Movies
Darren Bousman Cleans the Massacre of the ‘Abattoir’
While Darren Lynn Bousman is already hard at work in pre-production for his remake of Mother’s Day, the director of Repo! and Saw II-IV is already hard at work at another potential film, which would be adapted from a forthcoming comic book being revealed at the San Diego Comic Con later this month. Read on for details on Abattoir, a new horror film in the vein of Hellraiser.
“At SAN DIEGO COMIC-CON INTERNATIONAL 2009, Radical is proud to announce Darren Bousman, the acclaimed director of Saw II, Saw III and Saw IV, at the Radical Publishing booth #3735 as he signs both a limited edition poster and copies of Radical’s San Diego Comic-Con 2009 Exclusive Preview Book which features Bousman’s chilling, supernatural upcoming release Abattoir.
Set for a 2010 debut, Abattoir chronicles real estate agent Richard Ashwalt, assigned the impossible task of cleaning up after a brutal massacre takes place at a mansion. As he cleans the blood-soaked grounds, a twisted old man journeys to the house with a sinister and terrifying purpose, and Richard is drawn into a web of shadows, murders and massacres that will shatter him to his very core…and make him run for his life.
“We’re ecstatic to showcase Darren’s work at this year’s Comic-Con International,” said Radical Publishing’s President and Publisher Barry Levine. “In addition to being a director on the cutting edge of Hollywood horror, Darren is an accomplished writer with an incredibly thrilling story to tell. We’re proud to have Darren at our booth for this year’s Comic-Con.”
Bousman’s directing credits include the horror epics Saw II, Saw III, and Saw IV as well as 2008’s Repo! The Genetic Opera. His writing credits include Saw II, 2000’s Butterfly Dreams and 2001’s Identity Lost.
Darren Bousman will be signing on Saturday, July 25th at the Radical Publishing booth.
Radical Publishing booth #3735
Saturday
3:00 P.M. to 4:00 P.M.
About Radical Publishing
Radical Publishing is founded by Barry Levine (producer for Hercules, Caliber, Freedom Formula and executive producer for the in-development Rex Mundi movie for Warner Bros., written by Jim Uhls and starring Johnny Depp) and his protégé Jesse Berger (executive producer for Hercules, Caliber and Freedom Formula).
For their quality and excellence in 2008, retailers voted Radical Publishing the Gem Award for “Best New Publisher of the Year” from Diamond Comic Distributors. Radical brings the best writing, storytelling and fully painted cover and interior art to the global comic book market, from prominent international talents such as Yoshitaka Amano, John Bolton, Luis Royo, Jim Steranko, Steve Pugh, Warren Ellis, Arthur Suydam, Steve Niles, Jimmy Palmiotti, Flint Dille, Marko Djurdjevic, Ian Edginton, David Hine, Rick Remender, Joseph Kosinski, Nick Percival, Steve Moore, Sam Sarkar, Stjepan Sejic, Dave Wilkins, Tomm Coker, Clayton Crain, Bill Sienkiewicz, Nick Sagan, Clint Langley, Nick Simmons, Patrick Reilly, Weta Workshop, Zombie Studios and many more.
Radical Publishing currently has production deals with Universal Studios, Spyglass Entertainment, Peter Berg’s Film 44 and Radical Pictures for Hercules; Johnny Depp’s Infinitum Nihil and Radical Pictures for Caliber; and New Regency, Bryan Singer’s Bad Hat Harry Productions and Radical Pictures for Freedom Formula.“
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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