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mae
05-19-2011, 06:08 PM
http://www.hollywoodreporter.com/heat-vision/mgm-screen-gems-team-carrie-190369


Stephen King’s Carrie is once again heading to the screen.

MGM and Screen Gems are partnering up for the new take on the Stephen King book and have hired Spider-Man: Turn off the Dark playwright Roberto Aguirre-Sacasa to pen the new script.

The book, which was King’s first published work, centered on Carrie, a sheltered and shy high schooler who develops telekinetic powers and unleashes them when pushed too far during her prom.

The book was famously adapted into a 1976 Brian DePalma movie starring Sissy Spacek, Piper Laurie and John Travolta. There was also a stage musical, a forgettable 1999 sequel (called Carrie 2: The Rage) and a 2002 TV movie.

MGM and Screen Gems clearly think the time right for a retelling.

Aguirre-Sacasa is a playwright who also writes comics for Marvel, perhaps notably the company’s meticulous adaptations of King’s epic The Stand. In mid-February, he was brought on board to fix the book of the troubled Spider-Man musical.

Jimimck
05-19-2011, 06:15 PM
Groan...

flaggwalkstheline
05-19-2011, 06:28 PM
http://www.youtube.com/watch?v=j2SLK67EpeY

Bev Vincent
05-20-2011, 05:22 AM
Thirty-five years after Stephen King’s first best-seller roared into theaters and scared a generation of prom-going teens, MGM and Screen Gems have hired playwright Roberto Aguirre-Sacasa to resurrect Carrie with a more faithful adaptation of King’s novel, according to Deadline.

But King, who famously disapproved of Stanley Kubrick’s adaptation of The Shining, tells EW he still has a soft spot for Brian De Palma’s original film: “I’ve heard rumblings about a Carrie remake, as I have about The Stand and It. Who knows if it will happen? The real question is why, when the original was so good? I mean, not Casablanca, or anything, but a really good horror-suspense film, much better than the book. Piper Laurie really got her teeth into the bad-mom thing. Although Lindsay Lohan as Carrie White… hmmm. It would certainly be fun to cast. I guess I could get behind it if they turned the project over to one of the Davids: Lynch or Cronenberg.”

Aguirre-Sacasa, who recently rewrote the Spiderman: Turn Off the Dark script, is an accomplished comic-book author familiar with the King oeuvre; he adapted King’s epic The Stand into comic-book form in 2008.

>>> Entertainment Weekly (http://insidemovies.ew.com/2011/05/20/stephen-king-carrie-remake/)

Brainslinger
05-20-2011, 01:30 PM
The real question is why, when the original was so good?

That was my thought when seeing the title to this thread. I just watched it again a couple of weeks back and it's a good film. (A little aside, but I did a wiki on Sissy Spacek, and I was quite surprised to find out how old she actually was when she played Carrie. She really fitted the role well.)

And of course there was a mini-series remake a few years back. (I understand King preferred that ending to the original one.)

This is interesting though:

much better than the book.

I've only read the book once, and it's not my favourite King book, but it's not bad. I'm not sure I'd agree the film's better, but it's been a while since I read it. I did think the meteorite stuff in the book was a bit much.

Ric
05-21-2011, 08:06 AM
Let's hear it for no original ideas!! :wtf::pullhair:

Slender
05-22-2011, 05:49 AM
Right – so King wants his worst books to be adapted by legendary directors and his best books to be adapted by middling directors. Makes perfect sense.

Seriously, I would kill to get one of the aforementioned Davids to direct The Dark Tower instead of Ron Howard.

Adumbros
05-22-2011, 10:36 AM
this is exactly why no one gives a fuck about hollywood anymore.

mae
05-22-2011, 01:09 PM
this is exactly why no one gives a fuck about hollywood anymore.

Right... 2010 Box Office Wrap: Hollywood Has Second-Best Year Ever (http://blog.moviefone.com/2011/01/07/2010-box-office-wrap-hollywood-has-second-best-year-ever/):


[in 2010] (the studios) enjoyed their second-best year at the domestic box office with $10.46 billion, off less than 2 percent from 2009's all-time haul of $10.6 billion."

Adumbros
05-22-2011, 03:33 PM
this is exactly why no one gives a fuck about hollywood anymore.

Right... 2010 Box Office Wrap: Hollywood Has Second-Best Year Ever (http://blog.moviefone.com/2011/01/07/2010-box-office-wrap-hollywood-has-second-best-year-ever/):


[in 2010] (the studios) enjoyed their second-best year at the domestic box office with $10.46 billion, off less than 2 percent from 2009's all-time haul of $10.6 billion."

right...and if this were 1981 or even '91 that might matter...except it's 2011, when this panic fit called a recession has cut the value of the american dollar nearly in half, so low in fact that even the canadian dollar holds more international value than ours (and if you doubt the validity of this, note that a 60-year-old movie, Citizen Kane, is considered the most successful film in American history...based on inflation). coupled with the fact that the average ticket price for a new release is nearly ten dollars, and that's without counting the domestic charge in large cities, where even cigarettes cost over fourteen dollars a pack in some locations. along with the easily debatable notion that perhaps 2010 was a fluke year for movies just like 2009 was a fluke year for Derek Jeter, and the following season proved how much his age really truly is affecting his performance. not to mention the even more easily debatable contention that DVD/VHS sales and downloads are far more reflective than ticket sales; after all, EVERYONE wants to see the new amusement park in town, but how many of them will come back? etc etc.

mae
05-24-2011, 12:46 PM
http://screenrant.com/megan-fox-carrie-remake-sandy-117097/


No classic horror title is safe from the remake syndrome nowadays – and Brian De Palma’s well-known 1976 adaptation of the Stephen King novel, Carrie, is the latest cinematic scarefest that is being prepped for a makeover - courtesy of MGM and Screen Gem.

News regarding active development on a Carrie remake only broke at the end of last week, but already there’s a big name actress reportedly interested in playing the titular teenager: the 25-year-old starlet of the first two Transformers movies, Megan Fox.

Fox was apparently approached at one point to play Wonder Woman on-screen (in the recently-defunct TV series reboot, perhaps?) but Showbiz Spy claims it has been informed by sources close to the actress that “she wants to move on to more serious roles.” Hence her interest in playing Carrie – and, by implication, why she is not appearing in this summer’s Transformers: Dark of the Moon (be sure to take all of that with a grain of salt).

The actress played a teenager who seeks vengeance upon those who wronged her (with the use of supernatural powers) once before in the horror-comedy Jennifer’s Body, which failed to impress critics and didn’t exactly rake in cash at the box office. More importantly: Does Fox even remotely resemble the kind of person who’d be mocked by her high school peers and looked down upon as an awkward outcast – like Sissy Spacek did when she played Carrie in De Palma’s film?

Regardless of whether you think Fox wasn’t allowed a fair chance to demonstrate her acting prowess in the first two Transformers movies – or if you feel she really is just a pretty face and nothing more – it’s near impossible to argue that casting the actress as Carrie makes sense, at least from an artistic standpoint. The argument that Fox would increase the box office potential of Carrie doesn’t hold water either, as illustrated by the failure of Jennifer’s Body – and that was in spite of the film being scripted by Diablo Cody (fresh off her Oscar win for Juno) and boasting (among other things) a scene in which Fox and Amanda Seyfried locked lips.

It ought to be mentioned that the idea of Fox starring in the new Carrie is strictly RUMOR at this point – and while this casting move certainly isn’t out of the question, it’s far from a sure thing right now. On the other hand: there doesn’t seem to be a whole lot of enthusiasm for another cinematic take on King’s spooky coming-of-age tale as is, so it’s difficult to say whether this rumor will help or hinder the current outlook for the project.

Brainslinger
05-25-2011, 11:21 AM
I guess they can do a lot with make up and outfit, etc, and the actor's mannerisms in portraying the role count for a lot. Sissy Spacek was far from ugly, herself, after all. That being said I think they've got their work cut out for them with Megan Fox. I'm not judging her acting here, as I haven't seen her in anything other than Transformers, but she's certainly not the physical type I'd imagine.

mae
05-27-2011, 01:14 PM
http://www.shocktillyoudrop.com/news/topnews.php?id=19382

Stephen King's 1974 novel "Carrie" is the latest in a string of adaptations Hollywood is tackling behind the (somewhat) recently announced "Under the Dome" and "The Dark Tower." Unlike those two projects, however, "Carrie" has already been brought to the screen.

Brian De Palma's 1976 feature film - Carrie with Sissy Spacek - was the very first to translate King's words to celluloid. Later, in 1999, Katt Shea directed the follow-up The Rage: Carrie 2, a laughable mess that wildly spun off from the events in De Palma's film. Then, a dismal made-for-TV movie re-told the King novel with an inspired cast; Angela Bettis played Carrie White and the always-solid Patricia Clarkson co-starred as her mother (a bit of nerd triva: Battlestar Galactica's Kandyse McClure played Sue Snell).

Certainly "Carrie" is not the first King novel to get a "do over." There was the Salem's Lot "television event" mini-series with Rob Lowe, same could be said for The Shining. "The Dead Zone" became a popular television series. Firestarter inspired a Sci-Fi Channel sequel and Trucks (a redo of Maximum Overdrive) roared its way onto the small screen in 2000. (Hmm, that's a whole lot of television projects.) "IT," "The Stand" and "Pet Sematary," meanwhile, are in queue to needlessly be re-told as feature films (I still think Fred Gwynne deserved some sort of award for his performance in the latter).

The studio system is intent on revisiting the King movies that were fube the first time around when there are plenty of dreadful to mediocre adaptations worthy of updating. Here are five that are not already in-the-works...

• Silver Bullet ("Cycle of the Werewolf"): Nostalgia clouds the mind. I've found fans looking back fondly on director Daniel Attias' adaptation and I still have no idea why. Hokey and miscast - save for Everett McGill - the film, scripted by King, has an awkward pace. Overall, it always screamed of "cheap," which was always a shame to me because the source material, "Cycle of the Werewolf," especially Bernie Wrightson's grisly illustrations that pulsed violence and menace, was what got me fascinated in horror. So, imagine the disappointment I felt when I saw a ludicrous man-in-suit werewolf (designed by Carlo Rimbaldi) chasing around Corey Haim.

"Cycle of the Werewolf" is a story that could be a relevant scare-fest today. Use Bernie Wrightson's werewolf design as a blueprint. Capture the brutality of those kills, furthermore, the atmospheric passage of seasons. After all, "Cycle of the Werewolf" was born out of an idea to tell a story through a calendar. And set it in the ‘70s or ‘80s. I don't see any reason why the story would need to be contemporary.

• The Dark Half: No disrespect to George Romero, but I wouldn't mind seeing someone take another crack at this one. Romero does his best to stay faithful to the material, but the results are rather dull and Timothy Hutton as both Thad Beaumont and George Stark (oof) doesn't work.

Pull in a strong writer to freshen up the mystery and a clever director - perhaps look to Spain or France? - and give this warped Jekyll/Hyde story the adaptation it deserves. Moreover, make sure the leading man feels comfortable in the skins of both Beautmont and Stark.

• The Tommyknockers: The ABC mini-series in ‘93 was an abysmal mess. The cast was completely wrong across the board and it had John Power - a director whose career is/was founded on television - and let's just say he lacked vision. Lawrence D. Cohen (Carrie, IT) penned the screenplay, but that doesn't help matters because he shied away from trimming away parts of the book that don't work. There's plenty of material to chisel away at and easily shape into a feature film. And because we're getting so many big alien invasion films, it might be refreshing to do one that turns inward. Don’t be so dear to the material and take a unique storytelling approach. Yes, it's a kooky kind of story, but one I always had a soft spot for.

• Needful Things: Speaking of batshit zany, King's 1991 farewell to Castle Rock was a novel I plowed through in a week. A thick read, but it had a breakneck pace and sent me tumbling through a stream of bad deeds and a cycle of violence that I couldn't pull myself out of. The film? Not so much. While writer W.D. Richter (Big Trouble in Little China) crammed a lot into the story, tonally, I think it missed the mark. More mischievous-cute than mischievous-evil. J.T. Walsh and Max von Sydow were strokes of genius casting, but director Fraser Heston (son of Charlton) couldn't pull good performances out of the rest of his ensemble. It's a forgettable experience. This story could be best served as a television mini-series, but at a home such as Showtime or HBO to really deliver on the graphic violence.

• Desperation: Here is where I'm going to cheat a tad and introduce a book that also hasn't been adapted for the screen. When "Desperation" was published in 1996, King also released "The Regulators" (which I enjoyed more) under his Richard Bachman pseudonym. Again, like my suggestion for "Needful Things," I say take "Desperation" to television (again, Showtime or HBO), but go experimental and do a full-on double adaptation and find someone who might be able to interweave the stories, or, shoot them back-to-back, as characters overlap. As it stands, the current Desperation TV mini-series by Mick Garris isn't the director's finest hour. The actors don't seem to get what movie they're in and I recall it being a bit ludicrous and preachy.

There's my five. Are there any Stephen King movies you'd like to see get a do-over?

Slender
05-27-2011, 03:09 PM
I'd love to see a fresh adaptation of Needful Things – it was my first King novel, and I've always been fond of it. A remake which does the book justice would be great – it would be amazing if they got Kiefer Sutherland to reprise his role as Ace Merrill from Stand By Me, as well as Michael Rooker as Alan Pangborn from The Dark Half – complete with George Stark flashback, as in the book? And they could include the scene where Polly meets the ghost of Cujo. I loved all those references – they made the book much richer when I finally got round to re-reading it.

It's a pity Vincent Price isn't alive – he'd have been beyond perfect as Leland Gaunt.

flaggwalkstheline
05-27-2011, 03:26 PM
max von sydow as pretty good as leland gaunt and ed harris was decent as alan

they didn't stop the film from sucking though

LadyHitchhiker
05-28-2011, 10:09 AM
I don't understand why anyone would do a remake on a movie, unless the original movie was negligent. Seeing as I think the first version was perfect, I just don't understand the need to remake it. That's like all this talk about redoing the Rocky Horror Picture Show... Why????

mae
06-02-2011, 06:54 AM
http://www.obsessedwithfilm.com/movie-news/true-grits-hailee-steinfeld-wanted-for-carrie-remake.php


When MGM hired a writer on their planned Carrie remake earlier this month, it was reported that the studio’s intention was to more faithfully adapt Stephen King’s original novel than the popular Brian De Palma film version of 1976. The Coen Brothers’ method of going back to Charles Portis’ novel for True Grit rather than remaking the famous John Wayne movie was cited as how this remake would be handled – more of an adaptation that forgets a previous film even exists.

