HALLOWEEN FULL PRODUCTION NOTES
UNIVERSAL PICTURES, MIRAMAX and BLUMHOUSE
PRODUCTIONS Present
A MALEK AKKAD Production
In Association with ROUGH HOUSE PICTURES
JAMIE LEE CURTIS
JUDY GREER
WILL PATTON
HALUK BILGINER
VIRGINIA GARDNER
and introducing
ANDI MATICHAK
Executive Producers
ZANNE DEVINE
DAVID THWAITES
JOHN CARPENTER
JAMIE LEE CURTIS
JEANETTE VOLTURNO
COUPER SAMUELSON
DANNY MCBRIDE
DAVID GORDON GREEN
RYAN FREIMANN
Produced by
MALEK AKKAD, p.g.a.
JASON BLUM, p.g.a.
BILL BLOCK, p.g.a.
Based on Characters Created by
JOHN CARPENTER and DEBRA HILL
Written by
JEFF FRADLEY & DANNY MCBRIDE
& DAVID GORDON GREEN
Directed by
DAVID GORDON GREEN
In Halloween,
JAMIE LEE CURTIS returns to her iconic role as Laurie Strode, who
comes to her final confrontation with Michael Myers, the masked
figure who has haunted her since she narrowly escaped his killing
spree on Halloween night four decades ago.
Master of horror JOHN
CARPENTER executive produces and serves as creative consultant on
this film, joining forces with cinema’s current leading producer of
horror, JASON BLUM (Get
Out,
Split,
The
Purge,
Paranormal
Activity).
Inspired by Carpenter’s
classic, filmmakers DAVID GORDON GREEN (Stronger),
DANNY MCBRIDE
(HBO’s Eastbound
& Down)
and JEFF FRADLEY (HBO’s Vice
Principals)
crafted a story that carves a new path from the events in the
landmark 1978 film, and Green also directs.
Based on characters
created by Carpenter and DEBRA HILL, Halloween
is also produced by MALEK AKKAD, whose Trancas International Films
has produced the Halloween
series since its inception, and BILL BLOCK (Bad
Moms,
District
9).
Curtis is joined on
screen by JUDY GREER (Jurassic
World,
Ant-Man)
as Karen, Laurie’s daughter who was taken away from her when Karen
was a child, and who fluctuates between sympathy for her mother and
frustration at the nonstop paranoia; newcomer ANDI MATICHAK as
Allyson, Karen’s teenager who is attempting to navigate the rift
between her mom and grandmother; WILL PATTON (TV’s Falling
Skies,
Armageddon)
as Officer Hawkins, who was a young cop the night Michael Myers was
taken into custody 40 years prior; HALUK BILGINER as Dr. Sartain, the
psychiatrist who’s overseen Michael’s incarceration for decades;
VIRGINIA GARDNER (Hulu’s The
Runaways)
as Vicky, Allyson’s best friend since they were young girls; and
stunt-man/performer JAMES JUDE COURTNEY (Far
and Away),
who portrays Michael Myers/The Shape. As well, NICK CASTLE (1978’s
Halloween)
appears in a cameo as The Shape.
Accompanying Green
behind the scenes is a seasoned group of creative talent, including
director of photography MICHAEL SIMMONDS (Paranormal
Activity 2,
Cell),
production designer RICHARD WRIGHT (Mud,
All the
Real Girls),
Academy Award®-winning
special effects makeup designer CHRISTOPHER NELSON (Suicide
Squad,
Avengers:
Infinity War)
editor TIM ALVERSON (Insidious:
The Last Key,
Orphan),
costume designer EMILY GUNSHOR (TV’s The
Last O.G.,
Salt)
and composers CODY CARPENTER (TV’s Masters
of Horror)
and DANIEL DAVIES (Condemned),
who are joined in those duties by John Carpenter.
ZANNE DEVINE (I,
Tonya),
DAVID THWAITES (Black
Swan),
JEANETTE VOLTURNO (Get
Out),
COUPER SAMUELSON (The
Purge
series), RYAN FREIMANN (The
Hatred),
John Carpenter and Curtis executive producer the film. Green and
McBride serve in the same capacity under their Rough House Pictures
banner.
Universal Pictures
distributes Trancas International Films, Blumhouse Productions and
Miramax’s
Halloween
worldwide.
ABOUT THE
PRODUCTION
Resetting the
Timeline:
Halloween
Begins
Malek Akkad—whose
family’s production company, Trancas International Films, has
produced the Halloween
series since its inception—was open to a fresh take on the story
and found a likeminded creative partner in Jason Blum. His fellow
producer, whose Blumhouse Productions—responsible for delivering
smash-hits from Get
Out
and Split
to the films in The
Purge
series—has a first-look deal with distributor Universal Pictures.
Long impressed by Blum’s ability to marry abject terror with
impeccable quality, Akkad was keen to embark upon a project with a
fellow filmmaker who had a deep passion for his father’s
co-creation…and someone who could help him breathe unexpected new
life into the franchise.
Akkad gives us a bit of
background on how it all began, an incredulous 40 years ago: “The
original film came about when my father, Moustapha Akkad, and a
gentleman named Irwin Yablans started a distribution company, Compass
International Pictures. They were looking for some projects that
they could self-finance and distribute and were fans of John
Carpenter’s early work: Assault
on Precinct 13.
They had a meeting with him, and he had a concept for a low-budget
film called The
Babysitter
Murders.
They took a risk, and the rest is history.”
Carpenter remembers
those early years. “The distributor asked me to make this film for
200,000 bucks, and I said, ‘Sure I can. I just want creative
control and my name above the credits.’” Reflecting on his
creation with co-writer Debra Hill, Carpenter understands why
audiences continue to be terrified by this embodiment of fear.
“Michael Myers, with his mask and his gas-station attendant’s
uniform, is a character who is between a human being and the
supernatural. He is the ultimate force of evil. He is ruthless, and
there’s no reasoning or praying to God to save you. He has a
single purpose, and that’s to kill you. Michael Myers is a
relentless force of nature. He’s just coming, and you got to get
out of his way.”
A massive fan of the
first Halloween,
Blum feels that it’s one of the most perfect horror films ever
made…and had no interest in developing the project without running
it by the director who’d inspired much of his own career. “Getting
John Carpenter’s blessing was a prerequisite for Blumhouse being
involved in this movie,” Blum reflects. “I wasn’t going to
pursue making a Halloween
movie without him. So, the first person I went to was John. I asked
him, ‘Do you want to jump in?’ He happily agreed to do just
that.”
Blum promised
Carpenter—who calls Blum “the LeBron James of horror cinema”—that
they wouldn’t move forward until he was happy with the director
they had in mind…as well as the script that was being developed.
To that end, Blum knew one filmmaker he thought might be interested.
What he found was that David Gordon Green would not only want to helm
Halloween,
he’d want to collaborate with his longtime writing partners to
craft the screenplay.
“We believe strongly
at Blumhouse that you don’t need a great horror-movie director to
make great horror movies,” the producer says. “You need a great
movie
director. I’ve admired David since his first film, George
Washington,
and I’ve reached out to him on multiple occasions hoping to lure
him in. Halloween
was when it finally happened. David fits very much into our
philosophy: If you’re a great director, we can help you make a
great scary movie.”
When it came to a
chapter that would wake up the franchise, the producers leaned into
this idea of this filmmaker not known for horror. “After having
met so many directors and hearing several pitches, Miramax and I were
able to bring Jason on board, and he deserves credit for bringing
David to the picture,” lauds Akkad. “I have been a fan of
David’s for years, and before even meeting I thought it would be an
amazing opportunity. Jeff, Danny and David came in and pitched their
take; the rest is becoming history.”
For Blum, it is the not
knowing the why behind Michael Myers’ motivation that is so
terrifying. He also wholly agreed with the collaborators’ idea
that this should be Laurie’s final confrontation with Michael, and
that the film would reset the series.
“This was 100 percent their pitch to me. The idea I brought to
Jeff, Danny and David was to make a new Halloween
movie. I told them they should imagine what would excite them and
what they would most like to see. It was their idea to make this
movie a continuation of the first Halloween.”
Green recalls that
hearing from Blum was one of the more pivotal episodes of his career.
“I remember that moment vividly, getting up in the morning and
seeing this email from Jason asking to have me in the Halloween
franchise. I immediately felt strange, like when you’re standing
on the edge of a cliff and your legs start to give out. It triggered
a lot of my enthusiasm from when I was a kid and would sneak into
movies I shouldn’t have been watching. Halloween
was the pinnacle of all of them.”
Block, who has produced
fare as varied as the thought-provoking District
9 and
Elysium
to the crowd-pleasing Bad
Moms
films, agreed with his fellow producers that Green was the ideal
choice to direct the new film.
“You see few directors move in genres as effortlessly as David has
in the course of his career. He has this scholarly understanding and
elevation of all that has come before. He has digested it and taken
it a giant step forward; that’s set up a new bar of excellence.”
The producer shares that the matchup
between Michael Myers and Laurie Strode is one for which audiences
have waited a long time, and Green surpassed his expectations. “You
go to a movie for an absolute thrill ride and for the surprise. The
journey, particularly in this one—and this confrontation that has
been brewing for 40 years between these two—upon his release is
very satisfying.”
Friends and
Screenwriters:
Fradley, McBride &
Green
For writing partners
Jeff Fradley, Danny McBride and David Gordon Green, the idea that the
diehard fans of John Carpenter’s 1978 masterpiece would not
be the architects of the story that brings Halloween
back to life was simply unthinkable.
Close friends and
creative collaborators since their days studying film at North
Carolina School of the Arts, their premise was deceptively simple,
but ingenious: They posited what would happen if Michael Myers had
been captured at the end of Halloween.
What if Laurie and Michael weren’t actually brother and sister,
rather two strangers whose chance encounter changed the arc of both
their lives? What would that do to the tale that began in the late
’70s, and how would it change the narrative of both heroine and
antagonist?
Like so many whose
gateway drug to horror was Halloween,
Fradley sums his feelings on an introduction to unknowable evil: “I
remember Michael Myers scared the shit out of me. I didn’t
understand who this man with the white mask was, and that stayed with
me.” Reflecting on the movie’s influence on his career, the
writer and producer states: “I became obsessed with it as a kid,
and that turned into my running around with a video camera—making
our own version of Halloween.”
McBride gives that he
and his fellow writers had no interest in remaking Halloween,
but were drawn rather to moving the story in a
never-before-considered direction. “We thought that Laurie Strode
was an interesting way in, so why don’t we find a new timeline that
can connect to the first movie…and explore a different path for
her. We knew that if we were going to take a big swing like this, we
should change things up so that we didn’t walk down the same one
others have.”
As they wrote, they
didn’t yet have Carpenter’s final blessing on their treatment,
and had no idea if Laurie Strode herself, the fearless Jamie Lee
Curtis, would be interested in returning to the character that has
demarcated her professional career and elicited compassion and
respect from legions of fans. “We tried to write a character that
we thought would be interesting for her as an actress to portray,”
explains McBride. “I thought it was a cool way for her to revisit
that character and, honestly, the death Laurie got in Resurrection
just didn’t seem suitable. It seemed like there was a way to beat
that.”
Script in hand and beads
of sweat on their brows, the friends finally had the chance to bring
their story to the master of horror himself—who has served as
creative consultant on other chapters of Halloween,
but hasn’t since directed another film in the canon. “We met
John when we pitched him our take,” says McBride. “It was
nerve-wracking to go to one of your idols and say: ‘You created
Michael Myers and Laurie Strode, and now we have the audacity to
think we have an idea. Here’s where the story could go from where
you left it off…’ He was very receptive to it and kind to us.
That was the best we could have ever hoped for.”
It was vital to the
three men that Carpenter be on board. If not, they figured, what was
the point? “If we were going to be as authentic and honorable to
John’s 1978 movie as we said we were, we had to have his blessing;
we had to kiss the godfather’s ring,” sums Green. “The meeting
went great, and he had some ideas and some concerns. Like any
healthy creative conversation, we talked through it.”
That’s when the
professionalism went out the door, and the guys went full fanboy.
“At one point, his cell phone goes off while we’re talking,”
Green adds, “…and it’s the theme from Halloween.
That’s when I lost it. I kept it cool until then, but that’s
when I realized just where I was and who I was talking to. Then,
once we knew he was on board, it was time for the next challenge of
the conversation: to convince him to do the score.”
Fradley recalls the day
the executive producer arrived on the Halloween
set during shooting, and it was déjà vu for both producer and star:
“When Carpenter came and met with Jamie, we were filming a scene
where Laurie runs outside and faces Michael Myers. Jamie explained
that she got the same feeling she had 40 years ago, and that it
brought her back to Carpenter’s set. There was a similar scene on
that movie, and when she was filming our version, she had all those
emotions rush back.”
Little in their careers
to-date could prepare the writers for the reunion of those who’d
created the terrifying masterpiece so many years ago. “We devoured
documentaries, books, everything we could get our hands on with
regard to Halloween,”
McBride says. “We knew a lot about the making of it, but to see
the personalities interact in person—to watch John and Jamie Lee
greet each other, bullshitting with Nick Castle—was a small peek
into three people who created something so iconic that it has stuck
around for this long.”
For his part, Green
found himself tongue tied many days during production. “What I
could never get past was the 12-year-old in me who was excited to be
on set with Jamie Lee—mumbling his way through a conversation with
John Carpenter and laughing hysterically when Nick Castle showed up.
The realization of so many of these childhood dreams was evident when
I walked onto set. This was something I brought to this project, and
a big part of my enthusiasm for it.”
