Final destination: BloodLines has obtained a single cut for the release of IMAX

Almost 15 years have passed since then Final destination 5The most recent episode in the franchise of the horror film in which someone responds to a premonition on the deadly disaster by saving the victims, which death jealously pursues in the order in which they should have died, through a series of ridiculous invenze. The series relives with Final destination: blood linesWhich puts a new turn on make -up: this time, a survivor to the original disaster has remained from death long enough to have children and grandchildren, so even death chases them, in order of birth.

For many filmmakers, that temporal gap would be a reason to start as much as possible from scratch, to renew and update the franchise. Directors Adam B. Stein and Zach Lipovsky (who also did the fascinating science fiction film 2018 MonstersNow on Netflix) it certainly does a little bit of this, including the use of their frame for an IMAX version of the film they say will never be seen in any other format. But they also told Polygon that they returned to study the previous films of the franchise in obsessive detail, to capture everything that made these films work.

“There are key shots in iconic previous films,” Lipovsky said in Polygon via Zoom. “We remained so inspired by them. We even brought it to the next level: we analyzed every single death set in all previous films and we built this incredibly complex calculation sheet with how many omens they had, what kind of death it was and what were the other deaths that came after us, to see our films.

He says that previous final destination films have shown an imminent arrival of Death on a scene in various ways, “whether it is through the wind, whether the way the camera moves or the way in which water drips or things like that”, which the directors have collected Blood lines. “But also the fun they had with the way they pass from one scene to another, we were really inspired by it. One of our favorite shots of all time is when [2006’s Final Destination 3] Cut from the two tanned beds to the two coffins. It is cinematographic, but it also has an irony and fun. This is the tone you always try to capture. “

The arrival “Arrival of Death” in a final destination film also includes disturbing music signals and disturbing shots of the various trivial objects that are to self -assess in a murderous device Rube Goldberg that leads to a disordered death. But with Blood linesStein says, the team added signals of IMAX camera.

“Since we had the opportunity to work with the IMAX team, to film it for IMAX with their cameras and their specifications, they really encouraged us to see if there was a way we could use the IMAX appearance as a creative tool,” says Stein. “And this has really thrilled us to use it almost as an omen in itself. In the IMAX version of this film, there is a specific shot in which we have a disturbing push-in for each death sequence that we have designed to be the moment we expand to the IMAX appearance relationship just when death arrives. It is the ominous omen of death.”

This effect will not be visible at all for people in normal theaters or watching the film further in the home formats, says Stein. “It is only in the IMAX version of the film, that you can only see the week of opening in IMAX cinemas. It will never be released on the home video or on streaming. So for the audience who does not know that it is what is happening, they will feel a little able to see the shats, who will find themselves seeing death, who will find themselves making death, who will find themselves taking an exception in order to see, Death, which will find themselves death, who will find themselves taking an exception.

The enthusiasm of Stein and Lipovsky for the franchise is shown when they talk about the details of their plot, with the central family that faces death one by one. But they light up even more when they talk about the cinematographic process. “The final destination is the best surprise to go around for a director, because there is no personified antagonist,” said Lipovsky. “There is no monster, there is no man with a knife, nothing.

“So, in essence, Adam and I had to be death, to build all these crazy machines and use all the tools of cinema in which we have fun creating tension. And this is really a nice gift as a director with whom to indulge and play with all the incredible technicians with whom we have collaborated, to give the feeling that there is a evil force there, even if you see anything.”

Stein says that Dynamic – coming to “play to death” in every sequence – made the funny project for him and Lipovsky in a way they hope will take place to the public. “Many people assume that horror movies sets are very desolate, but there is a great sense of playfulness and fun in horror,” he said. “Because you are letting yourself go with your dark sense of humor and all the technicians are having a lot of fun with false blood and having false bodies pieces made by the puppeteers. All those practical effects bring a lot to the set, since everyone has understood how to do all these things.

“And I Think That Comes Across On Screen, Espencially in A Tone Like Final Destination’s. We Always Said We Wanted To Create A Movie Where You Have To Watch it Through Your Fingers’ Cause’s SO Intense, but you’re alo alo laughing at the same time. A Packed Theater With An Audience That is Really Coming Into the Audience Experience in That Way – Everyone is Horrified, and they have to look away.

Final destination: blood lines It opens in cinemas on May 16th.