So it’s somewhat ironic tonight that Cinema Blend are reporting from one of their trusted sources that top of MGM’s wishlist to star in the remake of Carrie is none other than Hailee Steinfeld, the Oscar nominated youngster from True Grit. She would play the tormented teenager who posses emotionally discharged psionic powers which she uses to exert revenge on those who bullied her. Sally Spacek played the part originally and well, you’ve all seen the movie, I’m sure.

How serious MGM’s interest in Steinfeld is unclear and indeed the remake hasn’t even got a director yet. Roberto Aguirre-Sacasa, one of the writers of the infamous Spider-Man: Turn off the Dark broadway show and who adapted The Stand into a comic book series at Marvel was tasked with the writing duties a few weeks back and we imagine it’ll be a while before serious movement on the film begins.

For now it’s probably little more than one name amongst many on a studio wishlist but if they are seriously thinking about Steinfeld then that can only be a good thing. I can’t say I particularly need another take on Carrie but yeah, I’d see if with Steinfeld involved, not least because she’s mega talented but because Carrie White and Mattie Ross couldn’t be more different as characters.

DanishCollector
06-02-2011, 09:42 AM
Sally Spacek, heh:)

mystima
06-05-2011, 09:54 AM
lol :doh: :rofl:

mae
06-05-2011, 04:01 PM
And that's not all the Carrie news:

http://www.thenational.ae/events/categories/film/a-broadway-flop-in-1988-stephen-kings-carrie-set-for-a-stage-revival?pageCount=0


It was one of the most spectacular flops in Broadway history. And yet, when a musical version - produced by the Royal Shakespeare Company, no less - of Stephen King's debut horror novel Carrie hit New York's Virginia Theatre in 1988, hopes were high. After all, King's book was a bestseller and Brian De Palma's 1976 film, starring Sissy Spacek as the girl with telekinetic powers, was something of a cult teen hit.

But reviews were as blood-curdling as the havoc Carrie wreaks at her high-school prom. The New York Times called it a "wreck". And, just five performances later, Carrie: The Musical was over. Losing a record (for the time) US$8 million (Dh23.4m), its infamy was such that the American theatre columnist Ken Mandelbaum wrote a book titled Not Since Carrie: 40 Years of Musical Flops.

So the news that New York's MCC Theater is to revive the show next January has sent ripples of amusement around the theatre world. The director Stafford Arima admitted in The New York Times that the show is to be revamped, updated and set in the 21st century. Most importantly, perhaps, at least half the songs will be different. As Mandelbaum noted in his book: "What makes Carrie unique is its combination of soaring, often breathtaking sequences and some of the most appalling and ridiculous scenes ever seen in a musical."

Of course, a certain amount of suspension of disbelief is required for any musical - there aren't many among us who regularly break into song during periods of heightened emotion, after all. But in Carrie's case, it's arguable that it's impossible to be both tuneful and psychologically powerful.

Indeed, some would argue that horror is not well served by the stage, with fake blood that's obviously fake, and tension somewhat dampened by stage hands moving the sets between scenes. But there's actually a fine tradition of theatre that disturbs and disgusts, going right back to the plays of Shakespeare. The supernatural forces at play in Carrie have their genesis in Macbeth. When The Globe staged Titus Andronicus in 2006, it had to issue warnings about the "gruesome and bloody" content after one too many audience members fainted. Grand Guignol, meanwhile, isn't just a catch-all term for melodramatically gory film, art or theatre - it comes from Le Théâtre du Grand-Guignol, a venue in Paris that opened in 1897 and specialised in scaring audiences with psychological dramas.

And even though cinema has generally overtaken theatre as the medium of choice for a thrill or a chill, a well-judged play can still have immense power. The David Farr and Gisli Orn Gardasson version of Franz Kafka's haunting Metamorphosis, which has toured the world in recent years, may not have the jump-out-of-your-skin moment Carrie (the movie) boasts, but it does inflict a horrific torment as its protagonist is transformed into a beetle - and the Nick Cave/Warren Ellis score lends a distinctly uneasy edge.

More straightforward scares are found in The Woman in Black, billed as "the most horrifying live theatre experience in the world". The stage version of Susan Hill's acclaimed novel, it tells the story of a young solicitor who gets more than he bargained for when he travels to attend the funeral of a former client. the production has been going strong in London's West End for more than 20 years, and has also played in the US, Japan and Dubai. The secret of its spine-tingling nature, audiences say, is its simplicity - it relies on just two actors, and the most basic of special effects.

Essentially, for theatre to raise the heart rate, believability isn't as important as an immersive storyline. Those who queued up to see It Felt Like a Kiss - the collaboration between the theatre group Punchdrunk, the documentary filmmaker Adam Curtis and the musician Damon Albarn at 2009's Manchester International Festival - knew that they weren't actually going to come to any harm during the performance. But if festivalgoers happened across slightly dazed and uneasy groups of people walking around town, chances were they'd just been chased down the dark corridors of the office building in which the play was set... by a man wielding a chainsaw.

And the most notable scary success on stage recently has been Ghost Stories, a collaboration between The League of Gentlemen's macabre genius Jeremy Dyson and the director of Derren Brown's shows, Andy Nyman. Making good on its advance warning that it contained "moments of extreme shock and tension", this brilliantly entertaining show came with a plea that people didn't give its entertaining secrets away, and ended up transferring to London's West End last year.

So, actually, the ground has been prepared for a Carrie revival. In fact, one of MCC Theater's artistic directors said at the launch that they've "been in love with this piece since we heard a reading two years ago. It's so moving." Hmmm. You'll excuse us if we reserve judgment until, well, at least five shows in.

Adumbros
06-07-2011, 12:37 AM
i'm seriously starting to wonder how long it's gonna be before some talentless chode or other releases someone else's book as his own. oh wait. already been done (essentially). some nobody wrote a lame Godfather book that would've made the Godfather himself assassinate him if only the Godfather were real. anyways, point is, shouldn't "plagiarism" apply to film, as well?

mae
01-04-2012, 04:24 PM
http://collider.com/kimberly-peirce-carrie/135363/

While it’s been a while since we’ve heard anything about the planned remake of Carrie, the project seems to be moving forward as MGM and Screen Gems have settled on a director. Deadline reports that Boys Don’t Cry helmer Kimberly Peirce is in talks to get behind the camera on the Stephen King adaptation. Brian De Palma famously adapted the material in 1976 with Sissy Spacek in the career-defining lead role. This new version is said to be more faithful to King’s source material, though I’m assuming a fair amount of telekinetic carnage will still ensue.

Playwright/screenwriter/comic-book writer Roberto Aguirre-Sacasa (Big Love, Glee, The Stand comic) penned the screenplay, and with Peirce now onboard the project seems to be moving toward casting. The critically acclaimed Boys Don’t Cry marked Peirce’s directorial debut in 1999, and the 2008 Iraq War drama Stop-Loss acted as her follow-up feature. The director’s experience with off-kilter coming-of-age stories should bode well for her work on Carrie, and I’m intrigued to see what her take entails.

pathoftheturtle
01-05-2012, 06:32 AM
They're going to change the setting to this decade? Ridiculous. Plus, to suspend disbelief in that case, you'd have to imagine that from the start it's a world in which Stephen King's career never happened... a thing that at this point, is real tough to picture.

herbertwest
01-05-2012, 09:55 AM
2014 : the 40 years anniversary edition of CARRIE... will be an opportunity to make some $$$

This one doesnt need to be done.. there was already a remake.
I already hate when Hollywood remakes some oriental movies (although i guess that it's sort of OK to make it more look like from out cultural point of view), but, for instance, THE GIRL WITH THE DRAGON TATTOO (by David Finder !!!! wtf?), was made in Sweden or Norway.
The only reason was $$$

[The music by Trent Reznor is really great though, but i'll boycott that movie]

Brainslinger
01-05-2012, 05:32 PM
I'm generally a believer that films should only be remade if the original was rubbish. The original Carrie certainly wasn't.

That being said the 70s version of The Bodysnatchers is my favourite despite being a remake, (same for The Fly, and Carpenter's The Thing*) and the original wasn't bad. In my defence, the remake was the first version I saw, but I genuinely felt it was the better film overall.

*Although it's arguably not a remake than a more accurate reimagining of the original tale- something I haven't actually confirmed for myself yet. It could be argued that this version of Carrie is the same, I guess, but I felt the original was pretty accurate to the book overall. They left out the meteors, but I though that a bit much.

Bev Vincent
01-24-2012, 08:47 AM
I wrote an essay about the various versions of Carrie for FEARNet: 'Carrie' On (http://www.fearnet.com/news/b25182_news_from_dead_zone_carrie_on.html)

mae
03-01-2012, 10:07 PM
http://www.hollywoodreporter.com/review/carrie-theater-review-296385

Venue
Lucille Lortel Theatre, New York (runs through April 22)

Cast
Marin Mazzie, Molly Ranson, Christy Altomare, Carmen Cusack, Jeanna de Waal, Derek Klena

Director
Stafford Arima

The original creative team behind the commercially disastrous 1988 Broadway musical adaptation of Stephen King's horror novel make a valiant attempt to wash the blood off their much-maligned baby.

NEW YORK – The 1988 production of Carrie, the musical based on Stephen King’s novel about a high school misfit with telekinetic powers, was a critical and commercial bloodbath that became the benchmark for spectacular Broadway failure. While it ran for 16 previews and just five post-opening performances, it became something of an urban legend. If every theater insider who claims to have seen the notorious fiasco had actually been there, the show would have run for a year or more.

Up to now, those of us not around to view the wreckage firsthand have had to settle for poor-quality bootleg clips on YouTube. But the original creative team has reunited under new director Stafford Arima to present a stripped-down, heavily revised version Off Broadway. The makeover aims to rescue Carrie from the scrap heap of musical-theater folly, paring away the camp excess to tell an earnest story of adolescent ostracism and cruelty. But those serious intentions have yielded a muted reincarnation that’s neither fish not fowl.

After the stinging experience of Broadway, where Carrie was directed with a mix of operatic bombast and ‘80s vulgarity by Terry Hands of the Royal Shakespeare Company, the show was pulled from circulation despite countless rights requests. Composer Michael Gore (who wrote the original songs for Fame), lyricist Dean Pitchford (the screenwriter of Footloose) and book writer Lawrence D. Cohen (who also scripted Brian De Palma’s 1976 high-school gothic screen adaptation) were coaxed by Arima to release their bloodied baby from seclusion.

A number of songs have been jettisoned – including the legendary Act II opener, “Out for Blood,” with its chant of “Kill the pig, pig, pig,” accompanied by the alarmed oinks of unseen livestock – and new tunes added. Also gone is the slutty aerobics choreography from opening number “In,” replaced by Matt Williams’ generic Spring Awakening-influenced agita. It’s more in keeping with the theme of oppressive teen conformity, if not as entertaining. In a half-baked attempt to tap into the current conversation on bullying, token references have been imposed to contemporize the story.

But the inescapable impression remains that Carrie was never meant to be a musical – certainly not one with this unmemorable score and literal-minded, on-the-nose lyrics. The Goth-chic black prom corsage bangles available at the merchandise stand suggest some element of subversiveness, but what’s onstage is merely innocuous. In an effort to make the show connect with awkward-age teens, it’s been watered down and robbed of all the distinctive qualities that made it “terrifyingly lyrical” onscreen (in the words of Pauline Kael) and ludicrously lurid on Broadway. It’s prime exploitation material treated as intense psychodrama.

What made the central character compelling in King’s novel and De Palma’s film was that the other kids didn’t just hate Carrie White because she was different. They were creeped out by her. She also was an unwelcome reminder of their own insecurities. Through no fault of Molly Ranson, the performer playing the title role, Carrie here becomes just a small-town outsider with an unhip wardrobe, lousy social skills and an inner resentment that spews forth in overwrought power ballads. Her telekinesis is almost an afterthought until the prom-pocalypse, when a bucket of pig’s blood gets dumped on her head, unleashing mayhem.

Likewise, Carrie’s mother, Margaret (Marin Mazzie), has been tamed from a hellfire-spouting, lust-tormented crazy woman to an over-protective fundamentalist who wants her daughter to remain a child, as much to soothe her own loneliness as to shield the girl from sin.

Even while thundering through the Biblical damnation of “And Eve Was Weak” (hands down best menstruation number ever from a Broadway musical), Mazzie is directed to avoid making Margaret a monster. Instead, she’s almost harmless, lacking the danger of Piper Laurie’s magnificent nutjob in the movie. (“He took me with the smell of the roadhouse whiskey on his breath, and I liked it,” was one of her more indelible moments.) The stage Margaret does get the show’s best song, “When There’s No One,” which the gifted Mazzie mines for emotional depth. But as a dark force, feeding Carrie’s paranormal retaliation, she’s ineffectual.

Where King’s novel framed the account of the prom-night massacre as a psychological case study, Cohen here intercuts the action with good girl Sue Snell (Christy Altomare) in a police interrogation scenario out of Law & Order. Sue is played capably by Altomare, but like the other kids in the under-populated cast, she’s a cookie-cutter teen who doesn’t make much of an impression.

Measured against their movie counterparts these characters are pallid indeed. De Palma had mischievous fun playing with screen archetypes. Amy Irving’s Sue was the noble-souled smart girl willing to sacrifice popularity to obey her conscience; William Katt’s Tommy Ross was the sensitive jock, his sun-bleached ‘fro glowing like a halo; Nancy Allen’s Chris was the quintessential morally unencumbered mean girl, snarling “I hate Carrie White” while using her oral skills to enslave John Travolta’s snickering dope Billy Nolan to her cause. There was good reason to invest in both the tragedy and retribution of these characters. Onstage, uber-bitch Chris (Jeanna de Waal) and moronic Billy (Ben Thompson) make especially dull villains.

Leaving aside the impossible assignment of competing with Sissy Spacek’s iconic take on the role, Ranson has affecting moments, notably with sympathetic gym teacher Ms. Gardner (Carmen Cusack) or when Carrie triumphantly silences her mother and sits down to a celebratory slice of pie.

Working on designer David Zinn’s minimalist set, Arima occasionally makes efficient use of Kevin Adams’ atmospheric lighting, Jonathan Deans’ soundscape and Sven Ortel’s projections, particularly in the climactic prom scene. But there’s a general shortage of invention to the stagecraft that further neglects the material’s roots in horror.

Could Carrie ever work as a serious musical? Hard to say. But the impression forms while watching it that Gore, Pitchford and Cohen would be well-advised at this point just to embrace their battered creature for the freak that she is. Should they choose to forego the interventions and instead liberate the original show for licensing, they might have a parody vehicle far more captivating to audiences than this timid resurrection.