At the end of the day,
there were only two people they knew they had to duly impress: Curtis
and Carpenter. Fortunately, both were fans of the script and
ultimately the film itself. “They’ve written some fascinating
new characters, and they’ve cast the movie well,” lauds
Carpenter. “There are some good actors in this film, and the whole
movie’s just unusual. It has a quality to it. I told David: ‘Man.
This is as good as I’ve seen since we first did the first movie.
You hit it out of the park.’”
I’m excited
for audiences to see this. It is going to scare the shit out of you.
I guarantee it.”
Laurie’s Guardian
Angel:
Jamie Lee Curtis
Returns
For more than two-thirds
of her life, Jamie Lee Curtis has embraced the mantle of protector
and guardian of Laurie Strode. In the late 1970s, the heroine that
Curtis brought to life accomplished what few other on-screen women
before her—long relegated to damsels in distress—would consider a
probability or possibility in a horror film.
She survived.
Armed with only a coat
hanger, knitting needle and the will to live, the teenager fought
back against a faceless creature of pure evil who had violated her
world and murdered her friends. Refusing to be a victim, the
champion Curtis created alongside Carpenter and collaborator Debra
Hill instantly changed the narrative on the silver screen. Women
could, should and will strike back…and no man or boogeyman will
stop them from fighting to the death.
While the actor, writer
and activist has appeared in three other Halloween
films since the 1978 original, Curtis assumed she’d said goodbye to
bringing the character to the screen almost 16 years ago. When she
first spoke with director Green, all that would change.
Refreshingly pragmatic,
Curtis reflects that a 40-plus career in the entertainment business
has taught her many things, the least of which is that she knows
exactly who she is as a performer. “I’m almost 60, and I’ve
been working since I was 19. Clearly what works for me—and what
people want from me in my work—comes from that.” She laughs:
“You’re not going to see me playing Queen Elizabeth. My gift is
in the lack of knowing, and I learned that long, long ago.”
That dogma has informed
Curtis’ attitude toward her personal and professional life, and she
feels it speaks to Laurie’s experience in the inaugural Halloween.
The fact that the screenplay for the 2018 film so embraced and
championed what she has long believed is what sealed Curtis’
involvement in this production as star and executive producer.
The actor notes:
“There’s a Marisha Pessl novel I love called ‘Special Topics in
Calamity Physics,’ and this character talks about what we think
life is. And then she says we are wrong. She says: ‘Life hinges
on a couple of seconds you never see coming, and what you decide in
those seconds determines everything from then on and you won’t know
what you’re going to do until you’re there.’ That’s life;
that’s a marriage; that’s raising children; that’s a horror
movie.”
Undoubtedly, Curtis has
long held Laurie in her heart and understands why people are so
connected to this fateful night. Discussing her first filmic role,
she says: “Laurie Strode was a smart girl in high school just
starting her life. She was probably studying for the SATs, looking
at colleges, and then Michael Myers showed up. Life hinged for her
on a couple of seconds she never saw coming. The rest of her life is
the movie we’re making now. Forty years later, this woman
understands that Michael Myers will come back, and that she and her
family need to be prepared…but nobody’s listening.”
Fortunately for
audiences, listen is exactly what Curtis did. Green had recently
directed Curtis’ godson in the movie Stronger,
and the actor had a particularly gratifying experience on set. “Jake
Gyllenhaal texted me and said his friend David Gordon Green wanted to
speak to me about something regarding Halloween.
Jake said that it was the best creative experience he’d ever had,
and that he felt freer with David than he’d ever felt.”
Understandably reticent
to hear the nth
Halloween
pitch, Curtis approached the call warily. Still, fortune favors the
brave. “David was exuberant and positive when we spoke. When he
started to explain the idea to me, I said, ‘Please don’t. Just
send it to me, and I will tell you from the opening sequence.’”
When she received
Fradley, McBride and Green’s script, Curtis fully understood what
they were trying to do. “I saw how perfectly homage-y and new it
was. I thought, ‘That’s cool, and I like it! That was how easy
it was. It’s its own movie with a complete history linked to the
past. Yet, it’s in its own story 40 years later. The two movies,
side by side, are perfect bookends and complements—telling the same
story with new generations in the same simple, clear, iconic way that
Halloween
was and continues to be.”
Curtis was drawn to the
writers’ take of a woman who has spent her entire life, 365 days a
year, preparing for the return of the monster who violated her world.
That said, by refusing to be a victim to Michael Myers any longer,
she has allowed him to define her existence. “Once a day, Laurie
drives by that mental institution and calls the police officers who
are supposed to have an armed guy on the perimeter,” reveals the
performer. “I’m sure Laurie sits in her truck from six o’clock
in the morning until midnight.
“She is singular in
her purpose, and in that sense, everything else has fallen away,”
Curtis continues. “Her child was taken from her, and friendships,
fun—any sense of a life—has been removed in her pursuit to make
sure that Michael Myers stays behind bars at the mental
institution…or that he will be transferred to a maximum-security
prison.”
It wasn’t lost on
Curtis that the trio pitching her reminded her of lifelong friends
she met in ’78, and that both sets of filmmakers would shoot their
passion project in less than one month. “The similarities are
profound in two areas,” she gives. “The first is that John
Carpenter, [production designer] Tommy Wallace and Nick Castle are
the original triumvirate of Halloween.
They were friends who went to film school together, were in a band
together called the Coup de Villes, and made a movie along with Debra
Hill, who Laurie is the physical embodiment of. There was something
very alive about that. No frills, no pampering. Just clean,
guerilla filmmaking: 20 days, $200,000, boom.”
She saw all of that in
her new partners, and loved that her collaborators didn’t initially
recognize the parallels. “This is a group of best friends who went
to film school together, made movies together and raised families
together,” Curtis says. “They, too, have come together to make a
movie—no frills, bare bones; 28 days, boom. Those similarities are
palpable in the process of making this movie—the exuberance of
young people, the camaraderie of filmmakers who speak a creative
language and who laugh a lot.”
What her creative
partners did see is the acting powerhouse who was equal parts
champion, collaborator and risk taker. “What I didn’t get until
I met Jamie Lee is the cosmic energy that she brings when she enters
the room,” commends Green. “She brings the power of positivity
like no one else. She’s a ball of fire—on set early, there to
connect with every collaborator, there to do the best job that she
can. She brings 100 percent…from a fight scene to a dramatic scene
to a scream one. It’s just been a blast to work with her.”
His producer marvels at
a career with such depth and distinction. “Jamie’s a great
actress, so there’s always room to return to previous work,”
Block lauds. “She took that energy and infused it into a terrific
performance. She’s like Liam Neeson in Taken.
She’s a full-on Terminator herself.”
Haddonfield Players:
Supporting Cast
To populate the world of
Haddonfield, Illinois, in 2018 the production would turn to an
eclectic and talented troupe of actors known for, alternately,
dramatic and comedic work. With new faces joining and longtime
friends reuniting, Halloween
began its shoot.
Soon after the events of
the first film, Laurie gave birth to a daughter named Karen. Curtis
explains where we find the family, and what’s happened to them
since: “Karen is the child of a trauma victim, and she has suffered
for it—as do many children of trauma. In Laurie’s case, this is
an unexplored psychological trauma. In 1978—in a small town like
Haddonfield—there wouldn’t have been a lot of therapy or real
services offered to her. Like many people in America back then,
she’d hear, ‘Get on with your life,’ and she tried to. It’s
just that the trauma was too big.”
Cast as the daughter
that Laurie parented with years of paranoia, weapons training and
survivalist nightmares, was Judy Greer. The actor, who has deftly
and equally navigated the worlds of television and film since her
on-screen debut in the ’90s, was thrilled to join Curtis on screen
and the filmmakers behind it.
“When I found out that
David and Danny were doing this, I was excited to work with them,”
commends Greer. “I also couldn’t pass up the chance to work with
Jamie Lee. Not only was she number one on my call sheet, she is the
star of this movie and kicks all the ass. I loved that three guys
wrote that script and made such a strong female lead.”
Greer appreciated that
Curtis and the writers had fleshed out such a meaningful arc for a
woman whose existence has been defined by the trauma she suffered at
a maniac’s hand. The fact that the new Halloween
gives Laurie a second chance at life—and to be proven right all
along—was something to which Greer quite responded. “These are
three strong female characters who are very protective of each other
and of the life that they’re trying to create. That said, Karen is
emphatic that she won’t raise Allyson the way that Laurie raised
her.”
That amount of course
correction, however, has resulted in Karen having a blind spot to the
very real threat that Michael Myers poses, when—not if—he
escapes. “Karen loves her mom, but she just can’t be around her
anymore,” Greer reflects. “She wants to keep this bubble of
safety and happiness around her daughter, and she doesn’t want what
happened to Laurie to play into the backstory of her daughter’s
life the way it has for my character. Karen tries to separate
Allyson from Laurie because she doesn’t want her mom to influence
her in any way.”
McBride reflects upon
how Karen and Andi serve the narrative of the story: “Part of the
idea of this film is to look at the long-term effects of experiencing
violence and horror. That one fateful night when Laurie and Michael
met has affected her daughter and granddaughter deeply and
differently. It almost seems like it was dissecting Laurie in three
different points of her life.”
Allyson serves as a
reminder to Laurie of the young, carefree woman she was before
Michael Myers robbed her of a young adulthood. Much like Laurie was
at that age, her granddaughter is primarily concerned with grades,
babysitting gigs, boyfriends, the Halloween dance and any matter of
decisions about which an average high school kid is fixated. That’s
what makes what happens to her family all the more horrifying.
Fradley sums: “Allyson is the most like Laurie; she represents
innocence…a young girl going about her day. As Laurie’s
daughter, Karen has been most affected by the violence.”
Newcomer Andi Matichak
tackles her first on-screen role as Allyson, who reflects both the
naiveté and solid instincts that Laurie showed when we first met
her—and is a reminder that unspeakable violence can happen to
anyone. For the film’s star, Matichak’s casting sparked memories
of another young actress…one who got her start years ago. Recounts
Curtis: “Andi and I are playing grandmother and granddaughter in
the same movie 40 years later, but neither one of us started to be
actors. We both fell into it quite accidentally, and the fact that
we’d both end up starring in a horror film is very interesting.”
The similarities between
the two performers unveiled themselves as Curtis got to know
Matichak. “I was quite a bad student, and I came home from college
and ended up auditioning for a low-budget horror film and getting the
lead,” explains Curtis. “That was my first movie: ‘and
introducing Jamie Lee Curtis.’ Andi was an athlete who had a full
college scholarship in Florida to play division-one soccer. She went
to Greece to model because she ran into somebody who said, ‘You’re
very pretty, and you could be a model.’ Just like with me, a
manager communicated with her family that he thought she could be a
performer. She gave up her scholarship and became an actress in her
first movie: Halloween.”
That said, Curtis also
sees a number of differences between these two characters. “Allyson
is smart and capable, not as vulnerable and innocent as Laurie was.
One part of the story that has evolved into something beautiful is
that Laurie didn’t believe in any of this threat. She was a
complete innocent, which is why the story works so well. Allyson, on
some level, is also innocent. She’s been protected from her
grandmother by her mother, who thinks Laurie is crazy. It’s like
two parallel stories; you’re with Andi a lot of the movie, and then
you’re with Laurie. They are on opposite tacks, if you will.”
Matichak appreciated the
freedom and flexibility to find Andi in her own time. “She is on
the brink of becoming a woman,” notes the performer. “She’s at
that beautiful place where you’re definitely an adolescent, more of
a girl, but you’re starting to act more like a woman and grow into
yourself. You’re finding your voice and becoming who you’re
meant to be.”
The actress appreciated
the flexibility her director allowed the cast on set, and she and
Curtis ended up creating a significant backstory for Laurie. “Andi
is in the National Honor Society, and that is something Laurie was
also in for two years in high school. Jamie and I came up with that
together, behind the scenes. I feel like the juxtaposition between
the two of us is lovely, because you have a pre-terrorized Laurie and
then now Laurie, 40 years later.”
A peacemaker since she
was a little girl, Allyson has been fiercely protected by her mom
from the chaos, but still has the will and strength of her
grandmother. “Part of the reason Allyson is such an old soul for
17 is that she’s had to play mediator between mom and grandmother
her whole life. When she is able to decide to have people in her
life, she wants to see her grandmother more; that causes friction
with her mother. She’s been caught in the middle trying to mend
the relationship between two strongly opinionated, lovely,
bull-headed women.” Matichak pauses, noting that those qualities
are what make this film so special. “There are three strong women
at multiple ages taking on an unstoppable force, and that is
something incredible to be a part of.”
For Green, it was
crucial to design a situation where these three generations of women
could all apply their battles, demons, anxieties and insecurities
into one confrontation with Michael Myers. He gives: “To exhibit
that physically, intensely with three very dominating actresses, the
presence of their characters will blow the doors off the back of the
theater. Those were a brilliant several days of my life.”
One of the few other
Haddonfield citizens who remembers just how terrifying that night was
for Laurie is Officer Hawkins, played by brilliant performer Will
Patton. A young cop the night that Dr. Loomis shot Michael Myers,
Hawkins helped take the killer into custody that Halloween so long
ago. He’s seen Laurie devolve from a carefree teenager into a
woman who calls the police on a daily basis to check in on the status
of her would-be killer at Smith’s Grove Sanitarium. She never
rests, and nor can they.
