{"id":251882,"date":"2021-05-17T21:00:33","date_gmt":"2021-05-17T18:00:33","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/the-reckoning-and-more-film\/"},"modified":"2021-05-17T21:00:33","modified_gmt":"2021-05-17T18:00:33","slug":"the-reckoning-and-more-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/the-reckoning-and-more-film\/","title":{"rendered":"#The Reckoning and More \u2013 \/Film"},"content":{"rendered":"

“#The Reckoning and More \u2013 \/Film<\/strong>”<\/p>\n

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Neil Marshall\u00a0<\/strong>is returning to his roots. The director began his career with the one-two punch of Dog Soldiers\u00a0<\/em><\/strong>and\u00a0The Descent<\/em><\/strong>\u00a0and while neither is 20 years old yet, they\u2019re already endlessly rewatchable classics in the eyes of many horror movie fans. Marshall went on to direct bombastic post-apocalyptic mayhem with\u00a0Doomsday\u00a0<\/em><\/strong>followed by\u00a0Centurion<\/em><\/strong>,\u00a0<\/em>a lean chase film set in ancient Scotland. For Marshall, this was his last true movie.<\/p>\n

Over the last 10 years, the director has been on a roll in television. He helmed one of the more unforgettable episode of\u00a0Game<\/a> of Thrones<\/em>, \u201cBlackwater.\u201d Outside of Westeros, Marshall directed episodes of\u00a0Hannibal<\/em>,\u00a0Lost in Space<\/em>, and\u00a0Black Sails<\/em>, just to name a few. In 2018, his name finally returned to cinemas with a new adaptation of\u00a0Hellboy<\/em>. \u201cThere was no way it was ever going to be half-decent,\u201d he told us.<\/p>\n

Now, Marshall is back with a horror movie he is proud of,\u00a0The Reckoning<\/em><\/strong>, which he co-wrote with its star,\u00a0Charlotte Kirke<\/strong>. Set in the 17th Century in Northern England, the film is about a widow who must fight for her freedom during a deadly plague and witchhunt. We spoke with Marshall about this new film, and he told us to expect more horror movies<\/a> from him in the future.
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\nYou\u2019ve said The Reckoning<\/em> is the first true Neil Marshall movie in over 11 years. How satisfying is it to have another unfiltered vision out there?<\/strong><\/p>\n

It\u2019s very satisfying. I suppose at the core, I am a filmmaker, an artist, and a storyteller. All the reasons that things didn\u2019t work out on a project or whatever, the fact that on this one I was making it for an ultra-low budget, and making those sacrifices, it was much more of a satisfying experience because it was a creative experience. Having no money to do it, which I would have loved to have had, I got to make the film I wanted to make without any interruption or interference. As a filmmaker, that\u2019s way more satisfying.<\/p>\n

Stretching the resources and time you did have, how does your experience in television help you there?\u00a0<\/strong><\/p>\n

I was probably kind of spoiled by a lot of the TV stuff that I did because they had endless resources. Yes, you do work long hours on TV and you work on tight schedules, but the budgets on shows like Lost in Space<\/em> and Black Sails<\/em>, and of course,\u00a0Game of Thrones<\/em>, were as big as if not bigger than an awful lot of my movies. I think if anything, I brought my having done a lot of those independent films before I went into TV. I brought the ability to work fast and be creative to television, so far. And then on the new projects, how can I make this look like a mega-budget movie, but make it in a hurry on a fraction of the budget?
\nOver the last decade, the genre shows you directed became the mainstream and were very much aligned with your taste. Were you fortunate in that regard as well?\u00a0<\/strong><\/p>\n

I guess so because TV used to fill in that blank of mid-budget films that I started out in. That\u2019s really how those films are. Nowadays, it\u2019s like they\u2019re ultra-low-budget films or mega-budget films and maybe mid-budget films. It\u2019s not a concrete rule, but a lot of the genre films that were being made for the cinema are now basically TV projects.<\/p>\n

Not necessarily as films, but they kind of reinvented themselves as TV shows. I think that\u2019s exciting. I felt honored to be part of the vanguard of that revolution in the last 10 years or whatever. It would be more than that now, over the last 15 years, with shows like Game of Thrones<\/em> and being a part of those kinds of things that have changed TV history forever.<\/p>\n

