The nature of the curse haunting the young Christine Brown is no trivial affair, for this is the much feared, though little known, curse of the Lamia, a strange beast of mythological origins that had bad child-eating habits, hermaphroditic qualities, and removable eyes (which, on a side note of interest, makes the Pale Man from Pan’s Labyrinth another arguable appearance of the Lamia in modern film). For me, it’s a great weight off of my shoulders.” So it’s the lower brow that I really enjoy working in. I’m just trying to make a horror movie that people go to, that they laugh at, that they think is suspenseful, they get excited about the action or exciting monster sequences, they get scared, they go ‘oh gross!’, and have those kind of funhouse reactions. So it’s a little less assaulting than the Evil Dead movies, which were unrated films. Raimi himself stopped to talk with us in between takes and gave us some insight on what to expect with this film in comparison to his classic favorites.

With this film, we went more with an animalistic approach in terms of sharpened teeth, animal eyes, and that sort of stuff.” We were going with demonic skulls and creepier things like that, especially in Army of Darkness. The Evil Dead movies were a lot more outrageous. There are a lot of animalistic qualities to them.

“ There’s a recurring theme that we utilize when we’re designing the characters.

The precise design of the hellish terrors was kept under wraps, though Greg was open to describing the influences involved. It really raised my interest level and excitement about it because this is the guy who redefined the horror landscape.” Sam is really receptive every single step of the way. We’re doing the practical stuff.’ So we’re designing rotting corpses, and we’re designing demon make-ups and possession make-ups. In the first meeting I said, ‘You know we could potentially do a CGI implementation here,’ and he’s like, “Ahhhh! That CG stuff! Get that crazy crap out of here.

He wants to use animatronics, puppets, and dummy heads. But we still have the same sensibilities. “ We’ve got possessed characters, we’ve got some rotting corpses.”Īsked for more details, he went on to say, “ We’ve both matured in the 22 years since we worked together on Evil Dead 2. “ This is back to basics for Sam,” Greg told us. These terrible things quite likely involve the creative mind of Greg Nicotero, a monster maker of daunting credits who also worked with Raimi in the second and third Evil Dead films.

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