Patton describes what
any of us would feel if we were confronted by The Shape himself. He
recalls the day they faced off: “I’m very interested in what
causes us to be afraid, and fear is a big part of being a human
being. I like things that explore that. The night that I was first
on set with Michael Myers and had a scene with him, I was genuinely
fearful. I felt like there’s something going on here that’s very
different than what I imagined.”
Brought on to portray
Dr. Sartain was famed Turkish actor Haluk Bilginer, who stunned
critics worldwide with his portrayal in 2014’s Palme d’Or-winning
Kis
Uykusu (Winter
Sleep).
A young student of Dr. Loomis, the psychiatrist has been charged
with studying Michael Myers at the sanitarium for years. Now that
his patient will be transferred to a new maximum security facility,
the doctor will be part of the transport team that brings Michael
Myers to his final home.
As the team grappled
with such dark material, the performers found it additive that Green
kept his set light. Bilginer recalls their work: “We had a couple
of Skype conversations when I was in Istanbul, and he asked me about
the script, which I liked very much. Then when I met David over
here? Oh, I loved him. He is such a great director and a great
person. His presence is enough to give you energy. He oozes
happiness on set, which is a very important quality for a director to
have. The actor feels safe, and feels he’s in good hands.”
Portraying the British
documentarians who make a deal with Dr. Sartain to attempt to
interview Michael Myers are The
Lears’
RHIAN REES as Dana and Star
Wars: The Force Awakens’
JEFFERSON HALL as Aaron. Vloggers obsessed with the case of the
Babysitter Murders from decades ago, they are certain that if they
can just meet with Laurie and find out what happened that night, they
will be able to shed new evidence on the crime and understand the
unthinkable. When they procure The Shape’s mask out of
police-evidence storage and trigger Michael Myers at the sanitarium
with their odious find, the duo prods into motion a series of events
that will lead to Laurie facing Michael Myers for the very last time.
Supporting cast of the
horror film includes Virginia Gardner of Hulu’s
The Runaways
as Vicky, tasked with babysitting Julian (JIBRAIL NANTAMBU of AMC’s
Preacher)
on Halloween night while her friends are at the high-school dance.
She is joined by MILES ROBBINS (Blockers)
as Vicky’s boyfriend, Dave; DYLAN ARNOLD (TV’s When
We Rise)
as Andi’s boyfriend, Cameron; DREW SCHEID (Boy
Erased)
as Oscar, the most annoying friend of their group, who also has a
secret crush on Andi; TOBY HUSS (AMC’s Halt
and Catch Fire)
as Ray, Karen’s sympathetic husband and Andi’s dad; and OMAR J.
DORSEY (TV’s Queen
Sugar)
as Sheriff Barker, who has seen the worst Haddonfield has to offer,
and who is ready for the evil that’s come back to town.
Behind the Mask:
Michael Myers Comes
Home
To portray Michael
Myers, stuntman and actor James Jude Courtney inherited the mantle
that not only terrifies audiences on sight, but frequently scared his
fellow cast and crew during production. Courtney works alongside
Nick Castle, who originate the role of “The Shape” in 1978’s
Halloween
and spent time with Green on set as the production’s “spiritual
advisor,” as he jokingly referred to himself.
Castle does appears in
the film in cameo as The Shape, but he underscores that his good
friend Courtney deserves credit for the lion’s share of work on
this screen. “Nick gave us instructions on little things—the way
that Michael Myers turns his head or tilts it to observe a kill…or
sits up at a 90-degree angle without using his hands,” offers
Green. “Those great little subtle characteristics were very
important to the story we were telling.”
Green describes exactly
what he, and we, need from Michael Myers, and they primarily focus on
construct: “There are several situations in the film where we see
him in silhouette. He is unmasked, and we are trying not to reveal
personality. I don’t want know anything about Michael Myers. I
don’t want to feel sympathy for him or understand the mind that
created the monster.” He pauses: “I want him to disappear into
the essence of evil.”
What Green appreciated
about Courtney’s take on the character was the actor’s interest
in portraying Michael Myers with a neutral physicality and a workman
ability. “We looked at references of cats in the wild—leopards,
cheetahs, animals that don’t rationalize anything other than what’s
in their path,” the director says. “There are microscopic
incentives that might direct them one way or another, but it’s all
predator and prey. He embraced a Michael Myers that was capable of
emotionless rampage.”
Curtis discusses just
what makes “The Shape” so terrifying, reflecting that Michael
Myers in that mask is a bit of a Rorschach test for all of us. She
feels that we see in it what we are most afraid of. “This was
John’s invention to refer to this enigmatic everyman, this every
threat,” she states. “You’re in every town, USA; Laurie Strode
is every girl; and Michael Myers in that mask is that enigmatic lack
of any human affect. He represents what Donald Pleasance as Dr.
Loomis describes as ‘pure evil.’ ‘The Shape’ was John’s
way of referring to that enigma.
“There is no
motivation,” Curtis continues. “What’s amazing about the
creation of this character—and why it’s had such longevity—is
that there is no definition, no rhyme or reason, no analysis, no deep
dive. There is nothing, and it is in nothing. In that state of
nothingness, emptiness is either pure bliss or pure evil. Obviously,
in his case…it’s pure evil.”
Courtney’s colleagues
appreciated that he was able to channel the enigmatic, methodical
nature of Michael Myers. “It’s his walk, his countenance, his
posture,” reflects Curtis. “Jim completely went there; something
changed when he put that mask on. The combination of this lack of
human response and his physical strength came out in a visceral and
emotional way.”
For Curtis, encountering
this character again—lensing a scene that was deeply reminiscent of
the one she’d lensed 40 years ago—proved a bit of mind-boggle.
“The first night I shot on this film was the sequence where Michael
Myers was clearly present near Laurie, and it had this heightened
sense of alarm and concern. It reminded me of the first night we
shot in Orange Grove on the first film—the sequence after Laurie
has discovered the gruesome scene across the street and encounters
The Shape for the first time. What I remembered when we were about
to do the first take here—of that same type of sequence—was
exactly how I felt when I was 19 years old. I remember we had only
rehearsed the physical moves: where I would run out and fall, and how
the Steadicam would follow me.”
The performer
appreciated that, just like Carpenter, Green had no interest in
choreographing her decisions as an actor imagining what Laurie would
do if she ever confronted her attacker again. “There are very
specific beats you have to hit in a movie like this. You have
characters that are vulnerable, people separated, as well as terrible
fear and uncertainty about what’s happening to them,” she offers.
“You have no idea what you’re going to do in those situations,
and it has to look organic, messy and real. There was something in
the same way that I had done a bunch of emotional, intense character
scenes, and then I felt like I was 19 again, asking myself: ‘What
am I going to do here?’”
Two Different
Prisons:
Design of the Horror
Production designer
Richard A. Wright has worked alongside Green in that capacity since
the director’s inaugural film. From comedies and thrillers to
dramas and satire, the filmmakers have long created fantastic worlds
for their characters, and continue to operate with longtime friends
and colleagues to do so.
It was key to the
director to put these characters in an everyday world that we all
recognize, one that is not extraordinary.
“Stylistically,
we used John Carpenter’s film as our creative foundation,” offers
Green. “We’re a sequel to that and no one else. In honor of
that, and to spell out the simplicity that allowed us to go to these
heightened places of terror, we wanted to establish a relatable sense
of drama in these characters.” It’s 40 years later, and that
means “everything is a little more aged, a little textured.
Something that was a bit more of a sterile suburb now has a saltier,
seedier side.”
Alongside Green and
Wright, assistant director ATILLA SALIH YÜCER, cinematographer
Michael Simmonds and location supervisor/associate producer S. SCOTT
CLACKUM began scouting for locations almost one year prior to
principal photography. “We got to be there in the early stages of
the script, discovering it as we went along,” says Wright.
The 28-day shoot
occurred in and around Charleston, South Carolina. While it was
important for the designer to focus on the original film and take
much of this production’s lore from that, he didn’t feel the need
to be slavish to Carpenter’s original creation. “In terms of the
design, we started with what Laurie’s house, her daughter’s house
and even her granddaughter’s room look like,” explains Wright.
“We thought about what the character’s gone through, the fact
that she’s never gotten over this experience. It has driven her to
some sort of madness.”
When it came to Laurie’s
nemesis, Wright takes us back to the start: “We find Michael Myers
in the same place he was in at the beginning of the original film: a
state hospital. This Smith’s Grove State Hospital was a bit of a
discovery. We happened upon this amazing checkerboard courtyard he’s
standing in the middle of.”
It was this scene that
proved the most terrifying to producer Blum. He remembers the first
time he watched it: “Michael Myers has an aura about him that very
much scares the other inmates. When we first meet him, even in that
context, he’s extraordinarily threatening…even though he hasn’t
spoken in decades. He only grows more threatening through the course
of the movie.”
The bars and checkered
patterns defined a number of the locations as the production went
along; in turn, Wright began repeating those patterns in other sets.
“You even see it in Laurie’s house: she’s caged in, just the
way Michael Myers is,” sums the designer. “He’s locked behind
bars in the state prison and when he comes upon Laurie, she’s
locked herself in a prison as well.”
As the crew scouted
locations and built sets, the design throughline was simply to show
us at our most ordinary, shocked into an alternate reality when
violence happens. “The goal is to present people in real
situations,” says Wright. “One of the things that makes the
original film so horrifying is that this guy in a mask is killing
kids who were just trying to have a good time. They’re just doing
things that normal high-school kids do.”
When Wright was
designing Laurie’s farmhouse and shooting range, he leaned heavily
on the film’s star for input. As she’s lived with this character
for many years, Curtis had valuable recommendations regarding what
Laurie’s home would look like today. “Anytime an actor has input
about their character, it brings new ideas to the table. She was a
big force on set, in a very positive way. We had a few wallpapers
hanging up in the location, trying to decide which one we liked,”
Wright recalls. “When Jamie saw them, she said, ‘I always
imagined Laurie would have floral wallpaper.’”
“It’s Not Going
to Bite You…”
Special Effects &
Makeup
One of the more popular
people on set was Academy Award®-winning
special-effects makeup designer Christopher Nelson, whose work in
films such as Suicide
Squad and
the Kill
Bill series
to TV shows including American
Horror Story
and The
Walking Dead have
earned him praise from fellow artists and actors alike. In keeping
with Green’s direction that the scariest fears are the ones just
out of camera’s reach, Nelson kept up the delicate dance of showing
our worst fears…without succumbing to an easy out of a gore-fest.
Like many of his
cohorts, the SFX designer remains a huge fan of the original film.
“There are things John did in that movie that were so
groundbreaking and artistic, but still palpable and digestible for an
audience” Nelson reflects. “I saw it when I was 10 years old,
and it introduced me to a whole new genre of film. I attached myself
to it and liked how scary and thrilling it was…as well as the fact
that it happens right down the street.”
It wasn’t just the
opportunity to work on Halloween
that enticed the Oscar®
winner to the project. It was the chance to collaborate with a
director who gets
Halloween
that brought him aboard. “At the time John made the film, he
wasn’t known as a horror-genre director,” says Nelson. “He was
a filmmaker out of USC who loved Peckinpah and studied a lot of
different genres. David’s very similar; he just loves film, and
that why he jumps genres.”
From the moment that
Nelson met with the producers, his knowledge and love of all-things
Halloween
were evident. “I did a break-down and told them my ideas for the
design of the mask and other effects in the film…along with the
concept that David had in his mind of how it’s going to look,”
the designer recalls. “We just all clicked, and they realized how
passionate I would be for the project.”
When in doubt, Nelson
drew inspiration from the creative decisions made by Tommy Wallace,
Carpenter’s production designer on the first film. “Tommy kept
the mask very simple, but it was the way it fit on Nick Castle and
the way he moved in it that affected the way he looked,” explains
Nelson. “You could never, ever re-create that face, that
nothingness and that tragedy—the feeling you have when you look at
that mask for the first time.”
Although it’s become a
bit of urban legend, Nelson breaks down how the original mask came to
be. “John sent Tommy out to get some Halloween masks. He got this
Captain Kirk/William Shatner mask that was made by Don Post Studios,
and John said, ‘Well, change it…’ They thought it looked eerie
and creepy. Tommy ripped the sideburns and eyebrows off, cut the
eyeholes bigger and spray-painted it white. He also sprayed the
blonde hair brown. It ended up being this strange mannequin-like
face—soulless, almost a great-white-shark face—that so well.”
As a super-fan himself,
Green approached design of the 2018 mask with the utmost respect.
“The mask is a very sensitive subject in Halloween
lore. For some reason people have decided to put their spin on it,
and I’m not sure when or why that became something of
interpretation. Christopher is an amazing Oscar®-winning
effects makeup artist, and said, ‘let’s make the mask.’
Granted, it’s 40 years later and it’s going to have cracks and
deteriorated, but we both wanted to keep that beautiful melancholy
character that is the mask. We decided not to put our spin on it,
but simply re-create it.”
Once Courtney was cast
and Nelson and the new Shape had a chance to meet his SFX designer,
Nelson was intrigued by the performer. “Jim has such a perfect
stature, as well as a great face and head. As we approached the
mask, I obviously wanted to base it off the original mask and give it
that form, expression of tragedy and blankness of soul.” Once
Courtney was in full dress, the designer was blown away. “Jim
moves like a great white shark. He just swims through the water,
eats and he moves on; there’s no rhyme or reason. Jim’s
performance has impressed me beyond belief. He just nails it.”