It\u2019s so exciting because, within the scope of a year in the TV world, you can do maybe three projects, whereas if you\u2019re doing a feature, that takes up an entire year of your life, if not more. So I would jump from doing pirates to doing Constantine<\/em> to doing Hannibal<\/em> to doing Lost in Space<\/em> or whatever. Within the space of a year, you could do three different things in three different genres. It was great fun.<\/p>\n

Some directors say with television you sometimes are more of a work-for-hire, but you seemed to experience a lot of freedom in TV.<\/strong>
\nIn my personal experience, with one exception which I won\u2019t say, I found them to be very creative and never felt that I was a director for hire. People brought me in because they wanted my input. Actually, specifically on Game of Thrones<\/em>, they were really, really embracing my ideas. All the directors coming in and bringing stuff to the table, and the writers, they\u2019re meeting the directors halfway. I think that\u2019s why it\u2019s such a show of striking vision. I had a lot of ideas to bring to the table at Game of Thrones<\/em>, they incorporated them, and there was never any resistance there.<\/p>\n

It\u2019s pretty much the same on a lot of the other shows. Certainly, it\u2019s shows where you\u2019re directing the pilot, like Lost in Space<\/em>, where you\u2019re setting the visual palette, setting the style within the first couple of episodes.\u00a0The only difference I would say is that you learn to park your ego at the door because you\u2019re not going there to visualize your own baby. It\u2019s not your baby. It\u2019s somebody else\u2019s baby. Usually, it\u2019s the showrunner or the author, or something like that. Once you accept that, it gave you the freedom to just go in and direct the shit out of it.<\/p>\n

[Lagush] With The Reckoning<\/em>, it was two or three years between conception to completion. Was that a rare experience for you to have a movie come together that quickly?<\/strong><\/p>\n

Very rare. It was written in 2018 and we shot it in 2019 and we had finished post-production pretty much at the beginning of 2020. So it\u2019s taken a little while for it to roll out. Obviously, COVID has played a massive part in that. In terms of the actual turnaround from writing it to getting on the set, that was like a year, which that\u2019s never happ<\/a>ened for any of my films. Yeah, that was fast.<\/p>\n

I imagine over the last 10 years you\u2019ve had original horror projects that for whatever reasons didn\u2019t come together. How has your experience been trying to make original horror movies?<\/strong><\/p>\n

Yeah, there were certainly some tricky times. It\u2019s not the reason why I was working in TV, though. I was invited to work in TV and it was great, but at the same time, I was still trying to get features off the ground and for whatever reason, it just proved tricky until eventually, Hellboy<\/em> came along. I was always trying to make films, and I wrote horror films then as well. Now, it\u2019s like I just wanted to go back and really embrace my roots and get back into the horror scene.
\nThe irony being is that one of the things I really wanted to do with directing was getting back on to the festival circuit because I love horror festivals. The genre festival circuit was great. Not only the interaction with the fans but also as a filmmaker, the inspiring people you meet along the way, it\u2019s a great thing to be a part of. Of course, all that went down the drain with COVID. We missed out.<\/p>\n

On the directing, it doesn\u2019t necessarily have to be horror, but at least genre. But likely, horror movie one every two years would be just fine. One every year would be even better.<\/p>\n

The Reckoning\u00a0<\/strong><\/em>depicts a plague similar to\u00a0Doomsday<\/em>, and just like that movie, they\u2019re stories about social<\/a> order collapsing. Is that a personal fear of yours?\u00a0<\/strong><\/p>\n

I can\u2019t say it\u2019s a fear. I think part of me is like, that shit would be really cool. There has to be that part of you that watches these movies thinking that might actually be quite cool. Now, it\u2019s horrible. In reality, it would be bloody awful, you know, social disorder and chaos and panic and misery, but honestly, yeah, it\u2019s pretty cool for a movie.<\/p>\n

\"\"<\/p>\n

There are some very striking, painterly images in\u00a0The Reckoning<\/em>. Are you influenced by any particular painters at all?<\/strong><\/p>\n

I have to say a lot. In fact, my grandfather and my dad were both painters or artists. I was growing up with that around, with art and me watching. For me, I don\u2019t think there were any specific painters, but I do tend to look at paintings and look for inspiration and that kind of thing. It\u2019s really creative. My part to be a little bit more artistic and visual because of the editing and the way the story was told.<\/p>\n

You\u2019ve edited some aggressively paced movies, like\u00a0Doomsday<\/em>, but with\u00a0The Reckoning<\/em>, it\u2019s more about patience. Any key similarities or differences in the editing room creating those two different paces?<\/strong><\/p>\n