Venue: Lucille Lortel Theatre, New York (runs through April 22)

Cast: Marin Mazzie, Molly Ranson, Christy Altomare, Carmen Cusack, Jeanna de Waal, Derek Klena, Ben Thompson, Wayne Alan Wilcox, Corey Boardman, Blair Goldberg, F. Michael Haynie, Andy Mientus, Elly Noble, Jen Sese

Director: Stafford Arima

Music: Michael Gore

Lyrics: Dean Pitchford

Book: Lawrence D. Cohen, based on the novel by Stephen King

Set designer: David Zinn

Costume designer: Emily Rebholz

Lighting designer: Kevin Adams

Sound designer: Jonathan Deans

Projection designer: Sven Ortel

Orchestrations: Doug Besterman

Vocal design: AnnMarie Milazzo

Music direction/arrangements: Mary-Mitchell Campbell

Choreographer: Matt Williams

Presented by MCC Theater, by special arrangement with the Lucille Lortel Theatre Foundation

beam*seeker
03-02-2012, 05:22 PM
I didn't realize De Palma directed the original Carrie--time for a rewatch!

mae
03-04-2012, 01:29 PM
http://thedailynewsonline.com/entertainment/article_761e3ba8-6594-11e1-afbe-001871e3ce6c.html

After what happened to Carrie White the last time she went to the prom, it's a wonder she ever returned. As for those of you in the theater seats, you may wonder why you came at all.

The MCC Theater's re-imagined production of "Carrie" that opened Thursday at the Lucille Lortel Theatre on Christopher Street is an attempt to reclaim what must be assumed is a stirring work evidently lost in the 1988 original, one of Broadway's most notorious failures.

The result may be better, but it's nowhere near good. Some lovely music is marred by a patronizing, out-of-touch book, an overwrought tone and characters that seem as light and insubstantial as an after-school TV special.

How bad is it? The new version directed by Stafford Arima produced quite a few titters during a recent preview. That's not good news: It's not a comedy. While it's not clear what "Carrie" is trying to be, it's not supposed to be funny.

Originally a novel by Stephen King about a shy teen with telekinetic powers who struggles against her overbearing mother and gets a gore-drenched prom, the story was turned into a 1976 Brian De Palma film.

Lawrence D. Cohen, the film's screenwriter, turned it into a theater piece along with music by Michael Gore and lyrics by Dean Pitchford. What emerged was a mess not entirely their fault, but it closed after five regular performances, lost $8 million and became the most expensive flop in Broadway history at the time.

Cohen, Gore and Pitchford deserve credit for returning to try to tease out their original intention, and in some ways the times have caught up with some of the themes in King's original novel: bullying and religious fundamentalism.

But even with the addition of Arima and a cast led by the talented Marin Mazzie ("Next to Normal") as Carrie's mother and the up-and-coming Molly Ranson in the title role, it's a bloody mess. Not enough has been done to make it better, and it veers into camp when it really doesn't want to.

"Something terrible's going to happen!" says one character in a typical overshare, and she's right.

The character of Carrie might be able to move chairs on the stage by using just her mind, but actually getting the seats filled in the theater night after night might be beyond her powers.

There's simply too much and yet not enough here. The story of Carrie White is both the story of a superhero and a nerd who becomes a princess. It's also about the push-pull of mother-daughter relationships. It's about angst and being popular and growing up. But not all of it can fit and that's why the beautifully voiced Mazzie is a one-note religious psycho who simply quotes scripture, while Ranson's transformation from dork to beauty to potential mass murderer has to be rushed.

Some of the returning songs — "In," ''Open Your Heart" and "Unsuspecting Hearts" — are still quite nice, and some of the new ones — the pretty "You Shine," ''The World According to Chris" and "A Night We'll Never Forget" — fit in nicely.

What doesn't fit is the attempt from a group of men on the other side of 40 to sound like teenagers. The action is updated to present day, but the dialogue and lyrics smack of "Porky's."

"Oh, c'mon, church-girl — dance with me. I'll make you see God," the head bully teases Carrie at one point, although he looks more like he's in grad school than high school. In one song, three boys sing: "We better get laid! It's the least we deserve, after everything we've paid."

Two secondary characters — Tommy, the cliched big-hearted star football player and secret novelist (a solid Derek Klena) and his girlfriend, the all-around Miss Perfect who tries to show compassion to Carrie (an underused Christy Altomare) — look lifted from Archie Comics. One thing that might get cut immediately: the closeted gay bully who has a fondness for his male friends.

The adults fare no better. A meddling gym teacher played by Carmen Cusack, who along with a Will Schuester character will make you want to go home and see "Glee" instead, at one point asks the bullying girls: "Do any of you stop to think that Carrie White has feelings? Do any of you ever stop to think?" Uh, like, no.

There are some nice touches, like the projections by Sven Ortel of candles, crosses and bright colors against David Zinn's simple set that mostly consists of a pair of gym doors. The final frenzy of Carrie's anger leaves her tormentors splattered against the back wall nicely, and the lack of an actual blood bath in favor of the digital kind is a relief.

Maybe "Carrie" simply cannot be turned into a good musical. Please no third try: No one can bear a re-imagining of this re-imagining. Maybe we should take advice from the musical and just suck it up: "All this high-school drama, none of it means anything," one character says. "Before you know it, it'll all be over."

mae
03-12-2012, 07:48 AM
http://www.huffingtonpost.com/2012/03/12/carrie-musical-revival-stephen-king_n_1338256.html

Stafford Arima wants to make sure no one laughs at Carrie on prom night this year -- or when they do, it's with her rather that at her.

The veteran theater director, who helmed the Off-Broadway smash "Altar Boyz" and the premiere London production of "Ragtime," might just have tackled his most ambitious project yet -- a scaled-down, re-conceived and altogether overhauled incarnation of "Carrie," the panned 1988 musical about a misfit teen who wreaks havoc on her high school class using supernatural powers after being the butt of one brutal prank too many.

Arima's new Off-Broadway version, which opened March 1 at New York's Lucille Lortel Theatre, shifts Stephen King's 1974 classic to the post-Columbine present day, when the central themes of teen bullying, high school torment and even adolescent murder are perhaps even more timely. Though fans of King's book or the 1976 Brian DePalma film starring Sissy Spacek will be relieved to find the familiar story left virtually intact, the show's creative team (Arima, composer Michael Gore, lyricist Dean Pitchford and book writer Lawrence D. Cohen) have strived to give "Carrie" a fresh, modern shine.

For inspiration, Arima says he thought about his own personal experiences within the gay community. "In reading King's novel for the first time, I realized that Carrie's telekinetic powers are a metaphor for being different," Arima says. "That being different could mean someone who's an ethnic minority or someone who's gay, or someone who wears glasses. We all know what it's like to be different, whether it's in high school or in life. The universality of that feeling, I think, is what has attracted people to this story in all of its various incarnations."

Though still imperfect in its specifics, the result is a camp-free show that's nonetheless finely acted, well sung and inventively staged. Molly Ransom is particularly stirring in the title role, while Marin Mazzie ("Next to Normal") gives Carrie's renegade Christian mother Margaret a more humanized, yet still off-her-rocker, touch. A talented ensemble can't hide the fact that many of the secondary characters are disposable (perhaps rightfully so, given the show's climax). But gay fans will nonetheless appreciate the scene-stealing Corey Boardman as a possibly questioning teen with a less-than-subtle crush on Derek Klena's Tommy Ross, the button-handsome jock who eventually serves as Carrie's ill-fated prom date.

"It's always been important to me when you create an ensemble of characters -- in this case, the students -- that we create a community," Arima notes. "There wasn't any specific intent to create a confused young man. It wasn't written this way, but we thought maybe the character of George has a crush on Tommy, and that it's something he could never say. Corey just thought that was an interesting idea."

Of course, both cast and crew are aware that "Carrie" boasts a theatrical legacy so notorious, it inspired "Not Since Carrie," Ken Mandelbaum's 1992 book about Broadway musical failures. Scorched by critics and audiences, the original 1988 production shuttered after just five performances; however, that premature closing also sparked a rabid cult following eager to snap up the few, low-quality bootleg recordings, photos and videos of the show which exist.

As such, this re-shaping of "Carrie" from its gothic horror origins into a more subdued, cautionary anti-bullying tale has been met with mixed reviews from theatergoers, some of whom are hoping to see the more campy elements of both the original production and the story itself emphasized. Similarly, those anticipating a fiery holocaust during show's final sequence will be surprised by its blood-free staging, which is driven mostly by trick lighting. Still, "it's touching the people who come to see it," says Christy Altomare, who plays good girl Sue. "No one wants to see anyone bullied, no one wants to see anyone mistreated. Multiple teenagers have come up to me after the show and tell me they can relate to this story." As for whether or not this version induces the laughs that the original production received, Altomare notes, "There is genuine laughter in the house, but it comes out of the situation."

With regard to the story's innate gay appeal, Arima observes, "I've always found it interesting in the gay community that we come from an environment of being pointed out, ridiculed and laughed at, but then even within our own community we can be made fun of because we're not wearing the proper clothing or we don't have the right body type. As human beings, no matter where we come from, we can still feel like outsiders even within our own community."

Arima also hopes his new version of "Carrie" will accurately reflect theatergoers' current tastes in both its style and execution. As such, the Off-Broadway success of "Silence! The Musical" (based on 1991's "Silence of the Lambs") means audiences just might just be more willing to embrace a musicalized horror story than they were in 1988.

"Musicals are an interesting beast because at their core, there's something unrealistic about them," he says. "One doesn't necessarily start to sing when sitting down to dinner with your mother. But sometimes the most potent and most interesting stories are the ones that people don't expect to see in a musical format. 'Carrie' has one of those interesting narratives."

What lies next for the show is anyone's guess, but Arima says they're thrilled at the planned run's four-week extension through April 22. "People are wanting to hear it, see it, experience it and perhaps be touched by it," Arima notes, before concluding with a metaphor that Carrie's mother herself might be proud of. "There are so many possibilities for a piece like this on any level, but whatever happens in its future is in the hands of the theater angels at this point."

Some nice photos there.

EvaH
03-23-2012, 09:21 PM
http://www.vulture.com/2012/03/carrie-remake-chloe-moretz.html


We Hear the Top Candidates for the Carrie Remake Are ...

Warm up the bucket of pig blood — we’re getting closer to finding us a Carrie! A gaggle of actresses have been reading for the lead role in Kimberly Peirce’s adaptation of Stephen King's book (which will reportedly hew closer to the source than Brian DePalma's 1976 horror classic), and now we're told the field has narrowed to two main contenders: the 15-year-old Chloë Moretz (Kick-Ass) and the 24-year-old Haley Bennett, who is starring with Ryan Gosling in Terrence Malick's next project, Lawless.
These two sit at the top of a list of candidates that has included such young up-and-comers as Dakota Fanning (all growed up and, lately, a Volturi in Twilight), Emily Browning (Sucker Punch), Bella Heathcote (In Time), and Lily Collins (Mirror Mirror), who have all read for Peirce. We also hear that earlier this week, The Descendants' Shailene Woodley passed on an offer from MGM to take the title role.
Meanwhile, we're also told that for the role of Carrie's unhinged fundamentalist mother, Peirce has approached Jodie Foster and is interested in Julianne Moore. It's not so strange to aim for past Oscar winners for a horror flick: After all, both Sissy Spacek and Piper Laurie (who played her mom) got nominated for the film.

http://s15.postimage.org/5y605f909/Chloe_Moretz.jpg
Chloe Moretz

http://s7.postimage.org/iys9rlk7t/Haley_Bennett_Granitz_12603851.jpg
Haley Bennet

Bev Vincent
03-27-2012, 10:32 AM
Child star Chloe Grace Moretz has landed the leading role in a movie remake of Stephen King’s chilling horror tale Carrie.

The Hugo actress, 15, will portray possessed teenager Carrie White in the supernatural film, taking on the part made famous by a young Sissy Spacek in director Brian De Palma’s classic 1976 adaptation.

Filmmaker Kim Pierce will direct the new project and Moretz is thrilled at the prospect of bringing Carrie to a new generation.

In a Twitter.com post on Tuesday, she writes, “Never been so happy in my life! Thank you Kim Pierce and thank u MGM for the chance of a lifetime i will never forget!”

mae
03-27-2012, 11:16 AM
Not a bad choice.

http://25.media.tumblr.com/tumblr_m0awj2SETP1qdibumo2_400.jpg

Here she is in the upcoming Tim Burton "Dark Shadows" film, which I am really looking forward to even though it's nothing like the series:

http://www.seat42f.com/images/stories/Movies/Posters/Chloe-Moretz-Dark-Shadows-Movie-Poster.jpg

jhanic
03-27-2012, 12:22 PM
She seems too cute to be Carrie. We'll see what makeup will do.

John

DanishCollector
03-27-2012, 02:40 PM
But too pretty to be Carrie and she's not old enough. I don't feel good about this remake. I wonder if Justin Bieber is gonna play Tommy Ross. I really think this remake is gonna suck, at least for a fan of King and the 1976 adaptation...but for the youngsters this is likely going to be awesome. Oh well...

herbertwest
03-28-2012, 08:39 AM
Well, if Justin was in the remake it should bring some more visibility to this project... but.. no thanks.

DanishCollector
03-28-2012, 02:58 PM
Yeah, well, it does seem like a movie targeted at teens. But on the other hand it may rock (but likely not).

beam*seeker
04-01-2012, 09:02 AM
She seems too cute to be Carrie. We'll see what makeup will do.

John In the words of Mel Gibson, "they'll have to ugly her up some."

mae
04-11-2012, 06:31 AM
http://www.nytimes.com/2012/04/10/theater/what-happened-to-off-broadway-revival-of-carrie.html

After achieving notoriety as a nightmarishly campy, $8 million flop on Broadway in 1988, the musical “Carrie” rose from the ashes as a fervently earnest, $1.5 million revival Off Broadway this winter, and ran for 80 performances, or about four times as many as the original production had. But the second coming it wasn’t.

“Carrie” closed on Sunday night, two weeks earlier than scheduled, as a result of poor ticket sales after the show opened to mixed to negative reviews. The production by MCC Theater did not earn all its money back. A cast album recording — a theatrical measure of success — has not been announced, though one is said to be in the works. And while the creators of “Carrie” are emphatic that a Broadway transfer was never their hope, Broadway buzz is still a benchmark of any successful Off Broadway show, and in this case the silence was deafening.

So what went wrong? Or put another way, as some theater bloggers and critics have, was “Carrie” salvageable as a stage musical in the first place?