Nelson and Green wanted
Courtney in the mask to look different in every shot in which he was
photographed. They wanted the mask to be shapeshifting constantly
but still maintain a form of tragedy and fear. Considering that it’s
been four decades since Michael Myers last donned it, the team had to
take into consideration how the latex would change shape after so
long in evidence storage. For Nelson, it was back to the homework.
“I studied 40-year-old latex masks and how they decomposed. The
latex gets brittle and it wrinkles; it warps and sags. I took all
that into account but still tried to maintain that expression and
form of the original.”
The rest of the crew got
a kick out of warily watching Michael Myers on set. “Getting to
see Jim Courtney and Nick Castle put on the mask of The Shape was a
lot of fun,” states production designer Wright. “Apparently when
you put on that mask, you go to another place. They didn’t even
talk when they were in it, which is interesting to watch them get
directed and just nod and shake their head calmly.” He pauses,
warily. “I’ve never put on the mask, but apparently it does
something to you.”
When it came to the
bodies strung all over Charleston as Haddonfield, Nelson also knew
what was required of him. “David and I had a lot of discussions
about them as specific postcards. If you look at a lot of John
Carpenter films, there are images you never forget,” reflects
Nelson. “There are still images with the victims after their
death. They burn into our brain like terrifying postcards. When you
walk out of the theater, you still remember them.”
The process for the
filmmakers was to start with the image Green needed to be seared into
audiences’ minds, and create that design to be shot on camera.
“It’s all
about the lighting. Is there a glint in their eyes?” asks Nelson.
“Is there a death-shriek expression on their face? To do this, we
life-casted the actors whose characters are killed with specific
expressions—re-sculpting them to give that dramatic effect. They
were slightly over-accentuated and slightly stylized to give a
terrifying inhumanity.”
At least one of his
cast-members was so impressed with Nelson’s work that she had zero
interest in getting any closer than she had to get. Matichak recalls
the day she visited the designer’s workshop and ran into a corpse:
“The way it was sitting, its body and hands were propped up in a
chair. Then its head was bent back in this way, so when you walked
into the trailer, the first thing you see is a head looking at you
upside-down. It was so horrific and real that I couldn’t go near
it. Chris said, ‘Andi, it’s okay. It’s not going to bite
you.’ I told him, ‘I think it will. It 100 percent will.”
Green and DP
Simmonds:
Shooting the Film
Halloween’s
cinematographer, Michael Simmonds, has a history with both Blumhouse
Productions and director Green. He’s worked with Rough House
Pictures on their HBO series Vice
Principals,
but partnered with Blum since 2010. “Michael and I go back to the
Paranormal
Activity
movies together,” says Blum. “He’s one of the best DPs we’ve
ever worked with. We’ve offered him almost every movie we made for
years after Paranormal
Activity
2.”
Green reflects that
being able to find somebody of that expertise in the horror genre—who
also has the energy and enthusiasm he brings to this particular
franchise—was amazing. “Every setup was a conversation. We had
a great game plan going into it, but as the sunlight would change or
an actor would have an idea, there became this organic process. When
you have collaborators that aren’t so precious and particular that
they melt down whenever you change things—but are open to these
opportunities and re-inventions—that’s when the happy accidents
happen.” He pauses. “That’s when the real jazz of filmmaking
can kick in.”
When structuring the
shoot for Halloween,
Green and Simmonds were not simply inspired by the look of movies
from that era, but the manner in which they were shot. “David
doesn’t tend to get very cut-y with his films,” says production
designer Wright. “He likes to linger on a wide shot or even a
close up longer than a lot of films do, and that comes from his love
of ’70s films.”
His passion for
lingering shots is yet another thing Green has in common with his
horror mentor, and inspiration from the 1978 version is what he took
in lensing 2018’s film. Recalls Carpenter: “We were playing with
brand-new toys on Halloween:
widescreen Panavision, as well as something called the Pana-glide,
which is a Steadicam rig for Panavision cameras. I’ve always been
a fan of dolly shots, but they have limits to them. I noticed a
Steadicam shot in a movie years earlier; it was a single take, and
the freedom to move was unbelievable. So, they had a Panavision
equivalent, which is the big Panavision lenses mounted on the
operator as a gyroscopic camera. It had a unique drift and was
unbelievable.”
Throughout production,
it was important for Green to host regular gatherings of the cast.
Whether it was just for a coffee, a snack or a full meal, the troupe
would talk through a scene at his home. “Sometimes we’d read
them formally and make adjustments, and sometimes we would discuss
the essence of what we were trying to achieve in a scene,” the
director notes. “Typically, after a couple takes on the days of
production we would reassess. We’d see how things felt in the
environment, in the wardrobe, in the moment and then make radical
adjustments. That allowed us to throw each other curveballs and say,
‘I’ve been doing it like this, and this is what we’ve talked
about. What if we try something out of the box and let it loose?’
I find those moments of vulnerability and uncertainty really
valuable.”
Curtis joins her fellow
cast in appreciating the decisions Green made to get them out of
their own head and shake things up on set with these curveballs. She
explains a particularly poignant day: “There is a sequence where
Laurie comes to Karen’s house with the police. Karen finally
understands that the threat is real, that Michael Myers has escaped,
and her daughter is in jeopardy and they have to leave the house.
The writing is as it should be, very specific, but here’s an
example where the combination of David, Michael and Atilla felt it
needed work.
David said, ‘It’s
too linear,’ and these scenes are never linear. Trauma is not
linear; trauma is fragmented. He had us speak gibberish to each
other—just using one word and then not saying anything else. It
was fascinating. He then had us say the same word over and over
again to get to that chaos of a moment that on the page is very
linear. In reality, it wouldn’t be, because people don’t speak
that way.”
In turn, Simmonds
adjusted and then got into it with a camera. Curtis found it
fascinating to watch because that’s how inventive and different
Green continues to be. “It’s a creative medium, and movies can
become very static and very linear,” she notes. “When he’s
getting into a scene, he’s like a conductor through the monitor. I
thought, ‘Wow. He’s invested. He is magical in that moment.”
A Family Affair:
Music of the Film
Not only did John
Carpenter serve as creative consultant for the production, he brought
his infamous skills as composer to the new Halloween.
Alongside collaborators Cody Carpenter and Daniel Davies—with whom
Carpenter has released three solo albums—the trio would not simply
pay homage to work the composer began more than four decades ago,
they would inventively update the sounds to serve Green’s vision.
Producer Blum explains
that what has kept Carpenter’s original theme so timeless and
haunting is that it remains so unexpected. “You don’t associate
that kind of keyboard music with a horror movie—as much as you
wouldn’t associate strings in a horror movie, which Hitchcock did
in Psycho,”
he says.
His fellow producer
appreciates the throw-back to another era, and the deep feelings of
dread and terror the principal theme evokes. Block says: “The
late-’70s synthesizer is an instrument that is not used so much
anymore. That Moog synthesizer was a dominant instrument at the
time. Alongside a lot of other technological music, it has been a
bit forgotten. When it comes back, it’s a classic aspect that
really is effective.”
Carpenter explains that
his inspiration for the theme stretches back to his own childhood:
“Back in 1963, my father taught me to play bongos. He taught me
5/4 time: ba, ba, ba, ba, bop, bop. Throughout the years, I’ve had
that tempo in my head. So, I just played it on piano and rocked some
octaves, and there it is. It’s really simple, but it’s jangly
and gets in your head. I thought it would be perfect for the movie.”
Green agrees with his
producers when discussing the jarring simplicity. “The original
theme that John created sits so comfortably with the film,” he
says. “It’s almost a juvenile series of notes. You don’t need
the symphony to tell you how to feel. It’s like Jaws;
you have that simple back and forth, repetitive nature of a score.
You don’t need as much noise, accents and accessories when you have
something that is so stripped-down and raw. At its musical essence,
it scares the pants off of you.”
The director discusses
what Carpenter brings to the new film as its composer: “It’s one
thing to do something derivative of that iconic Halloween
theme or find a big orchestral composer and have him or her take it
in their own direction and use creative license. But to have John’s
signature as a collaborator on the creation of the narrative—plus
the casting and the sculpting of the production—the icing on the
cake is this score. He’s been playing music live forever, but he’s
recently toured with his son, Cody, and Daniel Davies. The three of
them combined to create a once-in-a-lifetime opportunity of a
Carpenter score for us.”
Carpenter welcomed the
chance to “get into the director’s head” and bring life to
their shared conversations about bowed guitars, skittering electronic
percussions and creepy piano-driven pieces. He explains his process
for the music of 2018’s Halloween:
“The first step that my son, godson and I did with the score is
called MIDI. We got the MIDI to the original score so we could work
with essentially the notes and the feel. We applied all brand-new
synth sounds to update it and make it sound different than the
original does. Then we started at the Universal logo and began
putting music in.” He pauses. “Music is an improvisational
situation for me. A couple of things we worked on and actually
planned out, but what you see on the screen is mostly improvised.”
For the artist, the
chance to have his bandmates score their first film alongside him was
a joyous one. “Daniel, Cody and I have made three albums together,
so we come up with new ideas and ways of doing things; that was the
excitement for me,” wraps Carpenter. “I got to work with my
family, which is a big joy in my life at my age. Then I got to play
with the original themes of Halloween,
but remake them in a new way and that was a lot of fun.”
****
With production
wrapped, Green reflects on the journey that brought his team to this
Halloween.
“So many people that were a part of every creative decision on
this film were people I’ve known for 25 years. I’ve sculpted my
cinematic diet and aesthetic with this group of collaborators. This
was our first horror movie, so we all entered this experience with
high expectations of each other, and a great sense of energy and
optimism about what we thought we could create.”
The director concludes
that the kindness and respect they were given by their on-screen and
creative heroes are memories that will stay with him. “When you
have a production that has that kind of positivity around—and the
actors feel that, and the energy is coming from the opportunity of
what we’re allowed to do in the arena that we’re playing in—it’s
infectious. Everybody was working the hardest they’ve ever worked
with the most love that they’ve ever applied to their craft.”
****
Universal Pictures, Miramax and Blumhouse
Productions present a Malek Akkad production—in association with
Rough House Pictures: Jamie Lee Curtis in Halloween,
starring Judy Greer, Andi Matichak, Will Patton, Virginia Gardner.
The film’s casting is by Terri Taylor, CSA, Sarah Domeier, CSA, and
its music is by John Carpenter, Cody Carpenter, Daniel Davies. The
costume designer is Emily Gunshor, and it is edited by Tim Alverson.
The thriller’s production designer is Richard A. Wright, and its
director of photography is Michael Simmonds. The executive producers
are John Carpenter, Jamie Lee
Curtis, Danny McBride, David Gordon Green, Ryan Freimann. It is
produced by Malek Akkad, p.g.a., Jason Blum, p.g.a., Bill Block,
p.g.a. Based on characters created by John Carpenter and Debra Hill,
Halloween is
written by Jeff
Fradley & Danny McBride & David Gordon Green. The film is
directed by David Gordon Green. © 2018 Universal Studios.
www.halloweenmovie.com
ABOUT
THE CAST
JAMIE
LEE CURTIS
(Laurie Strode/Executive Producer)
has
demonstrated her versatility as a film actress, starring in acclaimed
films such as the blockbuster True
Lies,
for which she won a Golden Globe Award; Trading
Places,
for which she earned a British Academy of Film and Television Arts
(BAFTA) Award for Best Supporting Actress; A
Fish Called Wanda,
for which she received both a BAFTA and Golden Globe Award nomination
for Best Actress; and the Walt Disney Pictures feature film Freaky
Friday,
for
which she received a Golden Globe Award nomination. It was her
portrayal of Laurie Strode in Halloween
that was
her film debut and brought her to the attention of audiences
worldwide. Now 40 years later, Curtis reprises that signature role
in David Gordon Green’s highly anticipated Halloween,
produced by horror guru Jason Blum.
Additional
film credits include Spare
Parts;
You Again,
which also starred
Sigourney Weaver, Kristen Bell and Betty White; Beverly
Hills Chihuahua;
Christmas with the Kranks,
opposite
Tim Allen; The
Tailor of Panama,
which also starred Pierce Brosnan and Geoffrey Rush; Fierce
Creatures;
Virus;
Dominick
and Eugene;
Blue
Steel;
My
Girl;
My
Girl 2;
Forever
Young;
Mother’s
Boys;
House
Arrest;
and
Love
Letters.
Most
recently, Curtis returned to her horror roots, starring in two
seasons of the Ryan Murphy-created TV series Scream
Queens,
for which she received a Golden Globe Award nomination. She also
starred opposite Richard Lewis in the acclaimed sitcom Anything
But Love,
which
earned her a Golden Globe Award and a People’s Choice Award; as
well as TNT’s adaptation of The
Heidi Chronicles based
on
Wendy Wasserstein’s play,
which
also earned her a Golden Globe Award nomination. In 1998, Curtis
starred in the CBS television film Nicholas’
Gift for
which she received a Primetime Emmy Award nomination. More recently,
her episodic work includes New
Girl and
NCIS.
Curtis
is also a The
New York Times
best-selling children’s book author. Her 12th
book, “Me,
Myselfie & I: A Cautionary Tale” will
be released this fall. Her 11th
book, “This
Is Me: A Story of Who We Are and Where We Came From,”
was released on September 20, 2016 and became an instant The
New York Times
best seller. Her other titles include “When
I Was Little: A Four-Year-Old’s Memoir of Her Youth,”
“Tell
Me Again About the Night I Was Born,”
“Today
I Feel Silly, and Other Moods That Make My Day,”
“I’m
Gonna Like Me:
Letting Off a Little Self-Esteem,” “Where
Do Balloons Go? An Uplifting Mystery,”
“It’s Hard to Be Five: Learning How to Work My Control Panel,”
“Is
There Really a Human Race?,” “Big Words for Little People,”
“My
Mommy Hung the Moon: A Love Story” and
“My
Brave Year of Firsts: Tries, Sight and High Fives.”
