It was a make-up man’s idea! Plus…

Storyboarding overstepping is a myth! Look up Carl Aldana poltergeist storyboards, you’ll find a wealth of the storyboards and he worked *exclusively* with Hooper.

Publicity hoax.

It’s spawned from a rumor mill on hyperdrive, likely aided by people on set (tech department heads) a little sore that Spielberg wasn’t making the film. Hooper even sued the studio right before the film’s release because of their role in planting and fanning the flames of the rumors.

Sad gifs don’t work!

Spielberg couldn’a:

Rubinstein amended her comments when pushed back on them by a costar, revising her experience as thus: “Tobe set up every shot, and then Steven came in and made final adjustments. So I think it was a split decision.” Aka, Hooper got his way at least half the time (from her fuzzy memories).

Here’s an article about it:

It’s spawned from a rumor mill on hyperdrive, likely aided by people on set (tech department heads) a little sore that Spielberg wasn’t making the film. Hooper even sued the studio right before the film’s release because of their role in planting and fanning the flames of the rumors.

Rubinstein amended her comments when pushed back on them by a costar, revising her experience as thus: “Tobe set up every shot, and then Steven came in and made final adjustments. So I think it was a split decision.” Aka, Hooper got his way at least half the time (from her fuzzy memories).

Spielberg’s Poltergeist would have been far more comical and kinetic. Hooper excised a lot of comic relief and focused on the stranger, more dreamlike aspects. For instance, the tree wasnt supposed to eat the kid in Spielberg’s script, but Hooper amended that.

He brought much intensity to the film.

He apparently was very checked out on JP II, was on contract, only interested in the big set-pieces, and probably remembered back in the Poltergeist set where he was constantly told he couldn’t do scary:

Mais le fait est qu’il a encore besoin d’aide ! (Hooper travaille également contre l’adversité, comme avoir des scénarios de merde, et ses films restent encore assez bons !). Hooper a dû convaincre Spielberg de ce qui était effrayant et il l’a fait avec succès (avec l’aide de son casting) !:

Du directeur du Texas Chain Saw Massacre, c’est probable ! Et avez-vous entendu parler de la production de JAWS ? Spielberg a eu toute l’aide qu’il pouvait obtenir !

L’affaire Poltergeist ressemble plus à un réalisateur montrant à un producteur comment faire un film vraiment effrayant :

Well, yeah! … Unless you’re talking about Joe Haldeman?!

Morsomt faktum: Ansiktssmeltingen var ikke med i manuset! De to sminkørene presenterte ideen midt i produksjonen, og Spielberg og regissør Tobe Hooper var enige!

posted blueprints and photos of the original Simi Valley house which I thought was very cool.

Yes! My recollection is I saw it on the (since purged due to apparently some dispute with Instagram regarding their posting the unearthed Lesh deleted scene) Instagram that is called something like “poltergeist1982”, who was very talented at finding and collecting rather rare material. He once

I’ve seen it before, but I feel like it must have been cropped because I never noticed the head before, I had always assumed they were looking at papers.

Oh, the picture is just the observation/opinion of a viewer on Letterboxd. Mangini never called it “Disney,” I just refer to his quote elsewhere about the different “aesthetic.”

Yes. But I was spooked for a long moment, there’s someone else who is known for winning two Academy Awards…

The Mangini quote?

Oh no…

Texas Chainsaw series post-Tobe Hooper. Gremlins and Back to the Future had pretty good sequels.

Hooper!