Based on the 1974 novel by Stephen King, the musical adaptation has posed theatrical and tonal challenges since its first developmental workshops in the early 1980s. This is, after all, the story of a shy teenager (played in the revival by Molly Ranson) with telekinetic powers who endures emotional abuse from both cruel classmates and her fanatically pious mother, Margaret White (Marin Mazzie). Anxiety and dread are not feelings that most musicals aim to arouse, but they are inevitable in “Carrie” because most audiences know the climax, made famous in the 1976 movie starring Sissy Spacek. Carrie, drenched in pig’s blood by the mean kids at the senior prom, kills them with her powers, then goes home and is stabbed by her mother, whom Carrie kills before dying herself.

Several theater producers contacted recently said that “Carrie,” no matter how well acted and sung, presented far more than the usual share of difficulties, the most insurmountable being that nearly every character is dead at the end. To be sure, Michael Gore, the composer of “Carrie,” and Dean Pitchford, the musical’s lyricist, had success before, winning an Oscar for best song for the 1980 movie “Fame,” and Lawrence D. Cohen, who wrote the book for this version, had written the screenplay for the “Carrie” film.

But a musical with so much death and despair is a hard sell in commercial theater these days; even Margaret’s religiosity is wildly out of sync with current Broadway portrayals of faith as comic, romantic or subversive plotlines in “Godspell,” “Jesus Christ Superstar,” “Leap of Faith,” “Sister Act” and “The Book of Mormon.”

Per the customs of New York theater, none of the producers would speak on the record; few if any producers are ever openly critical of a newly shuttered show produced by colleagues with whom they may work again. But several echoed the theater writer and critic Peter Filichia, who said he believed that “Carrie” was fundamentally unworkable.

“I see no reason to remount ‘Carrie’ at all,” Mr. Filichia said. “I have no advice on how to make it better. I can’t think of a thing. Mind you, I don’t hate it. I just don’t think it’s worth the effort.”

Such a conclusion feels like yet another cruelty hurled at “Carrie,” the musical’s three creators said in a telephone interview. They put the onus of the abbreviated Off Broadway run on critics, contending that many of them chose not to assess the revival on its merits but to analyze it through the prism of the Broadway flop. Most major reviews of “Carrie” did compare the two productions, given the infamy of the original and the significant changes to the script and score for the revival.

Several reviewers complained about certain songs and a one-note blandness in the high school scenes, but the sharpest criticism was that “Carrie” had been de-camped to the point of dullness. Some critics and theater bloggers especially bemoaned the decision by the director Stafford Arima to forgo dumping red liquid over Carrie’s head during the prom. Mr. Arima used projections to convey the blood splattering, which Mr. Cohen termed a “gangbusters choice” and Mr. Pitchford described as a fresh approach that avoided recycling what worked best on film.

Mr. Gore added: “There are some people who would have been happy if the first two rows of the audience were given slickers and blood got all over them. Some theater companies will do that in the future, I imagine.”

To that end, the creators and MCC said one successful result of the revival is that the musical would become a licensable property available for productions at high schools, colleges and regional theaters. After the 1988 Broadway production closed, the creators were so devastated that they refused hundreds of requests by directors and theater companies to stage “Carrie” until Mr. Arima pitched his vision. Now the creators are ready to say yes to productions, and are already talking to one — SpeakEasy Stage Company in Boston — about doing “Carrie” next spring.

Paul Daigneault, the producing artistic director of SpeakEasy, said he found the Off Broadway production “haunting” as well as “a great time,” adding that the musical was a strong fit with his company’s mission of producing socially relevant and cutting-edge theater. (The Pulitzer Prize-winning musical “Next to Normal,” about a depressed mother who attempts suicide, is playing there now.) Mr. Daigneault, who would direct “Carrie,” said he wanted to give “three-dimensionality to all of the characters, even those who don’t have a lot of words, and to explore the vulnerabilities of the major and minor characters.” He said it was too soon to say if he would use liquid blood, but added that he liked Mr. Arima’s projections. (Mr. Daigneault emphasized that his ideas for “Carrie” should not be read as criticism of the Off Broadway run.)

Mr. Cohen said that the creators would give a free hand to directors and producers on most artistic choices, though he added that “keeping out the absurd camp elements is important because we never want ‘The Rocky Horror Picture Show’ version of ‘Carrie.’ ” And he rejected the idea that “Carrie” would have worked better as camp, or at least with winks, saying its creators had a different goal.

“We spent three years revisiting ‘Carrie’ scene by scene, song by song, trying to rescue a show that hadn’t met our dreams the first time,” Mr. Cohen said. “Having faced all the baggage and all the naysayers who said ‘Carrie’ would never happen again onstage, and on a stage in New York no less, we did what we wanted to do — fix the show.

“To be candid, yes, we’re disappointed that it didn’t run longer,” he added. “But if the experience is bittersweet, it’s more sweet than bitter.”

mae
04-13-2012, 11:41 AM
http://www.cinemablend.com/new/Remake-Stephen-King-Carrie-Starring-Chloe-Moretz-Gets-Release-Date-30406.html

Remakes are so common now that when announced they're almost immediately disregarded. Even circumstances where the project doesn't sound like such a bad idea they're still dismissed and lumped into the unoriginal pile - and often justifiably. Yet there are times when a remake is not only warranted, but the pieces are also put together so perfectly that we should welcome the revisit and/or new interpretation of the material. The upcoming remake of Carrie sounds great and now there's a set release date for Kimberly Peirce's interpretation of the Stephen King novel.

Coming Soon reports that Screen Gems has plans for Carrie to hit theaters on March 15, 2013. That's not necessarily a date to scoff at since the The Hunger Games just followed a similar schedule (also with a young female lead) and it's currently killing it in with teens at the box office. The 1974 novel was King's fourth book, the first to actually be published, and also the first of many of King's novels brought to the big screen. The original was directed by Brian de Palma and featured unforgettable performances from Sissy Spacek in the titular role and Piper Laurie as her scary, religious fanatic mother. It was announced just at the end of last month that Chloe Moretz is playing the role of Carrie this time around and, even though Spacek left huge shoes to fill (well, they were probably really tiny shoes but she was nominated for an Academy Award), the Let Me In and Kick-Ass actress is the perfect choice to reprise the role.

Personally, I'm not a fan of De Palma so not only am I excited to see someone else's take on the tale, but Peirce seems almost as an inspired a choice as Moretz. Her first film, Boys Don't Cry, was a solid debut, featuring some truly exceptional performances and I'm interested to see what she can get from the young actress who caught everyone's attention with her turn as the precocious sister in (500) Days of Summer. Not to mention, the revenge tale of a pubescent girl with telekinetic powers seems like a project best suited for a female director. Perhaps even more important than having a woman direct The Hunger Games sequel? An issue on everyone's mind lately.

mae
04-19-2012, 08:02 AM
http://bloody-disgusting.com/news/226826/julianne-moore-in-talks-to-play-carries-psycho-mother/

Back in the original 1976 adaptation of Carrie, Piper Laurie played Margaret White, the insane mother of poor Carrie. While it turns out she was right on the money, Margaret was an insanely abusive parent that further drove Carrie into the film’s climactic events. What actress carries enough prowess to take on such a emotional role in the Kimberly Peirce-directed reboot.

Bloody Disgusting got exclusive inside word that Columbia Pictures is speaking closely with Julianne Moore for the titular role. Moore is no stranger to the genre having starred alongside Hannibal Lecter in Hannibal and has also played Lila Crane in the Psycho remake. She is currently working on the exorcism fantasy The Seventh Son for Warners.

Chloe Moretz stars as Carrie in the reboot going behind cameras for a March 13, 2013 release.

The thriller is “An adaptation of the Stephen King thriller about the hyperkinetic teenager who gets pushed too far at the prom and wreaks havoc on her fellow high school students.” King’s bestselling book was turned into the 1976 film that starred Sissy Spacek, John Travolta, Amy Irving and Piper Laurie as the repressive mother. On Carrie, Aguirre-Sacasa writes a version that is more faithful to the King book than the earlier movie.

herbertwest
04-25-2012, 03:30 AM
i cant find any confirmation anywhere, but i read earlier that the choice for Carrie's mother is now set as.. Julianne Moore.

mae
04-25-2012, 04:56 AM
i cant find any confirmation anywhere, but i read earlier that the choice for Carrie's mother is now set as.. Julianne Moore.

That story is right above your post :)

herbertwest
04-25-2012, 08:25 AM
No, cause your text says :
"Bloody Disgusting got exclusive inside word that Columbia Pictures is speaking closely with Julianne Moore for the titular role"

Apparently she GOT the role.. but i dont find anything about it..

mae
04-29-2012, 03:14 PM
http://www.comingsoon.net/news/movienews.php?id=89713

Already a familiar talent to horror fans for her vampiric turn in Matt Reeves' Let Me In, Chloe Moretz teams with director Tim Burton for the upcoming Dark Shadows and ComingSoon.net had a chance to speak with the young star. We'll have the full interview available soon, but we also got a few details about Moretz's upcoming role as the titular Carrie in Kimberly Peirce's big screen remake.

"I start that June 1st," says Moretz. "...It's going to be very well done. I don't want to jinx it, but [Peirce] is a genius, genius, genius director. I would never do it with someone that I don't trust. I trust her more than a lot of the directors I've worked with. She's the right woman for the job."

Released in 1974, "Carrie" was Stephen King's first published novel and tells the story of a high school girl who, through telekinetic powers, takes revenge on peers that have mocked her. Though Brian De Palma directed a highly-acclaimed film version in 1976, Moretz says that Peirce's take sticks more closely to King's text.

"I'm actually not looking at the original," she says, "even though De Palma's movie was one of the best movies ever made. It's completely iconic and I'm proud to be able to be doing a retooling of it. We're kind of going off the book. It's darker and much more psychological. More 'Black Swan.' You're really looking into her mind and it really looks into the relationship of Margaret and Carrie. It's set in modern time, so it's a lot different."

The role of Margaret White (Carrie's mother) was played by Piper Laurie in De Palma's version, earning the actress an Academy Award nomination. Last week, word broke that Julianne Moore had been offered the part for the new film.

Most intriguing of Moretz's comments about the upcoming project was the hint that her Carrie White would offer a very different look for her, physically.

"It's something that's very different from me," Moretz says of Carrie's wardrobe. "It's an out of body thing. I'm becoming a totally different person for it. I'm letting go of all of my self-esteem issues and just kind of going into it. You have to."

Although shooting won't begin for another month, Moretz and Peirce have already been impressed with the outpouring of fan support and, in particular, the fan-made poster pictured above. Designed by Pierre-Luc Boucher, the teaser was posted to his Deviant Art page and soon found its way to Peirce.

"That was a cool poster!" Moretz laughs. "Kim sent that to me. She said, 'Oh my god, you've got to look at this. It's really, really, really cool!' We both felt so pumped. Now we're chomping at the bit to get in there."

Carrie is scheduled for release on March 15, 2013. Check back for updates as they become available and catch Dark Shadows in theaters on May 11th.

mae
05-09-2012, 01:08 PM
http://www.theinsider.com/movies/52142_Does_Sissy_Spacek_Approve_of_the_New_Carrie/

Dark Shadows star Chloe Grace Moretz is excited to be the new Carrie, starting work on June 1 in Toronto on the new adaptation of the classic Stephen King novel. But one major voice has been silent about the casting choice, and that's original Carrie Sissy Spacek – until now.

"I think she's a wonderful actress," Spacek tells ComingSoon.net while promoting her new memoir, My Extraordinary Ordinary Life, adding of the idea that Julianne Moore would be playing the role of Carrie's mother originated by Piper Laurie, "That's great!"

Boys Don't Cry director Kimberly Pierce will helm the MGM remake based on King's first published novel about a shy high school student whose home life is hell, thanks to her oppressive, overly religious mother, and wreaks havoc at the prom with her telekinetic powers. Spacek earned an Oscar nomination for the Brian De Palma-directed, 1976 original.

"They hired a really wonderful director, very talented," says Spacek. "It'll be interesting. Our film, it is what it is what it is, and it stood the test of time, but I think that's great, it's like an homage not only to the book but to the film, not only to Stephen King but to Brian De Palma. … The first audience of Carrie has aged now, so I think out of curiosity, I think it's cool. As I understand it, they're not remaking our film; they're going back to the source material, to the book."

Of the 1976 Carrie, Spacek observes, "People go, 'Oh my God, that was so scary,' but really, it was scary like 'Boo!' -- at the end, when the arm comes out -- but there's so much humor in it. It was just one of those serendipitous things with everybody that worked on that, everybody that Brian brought together, brought something to it. He had a real handle on it and he knew what he wanted."

As for her favorite scene, she shares, "The scene in the kitchen where Piper Laurie is struck with all those kitchen utensils. It's so scary, it's so horrifying, but it's ridiculous. I just love that, and that was back in the old days when they came out on wires and then they reversed the film…"

Spacek suggested that she'll probably go to see the new Carrie when it comes out, but didn't mention whether or not she had been approached to do a cameo.

herbertwest
05-13-2012, 03:02 AM
So, with the new version of CARRIE, i am pretty sure that a publisher will take that opportunity to release a new version. Do you think that there will be any additional material?

DanishCollector
05-13-2012, 07:08 AM
I don't think there's any extra material when it comes to Carrie the novel.

mae
05-16-2012, 09:30 AM
http://www.playbill.com/news/article/165985-Stephen-King-Musical-Carrie-Will-Be-Licensed-by-RH-Theatricals-Vocal-Selections-Will-Be-Published

The revised Off-Broadway production of Carrie, the pop musical based on Stephen King's 1974 novel about a teenage girl with telekinetic powers, will be licensed for live performance by R&H Theatricals.

R&H, which also licenses the Rodgers and Hammerstein catalogue, in addition to such new musicals as In the Heights and The Light in the Piazza, did not announce a release date for the live theatrical rights, though the organization is eager to have Carrie on the market in the near future. Visit RNH.com to sign up for e-mail alerts on Carrie's availability.

In addition, a piano vocal selections book from Carrie, to be published by Imagem Music/Hal Leonard, is due later this year.

The original 1988 writing team of Academy Award-winning composer Michael Gore ("Fame," "Terms of Endearment"), Academy Award-winning lyricist Dean Pitchford ("Fame," "Footloose") and "Carrie" film screenwriter Lawrence D. Cohen returned to work on Carrie, which was shaped by director Stafford Arima (Altar Boyz, Tin Pan Alley Rag, London's Ragtime) as a more intimate tale of parental control, bullying and school politics.

Carrie began Off-Broadway previews Jan. 31 at the Lucille Lortel Theatre and officially opened March 1. A four-week extension through April 22 was announced in late February, but MCC Theater cut the extension short to April 8.

"We couldn't be happier that our new version of Carrie will at last be sent out into the world to continue its adventure and journey of resurrection," the writers said in a statement. "We're especially proud that our musical of Stephen King's iconic fable – with its emotionally driven narrative and strong contemporary resonances – will be a part of a stellar catalog alongside the classics of Rodgers and Hammerstein."

