Movies
Watch The Second Creepy Trailer And Clip For James Wan’s MALIGNANT – In Theaters And On HBO Max September 10
“Malignant” is the latest creation from “Conjuring” universe architect James Wan (“Aquaman,” “Furious 7”). The film marks director Wan’s return to his roots with this new original horror thriller. In the film, Madison is paralyzed by shocking visions of grisly murders, and her torment worsens as she discovers that these waking dreams are in fact terrifying realities.
“Malignant” stars Annabelle Wallis (“Annabelle,” “The Mummy”), Maddie Hasson (YouTube’s “Impulse,” TV’s “Mr. Mercedes”), George Young (TV’s “Containment”), Michole Briana White (TV’s “Black Mafia Family,” “Dead to Me”), Jacqueline McKenzie (“Palm Beach,” TV’s “Reckoning”), Jake Abel (TV’s “Supernatural,” the “Percy Jackson” films) and Ingrid Bisu (“The Conjuring: The Devil Made Me Do It,” “The Nun”).
Wan (“Aquaman,” “Furious 7”) directed from a screenplay by Akela Cooper (“M3GAN,” upcoming “The Nun 2”), story by Wan & Ingrid Bisu and Cooper. The film was produced by Wan and Michael Clear, with Eric McLeod, Judson Scott, Bisu, Peter Luo, Cheng Yang, Mandy Yu and Lei Han serving as executive producers.
Behind the scenes, Wan was joined by his frequent collaborators, director of photography Don Burgess and editor Kirk Morri (“Aquaman,” “The Conjuring 2”), production designer Desma Murphy (art director, “Aquaman,” “Furious 7”), as well as costume designer Lisa Norcia (“Insidious: The Last Key”). The music is by Joseph Bishara, who has composed the score for all seven films in “The Conjuring” Universe, among many others.
New Line Cinema Presents, In Association With Starlight Media Inc. and My Entertainment Inc., An Atomic Monster Production, a James Wan Film, “Malignant,” will be released by Warner Bros. Pictures on September 10, 2021 in theaters nationwide and on HBO Max via their Ad-Free plan in 4K UHD, HDR10, and Dolby Vision on supported devices; it will be available on HBO Max for 31 days from theatrical release.
“Malignant” has been rated R for strong horror violence and gruesome images, and for language.
Check out the Q&A with Wan below.
Can you talk a little bit about the creating the look and the feel of this movie and the team that helped you create it, why you picked those artisans?
I have been making movies for a while now and I have worked with a lot of talented people. What you end up doing is you collect a stable of great artists and just good people that you want to work with again and again. Luckily for me, these people are also such great artists, such great crafts men and women in their areas of expertise, and it really was about collaborating with them to help me bring my vision to life. From Lisa’s fantastic costume design to Desma’s amazing production designing, and then seeing it through the lens of Michael Burgess—all whom I think are rising talents with very bright futures ahead of them. A lot of team were people that had worked with me in the past to some capacity. Michael Burgess had camera operated for me on my other movies, and then it was on “La Llorona” that we elevated him to cinematographer. This was Desma’s first movie production designing. She had spent many years being an art director. Naturally they all want to step up and I felt like “Malignant” was a great platform for a lot of these artists to take their craft to the next level. I’m very honored that I could give them that opportunity and they could come onto the film and do such an amazing job for us.
I wanted to challenge myself to go back and do something that’s not based on any existing IPs, like I had done with “Saw”, “Dead Silence” and “Insidious.” It was important for me to craft an original story that would allow me to play with old school special effects and makeup effects. I got the opportunity to work closely with the fantastic artists at Fractured FX and Spectral Motion. It was such a joy to play with gore effects again and dabble in complex animatronics.
With this film I also needed clever visual effectsto bring the set-piecesto life. ILM did such terrific work in crafting Madison’s hallucinogenic visions and helping to shape the “killer.” Between the amazing work of ILM and the practical effects team, we were able to combine the best of both worlds and tell the best possible story.
One of the things that fans love about you as a filmmaker is that simplification, that distillation of fear, exploring what creates and causes fear. In a James Wan movie, it’s not complicated, but, it’s effective, those little details.
It’s always the small things. That’s why I think my supernatural ghost movies have worked because I think I understand the simple, primal things that scare us, like the creaking of a door, a chair that moves on its own. That’s all you need to do to send chills down someone’s spine. I doesn’t have to get up and start chasing you with a knife, even though that’s a different kind of scare. I feel I recognize the different degrees of scares, from my bloodier more shocking movies like “Saw,” to the creepier ones of the “Insidious” and “Conjuring” films. Part of the fun is to traverse between these levels of frights, and the key is to present them in a fresh and unique way. That’s what I tried to do with “Malignant”—lull them in with a familiar structure, and then hit them with something weird, unique, crazy, and wonderful.
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