Magg ie The Walk­ing Dad

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SFX - - Red Alert -

In Mag­gie, Sch­warzeneg­ger plays it straight as Wade, a tight- lipped farmer who’s forced to care for his zom­bie- in­fected daugh­ter. “Arnold’s known for his ac­tion and ini­tially you think this script wouldn’t fit him,” di­rec­tor Henry Hob­son tells Red Alert, “but there’s a side of Arnold here that I don’t think has ever been seen be­fore. He came to meet­ings with a re­ally strong sense of char­ac­ter and what he wanted to do and it blew me away. There are no catch­phrases, it’s purely about him be­ing a fa­ther,” he adds. “It’s a very dif­fer­ent per­for­mance for him.”


run­ning out. You can tell that some­thing has hap­pened that’s had a knock- on ef­fect. There’s a de­pres­sion and de­cline in the world and by shoot­ing it in a way that high­lights the beauty de­spite all the death, I think, makes it more tragic,” he adds. “The film cap­tures a re­ally in­ter­est­ing cin­e­matic land­scape that’s very dif­fer­ent. That was the in­ten­tion.” Abi­gail Bres­lin plays Mag­gie, the tit­u­lar teen on the turn. Hav­ing fallen vic­tim to the virus, she’s res­cued by dad and re­turned home to wait out her deadly trans­for­ma­tion. “Mag­gie is a story about a girl whose in­cur­able dis­ease man­i­fests it­self in this deathly way,” says Hob­son. “Wade’s on a jour­ney to find his daugh­ter and bring her home but he hasn’t thought about what that means for ev­ery­body else in the town. There was this nat­u­ral­is­tic energy to what Abi­gail was able to bring to


sci- fact! the screen. There’s a great mo­ment where she mocks Arnold’s ac­cent. She saw that re­la­tion­ship build­ing and gave it more hu­man­ity.” “You only very briefly glimpse the wider world and then you’re im­me­di­ately taken to the small­est pos­si­ble en­vi­ron­ment, which is an iso­lated ru­ral area,” says Hob­son of Arnie, Abi­gail and the dy­ing world. “Un­like other zom­bie projects, in­ti­macy is some­thing that per­haps hasn’t been played on be­cause peo­ple are still in awe of ei­ther the look or speed of the zom­bies, or the gore and vi­o­lence,” he says. “The zom­bie genre has the op­por­tu­nity to do very per­sonal sto­ries and I wanted to make sure this world felt in­ti­mate and per­sonal.”


The zom­bie genre has been many places in re­cent years and with Mag­gie, Hob­son hopes to take it to new and thought­ful lev­els. “It’s a pow­er­ful story and I wanted to give it that ex­tra depth,” says Hob­son. “The way I looked at it was through a cin­e­matic lens that shows the tear­ful­ness of the emo­tional drama. Be­ing able to take the well- trod­den path of zom­bie movies and do some­thing new with it felt in­ter­est­ing. There are tis­sues and tears and mo­ments of gore, and a cin­e­matic beauty to it as well.”


Who else would you want look­ing af­ter you when you’re un­dead?

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