Lars Klevberg is a relative newcomer on the horror scene, but he’s already been awarded the prestigious honor of rebooting Child’s Play and re-imagining Chucky for a new generation of fright fanatics. The new version will retain the original’s core slasher storyline of a killer doll tormenting the innocent, but Klevberg’s film promises to bring some fresh ideas to the table. We can’t wait to see the sinister treats he has in store for us.
Child’s Play will hit theaters on June 21. To hold us over until then, though, Orion Pictures has released an official trailer that gives us an idea of what to expect. As you’ll see, the new doll has more capabilities than the original menace, but the main selling point here is Mark Hamill lending his spectacularly creepy voice to the film’s miniature villain. All in all, this one is shaping up to be a spooky good time.
To celebrate the upcoming release of the hotly anticipated movie, Klevberg was kind enough to pick and discuss his five favorite shots with us. Not only does he admire these shots, but some of them directly inspired his upcoming film. After you read his commentary, we guarantee that you’ll be even more hyped for Child’s Play.
Close Encounters of the Third Kind (1977)
“Maybe Spielberg’s most iconic shot. A shot that perfectly captures the visceral cinematic work in the movie. The camera is perfectly placed in the line with the boy, merging the audience with the character’s experience. As a viewer, you are literally being transported back to the memories from your childhood where every door at night time could reveal something sinister. There´s a nod to this shot in Child’s Play.”
Road to Perdition (2002)
“Probably my favorite movie of all time when it comes to cinematography. I’m a huge fan of low-key lighting. If Caravaggio made a movie, it would be this. Not only will this movie make you understand the importance of the collaboration between the production designer and the cinematographer, but it also shows you that one well-composed shot is always better than three rushed ones. Even when it comes to action and tension. The design of this scene is close to perfection, and Paul Newman‘s look as his past is literally catching up to him is only matched by the perfect composition in this theater two shot from a director who has a background in theater.”
“I was 12 years old when my dad took me to the cinema to watch Se7en. Two things happened: I had nightmares for years, but I experienced something that made me want to make movies. Fincher is a master with composition. This is a quick shot, but for me, it serves as a reminder that the camera is your tool and you must use it to tell your story. It´s your pencil. Fincher will always be a huge inspiration for me, and a version of this shot survived all the way into the final version of this year’s Child’s Play.”
E.T. the Extra-Terrestrial (1982)
“E.T was a huge inspiration for me making Child’s Play. This shot not only shows one of Spielberg’s trademarks with hiding information by adding light instead of removing it. But it shows you how great Spielberg is when presenting his wide shots. And the wide shots are always the hardest ones to make great. There´s a lot of Spielberg references and influences in Child’s Play because the story reminded me so much of E.T and Gremlins. When I pitched the project I said it´s gonna be “E.T on acid,” and they accepted that.”
“One of the opening shots from Heat tells you right away what story that will unfold in front of you. The dark and moody background with smoke rising up in an urban environment is melting perfectly together with the melancholic score. This is a modern noir where the emotional context is equally as strong as the visual palette that surrounds it. Our gangsters are humans too. An opening shot is a study in itself, and this one is by far one of the best out there. We don´t see a lot of exterior shots in Child’s Play, but some of the few urban shots we have in the gritty urban alleys are a direct influence from this specific opening.”