Curtis
is an AIDS activist and has a deep and active connection to many
children’s charities, which include the Children’s Hospital of
Pittsburgh and Children’s Hospital Los Angeles.
Curtis
is the mother of Annie, age 31, and Thomas, age 22. She has been
married for 33 years to actor/director Christopher Guest.
JUDY
GREER
(Karen) consistently captivates both critics and audiences with her
engaging performances. She is one of the most prolific actors of
her time, appearing in more than 125 roles across film and television
to date.
September
2018 will mark Greer’s directorial debut with A
Happening of Monumental Proportions.
The film stars, among others, Allison Janney, Common,
Bradley Whitford, Jennifer Garner, John Cho and Katie Holmes.
The film centers over the course of career day, when an unassuming
elementary school is thrown into turmoil when a dead body is
discovered.
In
addition to marking her directorial debut, Greer will star in six
films releasing throughout 2018.
She
was seen in Adventures
in Public School
(2017) alongside Grace Park and Russell Peters. The film premiered
at the 2017 Toronto International Film Festival, and follows a
socially awkward home-school kid who forces his way into public
school, getting a crash course from his mother (Greer) in sex, drugs
and social mayhem. Greer returned in Ant-Man
and the Wasp,
the follow-up to the worldwide hit Ant-Man,
opposite Paul Rudd, Evangeline Lilly and Michael Douglas. Greer will
also star in
Driven
opposite Lee Pace, Jason Sudeikis and Justin Bartha, and Measure
of a Man opposite
Donald Sutherland and Luke Wilson. Driven
closed
the 2018 Venice Film Festival on Saturday, September 8. In
March 2019, she can be seen opposite Cate Blanchett and Kristen
Wiig in Where’d
You Go, Bernadette.
On
television, Greer can currently be seen on Showtime’s new
series Kidding,
opposite Jim Carrey, Frank Langella and Catherine Keener. The
series premiered on September 9, and features Carrey as
Jeff, aka Mr. Pickles, an icon of children’s television and Greer
will play his estranged wife, Jill, who has recently hit a rebellious
streak. In 2019, Greer will return for season 10 of FX’s animated
hit series Archer,
on which she voices the role of Cheryl. In November 2018 she will
narrate the PBS animated series Let’s
Go Luna.
Greer’s
most recent film credits include The
15:17 to Paris
opposite Jenna Fischer, Jurassic
World
opposite Chris Pratt, War
for the Planet of the Apes opposite
Woody Harrelson, The
Good Dinosaur,
Grandma
opposite
Lily Tomlin, Addicted
to Fresno
opposite Natasha Lyonne, Tomorrowland
opposite George Clooney, Carrie
opposite Julianne Moore and
Lemon
opposite Brett Gelman.
Her
previous television credits include Reluctantly
Healthy,
which Greer created for Yahoo!; Married
opposite Nat Faxon; Masters
of Sex
opposite Michael Sheen; Casual
opposite
Michaela Watkins; Two
and a Half Men opposite
Jon Cryer; Arrested
Development
opposite Jason Bateman; and Californication
opposite David Duchovny.
Greer’s
first book, “I Don’t Know What You Know Me From: Confessions of a
Co-Star,” was released in paperback in 2015. It was originally
published in hard cover on April 8, 2014 to high acclaim. The
Doubleday publication includes humorous essays with titles like
“Celebrities I’ve Peed Next To” and “I’m Not America’s
Sweetheart, I’m America’s Best Friend,” which chronicle Greer’s
life.
ANDI
MATICHAK
(Allyson) is
a Boston born and Chicago raised actress who most recently starred on
the series Boonies,
as well as guest starred on the CBS series Blue
Bloods
opposite Bridget Moynahan and Donnie Wahlberg. She was previously
seen on the WGN series Underground
opposite Christopher Meloni. Her other television credits include
Orange
is the New Black,
Steve McQueen’s HBO pilot Codes
of Conduct
and the ABC series 666
Park Avenue.
Her film credits include a lead in the independent film Miles
opposite Molly Shannon and Missy Pyle; Naomi
& Ely’s No Kiss List,
which starred Victoria Justice; and a lead in the sci-fi indie
Replicate.
She
is also a holistic health coach with a passion for wellness and
nutrition. She was a star soccer player before foregoing a Division
1 scholarship to pursue acting.
Matichak
now splits her time between New York City and Connecticut.
WILL
PATTON
(Officer Hawkins) has
worked extensively in film and theater. He is perhaps best known for
his roles in Remember
the Titans,
Armageddon,
The
Mothman Prophecies and
No
Way Out.
His was most recently seen on the big screen in Boaz Yakin’s
Boarding
School
and An
Actor Prepares
with Jeremy Irons. Last year, Patton starred in Megan
Leavey with
Kate Mara and Edie Falco, and in the indie favorite Cannes Festival
Jury Prize winner, American
Honey
directed by Andrea Arnold.
He
has been in over 60 feature films, including The
Scent of Rain & Lightning,
The
Girl,
The
November Man,
Meeks
Cutoff,
Brooklyn’s
Finest,
A
Mighty Heart,
The
Fourth Kind,
Gone
in Sixty Seconds,
The
Postman,
After
Hours,
The
Rapture,
Inventing
the Abbotts,
The
Client,
In
the Soup
and Desperately
Seeking Susan.
In 2018, Patton completed filming on What’s
Done in Darkness,
Shookum
Hills
and Radioflash.
Patton
starred in the critically acclaimed FOX series Shots
Fired,
as Captain Weaver in five seasons of Steven Spielberg’s Falling
Skies
on TNT and recurred on the final season of The
Good Wife.
His theater credits include the original production of Sam Shepard’s
A
Lie of the Mind,
Don DeLillo’s Valparaiso
and Denis Johnson’s Shoppers
Carried by Escalators Into the Flames.
Patton garnered Obie Awards for his performances in What
Did He See? and
Fool
for Love.
He was last seen on stage in 2017 at the Signature Theater in New
York leading the ensemble cast IN Pulitzer Prize-winning playwright
Annie Baker’s new play The
Antipodes.
A
well-known audiobook narrator, he has recorded a diverse array of
over 50 audio-books including the 50th
anniversary release of Jack Kerouac’s “On the Road” and
Johnson’s “Train Dreams: A Novella,” “Tree of Smoke: A Novel”
and “Jesus’ Son.” Patton received the distinguished award for
Audible’s 2013 Narrator of the Year for his work on Stephen King’s
book “Doctor Sleep.”
VIRGINIA
GARDNER
(Vicky)
is
establishing herself as one of the industry’s most exciting
young actresses on the big and small screen.
This
December, Gardner will return to her lead role as Karolina
Dean in Hulu’s original Marvel series Runaways,
created by Josh Schwartz and Stephanie Savage (Gossip
Girl).
Based off of the Marvel comic book series, the show centers on a
group of teenagers who band together to run away from their homes in
order to atone for their parents’ super-villain actions and
discover the secrets of their origins. Season one was well received
by critics and fans alike. The show will return for a 13-episode
second season beginning Friday, December 21.
Earlier
this year, Gardner completed production on director Chris von
Hoffmann’s mystery-thriller Monster
Party.
She plays Iris in the film, which centers on three teenage
thieves who infiltrate a mansion dinner party that is secretly hosted
by a serial killer cult for the social elite.
In
2015, Gardner made her feature film debut as Christina Raskin in
Paramount Pictures’ Project
Almanac,
which was produced by Michael Bay. Additional film credits include
Goat,
which premiered at the 2016 Sundance Film Festival and starred Nick
Jonas and James Franco; Good
Kids
opposite Ashley Judd, Julia Garner and Zoey Deutch; and the
independent films Tell
Me How I Die,
Liked
and Starfish.
She also recently co-starred in Sony Pictures
Releasing’s Little
Bitches opposite
Kiersey Clemons.
Gardner’s
previous television credits include recurring roles on Glee, Hart
of Dixie
and The
Goldbergs.
She has also appeared in How
to Get Away with Murder,
Law
& Order: SVU,
Major
Crimes, Secrets
and Lies
and The
Tap.
She
hails from Sacramento and currently resides in Los Angeles.
NICK
CASTLE
(The Shape) is
an American screenwriter, film director and actor known for his role
as Michael Myers in the original Halloween,
directed by John Carpenter. Castle also co-wrote Escape
from New York
with Carpenter.
Other
film credits include Lockout;
August
Rush;
Escape
from L.A.;
Hook;
Shangri-La
Plaza;
Tap;
The
Boy Who Could Fly;
Tag:
The Assassination Game;
Pray
TV;
Skatetown,
U.S.A.;
Connors’
War;
The
Seat Filler;
Twas
the Night;
Delivering
Milo;
Mr.
Wrong;
Major
Payne;
and
Dennis the Menace.
ABOUT
THE FILMMAKERS
Born
in Little Rock, Arkansas, and raised in Texas, DAVID
GORDON GREEN
(Directed by/Written by/Executive Producer)
attended
The North Carolina School of the Arts where he studied film. He
wrote and directed his first feature film George
Washington,
which won the New York Film Critics Circle Award for Best First Film
before going on to win festival awards internationally.
Additional
film credits include All
the Real Girls,
Undertow,
Snow
Angels,
Pineapple
Express,
Your
Highness,
The
Sitter,
Prince
Avalanche,
Joe,
Manglehorn,
Our
Brand Is Crisis
and Stronger.
Gordon
Green was a producer and director of the HBO series Eastbound
& Down,
creator of the MTV animated series Good
Vibes,
executive producer and director of the Amazon series Red
Oaks,
Hulu’s There’s...
Johnny!
as well as producer and director of the HBO series Vice
Principals.
JEFF
FRADLEY
(Written by) was
born in Anchorage, Alaska, grew up in Northern Virginia, and then
moved back to Alaska in high school. He grew up making horror movies
with friends in his backyard and a video camera. He went to film
school at the North Carolina School of the Arts in Winston-Salem,
North Carolina, where he met a lot of the folks he still works with
today at Rough House Pictures: Danny McBride, David Gordon Green and
John Carcieri. After college he moved to Los Angeles and worked a
bunch of jobs from PA to shooting motion control in the camera
department for documentaries, always still writing in his free time.
McBride gave him a chance, allowing him to do punch ups on scripts,
and he ultimately went to Ireland to work as a production consultant
on Your
Highness.
After that, he was a staff writer on Vice
Principals
and, soon after, he, McBride and Gordon Green worked together on
Halloween.
Fradley has most recently been working with the Rough House crew on
a new show for HBO, The
Righteous Gemstones.
Actor/writer/producer/director
DANNY MCBRIDE
(Written by/Executive Producer) has become a multi-hyphenate in the
truest sense of the word and is generating a full plate of varied and
interesting projects. His latest is the comedy series for HBO Vice
Principals, which
was proclaimed as “the summer’s best new comedy” (Rolling
Stone)
and received the Episode Audience Award at the 2016 SXSW Film
Festival. McBride co-created and wrote the series with Jody
Hill. The show also marked McBride’s directorial debut, as he
directed multiple episodes. Told over the course of one school
year, season two aired in fall 2017.
McBride
and Hill co-founded Rough House Pictures with director David Gordon
Green. They all met at the prestigious North Carolina School of the
Arts and have been collaborators for over 20 years.
In
2017, McBride was seen in Alien:
Covenant,
which also starred Michael Fassbender and Katherine Waterston,
and The
Legacy of a Whitetail Deer Hunter,
which he co-wrote and produced with Hill under their Rough House
Pictures banner.
McBride
is no stranger to the small screen either. Vice
Principals is
McBride’s second HBO comedy series, the first being Eastbound
& Down, which
he also co-created, wrote and produced with Hill. McBride portrayed
Kenny Powers in the series, a vulgar, loud-mouthed ex-professional
baseball player fighting his way back to the major leagues. Since
premiering on the network in February 2010, the show has gained an
enormous cult following and aired four successful seasons.
McBride
first gained industry awareness with his starring role in Gordon
Green’s All
the Real Girls,
winner of the 2003 Special Jury Prize at the Sundance Film Festival.
However, it was when he returned in 2006 to the festival with the
smash hit comedy The
Foot Fist Way that
he became a known name in Hollywood and desired by its top producers
and directors. McBride, who starred and co-wrote the film with Hill,
caught the attention of Will Ferrell’s Gary Sanchez Productions.
Released in May 2006 by Paramount Vantage, the Los
Angeles Times proclaimed
the film “the sort of nimble oddball discovery that one wishes
would come along more often.”
In
2008, McBride found continued success by starring opposite Seth Rogen
and James Franco in Pineapple
Express,
earning McBride a nomination for Best Newcomer for his role as
Red by the members of the Detroit Film Critics Society.
Immediately
following the success of Pineapple
Express,
McBride was back on top of the box office a week later with the
Paramount Pictures release of Tropic
Thunder.
Directed and written by Ben Stiller, the film was No. 1 for two
weeks in a row and earned over $100 million domestically. McBride
re-teamed with Rogen in the 2013 hit This
Is the End and
in 2016’s breakout animated comedy Sausage
Party.
The films grossed over $126 million and $140 million worldwide,
respectively.
