Production
The Hills Have Eyes 2 began filming in the summer of 2006 in Ouarzazate, Morocco, where the previous movie was filmed. The alternate title was The Hills Have Eyes 2: The Hills Still Have Eyes.
Writer Wes Craven's initial inspiration for the film came during a casual conversation with producer Peter Locke. Craven envisioned that the previous film's character, Brenda (Emilie de Ravin), traumatized by her suffering during the events of The Hills Have Eyes, joins the National Guard to overcome her fears. Barely finished with basic training, Brenda receives a call from her sergeant, who explains that they are sending a team back to the New Mexico desert to eradicate the remaining mutants. Her sergeant and the team need her, for she is the only one left alive who knows the mutants' location. Because of de Ravin's involvement in the television show Lost, her schedule was unable to accommodate the filming of the sequel. Wes Craven replaced her character, but retained much of the original concept, including the group of National Guard soldiers in training.
A one-minute teaser trailer was released on December 12, 2006. The teaser featured "Insect Eyes," a song by indie folk recording artist Devendra Banhart. In addition to that, a series of clips with an introduction by Wes Craven and a small gallery can be found on the Fox Atomic website. Also on Fox Atomic is a soundless clip of the mutant Grabber attacking Amber. Later on a full length trailer and two clips were released to Yahoo! Movies.
Craven originally looked at Michael J. Bassett, the director of Deathwatch, to take over the directing role, but ultimately chose Martin Weisz after scheduling conflicts with Bassett.
Read more about this topic: The Hills Have Eyes 2
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“The society based on production is only productive, not creative.”
—Albert Camus (1913–1960)