While already having an iconic look to the films, writer/director Lee Cronin revealed Evil Dead Rise Its style was inspired by other classic horror movies. Cronin took Evil Dead The movie takes the reins from franchise creators Sam Raimi and Fede Alvarez, who directed the first installment in the horror franchise without Bruce Campbell’s Ash and instead of Raimi. Moving the setting from the jungle to a dilapidated apartment building, Evil Dead Rise The franchise has garnered widespread praise for its twists on the formula and still delivers what fans have come to expect.
During a private interview with Dr Screen Rant For the film’s home media release, Lee Cronin discussed putting it together Evil Dead RiseIts unique visual style. The writer/director explains that visual language is on his mind when scripting a project, but he looked to other iconic horror movies outside of Sam Raimi’s classic filmography for inspiration. See what Cronin explained below:
“I’m very driven, when I write, I’m writing to direct, so a lot of these ideas were formulated during the development and writing process of the film. I’m not a filmmaker who – of course, coverage is part of filmmaking, but I try and find unique perspectives and aspects and ways of telling a story and constantly refreshing the visuals, giving you a new experience, not just from scene to scene, but Shot to shot. All these details really, and this is a film filled with many detailed close-ups and moments. I wish I could remember the number, because I knew and I forgot it, but I think we’ve got something like — somebody’s going to go figure it out and post it online, I hope, or maybe I’ll have to call my editor — I think we got like 2000 cuts in the movie where we cut from one shot to the next from the volume of the kind of dynamic visual energy that we wanted to capture. I try and pride myself on not just how things look, but how that look creates a tonality and feeds into the overall experience of the film. Because it’s quite—we enjoy the great outdoors in the opening, but once we get inside that building, it’s quite claustrophobic and locked down. My director of photography and I talked about a lot of things that we still wanted it to feel like on an epic canvas, the choices we made with the lens and how we wanted to approach it and still give you a lot. A kind of widescreen cinematic feel. We’ve talked about aliens, you’re trapped inside this inner spaceship, yet you feel that breadth, you feel that sense of vision, and that’s something we worked very, very hard in preparation for.”