The announcement from R&H Theatricals comes 24-years to the date that the Broadway production of Carrie shuttered after a troubled, 21-performance run at the Virginia Theatre on May 15, 1988. While various theatre companies expressed interested in staging the property since that time, the authors did not release the rights and chose to put the musical to rest until the recent MCC run.

Less so than the infamous 1988 Broadway outing (a mix of spectacle, camp and emotional drama), the recent MCC Theater revival of Carrie also left critics divided on the new, more palatable take on the musical tale of a bullied telekinetic teen who destroys her prom. The press singled out stars Tony Award nominee Marin Mazzie (Next to Normal, Passion, Ragtime) and Molly Ranson (Jerusalem, August: Osage County) for their performances as Margaret and Carrie, respectively.

The Off-Broadway revival preserved much of the short-lived original 1988 Broadway musical material penned for the characters of Carrie and Margaret, while a handful of new songs were added for the ensemble and supporting characters.

Ghostlight Records will release a cast album of Carrie in the coming months.

Click here to see the Playbill Vault feature on the original production of Carrie. (http://playbill.com/multimedia/video/4949/The-Vault-Broadways-Original-Carrie-Team-Talks-Fact-and-Fiction-Of-the-Famous-80s-Flop-Part-I)

The Playbill for the revised Off-Broadway production lists the following songs:

Act I
"In"
"Carrie"
"Open Your Heart"
"And Eve Was Weak"
"The World According to Chris"
"Evening Prayers"
"Dreamer In Disguise"
"Once You See"
"Unsuspecting Hearts"
"Do Me a Favor"
"I Remember How Those Boys Could Dance"

Act II
"A Night We'll Never Forget"
"You Shine"
"Why Not Me?"
"Stay Here Instead"
"When There's No One"
"The Prom"
"Carrie" (reprise)
Epilogue

mae
06-14-2012, 03:31 PM
http://www.cinemablend.com/new/Judy-Greer-Portia-Doubleday-Confirmed-Carrie-Remake-Roles-31416.html

We reported pretty enthusiastically last month that Judy Greer, the actress known for roles both comic (Arrested Development) and more heartfelt (last year's The Descendants) had signed on to play the gym teacher in Carrie, the new planned adaptation of Stephen King's classic novel. After reporting it we were told by the studio's reps that no casting decision had in fact been made, so we had to put our enthusiasm for Greer on hold for a little while.

Now, apparently all the contracts have been signed, and the news is free to get out there at last. MGM has confirmed today that Greer will indeed play the sympathetic gym teacher Miss Desjardin, and that Portia Doubleday has also been confirmed as Chris Hargensen, the girl responsible for a lot of teasing and suffering Carrie endures, including the famous bucket of pig's blood dumped on her at prom. While you'll have no trouble recognizing Greer thanks to her extensive film and TV work, Doubleday is more of a newcomer; she appeared opposite Michael Cera in Youth in Revolt, and more recently was on the short-lived TV series Mr. Sunshine. You also won't have too much trouble believing she's able to torment Carrie, played by Chloe Moretz-- Moretz is a 15-year-old playing pretty close to her actual age, while Doubleday is 24.

With Kimberly Peirce set to direct and Julianne Moore also starring as Carrie's obsessive, not-quite-all-there mom, Carrie is all set to go into production this summer in time to meet its March 15, 2013 release. We still don't really know how it can hold a candle to Brian de Palma's original adaptation, and Sissy Spacek's unforgettable performance as Carrie, but the cast is strong enough so far that we at least want to see how it turns out.

Stockerlone
06-27-2012, 12:40 PM
MGM and Screen Gems' Carrie Reimagining Starts Filming

http://www.comingsoon.net/news/movienews.php?id=92011

mae
07-18-2012, 06:51 PM
http://www.liljas-library.com/article.php?id=3206

'Resurrecting Carrie' has hands down been one of the most difficult things I've ever filmed & edited together. First and foremost because I was attempting to 'merge' so many facets of Carrie into one rather short piece no less. I wanted it to be a retrospective of both stage productions, because honestly the creative team really has improved on the source materiel by leaps and bounds. But also because I simply had to show viewers Betty Buckley & Linzi Hateley's jaw drop scary rendition of 'And Eve Was Weak.' Of course the piece also had to incorporate the film not merely because it is hands down of the most visually spectacular pieces of cinema ever created, but because the wonderfully complex Piper Laurie was on hand, and not only agreed to sit down with me on camera, but then gave me over three hours of her time. I'm still pinching myself. I wanted the piece to incorporate the book, as Stephen King and the original source material, (not to mention his book's seemingly tenuous beginning phases) are the inspiration for everything else here, I wanted it to have a focus on bullying, as this is a blisteringly relevant social issue, and goes hand in hand with equality, one of our country's more divisive, controversial issues ever. What's more, I purposefully chose not to create an outline before hand, and let me tell you for the three months I spent working on this, it left me on more than one occasion sitting at my computer scratching my head wondering how in the Hell I was going to piece it all together effectively. What's more is I still have tons of material which didn't make it into the final piece, as again, I felt I was trying to incorporate so much already - I had to stick with certain specific variables. So now what do I do with the wonderful footage of Piper talking about how Sissy Spacek's husband Jack Fisk just happened to catch sight of her in rehearsals illuminated in the archway of Brian DePalma's apt with her hair down & combed out and was stopped in his tracks. "There!" he yelled.. That's how you should have your hair! "Initially I thought the character of Margaret White was quite stereotypical, and cliche" recalls Laurie. "But Brian really let me have free reign with Margaret and go into some very risky territory." What do I do with the footage of Piper talking about how DePalma actually let her and Spacek do their final 'stabbing scene' completely unrehearsed? These are all amazing moments which I simply couldn't ad to the piece, because I just thought it would distract from the focus I thought I had to stick to. Perhaps I should do this piece in chapters? There's an interesting idea.. Am not sure. All I know, is as my devotion to Carrie reaches far past the book, far past the film although Brian DePalma's cinematic masterwork still sends chills down my spine, and I'm sure will continue to do so till the day I die. One day there is going to be an incarnation of 'Carrie The Musical' which leaves audiences breathless. I can't wait when that day comes.


http://www.youtube.com/watch?feature=player_embedded&v=pT99IOFgEbQ

mae
07-26-2012, 07:19 AM
http://bloody-disgusting.com/news/3155824/first-behind-the-scenes-footage-from-the-carrie-remake/

Kimberly Peirce is officially behind the camera for Carrie, the latest adaptation of Stephen King’s coming-of-age novella. The MGM/Screen Gems stars Chloe Moretz (Kick Ass, Let Me in), Julianne Moore (Hannibal), Alex Russell (Chronicle), Ansel Elgort, Gabriella Wilde (The Three Musketeers), Judy Greer (The Descendants) and Portia Doubleday (Youth In Revolt).

Principle photography started last month Toronto, Ontario and some behind the scenes footage was just released that shows Peirce directing Moretz as Carrie. The footage gives us look at the popular girls of the high school emerging from the locker room during swim class and Carrie’s reaction to (and confrontation with) them. If anything, it’s a tiny glimpse into the dynamic at play between our heroine and her tormentors (one of them asks her to “wipe that smile off your face.”) Thanks to FreddyKrueger13 for the heads up.

In the film, “The quiet suburb of Chamberlain, Maine is home to the deeply religious and conservative Margaret White (Moore) and her daughter Carrie (Moretz). Carrie is a sweet but meek outcast whom Margaret has sheltered from society. Gym teacher Miss Desjardin (Greer) tries in vain to protect Carrie from local mean girls led by the popular and haughty Chris Hargenson (Portia Doubleday, Youth in Revolt), but only Chris’ best friend, Sue Snell (Gabriella Wilde, The Three Musketeers), regrets their actions. In an effort to make amends, Sue asks her boyfriend, high school heartthrob Tommy Ross (newcomer Ansel Elgort), to take Carrie to prom. Pushed to the limit by her peers at the dance, Carrie unleashes telekinetic havoc.”

Carrie hits theaters on March 15, 2013. Head inside for the clip!

mae
08-17-2012, 03:04 PM
http://www.tgdaily.com/games-and-entertainment-features/65516-carrie-remake-there-will-be-blood

Carrie was the first movie adaptation of a Stephen King story, and it’s still one of the best.



It was also Brian DePalma’s big commercial breakthrough as a director, and he brought great stylistic flourish to the film. His Hitchcock influence was also brilliantly adapted in the scene where Carrie gets a bucket of blood dumped on her at the prom.

This was a great example of the Hitchcock rule of suspense where you show the audience there’s a bomb under the table that’s going to go off in ten minutes, but the two people at the table have no idea, and the moviegoers go nuts waiting for the big bang. 

In Premiere Spacek said she felt like a gummi bear covered in the stage blood, which in many films is usually clear Kayro corn syrup mixed with food coloring.

Right now, the remake of Carrie is being shot, and it’s due to hit theaters on April 13, 2013. Carrie’s already been remade as a TV mini-series, and as a stage play, and this latest incarnation is being directed by Kimberly Peirce (Boys Don’t Cry), and stars Chloe Moretz of Kick Ass in the title role, and Julianne Moore as her psycho religious freak mother. 



Sciencefiction.com and Blastr also ran some interesting behind the scenes shots of all the buckets of blood that had to be prepared for the remake.

Usually on any horror film you go through gallons of the stuff, let alone a horror film, where you get a bucket of gore dumped all over you. In one picture, you can see three buckets of blood being tested, and while it doesn’t say what the blood is made of, the usual formula of corn syrup and food coloring would be a pretty good guess.

Having studied horror films for quite some time, I’ve also found out that the preparation of bloody is critically important because of how it will turn out on film. I believe the Hammer films were the first time you saw blood in vibrant color, and it was often nicknamed "Kensington gore."

For the notorious sixties horror film Blood Feast, the blood was custom ordered from a Florida company called, appropriately enough, Barfred Industries. In the first Evil Dead film, Sam Raimi added coffee to the blood, and in Peter Jackson’s gore days, he also added maple syrup to his stage blood, which made the sets even stickier.

The bucket of blood segment is a very important moment in Carrie, because it’s the breaking point where her telepathic powers go out of control and destroy everything in her path. I’m sure the next incarnation of Carrie will put big emphasis on the terrible effects of bullying, but the original film, and much of Stephen King’s work, still does a pretty good job of that.

The original Carrie also gave a lot of pathos to Spacek, that when she finally becomes the prom queen and has her moment in the sun, it’s incredibly tragic when the prank happens. 

Although the next Carrie’s got a good cast and director in charge, the original set the bar pretty high in terms of DePalma’s filmmaking technique, the impact of the scares, and the anti-bullying message, which all still stand pretty strong.

mae
09-23-2012, 07:53 PM
Not that anybody seems to care, but:

http://www.stephenking.com/promo/carrie_soundtrack/

Stephen King’s bestselling, now iconic novel Carrie, first published in 1974, has been firmly ingrained in the world’s pop culture landscape for nearly four decades. On September 25th, 2012, the next chapter is written as the first-ever cast recording of Carrie’s musical adaptation will be released on Ghostlight Records.

Carrie: The Musical – Premiere Cast Recording takes King’s story of a troubled teenager with special powers -- whose tortured social life is a symptom of, and made more unbearable by, her religious fanatic of a mother -- and sets it to a pop/rock score that is intense, stirring, profound and, ultimately, heartbreaking. One can virtually see the show in the mind’s eye while listening to the song-cycle.

Featuring fan favorite songs such as “In”, “And Eve Was Weak”, and “The World According To Chris”, the recording immortalizes the recent Off-Broadway revival featuring the knockout vocal performances of Tony Award® nominee Marin Mazzie (Ragtime, Kiss Me Kate, Next to Normal), breakout star Molly Ranson, and the incredible cast of the 2012 MCC Theater production.

Carrie: The Musical, which originally appeared on Broadway in 1988, features music & lyrics by Academy Award® winners Michael Gore (Fame, Terms Of Endearment) and Dean Pitchford (Fame, Footloose), and a book by Lawrence D. Cohen, who also penned the classic film’s screenplay. The cast album will be released on September 25th and is available for pre-order through Ghostlight Records’ website.

Please note: Stephen is not personally involved with the musical production of Carrie but thought fans would appreciate knowing about the CD release.

Check out the brand new music video of "In" - the first track off the Carrie: The Musical - Premiere Cast Recording, a vibrant adaptation of Stephen King's iconic 1974 novel. "In" introduces audiences to the intense pop-infused score composed by Academy Award winners Michael Gore (Fame, Terms of Endearment) and Dean Pitchford (Fame, Footloose), with a book by Lawrence D. Cohen, who also wrote the screenplay for the unforgettable 1976 film by Brian DePalma.


http://www.youtube.com/watch?v=sYgRMHv68W4

http://www.stephenking.com/promo/carrie_soundtrack/cover.jpg

Bev Vincent
10-04-2012, 08:52 AM
Lawrence Cohen Discusses Stephen King’s Carrie: The Book, The Movie, and The Musical! (http://brianjamesfreeman.wordpress.com/2012/10/04/lawrence-cohen-discusses-stephen-kings-carrie-the-book-the-movie-and-the-musical/)

mae
10-04-2012, 10:35 AM
http://www.alligator.org/the_avenue/theatre/article_16c2783c-0de0-11e2-9868-0019bb2963f4.html



Nothing says Halloween like pig blood, tacky 1970s prom-wear and telekinetic powers.

This Halloween season, you might even get a laugh out of it.

“Carrie,” a comedy by Erik Jackson based on the novel by Stephen King, promises a bloody good time to audiences looking for a twist on the classic story.

The show begins Oct. 12 at the Hippodrome State Theatre, 25 SE Second Place, and will run through Nov. 4. Discount previews will be Oct. 10 and 11. Regular tickets are $35 and student tickets are $15.

“Carrie” will show eight times a week. For specific times and prices, visit the Hippodrome’s website, www.thehipp.org.

The story revolves around social outcast Carrie White, a victim of bullying at school, and her overtly religious mother at home. Carrie finally gets a chance to attend the prom when things take a bloody turn, and she decides to take revenge on everyone via her telekinetic abilities.

“Carrie” will take the audience in a new direction, poking fun at the outlandish elements of the story.

“This rendition of ‘Carrie’ is light hearted, fun, campy, quirky,” said Jessica Kreitzer, assistant costume designer for the production.

The younger actors, the time period and the costumes give it a lighter feel, she said.

Director Lauren Caldwell said she expects the play to draw a diverse crowd, from high school students to adults who saw the film when it premiered in 1976.

