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 Berlinger has stated that he originally made the film with more of an ambiguous tone, but Artisan recut the film and re-shot certain scenes to add more "traditional" horror movie elements, thus creating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.
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Famous quotes containing the word production:
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)
“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)