![]() ![]() ![]() There’s a heavy dose of this in the opening sequence, which eventually leads to his capture by DEPUTY GARY HUNT and his clinical psychiatrist, PAUL ROGERS. It’s a refreshing approach because, as the viewer will typically see Michael standing in the shadows and then mysteriously vanish, here the viewer will actually follow Michael as he moves out of frame (picture the scene where Laurie catches a glimpse of Michael out the window by the clotheslines – instead of it being from her perspective, the audience would experience it from Michael’s). What’s unique about Halloween Returns is that it’s told from Michael’s perspective, and follows his POV on many occasions. While she lives through the ordeal, Michael leaves dozens of victims in his wake – many of which come back in the later part of the screenplay. In fact, it opens with a shot of Michael standing up at the exterior of the Doyle home, where he’s stalking a young girl, KAREN. The film would have opened in HADDONFIELD on the same night as MICHAEL MYERS terrorized LAURIE STRODE at the DOYLE HOUSE. Whatever the case, it’s a cool parallel conceit that takes Halloween fans on a ride that answers the question, “What happened to Michael during Halloween 3: Season of the Witch,” which is given a loving nod multiple times in the screenplay. So, in essence, it’s continuing the story of Michael Myers, who vanishes after Loomis shoots him off the balcony, only on a new timeline (seemingly ignoring Halloween 2). To confuse things a bit, Halloween Returns takes place in modern day, and is not period (this feels like a studio note), but in fact, does fill the gap between Carpenter’s Halloween and Halloween 4. There’s no mention of the actual year in the script, only passage of time, although it does live in the same universe as John Carpenter’s 1978 Halloween. Halloween Returns was being pegged a “recalibration,” and what was meant is that the timeline is unique. But seeing as Halloween Returns is no longer in the cards, I thought it would be fun to share what could have ended up in theaters this coming Halloween.įrom what I’m told, this screenplay dated 4-13-15 is a casting draft, which is slightly different (including the names of characters) from what was further developed internally at Dimension. I’m not one to “review” screenplays, mainly because they change so drastically by the time they’re realized on film, not to mention that the director often takes the writer’s vision and contorts it into his own. Back in 2009, they had tapped Drive Angry and My Bloody Valentine duo Todd Farmer and Patrick Lussier to write and direct, respectively, Halloween 3D, with Marcus Dunstan and Patrick Melton taking the reigns in 2014-15 to develop Halloween Returns for the two companies. Can you believe it’s been nearly seven years since Rob Zombie’s Halloween sequel hit theaters? It’s no wonder the franchise was plucked away from The Weinstein Company/Dimension Films, where it now resides at Blumhouse with Adam Wingard circling to direct.īut before this impasse, Dimension and Trancas International had been developing the living hell out of the franchise. ![]()
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