George giggled. “I guess so.” He reached forward again ... and drew his hand back again. “How did you get down there?” “Storm just bleeeew me away,” Pennywise the Dancing Clown said. “It blew the whole circus away. Can you smell the circus, Georgie?”
George leaned forward. Suddenly he could smell peanuts! Hot roasted peanuts! And vinegar! The white kind you put on your french fries through a hole in the cap! He could smell cotton candy and frying doughboys and the faint but thunderous odor of wild-animal ****. He could smell the cheery aroma of midway sawdust. And yet ...
And yet under it all was the smell of flood and decomposing leaves and dark stormdrain shadows. That smell was wet and rotten. The cellar-smell.
But the other smells were stronger.
“You bet I can smell it,” he said.
“Want your boat, Georgie?” Pennywise asked. “I only repeat myself because you really do not seem that eager.” He held it up, smiling. He was wearing a baggy silk suit with great big orange buttons. A bright tie, electric-blue, flopped down his front, and on his hands were big white gloves, like the kind Mickey Mouse and Donald Duck always wore.
“Yes, sure,” George said, looking into the stormdrain.
“And a balloon? I’ve got red and green and yellow and blue...”
“Do they float?”
“Float?” The clown’s grin widened. “Oh yes, indeed they do. They float! And there’s cotton candy...”
George reached.
The clown seized his arm.
And George saw the clown’s face change.
What he saw then was terrible enough to make his worst imaginings of the thing in the cellar look like sweet dreams; what he saw destroyed his sanity in one clawing stroke.
“They float,” the thing in the drain crooned in a clotted, chuckling voice. It held George’s arm in its thick and wormy grip, it pulled George toward that terrible darkness where the water rushed and roared and bellowed as it bore its cargo of storm debris toward the sea. George craned his neck away from that final blackness and began to scream into the rain, to scream mindlessly into the white autumn sky which curved above Derry on that day in the fall of 1957. His screams were shrill and piercing, and all up and down Witcham Street people came to their windows or bolted out onto their porches.
“They float,” it growled, “they float, Georgie, and when you’re down here with me, you’ll float, too –”
George’s shoulder socked against the cement of the curb and Dave Gardener, who had stayed home from his job at The Shoeboat that day because of the flood, saw only a small boy in a yellow rainslicker, a small boy who was screaming and writhing in the gutter with muddy water surfing over his face and making his screams sound bubbly.
“Everything down here floats,” that chuckling, rotten voice whispered, and suddenly there was a ripping noise and a flaring sheet of agony, and George Denbrough knew no more.
Dave Gardener was the first to get there, and although he arrived only forty-five seconds after the first scream, George Denbrough was already dead. Gardener grabbed him by the back of the slicker, pulled him into the street ... and began to scream himself as George’s body turned over in his hands. The left side of George’s slicker was now bright red. Blood flowed into the stormdrain from the tattered hole where the left arm had been. A knob of bone, horribly bright, peeked through the torn cloth.
The boy’s eyes stared up into the white sky, and as Dave staggered away toward the others already running pell-mell down the street, they began to fill up with rain.
 
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