Inside BlumHouse
there is a severed leg sticking out of a mound of chopped-up logs in Jason Blum’s office. Sat at the other end of the room, on a sofa facing Empire, Blum slowly stirs some tea. In the wake of Catherine Keener’s hypnosis tactics in Get Out, it’s a little ominous. “Oh, I know,” he grins. “Be careful, buddy. I might be getting you ready for the Coagula.”
The Coagula, Get Out’s procedure in which black people are body-snatched, becoming involuntary hosts for the minds of physically ailing white people, is — when you read it like that — not traditional awards-season material. But Blumhouse has been upending expectations and subverting norms from the start, and the last year has been a banner one for the company. Its two biggest successes yet have forged new genre ground, defying traditional categorisation while setting the box office on fire, with Jordan Peele’s Get Out taking in $255 million worldwide from a $4.5 million budget (while scoring a Best Picture Oscar nomination and winning Best Original Screenplay), and M. Night Shyamalan’s multiple personalities thrill-ride Split, made for $9 million, taking $278 million.
Esta historia es de la edición April 2018 de Empire Australasia.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición April 2018 de Empire Australasia.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
Out Of The Cage
From the ashes of Suicide Squad has risen something fresh, bold and exciting: birds of prey. Inside the first-ever female-ensemble superhero film
The Master Of Suspense
With a string of dazzling, high-concept thrillers, bong joon ho has drawn comparisons to hitchcock. But his films also have a strong social message, and his latest, parasite, is no exception
Wonder Woman Swings Into The '80s
Director Patty Jenkins on setting Diana Prince loose in the era of excess
The Many Parts Of Martin Lawrence
As the comedian makes a bigscreen comeback, he talks us through his greatest roles
HIS NUMBER'S UP
AFTER 14 YEARS, THE LONGEST TENURE OF ANY BOND, DANIEL CRAIG IS ABOUT TO HANG UP HIS MARTINI GLASS AND WALTHER PPK. EMPIRE TRACKS 007 ACROSS THE GLOBE, FROM LONDON TO JAMAICA AND NEW YORK, TO BRING YOU THE ULTIMATE INTEL ON NO TIME TO DIE. AND HIS EMOTIONAL FAREWELL...
THE FALL GUYS
In 2011, Zack Stentz and Ashley Edward Miller were the hottest new screenwriting team in Hollywood. Then they disappeared. Eight years later, they tell EMPIRE their cautionary tale; revealing the tough reality of a writer's life Hollywood
Buddy Hell
The last blockbuster to be released in the 1980s, Tango & Cash seemed like a no-brainer: a buddy-cop team-up for two of Hollywood’s biggest stars. But it didn’t take long for the wheels to spectacularly come off
BLAZING a TRAIL
Queen & Slim IS A ROAD MOVIE, A TENDER ROMANCE AND AN UNFLINCHING LOOK AT WHAT IT MEANS TO BE BLACK IN 21ST CENTURY AMERICA. EMPIRE ASSEMBLES ITS WRITER, DIRECTOR AND TWO STARS FOR A FRANK, FREEWHEELING CONVERSATION ABOUT WHY IT NEEDED TO BE MADE
BATTLE PLANS
HOW SAM MENDES AND TEAM TURNED WORLD WAR I DRAMA 1917INTO A REAL-TIME, ONE-TAKE WONDER
An Oscar-winning director. The world's biggest pop star. A classic West End musical. Judi Dench with a tail. The biggest gamble of the year
Ever since the trailer dropped the world has been mesmerized by Cats. We journey deep inside the maddest, milkiest film of 2019
