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They enlisted Robert Aiki Aubrey Lowe (a.k.a. “When Nia was in early stages of prep, we spent a lot of time considering how the tone could be bridged not just by rehashing Philip Glass’ brilliant original score but bringing in another avant garde artist to bring that level of nuance, darkness and specificity to the movie.” “One of the things we had at the forefront of our minds was the artistry of the original and the score was something that was really driving the tone of the original film,” agreed Cooper. It’s iconic especially with that Philip Glass score over it.” " wasn’t with a drone, but it was with a helicopter rig so it looked like what we see as drone shots now. “I wanted to do something that was as interesting, unique and hopefully as unexpected visually and artistically as the first film,” she added. “Drone shots are so common now, so I wanted to see if I could create the same effect but with different imagery,” she said. DaCosta pays homage to the opening with a similar panning shot of the city, this time pointed directly at the skyline.
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The crew of the updated film discusses the elements and themes that were crucial for them to get right for a “Candyman” sequel almost 30 years later.įans of the original movie will remember its opening sequence: a sweeping shot positioned directly above a Chicago highway accompanied by a chilling Philip Glass score. “And then when I got older, I just fell in love with the artistry of it, how weird it was and how it actually wasn’t the horror movie I thought it was when I was younger.” “I was a huge fan when I was a kid because I love scary movies,” said DaCosta of the 1992 film. The producers tapped “ Little Woods” filmmaker Nia DaCosta to direct and co-write (before she was enlisted for the upcoming “Captain Marvel” sequel “The Marvels”), and Emmy-winning “Watchmen” star Yahya Abdul-Mateen II landed the lead role of Anthony, an artist on the rise with a mysterious connection to Cabrini-Green. Even just the notion of setting a horror film in graduate school is such a nuanced turn.” “The artistry and specificity of the story were so much more nuanced than anything we had seen in the slasher genre. “Jordan and I have been friends for so long that we both watched the film on VHS together,” said Cooper. Shortly after the success of “Get Out,” Peele and his Monkeypaw Productions partners Ian Cooper and Win Rosenfeld signed on to produce a “spiritual sequel” to “Candyman,” which Peele and Rosenfeld would also co-write. Though the original has some fascinatingly problematic notes (like everything ever), it changed my perspective of what was possible in film by daring to represent Blackness in what was, for me as a genre fan, the ultimate position of power.” " was a romantic nightmare that scared the s- out of me and Black people everywhere. “Its impact on me was seismic,” said filmmaker Jordan Peele by email.
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Her research leads her to Cabrini-Green, a public housing development in Chicago haunted by Candyman, the ghost of an artist who was brutally murdered in the late 19th century for having a relationship with a white woman. Written and directed by Rose from Clive Barker’s short story “The Forbidden,” the film revolves around a white graduate student (played by Virginia Madsen) working on a thesis about urban legends and folklore. When Bernard Rose’s “Candyman” hit theaters in 1992, it was the first slasher film to center a Black supernatural killer.