It also amusingly differentiates between the solemn, self-important documentary being made (with a narrator sitting in a cemetery talking of stories "etched in stone") and the behind-the-scenes slacking and carousing It so knowingly summons the atmosphere of a no-budget indie shoot that we even see the filmmakers filming themselves buying marshmallows for their trip,Īnd zooming in to a tight close-up of the plastic bag. Style is completely, even ingeniously, appropriate to its story. "The Blair Witch Project" begins by announcing the disappearance of three documentary filmmakers in the woods of Maryland in 1994 and presents itself as the scenes they left behind. With noĮasy formulas to fall back on, Daniel Myrick and Eduardo Sanchez (who are jointly credited with writing, directing and editing) give their audiences no easy idea of what to expect. Out of the University of Central Florida's film program realized that the best way to make a movie without sets, costumes, music or special effects would be to incorporate that spareness into the story. And it enabled the filmmakers to turn a near-total absence of resources into a creative advantage. The horror genre is ideal for the bare-bones (pardon the expression) nature of this undertaking. Shot in only eight days with no real script, this little movie is a locomotive pulling a Web site, a mythology, a special on the Sci-Fi Channel and assorted tie-ins in its wake.Īnd all of it, including the film's cult status, has been skillfully spun out of thin air. Heather Donahue plays one of three filmmakers who disappear in a forest in "The Blair Witch Project." Nothingīut imagination, and a game plan so enterprising it should elevate its creators to pinup status at film schools everywhere. Ike a cabin built entirely out of soda cans, "The Blair Witch Project" is a nifty example of how to make something out of nothing.
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