I enjoyed Monkey's Paw movie
Movie Premier in 2010.
Color Info: Color
Countries: USA
Genres: Horror, Thriller
Languages: English
Release Dates: USA:2010
In movie played:
Joseph Drake (producer)
Nathan Kahane (producer)
Tom Lassally (producer)
Robyn Meisinger (producer)
Sam Raimi (producer)
Articles: "Minneapolis Star Tribune" (USA), 28 May 2009, by: David Germain, "'Spider-Man 4' Update: Director Raimi Says 'Dark Knight' Has Upped Superhero Ante", "The Los Angeles Times" (USA), 28 May 2009, by: Gina McIntyre, "Sam Raimi Has Horror in His Clutches", "Listowel Banner" (Canada), 25 March 2009, Iss. 12, pg. 11, by: Andrew Smith, "Local director to screen film at Atlanta convention", "The Los Angeles Times" (USA), 27 June 2004, by: Fred Schruers, "Spider's Man", "Widescreen" (Germany), 16 June 2004, Iss. 07/2004, pg. 24-31, by: Emanuel Bergmann, "Wir brauchen Helden - Spider-Man, Sam Raimi und die Suche nach Mythen", "Wizard" (USA), February 2001, Vol. 1, Iss. 113, pg. 72-73, by: Mike Cotton, "Casting Spell", "Entertainment Weekly" (USA), 17 September 1999, Vol. 1, Iss. 503, pg. 44-46, by: Chris Nashawaty, "Out Of Left Field"
Attended Michigan State University, East Lansing MI, as an English major., 'Joel Coen' (qv) and 'Ethan Coen' (qv) use many of Raimi's trademark camera movements in their films., Brother of 'Ted Raimi' (qv) and 'Ivan Raimi' (qv)., During the mid-80s, Raimi used to live in an apartment with actor 'Bruce Campbell (I)' (qv), writer/director 'Scott Spiegel' (qv), writer/director 'Joel Coen' (qv), writer/producer 'Ethan Coen' (qv) and actresses 'Holly Hunter' (qv), 'Frances McDormand' (qv) and 'Kathy Bates (I)' (qv)., His wife Gillian is the daughter of 'Lorne Greene' (qv)., Is an avid fan of "Spider-Man" comic books., Friends with director 'John Landis (I)' (qv). Had cameos in Landis' _Spies Like Us (1985)_ (qv) and _Innocent Blood (1992)_ (qv), while Landis did cameos in Raimi's _Darkman (1990)_ (qv) and _Spider-Man 2 (2004)_ (qv). Both also appeared in 'Stephen King (I)' (qv)'s ABC mini-series _"The Stand" (1994)_ (qv)., Many years before landing the role of director on the Spider-Man movies, Raimi planned to create a film based on Marvel's comic interpretation of "The Mighty Thor" with 'Stan Lee (I)' (qv). While the movie never materialized, Lee, co-creator of Spider-Man and many other Marvel characters, became good friends with Raimi and later appeared in cameos on the Spidey flicks., In 2004, both he and the Coen brothers cast 'J.K. Simmons' (qv) and 'Bruce Campbell (I)' (qv) in one of their movies; _Spider-Man 2 (2004)_ (qv) and _The Ladykillers (2004)_ (qv)., His oldest brother, Sander, died in a swimming pool accident at the age of 15 while on a scholarship trip to Israel. Sander used to perform magic tricks for Sam and his friends; when he died, Sam learned to perform the tricks himself., His family name was changed from the German name Reingewertz., Featured on Premiere's Power 50 list from 2003 to 2006 with the following rankings: #37 in 2003, #48 in 2004, #33 in 2005, and #23 in 2006., He wanted to adapt and direct _The Shadow (1994)_ (qv), but was denied the rights to do it. Instead, he created his own superhero with his film _Darkman (1990)_ (qv)., His breakthrough project, the low-budget horror cult film _The Evil Dead (1981)_ (qv), had an estimated budget of $350,000. Twenty-five years later he helmed a production with an estimated budget at 1,000 times the cost of that film, _Spider-Man 3 (2007)_ (qv), with an estimated production cost of $350,000,000, making it the most expensive motion picture produced up to that time., 1977 graduate of Birmingham Groves High School, Birmingham, Michigan., Attended high school and remains close friends with producer 'John Cameron (II)' (qv) and actor 'Bruce Campbell (I)' (qv)., Children: 'Lorne Raimi' (qv), 'Henry Raimi' (qv), 'Emma Raimi' (qv), Dashiell William Schooley Raimi., Was asked to direct _I Am Legend (2007)_ (qv) but chose not to because he was not interested., Was interested in directing _Batman (1989)_ (qv) but he couldn't get the rights for Batman from DC comics. Another script was then developed and eventually made by 'Tim Burton (I)' (qv) in 1989., At college he ran a film society, but instead of renting films to exhibit he and his friends created their own feature-length movies on Super 8 and showed them to the campus audiences instead., Frequently employs Bob Marawski as his editor., Over his years as a director, Raimi's 1973 Oldsmobile Delta 88 (originally bought by Raimi's father for the family when Sam was 14) has "played" Ash's car in the Evil Dead movies, Uncle Ben and Aunt May's car in the Spider-Man movies, Annie's car in _The Gift (2000)_ (qv), and Mrs. Ganoush's car in _Drag Me to Hell (2009)_ (qv), and has made cameos in nearly all of his other movies.
