Tag: mary elizabeth winstead
Taglines: Monsters come in many forms.
Following an argument with her fiancé Ben, Michelle leaves New Orleans and drives through rural Louisiana. Late at night, she turns on the radio only to hear that there were continuous blackouts in major cities.
Distracted by a call from Ben, Michelle gets into an accident and is rendered unconscious. She wakes up in a concrete room chained to a wall, and is approached by a man named Howard, who explains that an unknown attack has taken place and that he brought her to his bunker after finding her on the side of the road.
Michelle meets Emmett, another survivor who witnessed the attack and fled to Howard’s bunker. During dinner, an unconvinced Michelle steals Howard’s keys and tries to escape, but discovers Leslie, a woman suffering from a severe skin infection, begging to get into the bunker. When Leslie dies from the infection, Michelle realizes Howard was right and stays.
As time passes, the trio begins adapting to living underground, and Michelle learns of Howard’s daughter Megan. When the air filtration unit breaks down, Howard asks Michelle to climb through the air ducts to reset the system. She discovers a window with the word ‘HELP’ scratched on the inside and a bloody earring that she recognizes from a picture of Megan. She shows the picture to Emmett, who recognizes her as a missing girl from his high school, Brittany.
They then discover a polaroid of Brittany wearing the same clothes loaned to Michelle. Realizing that Howard is dangerous, they begin to plan an escape and fashion a biohazard suit, but Howard discovers what they are doing. In defense of Michelle, Emmett accepts the blame and claims he was creating a weapon. After accepting an apology from Emmett, Howard summarily executes him with a revolver.
Michelle works to complete the biohazard suit but is discovered by Howard. She dumps a vat of perchloric acid on him, severely injuring him and inadvertently starting an electrical fire. She climbs back through the air ducts, puts on the suit, and escapes outside, where she realizes the air is not toxic. Moments later, a techno-organic extraterrestrial craft appears in the distance. The underground bunker explodes, killing Howard in the process and attracting the craft’s attention.
Michelle flees to Howard’s farmhouse, where she finds Leslie’s dead body. Toxic gas is released, forcing her to take shelter in Howard’s truck, which is then picked up by the craft as it attempts to consume her. However, Michelle assembles a Molotov cocktail and throws it into the craft, destroying it in an explosion.
10 Cloverfield Lane
Directed by: Dan Trachtenberg
Starring: Mary Elizabeth Winstead, John Goodman, John Gallagher, Mat Vairo, Jamie Clay, Cindy Hogan, Sumalee Montano, Suzanne Cryer, Bradley Cooper
Production Design by: Ramsey Avery
Cinematography by: Jeff Cutter
Costume Design by: Meagan McLaughlin
Set Decoration by, Michelle Marchand, Kellie Jo Tinney
Music by: Bear McCreary
MPAA Rating: PG-13 for thematic material including frightening sequences of threat with some violence, and brief language.
Studio: Paramount Pictures
Release Date: March 11, 2016
Born: Mary Elizabeth Winstead
Date of Birth: 28 November 1984
Birth Place: Rocky Mount, North Carolina, USA
Height: 5′ 8″ (1,73 m)
Mary Elizabeth Winstead is a gifted actress, known for her versatile work in a variety of film and television projects. Possibly most known for her role as Ramona Flowers in Scott Pilgrim Dünyaya Karsi (2010), she has also starred in critically acclaimed independent films such as Paramparça (2012), for which she received an Independent Spirit Award nomination, as well as genre fare like Son durak 3 (2006) and Quentin Tarantino’s Ölüm geçirmez (2007).
Mary Elizabeth Winstead began her career in performing arts at a young age in Salt Lake City, Utah. In her adolescent years, Winstead’s exceptional talent in dancing and acting earned her the opportunity to study dance at the prestigious Joffrey Ballet School in New York City. Soon after, she was appearing on Broadway and singing in the International Children’s Choir. After years of hard work, Winstead’s passion for the performing arts has blossomed into a successful career in Hollywood’s competitive film and television industry.
Winstead recently finished filming 20th Century Fox’s period vampire adventure Abraham Lincoln: Vampire Hunter, starring as Mary Todd Lincoln opposite Benjamin Walker (Abraham Lincoln). The film is directed by Timur Bekmambetov and is based on the book by Seth Grahame-Smith. The movie tells the story of how Lincoln fought vampires during the Civil War, and also stars Dominic Cooper and Anthony Mackie. The film is slated for release on June 22, 2012.
In the summer of 2010, Winstead was seen starring opposite Michael Cera in the Universal Pictures action-comedy-fantasy film Scott Pilgrim vs. the World. The movie is based on the graphic novel by Bryan Lee O’Malley and was directed by Edgar Wright. The film also starred Chris Evans, Jason Schwartzman, Brandon Routh and Anna Kendrick.
