Mister M. Night Shyamalalalan would not renounce the "ridiculous" Eli/Elias plot twist, which you can find in the novel.jellmoo wrote: I don't want to see a ton of lens flare for no reason (I'm already worried about that with Reeves) or some ridiculous M. Night Shamal... M. Night Shumo... M. Night Shima... any ridiculous plot twisst!!!
Better directors?
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Re: Better directors?
A creature of the night, that carries the light in itself.
Re: Better directors?
I don't think it's "twisty" enough for him though. Way too many hints and what not. M. Night's version would go something like this:Klesk wrote:Mister M. Night Shyamalalalan would not renounce the "ridiculous" Eli/Elias plot twist, which you can find in the novel.jellmoo wrote: I don't want to see a ton of lens flare for no reason (I'm already worried about that with Reeves) or some ridiculous M. Night Shamal... M. Night Shumo... M. Night Shima... any ridiculous plot twisst!!!
Abby: But Owen, I'm not a girl.
Owen: So what, you're a boy?
Abby: No. Well, not exactly...
Owen: So what are you?
Abby: I'm Batman.
Then the audience would realize that Abby was dead the whole time, that Owen was actually the bad guy trying to destroy her, and that they were really in the year 2010 the whole time, and not the eighties.
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At one point, we have all been both the monster and the victim.
Time will tell for which you will be remembered.
At one point, we have all been both the monster and the victim.
Time will tell for which you will be remembered.
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Re: Better directors?
jellmoo wrote:I don't think it's "twisty" enough for him though. Way too many hints and what not. M. Night's version would go something like this:
Abby: But Owen, I'm not a girl.
Owen: So what, you're a boy?
Abby: No. Well, not exactly...
Owen: So what are you?
Abby: I'm Batman.
Then the audience would realize that Abby was dead the whole time, that Owen was actually the bad guy trying to destroy her, and that they were really in the year 2010 the whole time, and not the eighties.
Being chased by air...
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Re: Better directors?
A Shyamalan version of Let the Right One In would be interesting to see. Not necessarily good, but interesting. My guess is that he probably would feel the need to make Eli/Abby's vampirism a plot twist, rewriting the story so that audience doesn't learn Eli/Abby is a vampire until Oskar/Owen figures it out. Maybe the movie would begin with Eli moving into the apartment complex with the two becoming gradually becoming friends. At the same time, a series of seemingly ritualized murders are taking place in the background and Oskar/Owen, who might both keep his crime scrapbook and spy on his neighbors à la Rear Window (remember Shyamalan's admiration for Hitchcock), grows increasingly suspicious of Eli/Abby's guardian, fearing for her safety. Maybe he learns Eli/Abby's secret through his amateur investigations or by accident like in he did in the book and both films by cutting his hand in front of her, with the plot moving forward much like the original story afterwords. Of course, this is mostly just wild speculation on my part. If The Last Airbender is any indication, he isn't particularly faithful to the source material when making an adaption. For better or for worse, he would defiantly put his own stamp on the film, much like what he did with The Last Airbender. Whether of not Shyamalan's Let the Right One In would be good or bad would depend on whether The Sixth Sense/Unbreakable/Signs Shyamalan or The Lady in the Water/The Happening/The Last Airbender Shyamalan shows up to write and direct the film.
Re: Better directors?
D. Cronenberg.
JAL vampirism and Hakan's plot are excellent for him. The tween romance and gothic not so much. In fact, he never did anything with youngsters, only The Brood, with the little girl, and Mortensen's family in A history of Violence.
No doubt he would reduce vampirism to a minimal expression as an infection/disease, the "second brain" and all the disgusting things from the novel (all Hakan's plot) are very Cronenbergian, we could say Virginia feeding on her own blood and zombie-hakan are somehow "body horror". I remember JAL description of Hakan combeack to life in the morgue was much more into science fiction. The whole "invitation" thing is on the other hand 100% supernatural and symbolic. The gross-dark sexuality (Hakan again) also falls in Cronenberg's ground, and so is the love story beneath all-topic (like the Fly) too, BUT all those involved adults, so.
And he's no longer into horror.
Also: Old school De Palma, Danny Boyle maybe. Some french director or someone like Narciso Ibáñez Serrador ("Who Can Kill a Child?")
Most 70s "new wave" directors could handle this story perflectly, in a no-mainstream, though polemic form- .That's not possilbe obviously since most of them are finished now.