While
attending the University of Southern California’s (USC) School of
Cinematic Arts, JOHN
CARPENTER
(Based on Characters Created by/Executive Producer/Music by) began
work on Dark
Star,
a sci-fi comedy short that was later expanded into a feature length
film and released theatrically in 1975. His second feature, Assault
on Precinct 13
(1976), was partially an homage to his idol Howard Hawks and
basically reimagined that director’s Rio
Bravo
in an urban setting. Carpenter’s breakthrough film was Halloween
(1978), the seminal horror film, made for $300,000, was the most
profitable independent movie of its day and, to date, has spawned
several sequels.
Following
Halloween,
he further established his reputation with such genre hits as The
Fog,
They
Live,
Prince
of Darkness,
the psychological horror film In
the Mouth of Madness,
Christine
and The
Ward.
His rank as an action director on a wider scale is also evident in
such productions as Escape
from New York,
Vampires,
The
Thing,
Ghosts
of Mars,
Escape
from L.A.
and Big
Trouble in Little China.
His
motion picture credits also include the comedy-thriller Memoirs
of an Invisible Man;
the sci-fi love story Starman,
which earned Jeff Bridges an Oscar®
nomination for Best Actor; and Village
of the Damned,
the terrifying remake of the classic 1950s horror story.
For
the small screen, Carpenter directed the thriller Someone’s
Watching Me!,
the acclaimed biographical miniseries Elvis
and the Showtime horror trilogy John
Carpenter Presents Body Bags.
He also directed two episodes of Showtime’s Masters
of Horror
series. He won the Cable Ace Award for writing the HBO movie El
Diablo.
In
the gaming world, he co-wrote the video game F.E.A.R.
3
for Warner Bros. Interactive. In the world of comics, Carpenter is
the co-creator of the award-winning bimonthly series “John
Carpenter’s Asylum,” and the acclaimed annual anthology
collections “John Carpenter’s Tales for a Halloween Night.”
This year will see the launch of a new monthly comic from him, “John
Carpenter’s Tales of Science Fiction.”
On
Halloween 2014, the director and composer introduced the world to the
next phase of his career with “Vortex,” the first single from
“Lost Themes,” his first album of non-soundtrack material.
Carpenter’s primacy and lasting influence on genre score work was
both rediscovered and reaffirmed. “Lost Themes” achieved
numerous international milestones, including NPR First Listen;
features in dozens of press outlets, including the Los
Angeles Times,
Vanity
Fair,
Rolling
Stone,
The
Wall Street Journal,
The
New York Times
and The
Guardian;
three magazine covers; and Top 200 chart success in the U.S. and the
U.K.
Carpenter
was born in Carthage, New York. His family later moved to Bowling
Green, Kentucky, where his father was the head of the music
department at Western Kentucky University (WKU). He attended WKU
followed by the USC School of Cinematic Arts in Los Angeles. WKU
awarded him an honorary doctorate in 2007. He lives in Hollywood,
California, with his wife, Sandy King, his frequent collaborator.
DEBRA
HILL (Based
on Characters Created by) was
an American film producer and screenwriter, best known for producing
various works of John Carpenter.
She
also co-wrote four of his movies: Halloween,
The
Fog,
Escape
from New York
and Escape
from L.A.
They also wrote and produced Halloween
II
together, which Carpenter didn't direct.
A
graduate of the University of Southern California School of Cinematic
Arts, MALEK
AKKAD, p.g.a.
(Produced by) is
a 30-year veteran of the entertainment industry. Under his guidance,
Trancas International Films has evolved into a diverse entertainment
company, involved in production, distribution, management, music
publishing and merchandising.
Akkad
produced the last five installments of the successful Halloween
franchise. Some other producing credits include Walking
After Midnight,
Psychic
Murders,
Made
in Brooklyn,
Free
Fall
and the documentary Halloween:
25 Years of Terror.
Akkad
produced the remake of the classic horror film Halloween
and the sequel Halloween
II
with writer/director Rob Zombie. The remake was No. 1 opening
weekend and holds the record for the highest grossing Labor Day
opening in history. It has gone on to gross over $80 worldwide.
As
a director, Akkad has numerous commercials and music videos to his
credit, including clients such as Coca-Cola, Nike, McDonald’s, and
artists like Quincy Jones, RedOne, Lo-Ball, Simon Shaheen and Kazem.
He also directed the feature film Psychic
Murders,
which starred James Russo, Henry Rollins and Terry Farrell. In 2014,
he directed and produced the feature film Free
Fall,
which starred Malcolm McDowell and D.B. Sweeney for Anchor Bay Films.
He is currently in production on a documentary focusing on the
production of his late father’s epic feature film The
Message
(1977), covering its controversial release and its cultural impact.
The documentary will be titled The
Messenger
and will be released in early 2019.
Akkad’s
company, Trancas, also manages a vibrant film library, including
titles such as Halloween,
Halloween
4: The Return of Michael Myers,
Halloween
5,
Hell
Night
and Lion
of the Desert.
It also runs a merchandising department and the music publishing
company, Jack-O-Lantern Music. Trancas has recently opened
television and management divisions, with several projects in
development and a roster of recognizable talent.
JASON
BLUM, p.g.a.
(Produced by), founder of Blumhouse Productions, is an Academy
Award®-nominated
and two-time Primetime Emmy Award- and Peabody Award-winning
producer. His multimedia company is known for pioneering a new
model of studio filmmaking: producing high-quality micro-budget
films. In 2017, all three of Blumhouse’s wide-release,
micro-budget movies opened in the domestic box office at No. 1—each
based on an original concept.
Early
in the year, the Blumhouse blockbusters Split
from
M. Night Shyamalan and Get
Out
from Jordan Peele, with combined budgets of less than $15 million,
went on to gross more than $500 million worldwide. In October,
Happy
Death Day
was the company’s third No. 1 film of the year. In addition, Get
Out was
nominated for four Academy Awards®
in 2018, including Best Picture, and won the Oscar®
for Best Original Screenplay.
Blumhouse
has also produced the highly profitable The
Purge,
Insidious,
Sinister
and Paranormal
Activity
franchises, which together have grossed more than $1.7 billion at the
global box office. Paranormal
Activity,
which was made for $15,000 and grossed close to $200 million
worldwide, launched the Blumhouse model and became the most
profitable film of all time. The company’s titles also
include The
Gift,
Unfriended
and The
Visit.
Blum, who was nominated for an Academy Award®
for producing Whiplash,
has appeared on Vanity
Fair’s
“New Establishment List” each year since 2015, received the 2016
Producer of the Year Award at CinemaCon and was named to the Time
100 list of the world’s most influential people in 2017.
In
television, Blum won Primetime Emmy Awards for producing HBO’s The
Normal Heart
and The
Jinx: The Life and Deaths of Robert Durst
and two Peabody Awards for The
Jinx and
the documentary How
to Dance in Ohio.
In 2017, Blum launched an independent television studio with
investment from ITV Studios. Current television projects
include Sharp
Objects,
a
miniseries for HBO starring Amy Adams based on Gillian Flynn’s
bestselling novel of the same name, and a miniseries for Showtime
based on journalist Gabriel Sherman’s reporting on former Fox News
Chairman and CEO Roger Ailes. Blumhouse is also bringing The
Purge franchise
to television, co-producing a series with Universal Cable Productions
for USA and SyFy.
Blumhouse’s
multi-platform offerings include BH Tilt, a distribution company that
takes advantage of new marketing strategies; Blumhouse Books, a
publishing imprint with Doubleday; the digital genre network Crypt
TV; and Blumhouse Live, which produces live scary events for
companies like AB InBev.
Blum
is a member of the Sundance Institute’s Director’s Advisory
Group. He also serves on the Board of the Public Theater in New
York and the Board of Trustees for Vassar College. Before founding
Blumhouse, Blum served as co-head of the Acquisitions and
Co-Productions department at Miramax Films in New York. He
began his career as the producing director of the Malaparte theater
company, which was founded by Ethan Hawke.
He
is married to journalist and screenwriter Lauren Blum and they have a
daughter, Roxy.
BILL
BLOCK, p.g.a.
(Produced by)
currently
serves as CEO of Miramax, a position he joined in spring 2017. Most
recently, Block oversaw a successful Toronto International Film
Festival with the sale of the critically acclaimed film I,
Tonya,
about controversial figure skater Tonya Harding, which starred Margot
Robbie. Under Block’s leadership, Miramax acquired the
horror-thriller film
The
Perfection,
directed by Richard Shepard, which Block will produce with Shepard
and Stacey Reiss. Miramax’s most recent release was City
of Lies,
which starred Johnny Depp and Forest Whitaker. With an unrivaled
library of more than 700 titles, 278 Academy Award®
nominations and 68 wins, most notably four for Best Picture, Miramax
has proved to be one of the most successful entertainment companies.
In
over four decades in the entertainment industry, Block has amassed an
impressive body of work, including his work as a producer for Bad
Moms,
which starred Mila Kunis and Christina Applegate, and Dirty
Grandpa,
which starred Robert De Niro and Zac Efron. Block developed,
financed and produced Fury,
which starred Brad Pitt, Neill Blomkamp’s District
9
and Oliver Stone’s W.,
which starred Josh Brolin.
Over
his career, Block has been a part of dozens of theatrical features
and has worked with some of the world’s most renowned filmmakers,
including Peter Jackson, Stone, Steven Soderbergh, Jon Favreau, David
Koepp, Darren Aronofsky, Christopher McQuarrie and Woody Allen.
Block
was previously president of Artisan Entertainment where he supervised
all divisions and acquired such films as The
Blair Witch Project
and, Aronofsky’s Pi
and Requiem
for a Dream.
Before
his time at Artisan, Block distinguished himself as one of the
industry’s leading talent agents and was head of West Coast
operations for International Creative Management from 1992 to 1997
and founded the Intertalent Agency in 1988.
Block
attended Columbia University and currently resides in Los Angeles
with his wife, two sons and a daughter.
RYAN
FREIMANN
(Executive Producer) has
served as the business and legal affairs executive for Trancas
International Films and Compass International Pictures for the past
six years, during which time he has helped Malek Akkad manage the
past, present and future of the Halloween
franchise.
As executive producer of Halloween,
Freimann played a key role in the very beginning by helping bring
together Miramax, Blumhouse Productions and others, and continued
working closely on the film all the way through postproduction.
Prior to his time at Trancas and Compass, Freimann worked in both the
motion pictures legal and business affairs departments at Paramount
Pictures.
MICHAEL
SIMMONDS
(Director of Photography) has
a surprisingly eclectic body of work. He is currently working on a
Netflix feature tentatively titled Power,
starring Jamie Foxx.
RICHARD
A. WRIGHT
(Production Designer)
has
designed film, television and commercials since 1999, when he
designed David
Gordon Green’s George
Washington.
Nineteen
years later, he is proud to continue his collaboration with Gordon
Green and his former college classmates, Danny
McBride and Jeff
Fradley,
on 2018’s Halloween.
TIM
ALVERSON, ACE
(Editor) began his career at the age of 17 as a production assistant
at iconoclastic filmmaker Robert Altman’s postproduction house.
His first job in postproduction was as an apprentice editor on Alan
Rudolph’s seminal drama Songwriter,
and after that he was hooked.
While
working his way up the ranks, Alverson discovered that the movies
that really made him tick were the ones that made audiences jump.
From his sharp cuts in the Liam Neeson thriller Unknown,
to the uneasy moodiness of
Orphan,
he sensed instinctively what kept us up at night.
When
Alverson landed at Blumhouse, he was like a kid in a candy store.
His credits there include Insidious:
Chapter 3,
Sinister 2,
The
Keeping Hours and
Insidious:
The Last Key.
After
36 years in the editing room and over 25 editing credits, he still
finds the artistry of film editing compelling and magical. His
hobbies include driving fast, cooking and spending time with his
beautiful wife and daughter.
EMILY
GUNSHOR
(Costume Designer)
is
a New York-based costume designer who works with filmmakers and
actors to create costumes that tell a story and convey the psychology
of characters. Gunshor believes that costumes are one of the first
stops in developing the anatomy of a story. A former classical
ballet dancer, she has always had an eye for nuance, and when an
injury sidelined her dancing career building costumes for the company
was the organic next step. She quickly fell in love with expressing
personality, individuality and emotion through wardrobe.
Over
the past 12
years,
Gunshor has honed her craft working with role models, such as Ann
Roth, Sandy Powell, Colleen Atwood, Leesa Evans and Sarah Edwards.
She has had the opportunity to work on many types of projects from
drama to comedy to period, both in New York and on location. After
making her debut as a co-costume designer on Neighbors
2: Sorority Rising,
Gunshor subsequently worked on a number of projects for Jax Media,
designing the New York units for Dance
Academy: The Movie, the
Stephon Marbury biopic My
Other Home
and I
Love You, Daddy.
Her television credits include the pilot episode for Frankie Shaw’s
Showtime series SMILF, season
three of Bravo’s Odd
Mom Out,
Tracy Morgan’s The
Last O.G. for
TBS and the upcoming Hasan Minhaj
Goatface
special for Comedy Central.
Gunshor is currently wrapping up season two of The
Last O.G.
She lives in Brooklyn, New York, with her husband and two children.
CODY
CARPENTER
(Music by) is
a third generation musician. His grandfather, Howard Carpenter, is a
founding member of the Nashville Strings, his father, John Carpenter,
is a director and composer and his mother, Adrienne Barbeau, is a
star of film, television and the Broadway stage.
