Friday, December 2, 2016
4DX/ScreenX Daredevil Feature, WE KILL DEATH, Taps Eric Brevig To Direct
Keep your eyes glued to social media and YouTube long enough among circles familiar with parkour aficionados and daredevils alike and you're bound to come across some sick, twisted videos that I'll have you holding onto your own seat due to spells of vertigo. I'm talking videos of stunt performers just going around and out on the town, climbing skyscrapers and various scaffolds on buildings up to some dangerous heights and filming themselves and their friends doing some ballsy, wicked things on camera.
Needless to say, this practice has become a phenomenal one and the audience is far from dissipating at this point. Thus, it's clear why people like hit film Hardcore Henry executive producers, Let It Play's own Alex A. Ginzburg and Tony Lee would see potential in applying these particular feats for something as grand a scale as feature film, and for this latest endeavor as of their announcement a few months ago for the new movie, We Kill Death, they're not pulling back in the least.
The film, which so far casts Mustang Wanted, Oleg Cricket, Vitaliy Raskalov and Vadim Makhorov, is being designed specifically for theaters affixed with 4DX and ScreenX technology wherein the seats, which function as motion sensors, will work in tandem with the walls of the theaters to provide an immersive theatrical experience from a 270-degree perspective. The Korean Herald is reporting that Journey To The Center Of The Earth (2008) and Yogi Bear (2010) helmer Eric Brevig who also shares numerous credits for his VFX work, has been tapped to direct the film.
As per the same report, South Korea's largest cinema chain, CJ-CGV is partnering with Let It Play for plans to release the film a la 4DX and ScreenX theaters, while the film itself will also be made to accomodate 2D theaters. Since its launch in 2012 with up to fifteen Korean and Chinese language titles in its, We Kill Death marks the first ever English-language production made for the technology, which itself has already become lucrative in theaters throughout Asia, with more forthcoming.