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- Pennywise, the evil dancing clown and titular character, is holding one red balloon, with Georgie Denbrough, the yellow raincoat boy, is walking into It. The background, clouds, air and the road are all black and grey. (en)
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- "The final is two hours and nine minutes from memory, the first editor's assembly was three hours and forty minutes and then after the director's cut, we were hovering just under the three-hour mark. Then we went through studio notes and audience screenings to further work the cut. Not only are there film rhythms, but there are also filmmaker rhythms. Cutting a film is a marathon, not a sprint. You have to emotionally and physically pace yourself." (en)
- "The thing about Stephen King's writing is that he draws his characters so well, it's hard not to imagine they're real people. So it honestly didn't occur to me to try to think of actors in those roles. Pennywise is a bit of a different story, though. His manner is so crucial to what's frightening about him, and it's too much fun to imagine all of the nuances different actors could give him. I think there are a hundred actors who could each pull off a fascinating, horrifying Pennywise, and I tried not to get too attached to any one actor in my head. I think the Pennywise in this adaptation is a less self-conscious of his own irony and surreality than was Tim Curry's Pennywise. I think it will be harder to laugh at his antics since, under the permissiveness of an R rating, I was able to give him back a lot of his more upsetting moments from the novel, ones that could never be aired on network television." (en)
- "We were fans of horror at very early age; we were exposed to horror movies very early in life so there was this addiction we carried very early, and then came Stephen King. We're very big fans of his. He's my literary hero. It all started with Pet Sematary but then It came along and for me, it was a mind-blowing experience. My first reaction, when offered the opportunity to direct this movie, was basically to go back to my emotional experience reading the book when I was a child, and translating that into a movie that would blow my mind as an adult. Those were the big ideas when approaching the making of this movie." (en)
- "Basically what they did was bring in all the stunt performers into a gym, and they learned the choreography and they motion-captured this. We built really quick CG assets for all the characters, including Pennywise, and we planned out all his transformations and the action. In the end, you could have the shape of both characters, but both of them could have the textures of one or the other. With some simulated effects we'd be able to balance all of that out and really time it to what [Muschietti] was looking for. (en)
- "I am in the midst of rewriting the first script now. We're not working on the second part yet. The first script is just about the kids. It's more like The Goonies meets a horror film. We're definitely honoring the spirit of Stephen King, but the horror has to be modernized to make it relevant. That's my job, right now, on this pass. I'm working on making the horror more about suspense than visualization of any creatures. I just don't think that's scary. What could be there, and the sounds and how it interacts with things, is scarier than actual monsters." (en)
- "One of my main quests is highlighting the eyes of the actors, indeed. I believe that what is captured in the eye goes beyond what can be seen in facial expressions alone. So I always look for a specific way to highlight the eyes of each actor. We did several tests on Pennywise's eyes during camera tests and in the end, I used a flashlight. We tested a lot of different lamps and I chose a particularly powerful one, which gave a very hard light. When Pennywise looks at the kids, I wanted his eyes to look more than his desire to eat them. I liked the idea that, in his eyes, we can see that he knows the fear he inflicts. A bit like when a mother looks hard at her children to scold them. More than just scary eyes, I thought that was what the character needed. So something had to be done to emphasize his look." (en)
- "...the way Cary intended to execute the script is something that only he can talk about. I can say my version of It highly emphasizes Pennywise's most terrifying virtue, which is its ability to materialize into your worse fear; I want to take people in a journey into Pennywise's world through a disturbing, surrealistic and intoxicating experience that will leave nobody at ease." (en)
- "One of the main sets that we worked on one of them was an evil house. The evil house had three specific moments there's the exterior, there's the interior, and then the basement, where the well is where Pennywise accesses the sewers and the cisterns where his lair is I also wanted to have this spooky tree looming at the house so we decided to build it until a crew member found this tree, driving to the office here one morning. So we bought the tree from the owner after negotiating." (en)
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- — Chung Chung-hoon, on the visual power of lighting eyes in It. (en)
- — Jason Ballantine, on the final theatrical cut in It. (en)
- — Arnaud Brisebois, on the showdown with Pennywise in It." (en)
- David Kajganich, on the construction of Pennywise. (en)
- — Andy Muschietti on King's influence in his approach to It. (en)
- — Claude Paré, on the construction of 29 Neibolt Street on It. (en)
- – Andy Muschietti, on his version of It. (en)
- – Cary Fukunaga, on the development of It. (en)
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| rdfs:label
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- It (2017 film) (en)
- To (film, 2017) (cs)
- It (pel·lícula de 2017) (ca)
- Το Αυτό (ταινία, 2017) (el)
- إت (فيلم 2017) (ar)
- It (2017ko filma) (eu)
- Es (2017) (de)
- It (película de 2017) (es)
- Ça (film, 2017) (fr)
- It (film 2017) (in)
- It (film 2017) (it)
- IT/イット “それ”が見えたら、終わり。 (ja)
- 그것 (영화) (ko)
- To (film 2017) (pl)
- It (2017) (nl)
- It (2017) (pt)
- Воно (фільм, 2017) (uk)
- Det (film, 2017) (sv)
- Оно (фильм, 2017) (ru)
- 牠 (電影) (zh)
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