Trademarks: [Three Stooges] He use Stooge-like sequence in oodles of his films (especially in the Evil Dead films). Raimi be a cosmic devotee of The Three Stooges. He made many super-8 films that resemble classic Stooge shorts., [Shemp] Often credits a character called a "Shemp", another homage to the Three Stooges. Most frequently it is a "Fake Shemp", a reference to the Three Stooges shorts where a stunt man was used in place of 'Shemp Howard' (qv)., Often has a voiceover from a principal character at the end of his films (_Army of Darkness (1993)_, all the Spider-Man films)., On-going in-joke feud with 'Wes Craven' (qv)., Frequently casts 'Bruce Campbell (I)' (qv), 'Theodore Craven', 'J.K. Simmons' (qv), and his brother 'Ted Raimi' (qv)., Kinetic, wild camera movement (Includes the Evil Dead and Spider-Man films), Likes the "whip pan," possibly inspired by 'Martin Scorsese' (qv)., Frequently figures out difficult shots by "reverse motion acting" (filming the actor acting backwards and playing in reverse)., Usually wears a jacket and tie on the set of his films, a tribute to 'Alfred Hitchcock (I)' (qv)., Often includes scenes in his movies in which large clocks/clock towers play important parts (_The Quick and the Dead (1995)_ (qv), _Spider-Man 2 (2004)_ (qv))., Always has his car (a yellow 1973 Oldsmobile Delta 88 dubbed "the classic") somewhere visible to the audience in all of his films (including a modified covered wagon, according to 'Bruce Campbell (I)' (qv), in _The Quick and the Dead (1995)_ (qv)). It is even visible in the _Spider-Man (2002)_ (qv) trailer (the car that Spider-man jumps on)., [POV] Often features a shot from the point-of-view of the villain/monster (The Dark Spirit in the Evil Dead films, the camera view of Doc Ock's mechanical tentacles in _Spider-Man 2 (2004)_ (qv), the black blob from outer space in _Spider-Man 3 (2007)_ (qv)).
Nick Names: Sammy
Interviews: "7" (Greece), 22 April 2007, Iss. 283, pg. 8,9, by: Loukas Katsikas, "O anthropos arahni eimai ego", "Widescreen" (Germany), 15 December 2004, Iss. 01/2005, pg. 65, by: Jürgen Fröhlich, "Ich mag keine Audiokommentare", "Fangoria" (USA), March 1996, Iss. 150, pg. 40-45, by: Anthony C. Ferrante, "Sam Raimi's All-American Fear", "Fangoria" (USA), March 1993, Iss. 120, pg. 36-40,+68, by: Bill Warren, "Commander of Darkness", "Prevue" (USA), November 1990, Vol. 2, Iss. 41, pg. 26-31+57, by: Steranko, "The Darkman Lives!", "Starlog" (USA), September 1990, Iss. 158, by: Bill Warren, "Darkman Director", "The Bloody Best of Fangoria" (USA), 1987, Vol. 6, pg. 5-7,+74, by: John Gallagher, "From Michigan With Blood"
Highly inventive US motion diagram director/producer/writer/actor Sam Raimi channel come to the focus of film fan near the savage, all the same darkly hilarious, low-budget horror film _The Evil Dead (1981)_ (qv). From his childhood Raimi be a devotee of the gala and back he was ten years behind the times, he was out making films with an 8mm camera. He was a dyed-in-the-wool fan of 'The Three Stooges' (qv), as a result by a long path of Raimi's film occupation encircled by his teens, with demure friends 'Bruce Campbell (I)' (qv) and 'Robert G. Tapert' (qv), was slapstick the humorous haunch base voice what they be full of observed from Stooges movies. Among the three of them they write, directed, produced and edited a concise horror pictures titled _Within the Woods (1978)_ (qv), which was later shown to prospective investor to elevate the procedures crucial to film _The Evil Dead (1981)_ (qv). It meet with allay excitement in the US with district distributors, so Raimi take the film to Europe, where on earth it was much more lovingly received. After it started getting hold of appreciative review and, more importantly, label sale upon its unshackle in Europe, US distributors show renewed interest, and "Evil Dead" was sooner or after that released stateside to burly strongbox bureau returns. His subsequent directorial challenge was _Crimewave (1985)_ (qv), a quirky, cartoon-like effort that bankrupt to capture consent to bad with audience. However, he bounce wager against with _Evil Dead II (1987)_ (qv), a racier and more humorous remake/sequel to the ingenious "Dead" that nick over from even better-quality at the box office. Raimi was then given his biggest budget to date to shoot _Darkman (1990)_ (qv), a humorist book-style invented crudely a scar avenger. The film did moderate frozen, but Raimi's strong ocular panache was evident through the film via inventive and startling camera work that caught the attention of numerous critic. The third chapter in the Evil Dead parable beckon, and Raimi once again directed buddy Campbell in push of the strident hero "Ash", in the Gothic horror _Army of Darkness (1993)_. Raimi speechless fans when he took a turn around towards the out-of-doors the fantasy genre and directed 'Gene Hackman' (qv) and 'Sharon Stone (I)' (qv) in the sexy western _The Quick and the Dead (1995)_ (qv); four years later he took the directorial reins on _A Simple Plan (1998)_ (qv), a reprobate act thriller about stolen money starring 'Bill Paxton' (qv) and 'Bridget Fonda' (qv). In untimely 1999 he directed the baseball film _For Love of the Game (1999)_ (qv) and in 2000 return to the fantasy genre with a top-flight stereotype in _The Gift (2000)_ (qv). In 2002 Raimi was given a existing opportunity to illustrate his dynamic visual style with the big-budget film accommodation of the 'Stan Lee (I)' (qv) comic celebratory album superhero _Spider-Man (2002)_ (qv), and fans be not disappointed. The movie was strong in both scrawl and effects, and was a fugitive glory at the box office. Of plan, Raimi returned in bracket of the sequel, _Spider-Man 2 (2004)_ (qv), which surpass the original in box-office takings. Raimi lees one of Hollywood's account artistic, stirring and academic filmmakers.