Carpenter
was introduced to his first musical instrument around the age of
three and has been playing and composing original music since. In
addition to contributing music for two of his father’s films,
Vampires
and Ghosts
of Mars,
Carpenter composed and performed the full-length score for “Cigarette
Burns” and “Pro-Life” in Showtime’s Masters
of Horror
(2005) movie series.
In
addition to his work on Halloween,
DANIEL DAVIES
(Music by) is known for his work on
Zoo
and Condemned.
—halloween—
This film is dedicated to Moustapha
Akkad.
CAST
Laurie
Strode JAMIE LEE CURTIS
Karen JUDY
GREER
Allyson ANDI
MATICHAK
The
Shape JAMES JUDE COURTNEY
NICK
CASTLE
Dr.
Sartain HALUK BILGINER
Officer
Hawkins WILL PATTON
Dana
Haines RHIAN REES
Aaron
Korey JEFFERSON HALL
Ray TOBY
HUSS
Vicky VIRGINIA
GARDNER
Cameron
Elam DYLAN ARNOLD
Dave MILES
ROBBINS
Oscar DREW
SCHEID
Julian
JIBRAIL NANTAMBU
Warden
Kuneman MICHAEL HARRITY
Guard
Haskell WILLIAM MATTHEW ANDERSON
Caretaker DIVA
TYLER
Father
BRIEN GREGORIE
Son
VINCE MATTIS
Sheriff
Barker OMAR DORSEY
Lynch PEDRO
LOPEZ
Officer
Richards CHARLIE BENTON
Officer
Francis CHRISTOPHER NELSON
Onlooker TERESA
ANN JOHNSON
News
Reporter JONATHAN BRUCE
Corey CHARLIE
DONADIO
Shameel STEPHANIE
BUTTS
Stanford DAVOL
GARRETT
Hunky
Doctor MICHAEL SMALLWOOD
Sexy
Nurse CARMELA MCNEAL
Cowboy
Kid MIGUEL MACARIO MATA
Teller KURT
DEIMER
Officer
#1 CHRISTOPHER HOLLOWAY
Officer
#2 ROGER ANTONIO
Pirate
Kid JACOB M. ARNOLD
Young
Karen SOPHIA MILLER
Loomis COLIN
MAHAN
Teacher PJ
SOLES
Judith
Myers from
Halloween
(1978) SANDY JOHNSON
Phineas
Bogg from Voyagers! JON-ERIK
HEXUM
Jeffrey
Jones from Voyagers! MEENO
PELUCE
Motorcycle
Cop from Repo
Man VARNUM
HONEY
Stunt
Coordinator RAWN HUTCHINSON
Additional
Stunt Coordinator TOM ELLIOTT
Stunt
Double - Laurie ASHLEY RAE TRISLER
Stunt
Double – Allyson LYDIA HAND
Stunt
Double –
Dr.
Sartain/Hawkins CAL JOHNSON
Stunt
Double – Dana CORRINA ROSHEA
Stunt
Double – Oscar DALE MILLER
Stunt
Double – Aaron ADAM LYTLE
Stunt
Performers MARIAN GREEN
MARIAN
MIAOYIN SING
TAYLOR
TOWERY
CHRIS
NIELSEN
CODY
ROBINSON
CREW
Directed
by DAVID GORDON GREEN
Written
by JEFF FRADLEY &
DANNY
MCBRIDE &
DAVID
GORDON GREEN
Based
on Characters Created by JOHN CARPENTER and
DEBRA
HILL
Produced
by MALEK AKKAD, p.g.a.
JASON
BLUM, p.g.a.
BILL
BLOCK, p.g.a.
Executive
Producers ZANNE DEVINE
DAVID
THWAITES
JOHN
CARPENTER
JAMIE
LEE CURTIS
JEANETTE
VOLTURNO
COUPER
SAMUELSON
DANNY
MCBRIDE
DAVID
GORDON GREEN
RYAN
FREIMANN
Co-Producers SEAN
GOWRIE
RICK
A. OSAKO
RYAN
TUREK
ATILLA
SALIH YÜCER
Director
of Photography MICHAEL SIMMONDS
Production
Designer RICHARD A. WRIGHT
Editor TIM
ALVERSON, ACE
Costume
Designer EMILY GUNSHOR
Music
by JOHN CARPENTER
CODY
CARPENTER
DANIEL
DAVIES
Makeup
FX Designer CHRISTOPHER NELSON
Casting
by TERRI TAYLOR, CSA
SARAH
DOMEIER, CSA
Unit
Production Manager RICK A. OSAKO
Unit
Production Manager SEAN GOWRIE
First
Assistant Director ATILLA SALIH YṺCER
Second
Assistant Director KAMEN VELKOVSKY
Associate
Producers SCOTT CLACKUM
LAURA
ALTMANN
Art
Director SEAN WHITE
Assistant
Art Director JAKE KUYKENDALL
Art
Department Coordinator SHEENA KNIGHT
Storyboard
Artist WARREN DRUMMOND
Fear
Consultant ONUR TUKEL
Set
Designers ANNE GOELZ
PHILIP
TOOLIN
Set
Decorator MISSY RICKER
Leadman POLAR
BEAR SHAW
Buyer ELSIE
RABON
On-Set
Dresser BRODY DOCAR
Swing
Gang DANIEL DEAS
ALISSA
DIGIANDOMENICO
KALLEN
GARDNER
JAMES
JOHNSTON
THOMAS
MONTEVERDE, JR.
JASON
PARHAM
MICHAEL
SHAPIRO
CLAYTON
TILLEY
BRUCE
WILLIAMSON
GEORGE
WYNN
Property
Master MICK FLOWERS
Assistant
Property Master TIM SHEEHAN
Armourer TODD
HERGOTT
Property
Assistants LAURA SHERRIER
AIMIEE
SULLIVAN
“A”
Camera Operator PAUL DALEY
“A”
Camera
First
Assistant Camera JUSTIN SIMPSON
“A”
Camera
Second
Assistant Camera JUSTIN URBAN
“B”
Camera/Steadicam Operator STEW CANTRELL
“B”
Camera
First
Assistant Camera MATTHEW MEBANE
“B”
Camera
Second
Assistant Camera EMILY RUDY
Digital
Image Technician ANDY BADER
Digital
Utility NICK BROWN
GRACE
CHAMBERS
Production
Sound Mixer CHRISTOPHER GEBERT
Boom
Operator JOEL REIDY
Sound
Utility RYAN BAKER
Chief
Lighting Technician ROBERT SCIRETTA
Assistant
Chief
Lighting
Technician MICHAEL STIPPICH
Board
Operator MATTHEW LARSEN
Lighting
Technicians BILL ALLANSON
CHRYS
BLACKSTONE
MAXWELL
GORDON
MIKE
HORTON
KYLE
PERRITT
CONRAD
MIZZELL
HENRY
O’BRIANT
HARLEY
WHITE
Rigging
Chief
Lighting
Technician BEN DAVIDSON
Assistant
Rigging Chief
Lighting
Technician GLENN CROWLEY
Rigging
Lighting Technicians BEN BAGGOTT
JOHN
CORBETT
JUSTIN
MOSKOS
Key
Grip LEE DONALDSON
Best
Boy Grip W. DAVE JUSTICE
“A”
Dolly Grip PHILLIP DANN
“B”
Dolly Grip EVAN RUSSELL
Company
Grips ROCKY AMON
MIKE
BYRD
JOSE
DE JESUS
JIMMY
DIGIANDOMENICO
KRYSTINA
FIGG
T
J SHEIDECKER
Key
Rigging Grip GEOFF HERBERT
Best
Boy Rigging Grip BRIAN KNOX
Rigging
Grips CHRIS MCFEELY
ADRIENNE
BROWN
BILL
RAMPEY
Special
Effects Coordinators HEATH HOOD
DAVID
POOLE
Special
Effects Foreman MORGAN ROGERS
Special
Effects Technicians FRANKIE ADDINGTON
MARK
AUSTIN
BILLY
DANIEL
Production
Coordinator JASON SALZMAN
Assistant
Production Coordinator MARY WOODS
Production
Secretary AMY HARMON
Production
Accountant MICHAEL COLLINS
1st
Assistant Accountant SERGIO MEDINA
2nd
Assistant Accountant SHON TWITTY
Payroll
Accountants RACHEL QUINN
LAMONTE
BELL
Clerk JOE
WELLS
Payroll
Clerk KRYSTAL NESMITH
Postproduction
Accountant CODY HEFFELFINGER
VFX
On-Set Supervisor JOSH STEVENS
Video
Assist NICHOLAS GROETSCH
Video
Playback Operator TONY JENZANO
Assistant
Costume Designer CAITLIN DOUKAS
Costume
Supervisor ALEX DAWSON
Key
Set Costumer TONI CUNNINGHAM
Set
Costumer DALIA DALILI
Costumer RAMSAY
WILLIAMS
Ager/Dryer APRIL
TRAQUINA
Department
Head – Makeup SANDRA ORSOLYAK-ALLEN
Key
Makeup Artist HOLLY SAGO
Makeup
Artist DEIDRE OUTLAW
Department
Head - Hair PATRICIA GLASSER
Key
Hairstylist BRYAN MOSS
Hairstylist ASHTON
GLASSER
Key
Makeup FX Artist KEVIN WASNER
Makeup
FX Co-Designer VINCENT VAN DYKE
Special
Makeup Effects
Provided
by VVDFX
Mold
Shop Supervisor CARL LYON
Lead
Technician/Artist MANNY LEMUS
Technicians/Fabricators GWEN
RAMSEY
JASON
JAMES
Makeup
FX Technicians CODY WILKINS
RYAN
WARD
ANNIE
TAGGE
Silicone
Technician WILL THORNTON
FX
Hair Lead/Supervisor SASHA CAMACHO
FX
Hair Technicians SUE LAPRELLE
LYNNE
WATSON
ANNELISE
BOIS
Lead
Sculptor/Painter DANIELE TIRINNANZI
Sculptors CHRISTOPHER
NELSON
JUSTIN
MABRY
Shop
Coordinator BRIAN WALSH
Makeup
FX Shop
Production
Coordinator STEPHANIE FORD
VVDFX
Manager RICHARD COURTE
VVDFX
Bookkeeper KIM SPARKS
Turkish
Lifecasting Services
Provided
by AHSEN GULKAYA
Script
Supervisor RONIT RAVICH-BOSS
Script
Clearances CAROLYN PLUMB
Clearance
Coordinator TARA LARSEN
Location
Manager KALE MURPHY
Key
Assistant Location Manager CRAIG ROGERS
Assistant
Location Manager JOE PACKHEISER
Locations
Coordinator MJ COCUZZA
2nd
2nd
Assistant Director MAX STURGEON
Key
Set Production Assistant WILL RIMMER
Set
Production Assistants HUGO GARZA
COLE
HUEY
KATHERINE
MCMANUS
PHIL
YARBOR
CRYSTAL
FRID
CAITLYN
WOLFE
Casting
Associate ALLY CONOVER
Casting
Assistant FAITH ABRAHAM
Location
Casting JOHN WILLIAMS
KARMEN
LEECH
Extras
Casting by TONA DAHLQUIST
Extras
Casting Assistant T. RYAN HILL
Still
Photographer RYAN GREEN
Animal
Wranglers GREG TRESAN
NIGEL
HAMBRICK
COURTNEY
CLARKE
ASHLEY
BARRIENTOS
Assistant
to Mr. Green JULIAN LAWITSCHKA
Office
Production Assistants LAURA TASSINARI
ROBERT
HOPKINS
SHAWN
MERTZ
Cast
Assistant BROOKE BAGGOTT
Art
Department
Production
Assistant LYDIA KING
Costume
Production Assistant AMANDA GARSYS
Locations
Set
Production
Assistants GEORGE LEFAVE
THORIN
THOMPSON
JEFF
DAUER
COREY
HOWARD
Stand-Ins KELLY
BORGNIS
CLAY
HEATLEY
LAURIE
YEH
Construction
Coordinator TOM JONES, JR.
General
Foreman JOSHUA ELLSWORTH
Shop
Foreman JAMES MARTISHIUS
Foremen GERALD
KERN
JESSE
WILLIAMS
Toolman DAVID
THRIFT
Construction
Buyer DURELL LEFLER
Gang
Bosses BRIAN HILL
CODY
BALL
Propmakers JACK
CALDWELL
JOSHUA
JONES
CHRIS
KUDER
PHILLIP
DUCKER
VICTOR
ZALDIVAR
JEFFREY
KRAMER
Lead
Scenic SEAN BERNARD
Paint
Foreman JOHN MORGAN
On-Set
Scenic STEPHANIE MACOMBER
Set
Painters DARLENE VEGA
KATHERINE
PARKER
JAMES
ONATE
GEORGE
PALMER
DEREK
MORGAN
Key
Greensman HENRY DANDO
Greensmen JOE
LABAN
JOHN
GANEY
Transportation
Coordinator LEE SILER
Transportation
Captain ROBERT GILLIS
Picture
Car Coordinator TIM WALTERS
Transportation
Drivers TODD ANDERSON
BRENDAN
AYER
KEN
BOSTON
EDWIN
BOWDEN
JEFF
CORBETT
JEFF
COUCH
PAUL
DAVIS
LD
DODSON
FRED
FARRINGTON
SHANEN
FLYNN
CAROLE
FRENCH
TINA
GILLIS
CHRIS
LOVE, SR.
