How difficult was it getting it up and running? Your project was first discussed some time ago. Yeah, I think that was part of the idea! It unfortunately mitigates against the film slightly, because it’s very difficult to get modern American teenagers to strap down for a subtitled, black-and-white German film. It makes a couple of interesting leaps.Īnd shooting in black-and-white means not having to worry about creating an alien colour never seen on this planet before. It’s a very interesting retelling of the story. I think the most recent one: Die Farbe, which is a German adaptation, sadly in black-and-white and German, which prevented it from reaching a wider audience. ![]() So The Colour…, I guess, presents itself to low- and medium-budget filmmakers because you’ve got a faint chance of actually being able to approximate it on screen.ĭo you have a favourite out of any of those previous adaptations? The Colour Out of Space is set on a farm in the New England backwoods and largely concerns one family and their neighbours, as opposed to being set on Pluto or at the bottom of the Mariana Trench. Why is this particular story so ripe for adaptation? Yours isn’t the first screen version of The Colour Out of Space. And as we step away from orthodox religion, people tend to naturally ask 'What is going on then? What actually created us? How did we get here?' And Lovecraft proposes a dark and implacable universe. I hate to say it, but it may also be to do with a growing lack of faith in the idea there’s an all-wise, all-kind creator-God responsible for events on Earth. since then we’ve had Benoit Mandelbrot’s discovery of fractal geometry, and chaos science, and a whole bunch of ideas that have brought some of that material closer to real life than it might have been in 1926. But, so many of those concepts, like the aforementioned Non-Euclidean geometry, which didn’t exist in Lovecraft’s time. At least the concepts are the language may be harder for people to come to terms with, because it’s still written in a very long-winded, old-fashioned style. I think it’s much easier to understand today. What makes it resonate strongly with modern audiences? His work remains influential today in cinema. It gave my teachers a very hard time as I was using strange words and phrases like 'Non-Euclidean geometry' in my school essays. I know a lot of it bled across into my attempts at creative writing at the time. Something in Lovecraft’s anti-human worldview and the notion of the world being one level of a multi-dimensional universe, I guess, caught my interest, even as a teenager. ![]() What was it about his writing that struck you? Then, by the time I was 13, I was already a nerdy 13-year-old that had read all of the Lovecraft canon and knew all about The Call of Cthulhu. ![]() So my mother, crazily, read me some Lovecraft stories, starting with the lighter fantasy material. I guess when I was around seven or eight years old, because he was my mother’s favourite author. You've described yourself as a ‘lifelong Lovecraft fan’. Lovecraft’s cosmic horror The Colour Out of Space. Now, over two decades later, Stanley has returned to the bigscreen, directing an adaptation of H. Outside of a handful of documentaries and short films he has made since then, it was starting to look like that was it. Delays caused by tropical storms, and the rampaging ego of one of its stars, resulted in Stanley being fired early during the shoot. But a promising career was cut short when he embarked on a big-budget adaptation of H. South African-born filmmaker Richard Stanley became a cult favourite among genre fans thanks to his stylish 1990 killer robot feature debut Hardware, and the 1992 supernatural flick Dust Devil.
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