“When I was a kid, that movie came out, so I remember it. So I think it’s going to appeal to people my age who remember the book, remember the film and who are going to come and say, ‘How in the world are they going to put that on stage?’” Caldwell said. “I think it has a very wide appeal to different ages.”

Chelsea Sorenson, a senior acting major who plays the lead role, Carrie, said she expects the student audience to be drawn to the show.

“I mean, the amount of times we drop the F-bomb is crazy,” she said. “It’s a lot of really, really crude humor, so I feel it’s something a younger audience will really enjoy.”

The show has not come without its challenges, though.

For one, there is the pig blood, which defines the story’s iconic scene.

“Trying not to douse everyone on stage has been the biggest challenge,” Sorenson said.

In the costume department, costume designer Marilyn Wall said she has been trying several different mixes for the blood.

The clothes had to be made to resist large amounts of faux blood every night, which can be cleaned quickly for the next show, Wall said.

Caldwell said some things have been built and rigged for the production, but it has been fun to figure out how to make it enjoyable for the audience.

Another major challenge has been creating comedy in the bullying aspects of the story.

“You have to find that happy median between it’s believable that she really is upset, but it’s not so bad that people forget to laugh,” Sorenson said.

Even if it is outrageous, it’s hard not to feel bad for Carrie, she said.

Despite the humor, Sorenson said she hopes audiences will take something away from the play.

“I really think the story lends itself to a lesson — that whole be careful who you mess with,” she said. “One day you are going to mess with the wrong person.”

Ari_Racing
10-13-2012, 04:36 PM
OFFICIAL POSTER!!!

https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-ash3/548265_452102008161719_2068516330_n.jpg

Panel of the cast at NEW YORK COMIC-CON


http://www.youtube.com/watch?v=1Uo4SkUjks4

mae
10-13-2012, 07:01 PM
Thanks for that, that was a good panel. Lots of King talk, too.

Ari_Racing
10-16-2012, 03:33 AM
Teaser trailer and another small video:


http://www.youtube.com/watch?v=RaHzUMq8iaM

http://www.youtube.com/watch?v=opmQdzshiPE

Jimimck
11-06-2012, 09:57 PM
Sorry if this has already been discussed, but I only just found out there was a made for TV remake of Carrie done years and years ago?
Can anyone let me know if this is worth watching at all?

mae
11-12-2012, 10:19 PM
http://spinoff.comicbookresources.com/2012/11/12/chloe-grace-moretz-talks-carrie-prom-scene-and-dark-roles/

Chloë Grace Moretz has some pretty big shoes to fill as the telekinetic teenager in director Kimberly Peirce’s Carrie. The role, made iconic by then-27-year-old Sissy Spacek in director Brian DePalma’s 1976 adaptation of the Stephen King novel, would be daunting to most adult actresses, yet Moretz is just 15.

While promoting the film at New York Comic Con, Moritz didn’t seem the least bit nervous about taking the torch, and after an impressive turn in 2010’s Kick-Ass and formidable on-screen training with the likes of Martin Scorsese and Tim Burton, it seems the young actress is ready for the challenge. During a roundtable interview, she expressed her intricate understanding of King’s novel, and teased a reimagined cinematic version that nods to the written material. She also discussed her penchant for dark roles, details of the infamous prom night sequence, and breaking down her personal confidence in order to embody the character.

Have you seen DePalma’s 1976 version of the film?

Yes, I saw the original film when I was about 13 or 14, and I love the original film. I think it was a beautifully made film. It was very theatrical – it was a very big movie. I hadn’t read the book until I booked the part. And that’s when I absolutely really fell in love with it. And every day on set, every scene I had, I compared the scene in the book to the scene in the script. I wrote down all the notes that I had and all the ideas that I had and all the beats that I had for the character, and then I would go to the novel and I would look at what Stephen did. I melded the two together, and that’s when I created this kind of great collaboration between the book and my idea.

You’ve played some other pretty dark roles, specifically in Let Me In and Kick-Ass. What made you want to take on Carrie?

Well you know, what really attracts me to darker material is that I don’t like playing really light characters, in the sense that I don’t like playing characters that are more like me. Because I have a good life, I have a really supportive mother, I have a great family – and that type of stuff is just kind of boring for me. I like playing characters that really stretch me and really make me feel something I’ve never felt before, and make me express feelings I’ve never expressed before. It’s not exactly just going for a genre, and it just happens to fall into the darker region.

Carrie is a pretty timeless tale. What struck you about the Stephen King book?

What I found so amazing is the dimensions that go along with Carrie and how in the book she’s not just this angry girl who has no reason to be mad and just wants to hurt people for the sake of hurting people. Carrie is this person who is put down by everyone around her, even by the person who she loves the most, her mother. She looks up to her mother more than any other person in the world, and that’s the main person in her life who tells her, “No, you’re never going to amount to anything.” But really, you also realize that Margaret is dealing with her own issues from her past. And so that’s why in this movie, obviously you don’t go very far back into Margaret’s childhood … but you do get a sense of what had happened and … why she’s treating her daughter like this. I wanted to read the book because the book takes you way farther back than a script can ever take you, and it adds another dimension and another layer to your character.

In the original film, Carrie is very wide-eyed and much like a victim, whereas in the book she’s much angrier. Which way are you playing the role?

It’s in the middle. What I really wanted to show with my character is that she wasn’t naive to the point of stupidity. She understood everything that was going on around her to the point that she over-comprehended what people were saying to her. What happens with Carrie is that every bad that is put out towards her, she takes it in more than people even realize. And she grows stronger and harder, and then at that prom it breaks down. And that’s when everything she’s kept together, everything that she’s kept contained from her mother, her peers, her teachers, everyone around her – it unfolds. The telekinesis takes whatever is your strongest feeling at the moment and it multiplies it by a thousand. And that’s why it comes out like that.

This film is being re-made with a female director. Do you think that made a difference, perhaps helped you explore some different areas?

Completely. It brought such a maternal aspect to the movie that I don’t think you could’ve gotten in another way, because working with Kim – when you mention the word “period” to a man they cringe, you know? They go, “Oh, that’s not real, right? That doesn’t happen!” And then with a woman, it’s just a part of life and it’s a part of who you are and that’s what happens. In this movie I was able to connect with Kim on such a personal level … we created such an amazing bond together – this maternal bond. I felt so safe and so comfortable to do whatever I had to do to make this movie the fullest that I could make it, because she could put me in the position where I have never felt so secure, and insecure, at the same time. It’s such an insecure character that I had to take everything that I’d built up with myself, and the opportunities that I have been given and where I am now … and I had to strip it away. And I had to take all my insecurities … and I had to bring them out in myself. That’s why, when you see this movie, you see something that – as me – I’ve never done before on screen. And I’ve never been able to put that out, and felt safe enough to put that out. And in this movie I did, because Kim and Julianne [Moore, who plays Margaret] allowed me to.

Addressing the promotional image that was released, of you covered in blood, first: What was it like to recreate that iconic scene? And also, it looks like you’re not standing in a gymnasium – does the scene happen in a different setting?

I can’t obviously say much, but there’s the gymnasium and the gymnasium happens, and I have to go home. That still was taken outside the house on the way home, and the thing that was actually really cool with our film is that, with DePalma’s it kind of went straight from gymnasium to home … whereas our film really shows that arc of the full telekinetic powers of how at the gymnasium, it was just growing, and then it escalates, and then by the time she’s home you see it come completely down and it comes full circle. This girl who starts off not wanting to be in her mother’s arms, gets out of her mother’s arms, and then by the end of the movie all she wants to do is be in her mother’s arms. So yeah, also, being in the blood was really fun and it was like crazy and everything and yeah – the typical fun stuff actually happened, too.

What sort of weight or responsibility did this film take on with the term “bullying” being such a socially conscious subject now?

Well, in my life personally, as Chloë, I’ve dealt with a lot of different stuff from peers and people like that who’ve, you know, I’ve been made fun of a lot. And you think that just because I’m an actress people would actually think it was really cool, but it’s actually not at all cool to other people because they feel threatened, and then they put you down and then you have to become the better person. One of the main things is that it’s not actually bullying, it’s just ever being told no, ever being told you’re not going to amount to that, ever being told you’re not going to be who you want to be – is what Carrie stands for. And that’s why when you watch this movie, it’s taking everything that anyone’s ever told you, “No” and you’re living for it. You’re living with her.

Carrie opens March 15.

Bev Vincent
01-03-2013, 03:36 AM
Sony Pictures announced today that the Carrie remake has been pushed back from its March 15 release to October 18.

Ari_Racing
01-14-2013, 12:10 PM
Chlöe Moretz just shared this image:

https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-prn1/537940_488688671169719_1465279180_n.jpg

Ari_Racing
01-14-2013, 12:11 PM
Maybe the title of the thread should be changed, since the movie isn't really a remake (as "remakes" are usually known).

Ricky
01-14-2013, 03:31 PM
Ohh, I like that! Hopefully we'll get the full images for the individual posters.

And I went to facebook.com/creepycarrie and it's not for the movie. :lol: I guess they haven't gotten all the promotional stuff situated yet.

herbertwest
01-15-2013, 03:30 AM
there is only the third that is not available so far..

Bev Vincent
01-15-2013, 03:43 AM
http://www.empireonline.com/images/uploaded/carrieposter2.jpg

nocny
01-15-2013, 09:31 AM
there is only the third that is not available so far..

it is ;)
http://stephenking.pl/sk_news_01.html

herbertwest
01-15-2013, 09:59 AM
thanks !

ChristineB
01-16-2013, 04:16 AM
Maybe the title of the thread should be changed, since the movie isn't really a remake (as "remakes" are usually known).

Not sure what you mean here, Carrie was made into a movie in 197? and is now being remade into a another movie in 2013, how is that not a remake?

Bev Vincent
01-16-2013, 04:40 AM
It was also remade into a made-for-TV movie.

mae
01-16-2013, 05:40 AM
I do think "remake" applies more to a new film made from an older film, which was based on an original screenplay. When an older film was based on an adapted screenplay, the new film is often more of a re-adaptation, I think.

Bev Vincent
01-16-2013, 07:07 AM
Technically true, but you won't find the word re-adaptation in common usage.

ChristineB
01-16-2013, 12:46 PM
Agree with Bev.

If you want to get micro-extremely technical. But I am just a fan of the movies (not a professor of them:)) so remake works for me. :)

nocny
01-16-2013, 01:39 PM
It's another (third) adaptation of the book 'Carrie', not a remake of De Palma movie 'Carrie'. Simple.

pathoftheturtle
01-17-2013, 05:30 PM
So does that mean they have to title it Stephen King's Carrie the way that Francis Ford Coppola did with Bram Stoker's Dracula?
:orely:
I just hope it is a better "remake" than Tim Burton's Planet of the Apes.

Bev Vincent
01-17-2013, 05:41 PM
They only get to use King's name with his permission.

pathoftheturtle
01-17-2013, 06:00 PM
Oh, sure. I guess that works better with deceased authors.

herbertwest
04-05-2013, 03:07 AM
CARRIE 2013 trailer


http://www.youtube.com/watch?v=H369sxjyhx8

Tito_Villa
04-05-2013, 03:44 AM
Looks good

Thorin Oakenshield
04-05-2013, 09:15 AM
http://www.youtube.com/watch?v=MT_TZYb61Wk

They just pretty much showed the entire movie in it.

herbertwest
04-06-2013, 02:35 AM
It's not like we dont know what happens..

ChristineB
04-06-2013, 08:23 AM
Hard for me to reconcile the way that girl looks with being an outcast in high school, she is just too pretty. JMO

mikeC
07-02-2013, 11:42 AM
You can submit fan art to the website. Not sure if you can win anything though.
http://carriemovie.tumblr.com/submit

mae
08-28-2013, 07:16 AM
https://bangordailynews.com/2013/08/27/living/rock-musical-of-stephen-kings-carrie-premieres-in-maine/

Just in time for Halloween weekend, “Carrie” is back.

The Stephen King horror novel from the ’70s hits the University of Southern Maine stage in November set to pop-rock. “CARRIE, the musical” makes its Maine debut Nov. 1-3.

King’s first book tells the tale of a sheltered high school teen with special powers. It opened on Broadway in 1988 and was roundly panned.

“It was one of the biggest Broadway flops ever,” said Ed Reichert, USM’s musical theater vocal coach, who is directing the performance.

With music by Michael Gore, lyrics by Dean Pitchford and book by Lawrence Cohen, it became an instant cult classic after a brief run.

“They got caught up in the special effects, the burning down of the gym and cafeteria,” said Reichert. “It was a multimillion dollar fiasco.”

Since then, the musical has been revamped, updated and shown off-Broadway. When the rights became available less than a year ago, Reichert pounced.

“I knew it would be a good match for the talent that we have right now for musical theater majors,” he said.

And the new bare-bones, stripped-down version is perfect for the intimate 182-seat Corthell Concert Hall, he said.

“People who know the story and like the novel, people who are Stephen King fans, can all come out Halloween weekend and see our little musical in Gorham, Maine,” said Reichert.

Kellie Moody, a USM senior from Caribou, will be the music director.

“The kids are excited because it’s so accessible. They are playing characters their own age and it’s set to pop-rock mostly,” said Reichert.

This is a busy season for King. The remake of the movie “Carrie” is being released by Sony Pictures in October; CBS’ “ Under the Dome” series, based on King’s 2009 science-fiction novel, is a smash; and “ Doctor Sleep,” the sequel to “The Shining,” comes out next month.

Tickets for “CARRIE, the musical” are $15 and can be purchased by calling 780-5555 or visiting http://usm.maine.edu/music/boxoffice. The show runs Nov. 1-3 at Corthell Concert Hall, University of Southern Maine, 37 College Ave., Gorham.

Ari_Racing
10-11-2013, 05:17 AM
NY Times article:

http://www.nytimes.com/2013/10/13/movies/stephen-kings-carrie-through-the-ages.html?src=recg

mae
10-13-2013, 02:58 AM
http://nypost.com/2013/10/12/carrie-adds-modern-twists-to-stephen-king-original/

“With the period comes the power,” says Kimberly Peirce.

Menstruation as movie motto is pretty out-there, but such is the chutzpah of director Peirce (“Boys Don’t Cry”), who dared to remake “Carrie,” a horror classic that’s never fared well in previous update attempts — first a legendary Broadway musical flop in 1988, then a resurrection of the musical last year, and a little-seen 2002 TV movie.

With this new version, opening Friday and starring Chloë Grace Moretz as Carrie and Julianne Moore as her terrifying mother, Peirce aims to de-camp a tale known mostly for its images of a blood-soaked and wide-eyed Sissy Spacek, from Brian De Palma’s 1976 original.

