Crazy Hollywood

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B's auction, but they are both identified and captured. Max, who has had a change of heart, frees them and, posing as the auctioneer, gains the attention of car manufacturing president Mr. Goodwyn Steve Kanaly. B frees himself and his henchmen, and they open fire on Gunther and Max, forcing them to flee with the Trabbi, with Mr.

B, Ricki, and Goodwyn in pursuit. The chase ends in the hills of Los Angeles, where Mr. B promptly presents the Trabbi to Goodwyn, skillfully countering Gunther's claims to the contrary.

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In the end, Gunther runs the Trabbi off a nearby slope, destroying it, and is now rightfully able to claim that only he can build a new one. With Mr.


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Trabbi Goes to Hollywood received a generally poor reception. From Wikipedia, the free encyclopedia. Retrieved June 6, Films directed by Jon Turteltaub. Categories : films s comedy films American comedy films American films English-language films Films directed by Jon Turteltaub German comedy films German films German-language films.

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Namespaces Article Talk. Elevated horror is a topic of great interest for me. It's a nonsense term. But, when John Krasinski was promoting A Quiet Place , he used that term very earnestly and straight-facedly, and you guys, it sounds like you think it's a bogus phrase. What do you feel about "elevated horror" being the buzz phrase for this genre?

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Beck: Right! So, we throw the term "elevated horror" around in major quotes. We don't deny the fact that the horror genre being used in an interesting way isn't unique to our time.

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But there's something incredible under the surface of both, whether dealing with racism, or politics, or the fear of communism seeping into the United States back in the s and s. We feel that in the undercurrent today, obviously pointing to Jordan Peele with both Get Out and Us , movies that are really hitting social discourse underneath the veil of genre.

Woods: But what's really cool, as movie fans, is that we're getting these amazing movies, what would be considered "elevated," like Get Out , like The Witch , like It Follows. But that's not the only game in town! We felt like there was a hole missing in the genre work that we're seeing right now that we hope Haunt fills from some people. Paul Thomas Anderson, we hold him at the top of our Mount Rushmore of filmmakers.

The stuff that he does just transcends any other type of cinema that's out there. To hear somebody so well-read just appreciate a good, solid B movie, and it happens to be Paul Thomas Anderson, that floored us. It also inspired us to embrace the genre for what it can be, and it doesn't need to be anything more than a rollercoaster ride. But it sounds like the purpose of Haunt is to remind folks that there's another side to horror, and it's a more traditional side or at least the side people think of when they think of horror.

Maybe that is also why people reach for the term "elevated horror" in the first place? Woods: Absolutely. Well said. For us, the fun of it was just marinating in our love of the Halloween season and horror itself, and poking at all those tropes, using those tropes, turning them on their head a little bit when we wanted to in certain sections of the film, but also just relishing them. Beck: And I think beyond that too, with any approach we personally have to horror, we're always looking at it thematically too. So, for example, A Quiet Place was very much about broken communication in the context of a family.

If these aliens had not invaded Earth, this family would still be grappling with the loss of their child and having broken communication. With Haunt , the approach was not just doing a haunted house film, but it was about our lead character and making sure there was something substantial in her DNA.

In this case, it's this trauma that has been infecting every aspect of her life, and bridging that into the metaphor of wearing masks as human beings. We go out into the world and we put on a mask of what we hope we can be and what we want to be, but maybe that's not really who we are once we take it off. Extending that into the Halloween trope for Harper, the villains are also wearing these masks very literally, and there's something darker and deeper beneath that surface when they take those masks off.

So you feel that you can communicate a lot of great ideas, deeper concepts, through something as grimy as the "kids go to the haunted house, kids get dead" formula?


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Woods: Yeah. We're at our most comfortable when we feel like there's something underneath the gimmick. Again for A Quiet Place , we love the idea of if you make a sound, they kill you, but we didn't write that script until many years later when we actually felt like we had a story, a theme and substance.

Haunt 's the same way. Haunt is something that we want, honestly, people to appreciate the rollercoaster, that feeling of going to a haunted house, to evoke that feeling we felt when Scott and I were teenagers in the middle of Iowa, going to haunted houses during Halloween. First and foremost, that should work, but we feel more comfortable when it has that thematic resonance bubbling under the surface. What brought you to that specific theme of Haunt , since we're talking about that?

Beck: Just looking at family members, friends that have suffered trauma. Sometimes it's not in a sweeping, dramatic way that you would see on film. Day to day, you see people having to wake up and deal with poisonous, toxic relationships, or something that may have happened 10 years in their past that's still affecting them in very subtle ways. To a certain degree, that was the entry point so we could hopefully speak to something real and tangible.

Trauma is another term I hear used often in discussions of horror. But it's not a new thing. I feel like horror has always been the genre of trauma. Is your relationship to it as well? Woods: I think horror is, if nothing else, about trauma, whether that's psychological trauma or physical trauma. It's about what scares us, and what damages us, and what we need to heal from. Horror at its best should be cathartic.

You want to go to a scary movie and you want to walk out of the theater feeling like you conquered something for yourself personally. Beck: Yeah. I think about one of the most impressionable horror movies that I remember seeing as a kid, David Cronenberg's The Fly ; it deals with trauma in a different way. It's a tragedy in terms of a love story, and somebody is trying to break cutting-edge science, but they end up destroying themselves and a potential relationship in the process.

The end of that film still gets me to this day, how heart-wrenching it really is. The catharsis is huge. I feel like a lot of horror, the attention-grabbing horror, ignores the idea of catharsis and goes very heavy on suffering and on grimness. Not that there's no place for that, but I found myself onboard with these characters getting to fight back against their tormentors.

Do you feel like that's maybe missing a little bit in this new glut of horror movies? Woods: That's what we hope. We hope that it can be a cathartic experience. We hope that it can be experiential, and you can feel like you're taking that journey with the characters, and seeing it not just be, I guess for lack of a better term, pure torture porn for 90 minutes.

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That's not something that was ever interesting to us. What was really cool was our producer, Eli Roth, who's certainly known for his gore and shocking violence, it was wonderful working with him. All of our conversations were about character, making sure that we had time with them and we loved them and related to them, but it was also about the villains and making sure that we understood their motivations. We're playing it a little bit close to the chest, both in A Quiet Place and in Haunt. We don't like to get into backstory and reveal all the secrets of why, in A Quiet Place for example, the aliens are here, where they came from.