Production
After the massive success of The Blair Witch Project, Artisan was eager to produce a sequel while the film's popularity was still at its peak. However, Haxan Films, who created the original film, was not ready to begin work on a follow-up, preferring to wait until the initial buzz had died down. Artisan decided to proceed without them, hiring Joe Berlinger, who had previously (and subsequently) only done true documentaries, to direct. Blair Witch directors Daniel Myrick and Eduardo Sánchez served as executive producers on the film, but later stated that they had little influence on production and were unsatisfied with the finished film.
Stylistically, Book of Shadows was the direct opposite of its predecessor: though the film occasionally utilizes the point of view camcorder/pseudo-documentary format used in the first movie, Book of Shadows more closely resembles the glossy, big-budget special effects-laden horror films that Blair Witch was a counter to. Berlinger has stated that he originally made the film with more of an ambiguous tone, but Artisan recut the film and re-shot certain scenes to add more "traditional" horror movie elements, thus creating what they saw as a more "commercial" film. Berlinger repeatedly expresses his dislike of the studio's changes throughout the film's DVD commentary.
Though Book of Shadows' marketing campaign made no attempt to present the film as a "true story", a promotional "dossier" for the film, compiled by D.A. Stern, was released, including fabricated police reports and interviews surrounding the events in the film as if they were fact (a similar "dossier", also by Stern, was released as a companion piece to the first film). Additionally, similar to the first movie, each of the main characters retain the first names of their respective actors, though their surnames are changed slightly.
Read more about this topic: Book Of Shadows: Blair Witch 2
Famous quotes containing the word production:
“The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.”
—Adrienne Rich (b. 1929)
“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 too many useful things results in too many useless people.”
—Karl Marx (1818–1883)