|Asia bares her fangs...|
According to Alan Jones’s on-set reports, filming has gone well thus far and the shoot has proved something of an Argento ‘family’ reunion. Working with the Maestro again are the likes of special effects artist Sergio Stivaletti (who has worked on the majority of Argento's films since Phenomena in 1985), cinematographer Luciano Tovoli (who also lensed Argento’s gothic masterpiece Suspiria and edgily reflexive giallo Tenebrae), production designer Massimo Antonello Geleng (The Stendhal Syndrome, Phantom of the Opera, Sleepless and The Card Player) and ex-Goblin composer Claudio Simonetti, who has worked extensively with Argento since they collaborated on Deep Red in 1975.
|Descending to the crypts|
Also according to Jones’s reports, Argento remarked to him “Once you've shot in 3D you will never go back." Hardly surprising to hear as Argento has consistently pushed the boundaries of film making technology in his native Italy throughout his blood-splattered career – his film The Stendhal Syndrome for example, was the first ever Italian production to utilise CGI, so it makes sense that he’d eventually experiment with 3D, especially now that it has become so ubiquitous.
As Asia is portraying Lucy, the Count’s first victim when he arrives in England, this will mark the first time she dies onscreen for father Dario. And the second time she’ll share screen time with Kretschmann (the first was during the sadistic and sordid The Stendhal Syndrome), who told Alan Jones: "When Dario called me up offering the role he said to think of it as a Stendhal sequel as I would be treating Asia (Lucy) just as badly!"
Dracula 3D will wrap soon, and early word is that Argento hopes it will be released in March, 2012 and he says that his screenplay is very faithful to Stoker’s text. With horror cinema experiencing something of a gothic revival (The Wolfman, Red Riding Hood et al), an obsession with all things fanged and blood-thirsty (Let the Right One In, a remake of Fright Night on the way) and pop-culture generally sopping with depictions of lovelorn/lustful vampires (True Blood, Vampire Diaries, erm, Twilight?) at present, the time is ripe for a revisit to Stoker’s source material, which arguably kick-started the whole mainstream acceptance/popularity of the vampire.
|Asia and Thomas|
|Marta Gastini as Mina|
|Asia and Alan|