Recently, Hollywood has turned to the horror flick to rejuvenate flagging ticket sales. While the glut of guts has led to a lot of remakes and knockoffs, a few young filmmakers have risen to the challenge of fashioning fresh fare. Eli Roth is one such box-office reanimator. Spawning the hits Cabin Fever and Hostel, the Boston-born director splices social commentary into his gore while mischievously tinkering with genre convention. TVGuide.com invited Roth to discuss Hostel (out on DVD today) and share hi
Question: I was reading your answer about the play that was based on Dr. Strangelove and that got me to wondering if you know of any other really weird or unlikely movie-to-stage adaptations coming up. Thanks.
Answer: The avant-garde off-off-Broadway theater piece Major Bang, or: How I Learned to Stop Worrying and Love the Dirty Bomb, freely adapted from Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), was indeed an odd one. But I have to say, it's at least matched and maybe topped by Grey Gardens, a musical adaptation of the 1975 documentary by Albert Maysles and his brother about an eccentric mother and daughter, both named Edith Bouvier Beale, who lived in abject squalor in a rambling East Hampton mansion. The women, known to friends as "Big Edie" and "Little Edie," were related to Jacqueline B
Question: A friend told me he’d heard that there’s going to be a Broadway musical based on a Stanley Kubrick movie but couldn’t remember which one. Is this true, and, if so, which movie is it? I’m guessing 2001.
Answer: Your friend is partly right: A Stanley Kubrick film has been adapted for the stage, though it’s not a musical and it’s not opening on Broadway. If I had to guess which Kubrick movie would work best as a theater piece, my first instinct would be Paths of Glory (1957), because at heart it’s a courtroom drama. But I’d be wrong: It's Dr. Strangelove, or: How I Stopped Worrying and Learned to Love the Bomb (1964), which, come to think of it, could make an excellent dark musical à la Stephen Sondheim’s sardonic Sweeney Todd. But that's not exa
Writer Damian Kindler and director Peter DeLuise (Dom's scion, of 21 Jump Street fame) indulged their obvious fondness for Star Trek's "Amok Time" episode for this tale that landed Mitchell in the clutches of a Jaffa warrior sect that follows the Ori. Forced to bolt through the Stargate in a hurry, SG-1 had to leave the wounded Cameron behind. On the positive side, Mitchell's foes nursed him back to health. The bad news was they did this just so he could be trained to fight in a ritual clash to the death. Mitchell's quandary recalled that scene in Stanley Kubrick's Paths of Glory when Private Arnoud received a skull fracture and was bandaged up just so he could be shot. (By the way, Arnoud and his two fellow comrades "died wonderfully," according to the French general who executed them to save his own butt, but I digress.) No, Kindler and DeLuise aren't Kubrick, but who is? Obviously Mitchell had to squirm out of this jam alive an