The movies are based on Stephen King’s very first novel, about Carrie White, a tormented teenager who discovers she has telekinetic powers. The book has actually never seemed more topical than in the age of “It gets better.” (Spoiler alert: For Carrie — and those who bully her — it doesn’t.)

“It’s undeniably modern and relevant,” Peirce tells The Post. “I read the book a couple of times back-to-back, and I fell in love with this amazing protagonist, who’s a misfit and an outcast.”

In viewing this “Carrie” as both a dark “superhero origin story” and a bullying cautionary tale as much as a horror movie, Peirce brought a very different sensibility to iconic scenes, such as the early one in which Carrie gets her first period in the school showers after gym class.

In the opening of De Palma’s film, the shower is shot as a steamy panorama of naked and near-naked female forms: “Everybody was trying to get their bodies in tiptop shape for that scene,” recalls Betty Buckley, who played the gym teacher in the original. “Some people decided to go completely naked, some didn’t. It wasn’t meant to be exploitative — it’s a beautiful scene.”

In Peirce’s version, the focus is mostly on Moretz alone. “It’s vital you identify with Carrie, that you understand her as a human being: The point of view, when she’s seeking solace in the shower, away from the popular girls and their talk and their beauty. So you [need] to get that she had been humiliated. And with Chloë, it was building up a level of surrender — it feels so good to be under that shower that when the period comes, it’s a horror to her.”

The director also found a different way into the psychology of the girls who turn on Carrie, pelting her with tampons and yelling “Plug it up!” after she grabs at them asking for help.

“In rehearsal, I asked the girls to think about what it would be like if somebody got period blood on you,” says Peirce. “It would be gross, I don’t care how much of a feminist you are.”

She wanted the audience to understand the other side — the mean girls’ side — as well. “We identify with the girls who are bullying her,” she says. “We’re not blind to why they’re doing it. [Carrie] is odd. She is a misfit. She is weak.

“At first, they’re just girls having fun. Then their better nature goes out the window, and they start acting like animals. Like a pack.”

It was one of the scenes that allowed Peirce to truly modernize the story, as the girls whip out their cellphones and take video of Carrie cowering on the shower floor — then post it to Facebook.

Modern technology aside, the director says that she “went back to King’s characterization of Carrie, her mother, and the girls, and to Carrie’s response to being bullied.” Unlike De Palma’s version, which begins with the aforementioned shower scene, Peirce starts with a moment that’s in the book but wasn’t included in the 1976 movie: Her mother, Margaret, giving birth to Carrie and nearly murdering her as a baby, in a bloody and highly dramatic sequence.

But even as Peirce planned to be more faithful to the novel — including keeping the gym teacher’s original name, Miss Desjardin (played by Judy Greer) — the author was distancing himself from the project. When it was first announced in 2011, King weighed in, saying: “The real question is why, when the original was so good? I mean, not ‘Casablanca’ or anything, but a really good horror-suspense film, much better than the book.”

The author’s sentiments were echoed by members of the original cast: “[The 1976 movie] is one of the great American classic horror films,” Buckley says.

Though actress Piper Laurie, who played Margaret in the original, now agrees, she initially wanted nothing to do with the movie.

“I didn’t care for the script,” recalls Laurie, who was a veteran among the cast of mostly newcomers (including John Travolta). “But my husband at the time said De Palma has a comedic approach to what he does, and on the basis of that, I went in to meet with him.”

Laurie says her performance was colored by that belief: “I never thought of it as a horror movie. I thought of it as a lyrical black comedy.

“In the scene where I’m trying to get [Carrie] not to go out [with a boy], I’m saying, ‘He’s not going to come,’ and I did a thing where I was pulling myself across the room by my own hair. And Brian stopped me and said, ‘Piper, you can’t do that — you’re going to get a laugh!’ ”

And Peirce was certainly not going for comedy in her direction to Moretz and Moore in their scenes together. “We were shooting the closet scene — where Margaret is dragging Carrie to the closet to pray — and out of deference to Julianne, Chloë kind of gave in too easy. I was like, ‘You gotta stay the hell out of that closet! This is life or death!’ ”

Moore echoes Peirce’s more humanistic take: “At its core, ‘Carrie’ is about adolescent rebellion,” she has said. “It is certainly extreme, but at a certain point in everyone’s life, they grow up and away from who they are as a child.”

Still, one big question remains: Will this update fly with Carrie White’s creator? “We haven’t heard from Stephen King,” Peirce says. “But I hope he loves it.”

Joka42
10-15-2013, 12:50 AM
I like that in this remake is well exemplifies the religious fanaticism of the mother of Carrie, which affects her psychologically and not only display the outcome of it. But then maybe this is not within the standards of commercial cinema

mae
10-18-2013, 07:58 AM
http://www.firstshowing.net/2013/review-stephen-kings-carrie-is-predictably-flashy-and-pointless/

Stephen King's 1974 novel "Carrie," the author's first published, caused an ensuing avalanche in the horror world. The landscapes of horror fiction on both bookshelves and in theaters was forever changed. It was only a matter of time before the senseless remakes began down the assembly line. Coming 37 years after the Brian De Palma-directed debut of King's source material to the big screen, Carrie has once again been adapted to film, and the results are predictable. Despite a strong showing from its two leads, this new version of Carrie is a lazy retread of King's original story, retold without a shred of creativity or new blood refreshing the atmosphere surrounding it. It's now become a thing that just kind of goes "Meh" in the night.

Chloë Grace Moretz stars as Carrie White, awkward high schooler made as such by her overbearing and deeply religious mother, played here by Julian Moore. Carrie's mother fears the worst for her child and wishes to shroud her from any and all of life's depravities. Because of this, Carrie's misunderstanding of even her own body plays a horrible prank on the girl when she has her first period at school, an event that sparks an onslaught of bullying and humiliation.

But Carrie's misunderstanding of herself grows even stronger when she begins to understand the powers she has, telekinetic powers allowing her to move and alter objects with her mind. As the bullying at school and the mental and physical abuse at home continue to escalate, Carrie's abilities appear to be growing in strength. As you can imagine, the prom at the end of this one isn't all slow dances and spiked punch.

To that end it seems almost senseless to be vague about the plot details and horrific events that transpire in the back half of Carrie. King's novel and De Palma's film contain imagery so ingrained in the minds of horror fans that even those who haven't experienced the full story in either capacity are fully aware of what goes down. A certain bucket of pig's blood has become the Titanic iceberg to this story. You know it's going to drop. You just dread that moment and everything that comes after.

For all of the built-in tension that comes from the story, though, this new telling of Carrie, written by Lawrence D. Cohen and Roberto Aguirre-Sacasa, gets bogged down in hitting all the key points that come along the way. That's all well and good, but King's novel - and De Palma's film, for that matter - tells a slight story with little depth with which to pull from. The screenwriters here could have added that depth, built on the foundation King has already provided. They could have even gone a different route as the original adaptation - also written by Cohen, by the way - and told the story in nonlinear fashion, something King's original novel does. Any diversion from being the same, old story would do a Carrie remake wonders. Alas, this isn't that wondrous.

Director Kimberly Peirce is, to the say the least, an interesting choice to tell this story having already hit solid marks with Boys Don't Cry, a different story about female misunderstanding of one's own body. Peirce's vision in Carrie never aids the screenplay in any way, though, the execution choosing flashy CGI and loud, Final Destination-level death sequences in favor of grit or subtlety. As with the story, visually, Carrie goes through familiar motions, the results now in 2013 being too glitzy and vibrant to ever be scary.

Peirce does succeed and has always succeeded in getting powerful performances from top-notch actors. Moretz and Moore flesh out their respective roles with more subtlety than the rest of the film suggests. Even this is quite loud. Moretz goes from uncomfortable wallflower to black-eyed hellraiser with quite a bit of nuance, her performance suggesting a much more drastic transformation than what her physical appearance suggests. Moore, on the other hand, is full-on psycho from frame one, but the decision to keep from playing to the back row throughout the film is a welcome one. When she does explode, it matters, and Carrie/Moretz's reaction to her is made all the more impact

Unfortunately, these performances is all Carrie really has to offer. Even at that, it's difficult to see more suitable and spot-on performances in these roles than Sissy Spacek and Piper Laurie. What there was to work with in King's original novel has already been taken care of on the cinematic front. If Carrie is any indication where the future of King adaptations are headed, we're in for a long, tedious ride through some familiar territory, and unlike Carrie's schoolmates, we only wish we could simply laugh at them.

Bev Vincent
10-18-2013, 08:08 AM
Alas, the early reviews have been dismal. I had higher hopes when I heard who was involved with the project.

mae
10-27-2013, 10:34 AM
https://twitter.com/BretEastonEllis/status/392831793868460032

Why remake one of the greatest American movies of the 1970s? CARRIE 2013 was the most depressing filmgoing experience I've had this year...

Lookwhoitis
10-27-2013, 10:59 AM
I hated the remake. :(

Watched 1976 version again last night, though :D

mtdman
10-31-2013, 02:46 PM
I saw it today and liked it. I thought it was pretty well done and the acting all around was solid. I have no allegiance to the earlier movie though, and was not comparing it to that movie. My wife did not like the new movie.

Joka42
11-03-2013, 12:53 PM
Last Thursday saw the premiere of the movie and I really liked more than the Brian De Palma, or talk to Carrie 2 which is disastrous

mae
12-05-2013, 12:00 PM
http://www.youtube.com/watch?v=yWwowqweOzA

mae
05-23-2014, 07:50 AM
http://wgbhnews.org/post/arts-week-sondheim-stephen-king-and-foodtrucks

Carrie Presented by SpeakEasy Stage Company,it plays at the Calderwood Pavilion through June 7th.

Academy Award-winning composer Michael Gore takes on Stephen King’s debut novel to create Carrie the Musical. Carrie White is a Maine teen relentlessly bullied at school by the popular crowd and tormented at home by her fanatical mother. When she is unexpectedly invited to her senior prom, Carrie dares to dream that her life might finally improve. Little does she know, however, what cruelty her classmates have in store for her and what terrifying power her anger will unleash. Elizabeth Erardi plays Carrie, and says the desperate anger in Carrie's story is universal. She told me, "…there’s a little bit of the underdog and the bullied teenager in everybody and I think, I think she’s a relatable character."

herbertwest
06-01-2014, 11:08 AM
Apparently, seomeone created a SIM 2 version of the CARRIE movie.
I wasnt going to pay attention to it, until I noticed that it's an actual MOVIE (meaning 1h30) and not only 2 or 3 mins!

Some people really have to time to kill !
>>> http://www.youtube.com/watch?v=_uU9bzL_pH0

mae
09-25-2014, 07:00 AM
http://statenews.com/article/2014/09/carrieatwharton

Bullying is about to become center stage.

MSU will welcome New York City native Joe Barros as the guest director for the production of Carrie the Musical, coming to the Pasant Theatre at Wharton Center from October 10 through October 19.

Barros said he wanted to incorporate the themes of bullying by use of technology, so the production features prominent use of technological advances, such as the use of cell phones throughout the performance. The audience will be able to publicly tweet things about Carrie before curtain and elect to receive texts, pictures, and hashtags throughout the show.

Barros is a part of the Guest Artist Initiative Program through the Stage Directors and Choreographers Foundation, which enables MSU to hire professional directors to be in control of theatrical productions at universities and colleges across the country.

Based off of Stephen King’s classic terrifying tale, Carrie tells the story of an awkward teenage girl whose lonely life is controlled by her religious fanatic mother. Finally having reached the breaking point with the bullying, she wreaks havoc on her school prom with her telekinetic powers.

Though the actual novel is based more on the horror of the blood curdling final scene, the musical focuses much more strongly on the effects of bullying.

Tickets are on sale now for $15 for students and $20 for general admission.

needfulthings
09-25-2014, 11:20 AM
PRE-BROADWAY U.K. FLYER.
http://imageshack.com/a/img540/8440/GmRac0.jpg
OPENING NIGHT PLAYBILL MAY 12 1988.
http://imageshack.com/a/img540/245/gxHcec.jpghttp://imageshack.com/a/img908/2345/24RxzH.jpg

mae
07-14-2016, 01:04 PM
http://www.montereycountyweekly.com/entertainment/theater/western-stage-revives-a-previously-failed-stephen-king-musical/article_40b826be-494b-11e6-9086-2bbf1afe5fcf.html



There is a musical of Stephen King’s 1974 teen horror novel Carrie. You might not have heard about it because it bombed at its first outing in 1988, which was produced by the Royal Shakespeare Company at Statford-upon-Avon in England. Crazy, right?

It had precedent, inspired by the hit 1976 film directed by Brian DePalma and starring Sissy Spacek, as well as the Metropolitan Opera’s 1979 production of Alban Berg’s dark operaLulu.

Carrie: The Musical, unfortunately, did not follow the precedent to success.

But its creators wouldn’t let it die. They revised it, replacing songs that didn’t work, concentrating on the novel’s psychological foundation instead of the film’s spectacle, and staged it off Broadway in 2012. It worked. Partly because of its immersive production and, according to Arts Beat L.A., “Wonderful songs, each more likable than the last.”

So why is it right for Western Stage?

“The whole cast, except for three characters, are kids,” director Jon Selover says. “Being able to have [this] kind of opportunity for young people is central to what [Western Stage] is about.”

He was looking for plays that address issues he thinks the community should confront: in this case, bullying and religious extremism. The story is an ingeniously simple one about teen girls, the volatility of their identity, and primal need to belong. “[Carrie] thinks she’s different from everyone else. But she finds out she’s just like everyone else,” Selover says. “She wants to go to the prom.”

There, she finds out that, no, she’s not like everyone else.

CARRIE: THE MUSICAL runs 7:30pm Fri-Sat and 2pm Sun (post-show discussions follow matinees July 17 and 31), July 16-Aug. 6, at Western Stage’s Mainstage Theater, 411 Central Ave., Salinas. $24-$26/general; $12/children (parental discretion is advised). 755-6816, www.WesternStage.com

needfulthings
07-14-2016, 01:51 PM
Original opening night Playbill & Souvenir Program May 12 1988.
http://imageshack.com/a/img922/998/GdnfnL.jpg

Ari_Racing
07-18-2016, 06:07 AM
The new trailer:

https://vimeo.com/173089793

mae
03-20-2017, 03:35 PM
http://www.youtube.com/watch?v=hhQebfxD3kc

mae
03-31-2017, 02:05 PM
http://www.nj.com/south-jersey-towns/index.ssf/2017/03/carrie_stephen_kings_1st_publi.html

The musicalization of Stephen King's first published novel and its classic film version about a high school misfit who discovers the power to change her circumstances features two Gloucester County actresses in the leading roles. Presented by the Department of Theater & Dance at Rowan University, the production has five performances from April 6-12, in Tohill Theater on the university's Glassboro campus.

