“Right before we went and shot the film, I probably watched the original again six more times. So yeah, Wingard - who counts “Project” as one of the films that inspired him as a teenager in the little town of Marion, Alabama, to make his own movies - approached his latest, um, project with some healthy trepidation.
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Composed of scenes from the missing trio’s cameras allegedly discovered by subsequent search parties, the movie and that groundbreaking internet marketing campaign convinced many it was an actual documentary and kicked off the found-footage style of scary movies in a big way.īut other sequels to “Project” faltered, shaky found footage eventually became an audience-nauseating cliché and many of the talents involved in that initial film have yet to reach remotely similar career highs. Skepticism may be exceptionally strong regarding a sequel to Daniel Myrick and Eduardo Sanchez’s no-budget “Project.” The tale of three film students who are never seen again after entering Maryland’s Black Hills forest to document the local legend of a haunting, long-dead witch made a staggering $141 million at the domestic box office and another $100 million overseas. So we kept it secret while we were shooting.” “Also, we’re living in a time when everyone is so skeptical of sequels and remakes and reboots, you have to be careful about how you platform these things and reveal them to people. So for this film, we knew we needed to do something fun and exciting to kind of rejuvenate the Blair Witch name. “To a certain degree, ‘The Blair Witch Project’ is intertwined with its marketing campaign, that’s kind of the fun of it and what people really remember about it, almost as much as the movie. “There are still posters up in some places with ‘The Woods’ on them,” Wingard said. That’s a big reason why Lionsgate Films, which now owns the rights to the intellectual property, approached the duo to work up a sequel to 1999’s genre-changing and phenomenally successful “The Blair Witch Project.” Wingard and Barrett’s previous features, “The Guest” (2014) and “You’re Next” (2011), are considered two of the decade’s best indie fright films. Imagine the audience’s dark delight when, just before the show, they discovered the film’s actual title was “Blair Witch.” When fans at July’s San Diego Comic-Con were invited to a screening of a new horror movie called “The Woods,” those in the know were probably excited to see the latest work by director Adam Wingard and writer Simon Barrett.
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