JEFF
MCLAUGHLIN
TOM
MOORE
LADONNA
NORWOOD
REDDING
O’SHEA
TERRA
PATTERSON
JOHN
SHAWARKO
TAYLOR
SIMPSON
JESSE
SMITH
KIRK
SMITH
WAYNE
SMITH
GREG
STANCIL
VANCE
SADANO
DAVID
TIBBETTS
DAVE
TOTTEN
DAVID
WELTY
TOM
WOODARD
DOT TONIE
FARACE
Studio
Teacher LAURA BARTLETT
Key
Craft Service KEITH SWEENEY
Craft
Service Assistant BARBARA DOLE
Catering CINEMA
CATERING
PHILLIPPE
GALLICHET
Head
Chef TOM HUSTON
Chef
Assistants JAMES R. TIBBETTS
JASON
MCALHANY
PATRICK
BOYD
Set
Medic BRIAN TURNER
Additional
Set Medics STEPHEN D. CORBETT
THOMAS
B. GLICK
LAURIE’S
COMPOUND UNIT
Production
Coordinator MADISON LACERTE
Assistant
Production Coordinator STEPHANIE LOUIE
Office
Production Assistant MIKA ROSS
Dailies
Runner DILLON MANN
2nd
Assistant Accountant KEIA N. MINOR
Payroll
Clerk ANDREW CHALK
Set
Designer RICKY AGUIRRE
Leadman BRUCE
WILLIAMSON
Set
Dressers CARSON GLOSTER
MELISSA
WOOTEN
First
Assistant Director JAMES MORAN
Second
Assistant Director MARC NEWLAND
2nd
2nd
Assistant Director PHIL DESANTI
Set
Production Assistants EMERALD BLACK
SEAN
BECK
KURT
SCHLACHTER
“A”
Camera
2nd
Assistant Camera GRACE CHAMBERS
“B”
Camera Operator/Steadicam JOHN C. LEHMAN
“B”
Camera
2nd
Assistant Camera WILLIAM HAND
Camera
Utility NICK GOWIN
Digital
Image Technician JASON JOHNSON
Doll
and Pattern-making Services
Provided
by LAURIE WAGNER
Propmakers E.
PAUL ANDERSON
MICAH
TURNER
KEVIN
“KAVEY” HALAS
LANCE
CARTER
Costume
Supervisor SARAH DANO
Key
Set Costumer DALIA DALILI
Costumer APRIL
TRAQUINA
Costumer BROOKE
CLEGG
Costume
Production Assistant TAYLOR ADDISON
Chief
Lighting Technician TRAVIS TRAVIS
Assistant
Chief
Lighting
Technician BEN DAVIDSON
Lighting
Technicians ANDREW MORRISON
MARSHALL
HAMILTON
Key
Grip W. DAVE JUSTICE
Best
Boy Grip BRIAN KNOX
Company
Grip GREG EDDINS
Rigging
Best Boy Grip HARRISON PALMER
Rigging
Grips LESLIE GORDON
JASON
W. BATEY
Location
Manager BEN STOLTE
Location
Assistants GEORGE LEFAVE
JEFF
DAUER
JAKE
TURNER
RUSSELL
MAJOR
Script
Supervisor JENNA DAYTON
Boom
Operator PETER KELLER
Sound
Utility NATHANIEL “SANEL” IRVIN
Special
Effects Set Foreman BRENDAN MCHALE
Special
Effects Technicians CHRISTOPHER SCIACCA
JOSH
VON BADINSKI
PHIL
FRAVEL
AARON
FAILING
Special
Effects Assistant RYAN DALY
Key
Makeup FX Artist MARGIE KAKLAMANOS
Stand-In JOHN
SCHAFER
Video
Assist TONY JENZANO
Visual
Effects On-Set Supervisor PETER VAZQUEZ
First
Assistant Editor DREW SACKS
Postproduction
Coordinators OLGA HAMLET
BEN
SIMPKINS
Postproduction
Assistants DEREK LARSEN
KALI
KASASHIMA
Post
Effects Guy ROB YAMAMOTO
Sound
Editorial Services
Provided
by PACIFIC STANDARD SOUND
Sound
Mixing Services
Provided
by SONY PICTURES STUDIOS
CULVER
CITY, CALIFORNIA
Supervising
Sound Editor/
Sound
Designer PK HOOKER
Supervising
Sound Editor WILL FILES
Supervising
Re-recording Mixer JOEL DOUGHERTY
Re-recording
Mixer JEREMY B. DAVIS
Sound
Designer CHRIS TERHUNE
FX
Editor RANDY TORRES
FX
Editor LEE GILMORE
FX
Editor KEN MCGILL
ADR
Supervisor DAVID BACH
ADR
Mixers HOWARD LONDON, SONY STUDIOS
CHRIS
NAVARRO, FORMOSA GROUP
JON
VOGL, APEX POST PRODUCTION
PATRICK
CHRISTENSEN, SOUND LOUNGE
MARK
DESIMONE, SOUND LOUNGE
JUDAH
GETZ, TECHNICOLOR
DALE
ANCHOR, DE LANE LEA
Dialogue
Editor RYAN COLE
Foley
Services Provided by FOLEY ONE
Foley
Artist STEVE BAINE
Foley
Recordist PETER PERSAUD
Foley
Assistant GINA WARK
Studio
Manager DUKE LIM
Loop
Group Provided by LOOP WHO’S TALKING
Loop
Group Coordinators FABIANA ARRASTIA
SUSAN
BOYAJIAN
Score
Produced by JOHN CARPENTER, CODY CARPENTER AND
DANIEL
DAVIES
Score
Mixed by DANIEL DAVIES AND JOHN SPIKER
Score
Recorded by JOHN CARPENTER, CODY CARPENTER AND
DANIEL
DAVIES
Music
Editor MICHAEL BAUER
Music
Supervisor DEVOE YATES
Music
Consultants AMMAN ABBASI
JACOB
NATHAN
Main
Titles Created by GREENHAUS GFX
End
Titles Created by JAY JOHNSON
Digital
Intermediate Provided by COMPANY 3 – NEW YORK
Colorist TOM
POOLE
Conform JOHN
DIESSO
Color
Assistant JAKE WHITE
Head
of Production MARGARET LEWIS
Account
Executive JIM GARDNER
CO3
Executive Producer STEFAN SONNENFELD
Textured
by LIVEGRAIN
Dailies
by COMPANY 3/ATLANTA
Dailies
Colorist GABRIELE MCINTYRE
Dailies
Operators KARLI WINDISCHMANN
RAYMOND
CALDERON
TEDD
PFEIFER
Dailies
Engineer HUNTER FURNISH
Dailies
Producer SCOTT SALAMON
Visual
Effects by CUTTING EDGE
VFX
Supervisor SIMON MADDISON
VFX
Producer JANE REYNOLDS
Head
of Postproduction MARCUS BOLTON
VFX
Executive Producer GEORGIE UPPINGTON
Compositing
Supervisor NIKI BERN
CG
Supervisor JENSEN TOMS
VFX
Coordinators TU NHI LAM
SYNA
SAN
3D
Digital Artists CHELSEA SHANNON
DAVID
WILLIAMS
JAKE
DOBBIE
Compositors DARREN
COOMBES
GLENN
CONE
KATE
BERNAUER
MARCO
SGUBIN
MARK
KWANTEN
MINA
REYAD
MONIQUE
O’HALLORAN
NADIA
ASCIONE
NANDAKUMAR
PAYANKULATH
RANDY
VELLACOTT
TANE
WELHAM
TIM
PRESTON
TIM
SHULTZ
Cleanup
and Rotoscope KATHRYN DAVIS
VFX
Editorial ETHAN VELLACOTT
CHASE
WORLAND
Pipeline ROMAIN
MAURER
PAUL
DOESSEL
Production
Accounting LIBERTY JACKSON, MONEYPENNY
Auditors CHRISTOPHER
COOTE & CO.
Production
Legal REDER & FEIG, LLP
BENJAMIN
R. REDER
JOSH
SHABANI
SOLMAZ
SCHMIDT
ALEX
ROBBINS
FOR
BLUMHOUSE
Head
of Postproduction JENNIFER SCUDDER TRENT
Chief
Financial Officer ROLAND WIESHOFER
Heads
of Production Finance AARON KHRISTEUS
AMY
AGZARIAN
Manager
of Production Finance CODY HEFFELFINGER
Head
of Marketing TERI EVERETT
Head
of Business & Legal Affairs CAROLINE RAUFI
Associate
Counsel,
Business
& Legal Affairs KASIA CAMPBELL
Manager
of
Business
& Legal Affairs MARY CAROL BULGER
Manager
of Physical Production COURTNEY NICHOLAS
Assistants
to Mr. Blum MONICA MABREY
SAMMY
WARSHAW
DANIELLE
HAWKES
RILEY
GEIS
Assistant
to Mr. Samuelson ERIC ODIOSO
Assistant
to Ms. Raufi &
Ms.
Everett GABBY ZEMER
FOR
MIRAMAX
Chief
Operating Officer and
General
Counsel BOB OSHER
Studio
Executive in Charge
of
Production MATTHEW J. ANDERSON
EVP,
Strategy &
Business
Development DAVID CRAGNOTTI
SVP,
Strategy &
Business
Development JEREMY GROSS
Vice
President,
Finance
& Controller ANNIE CJ CHANG
Vice
President,
Business
& Legal Affairs ROBIN B. HILMAN
Assistants
to Mr. Block LAUREN BOND
MCKENNA
MARSHALL
FOR
TRANCAS INTERNATIONAL FILMS
Outside
Legal Counsel WAYNE KAZAN
Head
of Postproduction TOM FLEMING
Head
of Finance AMILICAR JONES
Executive
Assistant BEAU SCOTT
Production
Insurance
Provided
by ARTHUR J. GALLAGHER & CO.
Payroll
Services Provided by ENTERTAINMENT PARTNERS
Extras
Payroll Provided by SESSIONS PAYROLL MANAGEMENT
Alexa
Camera Equipment
Provided
by ALTERNATIVE RENTALS
Electric
Equipment Provided by CINELEASE
MBS
SOURCEMAKER
LIGHTING
BULLDOG
LIGHTING
Grip
Equipment Provided by GRIPORAMA
Dolly
Provided by HIGH OUTPUT
Graphics
Provided by RED FALCON INK
Judith
Myers Headstone
Created
by WORTH MONUMENT COMPANY
Custom
Stained Glass
Provided
by CHARLESTOWNE STAINED GLASS
Script
Clearances by MARSHALL/PLUMB RESEARCH ASSOCIATES, INC.
Footage
from Halloween
(1978) Courtesy of Compass International Pictures, Inc.
Footage
from Voyagers!
© 1983 Universal Television Courtesy of Universal Studios Licensing
LLC
Footage
from Repo
Man
© 1984 Universal City Studios, Inc. Courtesy of Universal Studios
Licensing LLC
Back
to the Future
Pinball Machine © 1985 Universal City Studios, Inc.
Courtesy
of Universal Studios Licensing LLC
Halloween
III: Season of the Witch
Masks © 1982 Universal Pictures
Courtesy
of Universal Studios Licensing LLC
SONGS
“Tonight
in the Moonlight”
Performed
by The Morrie Morrison Orchestra
Written
by H.O. Morrie Morrison
Courtesy
of Fervor Records
“Sweet
Moon”
Written
and Performed by John Carpenter, Cody Carpenter and Daniel Davies
“Close
to Me”
Written
by John Carpenter, Jamie Lee Curtis, Aron Michael Marderosian
and
Robert J. Marderosian
Performed
by Heavy Young Heathens
Courtesy
of Twelvesixty, LLC
By
arrangement with Jack O’Lantern Music Publishing, Inc.
“Dragon
Shark”
Written
& Performed by Joseph Stephens
Published
by Lincoln County Transmissions
“The
Power of Love”
Written
by John Victor Colla, Christopher John Hayes, and Huey Lewis
“Burn
This City”
Written
by Danielle Parente and Julian Pollack
Performed
by Danielle Parente
Courtesy
of Gravelpit Music
“Opens
Trunk”
Written
by Tito Larriva & Steven Michael Hufsteter
Courtesy
of Universal Pictures
“I
Don’t Play” (The Gunnery Remix)
Written
by Graham Knoxx & Jonathan Michael Brown
Performed
by Kiki Mandoa
Courtesy
of Lip Sync Music, Inc.
SPECIAL
THANKS
ANGELINA
AKKAD
PATRICIA
AKKAD
TAREK
MONLA
MOUSTAPHA
MONLA
ZIAD
MONLA
ERIN
FREIMANN
MELANIE
KUAN
BEN
GRANT
IMPERIAL
TOY
IN
LOVING MEMORY – AARON KHRISTEUS
FILMED
IN SOUTH CAROLINA
PURSUANT
TO THE SOUTH CAROLINA MOTION PICTURE INCENTIVE ACT
[SOUTH
CAROLINA FILM COMMISSION LOGO]
©
2018 NIGHT BLADE HOLDINGS LLC.
All
Rights Reserved.
ANIMATED
UNIVERSAL STUDIOS LOGO © 2018 UNIVERSAL STUDIOS
Night
Blade Holdings LLC is the author of this motion picture for purposes
of the
Berne
Convention and all national laws giving effect thereto.
THE
CHARACTERS AND EVENTS DEPICTED
IN
THIS PHOTOPLAY ARE FICTITIOUS.
ANY
SIMILARITY TO ACTUAL PERSONS, LIVING OR DEAD, IS PURELY COINCIDENTAL.
THIS
MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES AND
OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION
MAY RESULT IN
CIVIL
LIABILITY AND CRIMINAL PROSECUTION.
Animated
Universal Parks and Resorts Tag
Credits
as of August 30, 2018.
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