The cast is led by Meagen Cutting of Deptford as Carrie White and Kristy Joe Slough of Wenonah as her mother, Margaret White.

"Carrie: The Musical," directed by faculty member Christopher Marlowe Roche, features music by Michael Gore, lyrics by Dean Pitchford, and a book by Lawrence D. Cohen. The well-known story introduces teenage outcast Carrie White. She is bullied at school by the popular crowd and virtually invisible to everyone else. At home, she is at the mercy of her loving but fanatically over-protective mother. The discovery of her telekinetic abilities and the power she can unleash when pushed too far changes the dynamics of these relationships and brings about shocking consequences.

"I'm fascinated by the allegorical view of the 'other' and bullying and what that can do to people," says Roche, who sets the story in contemporary times and whose vision also has been informed by concepts of religiosity and the anthropology of telekinesis. Additionally, the director and his team have worked to create an almost cinematic approach to the production that harkens back to the film's director, Brain De Palma.

"There's also lots of trickery and blood packs," Roche adds.

Cutting and Slough are joined by Kelly Appelmann Boonton as Helen; Charles Barney of Mount Laurel as Mr. Stephens; Nathan Benson of Plano, Texas as Stokes; Eibhleann Clyne of Rockaway as Miss Gardner; Vincent DiFilippo of Williamstown as Freddy; Kyle Jacobus of Williamsport, Md. as Tommy; Kerry Jules of Union as Rev. Bliss; AJ Klein of Upper Township as Billy; Emily Marie Lewis of Northfield as Norma; Angela Longo of Somerdale as Frieda; Anthony Magnotta of Runnemede as George; Darby Pumphrey of Mullica Hill as Sue Snell; Vanessa Vause of Williamstown as Chris; and Nicole Cusmano of Scotch Plains and Jacqueline Spence of Sewell as Police Officers.

The ensemble includes Allison Abiva of Cherry Hill, Eduardo Delgado of Rockaway, Juliet Gallagher of Middletown, Abigail Gardner of West Deptford, Molly Jo Gifford and Mikyah Mott of Philadelphia, Robin Purtell of Point Pleasant Beach, Sara Rabatin of Blackwood, Kenwyn Samuel of Hammonton, Mackenzie Trush of Franklinville, Matthew Vesely of Williamstown, and Ryan Washington of Denville.

Performances are April 6, 7 and 8 at 8 p.m., April 9 at 2 p.m., and April 12 at 7 p.m. Tohill Theater is located in Bunce Hall on the campus of Rowan University, Route 322 in Glassboro. Purchase tickets online at rowan.tix.com. For more information, call the box office at 856-256-4545, or email arts@rowan.edu. Tickets are $20 (general) and $15 (seniors/non-Rowan students/alumni/staff/military). Rowan students are admitted free with valid ID, based on availability.

needfulthings
03-31-2017, 02:21 PM
CARRIE 53 PRINTING 1988.
http://imageshack.com/a/img924/9218/ldQvEq.jpg http://imageshack.com/a/img922/8205/k0rVP8.jpg

:evil:
http://imageshack.com/a/img924/1439/CW1dPw.jpg

mae
10-03-2017, 05:08 PM
http://www.communitynews.com.au/fremantle-gazette/lifestyle/carrie-phoenix-theatre-presents-stephen-king-classic-with-a-twist/

IT might be a thrilling literary classic, but Stephen King’s Carrie will have a new lease on life when it’s brought to the stage – albeit with a slight twist.

Dark Psychic Productions has taken the horror story and transformed it into a stage musical which is about to kick off at Phoenix Theatre.

Directed by Coolbellup’s Ryan McNally and starring Atwell resident Olivia Rose as Carrie White, the production is brimming with local talent ready to entertain the crowd.

Rose said the misfit Carrie suffered bullying at school and abuse at home, but deep down she was just like other girls.

“Carrie is really a very sensitive girl,” she said.

“In my mind, all she really wants is to belong and be part of normal high school life but due to her upbringing and the morals and habits instilled in her, it’s really difficult.

“The most significant thing with the role is the energy that has to go into it because there is obviously a lot of intensity in Carrie and, as a person trying to channel that, it can be almost exhausting.”

McNally said while there were a few changes between the book, the films and the stage, this show was closer to the book than the movies.

Carrie is at the Phoenix Theatre in Hamilton Hill from October 6 to 21.

Tickets start from $22 from www.darkpsychicproductions.com.

mae
01-24-2018, 01:27 PM
http://www.vulture.com/2018/01/riverdale-is-doing-a-carrie-the-musical-musical-episode.html

The Riverdale teens love sex, intrigue, biker gangs, karaoke, murder investigations, and apparently revivals of infamous Broadway flops. Kevin Keller, Riverdale’s resident gay best friend and theatre aficionado, will be directing a high school production of Carrie: The Musical in an upcoming musical episode of the CW show. The musical, based, like 1976 movie, on Stephen King’s novel, premiered on Broadway in 1988 and famously closed after only a few performances when it received terrible reviews. Since then, Carrie: The Musical has become something of a cult classic with recent Off-Broadway, London, and L.A. productions. (Riverdale creator Roberto Aguirre-Sacasa wrote the 2013 Carrie remake and has experience writing Broadway musicals, so it’s safe to say he’s a fan)

In the Riverdale High staging, Cheryl Blossom will play the lead role, of course, while Archie and Veronica will play Sue and Tommy. Riverdale’s resident ice queen herself Alice Cooper is playing Carrie’s mom (apparently they got her to sing, too). Casey Cott, who plays Kevin on Riverdale, helpfully shared the rest of the cast list on Instagram. We’re very glad Ethel Muggs found herself a part.

The episode will air Wednesday, April 18 and include a total of 11 songs. Take that, NBC’s high school musical drama Rise!

https://pixel.nymag.com/imgs/daily/vulture/2018/01/24/24-riverdale-carrie.nocrop.w710.h2147483647.jpg

mae
03-29-2018, 05:28 AM
http://www.youtube.com/watch?v=GGoqTYhrM8c

mae
04-19-2018, 12:31 PM
http://www.denofgeek.com/us/tv/riverdale/272765/riverdales-carrie-the-musical-soundtrack-is-now-available

We're still riding high from last night's Riverdale, an absolutely incredible episode that pushed the season's main narrative forward while also seamlessly incorporating material from Carrie: The Musical.

If you've been reading Den of Geek regularly this week, you've probably noticed that it's a production we are somewhat obsessed with. And why wouldn't we be? A stage musical adaptation of Stephen King's debut novel that incorporates the telekinetic energy of the source material with the pop culture know-how of the Carrie film? Yes and please.

We've already detailed the crazy journey to acceptance undertaken by Carrie: The Musical on its journey from notorious dud to cult sensation, and with it now taking the spotlight once more thanks to Riverdale the show has now been exposed to a larger audience than ever before.

Which is why we were thrilled to learn that WaterTower Music is releasing a soundtrack to last night's episode today through iTunes, Apple Music, Spotify, Soundcloud, and Deezer.

The track list is as follows:

"In"
"Carrie"
"Do Me a Favor"
"Unsuspecting Hearts
"The World According to Chris"
"You Shine"
"Stay Here Instead"
"A Night We'll Never Forget"
"Evening Prayers"

What's especially noteworthy about this is that it features full versions of songs -- such as the rousing opener "In" -- that weren't performed in their entirety on the actual episode. And that's not even mentioning how material cut from time like a reprise of "You Shine" from Vanessa Morgan and Madelaine Petsch (for the Choni lovers out there) gets a chance to finally be heard.

Additionally, an LP version of the soundtrack will be available exclusively at Urban Outfitters beginning on July 13th (in blood red vinyl, natch).

With the release of this soundtrack, fans of Carrie: The Musical and/or Riverdale can enjoy these songs anytime, making every night one they'll never forget. At least until Riverdale High stages its next musical...

http://cdn1us.denofgeek.com/sites/denofgeekus/files/styles/article_width/public/2018/04/riverdale_soundtrack.jpg

Brainslinger
04-22-2018, 03:14 PM
Interesting! Coincidentally I’ve been working my way through the the two seasons of Riverdale on Netflix*. I haven’t got to that episode yet. Looking forward to it.

* I only started watching it a couple of weeks ago. Being about small town high schoolers I put off watching it, worried it would be some kind of soap opera with pretty kids and cliches. (I’m not particularly into the original Archie comics either, although I did read a couple of the horror based issues a couple of years back.)While the series certainly has those elements (mentioned above) I’ve found it rather riveting. Already well into season 2. I tend to binge series over weekends,

mattgreenbean
04-23-2018, 06:06 PM
Has anyone watched the episode yet? For a king fan, is this good, or is it "cute" teen bop use-stephen-king-to-get-viewers garbage? I will watch it if there's anyone who says it's good and worth it.

mae
04-27-2018, 02:40 PM
I'm on Season 1 myself, great show, specially if you're an Archie Comics fan or just a fan of the characters, looking forward to this very much.

Meanwhile:

https://www.broadwayworld.com/article/The-Professional-Conservatory-Of-Musical-Theatre-at-NYFA-Presents-CARRIE-THE-MUSICAL-20180427

The Professional Conservatory of Musical Theatre @ the New York Film Academy proudly presents the New York City return of CARRIE, THE MUSICAL.

Fitting in can be a horror show! CARRIE, by Stephen King is the time honored coming of age novel. CARRIE, the Musical rocks off the page and into The Theatre @ NYFA for four performances this weekend!

Known as one of the most expensive flops in Broadway history, the musical (which has music written by Michael Gore, lyrics by Dean Pitchford, and a book by Lawrence D. Cohen based on the novel by Stephen King) has seen a resurgence this spring. Most recently, the hit CW series, RIVERDALE aired an episode in which a production of the cult musical was featured. The CW and New York Film Academy hosted a sneak-peak screening of the episode on campus in The Theatre @ NYFA on Tuesday April 17th that featured a Q & A with cast members Ashleigh Murray and Casey Cott.

The musical theatre department at the New York Film Academy (now known as the Professional Conservatory of Musical Theatre) was launched in 2009 with nine students in the first class. Nine years later, hundreds of students from all over the world have studied musical theatre at NYFA, and the department now boasts a healthy faculty roster of over 75 professionals working in the industry today.

This brand new production set in present day is directed and choreographed by Stephen Nachamie (Assoc. Dir. She Loves Me), Daniel Lincoln serves as music director, and is produced by Kristy Cates (Charlie & The Chocolate Factory, Finding Neverland, Wicked), Mark Olsen, Jordan Neil Dragutsky, and David Ward.

The cast and creative team includes current and former students: Nathan Anderson, Michael Baccari, Samuel Jon Beard, Sean Ben-Zvi, Aly Carrigan, Lisbeth Celis, Noah Chartrand, Ryan Curley, Helora Danna, Charles Engelsgjerd, Luiza Francabandiera, Nicole Eve Goldstein,Rebecca Keenan, Savanna Sinead Kenny, Marije Louise Maliepaard, Jasmine McLeish, Lethabo Mofomme, Maria Mosquera, Grace Anne Strickland, Hannah Swanson, and Marina Vidal.

CARRIE, THE MUSICAL plays The Theatre @ NYFA (17 Battery Place, 1st Floor, New York, NY 10004) on Friday April 27th, 2018, at 7:30pm, Saturday April 28, 2018 at 2 and 8 PM, and Sunday April 29th, 2018 at 2 PM. Tickets and information are available at carriepcmt.brownpapertickets.com/.

For more information about the Professional Conservatory of Musical Theatre @ NYFA, please visit: www.nyfa.edu/musical-theatre.

CARRIE, THE MUSICAL is presented through special arrangement with R & H Theatricals: www.rnh.com

Stockerlone
01-07-2019, 07:58 AM
Carrie - Das Musical
in Hamburg.

https://i1.wp.com/newspress.stephen-king.de/wp-content/uploads/2018/12/CARRIE_Musical.jpg?resize=212%2C300&ssl=1



https://www.youtube.com/watch?time_continue=5&v=uusKoDvS8bE

http://firststagehamburg.de/spielplan/2019-06/

Stockerlone
05-10-2019, 12:00 AM
Advertising for the CARRIE Musical in Hamburg in a train/public transport.
http://www.thedarktower.org/gallery/data/742/medium/Oelker_Weyhe_051.JPG

Stockerlone
06-23-2019, 09:45 AM
Carrie - Das Musical - NDR

https://www.ndr.de/fernsehen/sendungen/nordtour/Carrie-Das-Musical-in-Hamburg,nordtour12526.html

Bev Vincent
12-20-2019, 12:38 PM
Following a successful partnership on Fargo, FX and MGM Television are developing a limited series based on Stephen King‘s classic horror novel Carrie, Collider has exclusively learned.

Though it’s still very early in the development process and there’s no script yet, sources say that this time around, telekinetic teen Carrie White will likely be played by either a trans performer or an actress of color rather than a cis white woman, as in past adaptations. FX declined to comment regarding that element, while a representative for MGM TV did not immediately respond to a request for comment.

Source: Collider (https://collider.com/carrie-stephen-king-fx-limited-series/)

Stockerlone
06-11-2022, 11:09 PM
CARRIE The Musical – First Stage Theater Hamburg – July 2019 – Lorena Dehmelt & Maya Hakvoort


http://www.youtube.com/watch?v=UW75FO9Fq-I
The first German stage production of the infamous Broadway musical by Michael Gore, Dean Pitchford and Lawrence D. Cohen presented by the 2019 graduating class of Stage School in Hamburg, a renowned college for performing arts and musical theater. The show opened to great reviews and was sold out repeatedly during its two-month run. Alongside newcomer and graduate Lorena Dehmelt, Maya Hakvoort – one of the most popular musical theater artists in Germany, Austria and her home country, the Netherlands. She is best known for her role as Elisabeth in the successful long-run show Elisabeth - The Musical.

CyberGhostface
10-26-2023, 07:10 AM
Reliable scooper DanielRPK, who has a great track record when it comes to his scoops, posted on his Patreon that a new Carrie movie (which will be the second remake of the 1976 Carrie film after the 2013 remake starring Chloe Grace Moretz) was being developed and that Hunter Schafer was being eyed for the role.

https://www.comingsoon.net/guides/news/1372055-new-carrie-movie-hunter-schafer-actor-actress-remake-film

herbertwest
10-27-2023, 06:04 AM
Also here : https://thecinemaholic.com/a-new-carrie-movie-reportedly-in-the-works-hunter-schafer-in-talks-to-play-the-lead/
Missed it a few days ago, but yeah.... got confirmation for this project being in development