New 'Texas Chainsaw' creation a twisted tale
It might not be as well-known to some moviegoers as “Friday the 13th,” “Nightmare on Elm Street” or “Saw,” but “The Texas Chainsaw Massacre” ranks high among the most revered titles in the horror genre.
The 1974 serial-killer story by Tobe Hooper sent five friends into the clutches of the Sawyer family, a clan of rural cannibals. Although the film's central villain, the power tool-wielding Leatherface, lived on in sequels and a 2003 remake, the series has lain dormant since 2006's “The Texas Chainsaw Massacre: The Beginning.”
Now, director John Luessenhop (“Takers,” “Lockdown”) and a team of producers are resurrecting Leatherface with “Texas Chainsaw 3D.” The movie opens today and is expected to do strong business of as much as $18 million in its debut weekend.
“From the beginning, it's been a mismanaged franchise — a boat that drifted off course,” said Carl Mazzocone, the producer most active in securing rights for and developing the new film.
The fact that there are far more producers — 15 — listed in the credits of “Texas Chainsaw 3D” than there are maimed corpses in the sequel itself is proof not only of how complicated it can be to relaunch a horror franchise but also of Luessenhop's desire to dial down the film's body count.
The new film emphasizes a storyline about the relationship between a woman named Heather (Alexandra Daddario) and Leatherface (Dan Yeager), who share common kin. In the story, Heather inherits a home with a cellar that happens to be occupied by a rather-antisocial relative.
“What if you discovered the only family left to you was a monster?” Luessenhop said.
In fall 2008, Mazzocone traveled to Austin, Texas, to meet with the representatives controlling the “Texas Chainsaw” rights. The producer's pitch was simple: The story of Leatherface should be as popular as the “Saw” movies, which Mazzocone and producer Mark Burg's Twisted Pictures had made.
“I told them we needed to put some level of integrity into the story,” Mazzocone said.
While the basic terms of the deal were hammered out in about 15 minutes, it took more than a year to finalize the contract and even longer to assemble a script that felt both fresh and reverential.
Mazzocone needed someone to bankroll the production. Lionsgate, which had released the “Saw” films and felt like a natural home for a new “Texas Chainsaw” film, was focused at the time on fending off takeover investor Carl Icahn and launching its “Hunger Games” series.
Eventually, the project made its way to Campbell Grobman Films, a new company formed by Christa Campbell, an actress and former pinup girl, and Lati Grobman, a producer who had a long partnership with Avi Lerner and his Millennium Pictures.
“We were taking meetings with other directors and writers pitching ideas of what could be the next big franchise,” said Campbell, who has acted in a number of horror movies including “2001 Maniacs,” “Day of the Dead” and “The Tomb.”
Added Grobman: “I know nothing about horror. I'm not a fan of it. But Christa knows the market; she knows the people. She's the queen of horror.”
The movie, which Millennium sold to Lionsgate for domestic distribution, was originally set to open Oct. 26 of last year, but ticket sales proceeds would have been hurt by Superstorm Sandy, which reached its peak intensity a day earlier.
John Horn is a staff writer for the Los Angeles Times.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Review: Latest ‘M:I’ Cruises by on top talent
- Review: ‘Infinitely Polar Bear’ actually has a warm heart
- Review: ‘Testament’ a tribute to the war within
- DVD reviews: ‘The Water Diviner,’ ‘Home’ and ‘White God’
- Fuqua, Gyllenhaal trained side-by-side for Pittsburgh-shot ‘Southpaw’
- Review: ‘Vacation’ is a funny homage to its predecessor
- Review: ‘LEGO Brickumentary’ documents building of an empire
- Review: ‘Farley’ never quite gets comfortable with itself