I was pretty much of the school of fast all the time. Like, it\u2019s just cut, cut, cut all the time. I think I\u2019ve kind of matured as an editor to know that, to know when to go slow. You can\u2019t go fast all the time. I love the relationship with the editor. I like that interaction that you get with the editor. I\u2019ve always embraced that. I did a year of working with an editor. They bring so much to the table when they\u2019re a really good one. So, I always wanted that relationship. In this case, it was maybe to save on money and things like that. I hadn\u2019t edited a movie for a while, so I thought, what the hell, I\u2019ll give it a go again.<\/p>\n

Did you miss it?<\/strong><\/p>\n

I did miss it, yeah. I mean, the thing is that I don\u2019t want to be editing very heavily and what I will do is work with the editor very closely. On something like The Descent<\/em>, what I did was I would go in the edit in the morning and the editor would be working, and we\u2019d go out for a really big lunch. And in the afternoon, he\u2019d fall asleep on the couch, and I\u2019d take over. And then, we would just review each other\u2019s work.<\/p>\n

Like that film, you have a very cool creature design in\u00a0The Reckoning<\/em>. How was it creating that practical devil?\u00a0<\/strong><\/p>\n

It was a combination of a lot of elements. One, I got to do the devil, this is a first. I refused to have a red guy with horns, that wasn\u2019t going to happen in this movie. I always thought of him being sickly and almost riddled with disease. It\u2019s just like, he looks gaunt and like he\u2019s got a fever and all this kind of stuff. I pitched this to a designer, Paul Gerard<\/strong>, who came up with the initial concept. And then when we did the movie, the makeup effects designer, Cole Palmer<\/strong>, took that design, ran with it, and came back with a more embellished design, I guess. That\u2019s the one that\u2019s in the film and he made it practical.<\/p>\n

And I\u2019d worked with Ian White on Game of Thrones<\/em>. I\u2019d known him for years because we\u2019re both from the Northeast. I thought he\u2019d be perfect for playing the devil. His voice is really like Christopher Lee. He\u2019s got that baritone like Christopher Lee. I just thought that I couldn\u2019t get any better. I\u2019ve got a seven-foot guy. He\u2019s going to play the devil. And he sounds like Christopher Lee. It\u2019s like, oh, that\u2019s a dream come true.<\/p>\n

Always go practical in horror, right?<\/strong><\/p>\n

A hundred percent.<\/p>\n

Did\u00a0Hellboy\u00a0<\/em>influence your decision at all to make a movie at this scale again? Did that experience inspire the kind of movies you want to make in the future?\u00a0<\/strong><\/p>\n

Absolutely, yes, it did. It made me think about the things I want to do. With Hellboy<\/em>, I was kind of lured by the money and possibility of having the freedom to make a good movie, but\u2026 I\u2019d chosen to do it for all the wrong reasons. There\u2019s actually something Frank Darabont said to me, it all comes down to the scripts. If the script sucks, don\u2019t do it. I made the mistake of doing something that sucked.<\/p>\n

Yeah.<\/strong><\/p>\n

I did.\u00a0There was no way it was ever going to be half-decent, so yeah, I learned a lot from that. Now, it made me think more about the way I look at the kind of films that I want to make, the work I want to do, and how I want to do it. There\u2019s just nothing worth sacrificing both you and your creative integrity.<\/p>\n

***<\/p>\n

The Reckoning\u00a0<\/em>is now available on Shudder.<\/p>\n

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“#The Reckoning and More \u2013 \/Film” Neil Marshall\u00a0is returning to his roots. The director began his career with the one-two punch of Dog Soldiers\u00a0and\u00a0The Descent\u00a0and while neither is 20 years old yet, they\u2019re already endlessly rewatchable classics in the eyes of many horror movie fans. Marshall went on to direct bombastic post-apocalyptic mayhem with\u00a0Doomsday\u00a0followed by\u00a0Centurion,\u00a0a…<\/p>\n","protected":false},"author":1,"featured_media":251883,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/Neil-Marshall-e1621260569945.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1568,1570,5157,1376,27639,1406,23147,61238,61239],"class_list":["post-251882","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-featured-stories-sidebar","tag-features","tag-game-of-thrones","tag-hannibal","tag-hellboy","tag-horror","tag-interview","tag-neil-marshall","tag-the-reckoning"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/251882","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=251882"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/251882\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/251883"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=251882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=251882"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=251882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}