Also some asian, like Kim Ji-Woon (A Tale of two sisters) Park Chan Wook (Thirst) or Nakata (Ringu) would be more drama-driven, and more close to TA+JAL vision in the original film.
JAL vampirism and Hakan's plot are excellent for him. The tween romance and gothic not so much. In fact, he never did anything with youngsters, only The Brood, with the little girl, and Mortensen's family in A history of Violence.
No doubt he would reduce vampirism to a minimal expression as an infection/disease, the "second brain" and all the disgusting things from the novel (all Hakan's plot) are very Cronenbergian, we could say Virginia feeding on her own blood and zombie-hakan are somehow "body horror". I remember JAL description of Hakan combeack to life in the morgue was much more into science fiction. The whole "invitation" thing is on the other hand 100% supernatural and symbolic. The gross-dark sexuality (Hakan again) also falls in Cronenberg's ground, and so is the love story beneath all-topic (like the Fly) too, BUT all those involved adults, so.
And he's no longer into horror.
Also: Old school De Palma, Danny Boyle maybe. Some french director or someone like Narciso Ibáñez Serrador ("Who Can Kill a Child?")
Most 70s "new wave" directors could handle this story perflectly, in a no-mainstream, though polemic form- .That's not possilbe obviously since most of them are finished now.
Also some asian, like Kim Ji-Woon (A Tale of two sisters) Park Chan Wook (Thirst) or Nakata (Ringu) would be more drama-driven, and more close to TA+JAL vision in the original film.
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Re: Better directors?
Park Chan-wook would be great, he's a very versatile director (see 'The Handmaiden' for example).
No banaaaanas?
Re: Better directors?
I absolutely love A Tale of Two Sisters, but I have the impression that Kim Ji-woon accidentally made a brilliant film. He was initially going to make Su-Yeon a ghost, they even filmed scenes where the "truth" is revealed but had to cut them due to run-time restrictions. For me, the true pain in that film is that Su-Mi is torturing herself for failing Su-Yeon instead of the "planned" idea that Su-Mi is being haunted by a confused/revengeful spirit. I would be wary of a Kim Ji-woon adaptation, but optimistically wary. However, the gory scenes wouldn't be a problem for him as I Saw The Devil can testify.
I would love a Park Chan-wook adaptation, not just because of Thirst. Stoker was wonderfully slow and strange, but also coherent. His film could also be in Korean with subs and still be powerful for non Korean speakers (his history proves this) as long as he continues to use the considerable talents of Chung Chung-hoon as cinematographer. I think Song Kang-ho could be an excellent Håkan as he's too old to play OskarCyberGhostface wrote: ↑Wed May 16, 2018 3:59 pmPark Chan-wook would be great, he's a very versatile director (see 'The Handmaiden' for example).
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"For a few seconds Oskar saw through Eli’s eyes. And what he saw was … himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
Re: Better directors?
What about Lukas Moodyson or Roy Andersson, they did great cult teen-love stories. And maybe would accept adapt LTROI in english, keeping their style.
I wonder if some of them or Millenium's director showed interest to JAL to direct LTROI.
It also came to my mind that a SWEDISH tv series could be made sometimes, Im really sucker for period-fiction, so a LTROI adaptation with more swedish (or other country if it's the case) early 80's scenery and more characters wouldn't bother me.
Edit, just watched "A swedish Love Story" (the pessimistic view of adulthood is similar to JAL's and so is its comparison to the kid's more innocent and pure world, though this story is about teens, and of course the girl is not a murderer eunuch vampire, neither the boy is an outcast) by Roy Andersson and "We are the best" by Lukas Moodyson, and the latter actually had some LTROI-esque shots (though this might be just because both are swedish, and the towns are similar), good films btw:
Cinematographer is Ulf Brantås
I wonder if some of them or Millenium's director showed interest to JAL to direct LTROI.
It also came to my mind that a SWEDISH tv series could be made sometimes, Im really sucker for period-fiction, so a LTROI adaptation with more swedish (or other country if it's the case) early 80's scenery and more characters wouldn't bother me.
Edit, just watched "A swedish Love Story" (the pessimistic view of adulthood is similar to JAL's and so is its comparison to the kid's more innocent and pure world, though this story is about teens, and of course the girl is not a murderer eunuch vampire, neither the boy is an outcast) by Roy Andersson and "We are the best" by Lukas Moodyson, and the latter actually had some LTROI-esque shots (though this might be just because both are swedish, and the towns are similar), good films btw:
Cinematographer is Ulf Brantås