Which great moments from cinema's past would be better in 3D? We asked director Patrick Lussier, who's helmed two 3D movies — My Bloody Valentine and the upcoming Drive Angry 3D — what classic movie moments he thought, as a 3D connoisseur, would be improved by 3D.
Here's the full list and the 3D explanation justifications straight from Lussier himself. IMPORTANT NOTE: Lussier is in no way saying that these movies need to be remade or should be converted to 3D. He has the greatest amount of respect for all of these films as they are.
The Rubber Ball. Such a simple, fantastically atmospheric and undeniably terrifying film. It's a really simple ghost story. There's such terror in it that builds and builds but the best scene is when George C. Scott throws away the ball that belonged to his daughter who had died. He then comes home and it's just thumping down the stairs. It's very simple: you just have this ball bouncing down the stairs at you and at the very last second it rolls forward and breaks the frame but without being in your face. It's one of the best scares ever. It's elegantly done and set up so well. This film makes that simple act not only raise your hackles, but become such a signature moment in an already landmark scary movie. Here's an example of keeping the audience inside the house with Scott, pulling the depth of the walls around you so you constantly feel the place pushing on you.
The Exorcist is fascinating to watch with the way movies are paced today. The first hour of that film is all slow burn, it's all going to the doctor and doing this and that. Once you get into the last 30 minutes it's so shocking, especially for the time, but even now it is so incredibly effective with how real that movie plays. You look at that final scene, if you were to shoot that in 3D it would be great. However William Friedkin shot that so well, it basically takes place in a square box. It makes a square box terrifying. To enhance that — not even to make things come at you, even though that would be a blast — it's the idea of how do you make that space terrifying in 3D? It would simply be putting the audience in it. You would feel the wallpaper and the wall and that all around you. There's no escape. And I think as much as you get that feeling when you watch that film it would be amplified in the third dimension. And of course, Regan's projectile vomiting.
The movie so beautifully takes ordinary suburbia and makes it terrifying. The scene where Craig Nelson opens the children's door, the tree attacking the son, the entire ending and of course, the clown attacking Robbie and dragging him under the bed. Just putting the audience under that bed with him, or in the closet, immersing inside a home that's probably similar to places a lot of the audience lives in.
The Omen, well... Richard Donner made a 3D movie before this wave of 3D movies! Every death in it is the perfect 3D kill. Patrick Troughton's death where the lightning rod comes off the church's spire and impales him. David Warner's head rolling right at you. How Gregory Peck is shot in the end. And that was '76. That movie, as classy as it is, and it is sort of the popcorn brother to The Exorcist, it has kill after kill. Half the horror movies today would be begging to have kills like that. The Omen doesn't shy away from being a horror movie. From Baboons on Lee Remick's car, to the Italian graveyard where Peck and Warner find the remains of Damian's mother. This movie has so much 3D potential.
The transformation sequence and the dog attack. Anything with a creature that can change and become anything. There's no restriction with how you can play with the three dimensional space. The shot where Copper gets his arms bitten off where you're seeing from inside the chest looking back up at him. The head comes off the body and grows spider legs and skids across the floor. That movie is a landmark opportunity of being able to play with the three dimensional space.
A great action story with a great character. Having the .44 Magnum pointing out to the back of the theatre would be daunting to say the least.
If you were strapped in the seat next to them... what 3D loves is clauterphobic depth. A place where you can get lots of depth but you can still feel the walls around you. If you strapped on the hood there, you'd be white knuckling it next to Steve McQueen. Driving at high speeds through San Francisco, this is a city made for car chases.
There's really there's no better high octane movie than this. And using the exact same shots — but in 3D, where you are on the asphalt deck roaring at 60, 70 miles an hour... would leave you breathless.
See Lussier's latest 3D work in Drive Angry, which will be in theaters on February 25th.