So we actually worked that in and just tried to make it really specific so people would have fun with it.Ĭould you talk a bit about the intrusions themselves, and just the collaborative process of bringing them to life? They felt similar to the Max Headroom footage but also gave me a Shaye Saint John vibe, so I wondered how those came about. So then I was able to go back and go, "Okay, Peotone, this is where this amazing location that we've found, which is the best horror movie house of all time," like no production design required and it was in Peotone. So that was really the thing, is I wanted to get that feeling. I looked at it like, this is just the most photogenic city in the world and I wanted to get the feeling of it. I hadn't been to Chicago that much, it was great. I've actually had people be like, they didn't know anything about it, they're like, "Is this based on a true story?" And it's like, "No, but there's a lot of inspiration taken from it." It just gives it a little more specificity and, in that way, it can feel like it actually could be a true story. I was just like, "Let's just double down on this, and since we're already shooting in Illinois, let's actually really utilize that." So just a matter of, with the crew and the collaborators just trying to really make things as specific as possible to that city, and try to make it almost like a historical fiction of The Max Headroom Incident as opposed to something that is loosely. ![]() But when I got involved, they're UK writers, so it was definitely told in more of an "every city," a little bit more of a metaphorical sense to everything. Well, the script that I originally had read to get involved with the movie actually was not set anywhere specifically, and it had very much The Max Headroom Incident in the DNA. Was that meant to be a nod to the original Max Headroom incident and how it happened in Chicago or were there other elements of the story that you think made it so Chicago and the geography of the state were integral to the story or look of the film? This movie starts in Chicago but then heads to lesser-known towns in Illinois, like Joliet or Peoria. Essentially just trying to make it your own while also just trying to be true to like, whatever the spirit of the material was. Things that just were of my interest levels in the thing that I wanted to push further, and in doing that, it felt like there was. We had lots of script meetings, we were developing the script and pushing certain things further and whatnot. I know that the writers, perhaps they had some conspiracy, '70s, paranoia-thriller inspirations, but we didn't really discuss that. I think that having, eventually, seen some of the original stuff, I did see like, "Oh, well, I think it got it some of the same places through different roots," if that makes sense. Just because I have so much respect for directors and stuff like that, but ultimately, by the time I was already involved in it and it seemed like my take and all the things that I wanted to do with it, were not necessarily informed by anything other than the material. I didn't know that they made a short film when I got involved, and I actually think I might have been a little bit more hesitant. Headroom: 2:3 M.) There follows an adventure tale involving a corrupt television network overstimulating viewers to death with super-short subliminal commercials called “ blipverts.Well, to be honest with you, I didn't actually know that it was based on it. (The last thing he saw before an automobile accident that read Max. His first appearance was in a 1985 dystopian comedy for British television, Max Headroom: 20 Minutes Into The Future, in which a television journalist played by Frewer named Edison Carter gets his consciousness cloned and uploaded into an AI wacky television host named Max Headroom. ![]() While the image of Max Headroom is likely familiar to most, the origin of this character can get a little murky. (Stream Mandy or, better yet, The Greasy Strangler, if you dare.) While a reboot of an old “oh, I know that!” IP can often lead to rolled eyes, anyone who has seen a SpectreVision project knows this group comes correct. ![]() Halt and Catch Fire co-creator Christopher Cantwell, working with Elijah Wood and Daniel Noah’s company SpectreVision, will bring the series to AMC. Max Headroom, the perplexing fictional character played by Matt Frewer in a variety of television forms, is coming back, as per an announcement in Deadline. Grab your floppy discs, crank the Duran Duran, and crack open some ice cold New Coke.
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