Height: 5' 11"
Quotes: I fondness the Spider-Man role. And that's what's at the heart of it. That's why I really love it. But there's another dash point that I never clench since where on earth you be salaried your motion icon and greatly of ancestors see it and they appear to approaching it. So it's like oh my god, I've always be the weed, lame ass guy against the on the side, but I made something that score of people like. I know that won't ending all for drawn out, and I'm visibly ride the Spider-Man thing. He's a functional class character for 40 years. So someone who make a Spider-Man movie get to make a popular movie. But it's fun to be popular, even if it's a pro tem, lame thing, and even conversely I know it's not high-status. I can't lend a hand it. It's really fun and I know how beside alacrity things rotate contained by Hollywood., Audiences really don't go see a lot of movies - except in L.A. and New York I think, and maybe one or two other cities, maybe Chicago - where there are foreign-born, foreign-speaking actors. That's just the culture we are., And it was great making movies in college because if you made the right movie you'd get this cigar box full of $5 and $1 bills, you'd have like 500 bucks after a weekend. And it was like oh my god, we're rich! We've got to make another picture. But if the movie bombed, you spent a lot of money on the movie, on the ads at the State news, renting the theater, lugging these heavy speakers, the projector bulbs, [and] it was a washout, you realize this movie is not making money. I'm broke. I've got to make the movie that they want to see. So it was a great learning experience., And I do think there's a new crop of American filmmakers coming. And they're in high school right now. They're in Mrs. Dawson's English class! They've got new tools, they've got computers and the video cameras, which are the equivalent of our super-8mm training ground. It's even better because they can shoot for free. We had to gather up like four bucks, five bucks to buy a roll of film, another three bucks to process it, and that was a very limiting [thing], in high school you've gotta rake leaves for three hours to shoot a roll of film! So these new filmmakers have these advanced editing tools with the incredible manipulation of imagery available on a standard computer.", I think if people love the source material, and that's really whey they're making the movie, then that's a natural outcome. That the things we all love, and work with the creators of the movie to save the things that were so effective. I think it's situations where people don't love the material, they just say, oh that was a big hit, it could be a big hit here. It's just generalizing. Things got lost if you don't understand why people like a thing. When you love something, it's easy to say, 'That's my son, cut out his heart? No, he needs the heart.' It's harder when you don't love the thing yourself., "At every step of the way wanted to be careful to make sure that what they thought worked in Japanese horror got translated into this. [Taka and Shimizu] didn't want to have solid explanations for everything. That was the challenge, to somehow make it acceptable to the American audience, rules being one of the many things we talked about but not lose what make it striking and unique." [on 'Grudge, The'], In an American horror film, you usually have a character and a shot of them. Then their point-of-view moving down a hallway, approaching a door and they're coming closer to the door. And a hand reaches for the knob, and you know, the moment or the moment before or the moment after, based on the timing of the editor and the director, there'll be a big moment of an attack or a scare. What Shimizu does is a moment where 'Sarah Michelle Gellar' (qv) is opening this closet, to see what's inside, and we Americans think something is going to jump out, there's nothing in the closet but darkness. And then you start to realize, within that darkness, you see a shape. Is it a knee? Oh, yes it's a knee, and there's a face in there. That's always been there. That I can just perceive within the blackness. And it unnerves me in the freakiest way! And in a completely different way than the sledgehammer technique of some of our cruder American directors. [pause] Such as myself!"
Robert G. Tapert (producer)
David Kajganich (writer)
Tom McAlister (writer)