Winstead’s other film credits include Grindhouse Presents: Quentin Tarantino’s Death Proof, in which she starred alongside Kurt Russell and Rosario Dawson. It was in this film that Winstead got to share her vocal skills by singing “Baby It’s You.” She also starred in Emilio Estevez’s Golden Globe-nominated film Bobby, alongside such actors as William H. Macy, Demi Moore, Elijah Wood, Sharon Stone and Sir Anthony Hopkins, just to name a few. The film earned Winstead a Screen Actors Guild Award nomination for Outstanding Performance by a Cast in a Motion Picture. Her other film credits also include Factory Girl, Black Christmas, Live Free or Die Hard, Sky High and Final Destination 3.
Winstead currently resides in Los Angeles, California.
Production designer Sean Haworth was faced with a daunting creative challenge as he began to tackle The Thing: he had to design the look of the film from Carpenter’s earlier version. Haworth explains: “It was a lot of detective work, poring over every little moment. There were so many clues left behind, and you had to pick the ones that were important and that made sense.”
Haworth read journals from people who have lived in Antarctica, reviewed a number of documentaries on the subject and studied endless pictures to create the look that he and director van Heijningen wanted for the film. “It’s a Norwegian base, but the characters come from different parts of the world,” the designer states. “Each character would bring parts of their world with them: family photos, personal items, books that they would read and music to listen to.” The Norwegian cast was also a good source of information for him. For example, they were able to suggest Norwegian songs that were popular in 1982 and would be sung by the Thule Station crew.
Most of the action in The Thing takes place at this Norwegian research camp in Antarctica. The film was shot in northern British Columbia (BC), as well as in and around Toronto. Of shooting in BC, Newman comments: “There are only so many places you can take all these people where there are no trees and where it looks like Antarctica…without actually going to Antarctica. The fact that we ended up in Stewart, BC, close to where they shot the original film, is not totally a coincidence.”
The location allowed the filmmakers to deal with the inherent tight quarters and paranoia in a logical way. Newman adds: “This is a very claustrophobic experience for the characters. You walk 30 paces out of the camp, and you can get lost and freeze to death in less than an hour. This was part of establishing the scope and reality of the place. It’s important to show it as incredibly beautiful, but also as a very dangerous place.”
For executive producer David Foster, it was a bit surreal to revisit the world of The Thing during the course of the shoot. He notes, “When we were filming in Canada, it took me back 30 years to the first picture. Though our protagonist is now a heroine instead of a hero, Kate’s dawning realization in the Norwegian camp that she must take charge in this frigid landscape was just as powerful as MacReady’s in the American outpost. If you didn’t know better, we could have easily been back on our former set preparing to head into the frozen wilderness.”
Winstead found the locations quite helpful for getting into character. “Isolation is a big element in the film, as is being separated from people and not knowing who you can trust and who you can relate to,” she says. “Having it set in such a vast, remote facility where there’s no help, and there’s nothing for miles, adds to the paranoia and the claustrophobia.”
The choice of location was also dictated by other production needs, such as the ability to burn the camp to the ground, helped in part by eager stunt performers who were comfortable being hit by flamethrowers. As well, a quarry outside of Toronto was used extensively during production. Haworth and his team had to create Antarctica over a base of rocks and gravel. As weather conditions made it impossible to know what to expect, and Haworth required snow on a consistent basis, the only solution was to create an artificial environment.
“We started experimenting with every type of snow methodology we could come up with,” Haworth recalls. “Our fantastic scenic artist spent a lot of time testing. He came up with a great method of making artificial snow, which involved a lot of melted wax, and creating the equipment to spray the wax in large quantities.” Re-creating Antarctica presented many challenges to the designer’s team. “The carpenters and the scenic painters did their waxwork, and the special-effects guys created 92 kinds of snow. There was a lot of head scratching, research and elbow grease that went into it.”
The artificial snow was a success. Despite climatic conditions that fluctuated between extreme heat and torrential rain, after three weeks of shooting, the snow stayed consistent. Those who tread upon it felt as if they were still walking upon snow. Winstead relates: “Every day they piled on the fake snow and ice it felt so real, and it made it feel colder. It’s amazing the kind of psychological effect that has on you.”
Edgerton has another memory of the events. “In the beginning of April we were outside, and it was freezing,” he says. “Toward the end of the shoot, it was 30 degrees Celsius and we were still in the same outfits…dressed like we’re in Antarctica. You go outside and everyone’s wearing shorts and wife beaters. The temperature was pretty funny.”
Related Link: Read the Full Production Notes for The Thing