Venom: Let There Be Carnage

Tuesday 14th December 2021

Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL's greatest and most complex characters, in Venom: Let There Be Carnage. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.
Tom Hardy, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Woody Harrelson, Michelle Williams, Naomie Harris
Andy Serkis
Avi Arad, Tom Hardy, Hutch Parker
Sony Pictures Home Entertainment
1 hour 37 minutes
Thank you for supporting DVD365.net. When you order using the link(s) below we will earn commission. As a member of the Zavvi affiliate program we earn from qualifying purchases

Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL's greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.

Columbia Pictures presents in association with MARVEL an Avi Arad / Matt Tolmach / Pascal Pictures production, Venom: Let There Be Carnage.

Starring Tom Hardy, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, and Woody Harrelson. Directed by Andy Serkis. Produced by Avi Arad, Matt Tolmach, Amy Pascal, Kelly Marcel, Tom Hardy, and Hutch Parker. Screenplay by Kelly Marcel. Story by Tom Hardy & Kelly Marcel. Based on the MARVEL Comics. Executive Producers are Barry Waldman, Jonathan Cavendish, and Ruben Fleischer. Director of Photography is Robert Richardson, ASC. Production Designer is Oliver Scholl. Editors are Maryann Brandon, ACE and Stan Salfas, ACE. Visual Effects Supervisor is Sheena Duggal. Costume Designer is Joanna Eatwell. Music by Marco Beltrami.

When we last met Eddie Brock and Venom, both played by Tom Hardy, the two had formed an uneasy alliance. With the feature film Venom, audiences thrilled to the MARVEL Comics fan-favourite making his long-awaited starring role on screen. The film took in over $856 million worldwide as Eddie, the dogged but self-centered reporter, and Venom, the alien symbiote who takes hold of Eddie's body, both relied on each other to survive: Eddie could do much better in life with Venom's eat-or-be-eaten (literally) m.o., and Venom had to be reined in by Eddie's finely-tuned sense of moral justice. They agreed that they needed each other... but they didn't have to like it.

"It's a joy to play two different parts of a psyche because Venom and Eddie are one for me," says Hardy. "They are just differentiated by the fact that one is the monster and one is Eddie, but they are always contained within one individual."

"Obviously there is danger and mistrust in the beginning, but they've learned to live with each other," says producer Avi Arad. "It's become a complicated marriage. Their codependence forces them to stay together, even though they've had it with each other. They're going to have to come to an understanding."

Indeed, in Venom: Let There Be Carnage, that shaky marriage is starting to crumble. Sure, there are still upsides... Eddie has told Venom that he could bite the heads off of bad guys, and the symbiote is 100% here for it, dubbing themself the Lethal Protector and munching evildoers in pursuit of justice... and Eddie's career is firmly on the upswing, getting the career-defining last interview with serial killer Cletus Kasady.

But despite it all, they still make each other nuts - and their constant bickering escalates until it finally devolves into a violent manic battle as they try to figure out who is throwing who out of the apartment and the body they share. Both Venom and Eddie are determined to figure out if they really do need each other after all.

"The film is a love story - but not the love story you might think," says Andy Serkis, who directs Venom: Let There Be Carnage. "It's very much about the extraordinary relationship between symbiote and host. Any love affair has its pitfalls, its high points and low points; Venom and Eddie's relationship absolutely causes problems and stress, and they have a near-hatred for each other. But they have to be with each other - they can't live without each other. That's companionship - love - the things that relationships are really about."

For Serkis - who as an actor worked with performance capture artists to create some of the most memorable characters of the last 20 years, including Gollum in Lord of the Rings, Caesar in the Planet of the Apes films, and Supreme Leader Snoke in Star Wars - watching the first Venom film as a moviegoer filled him with some professional pride and admiration. "I thought Tom gave an extraordinary performance. It was right in my wheelhouse - creating characters using CG," he says. "When Tom gave me a call out of the blue, saying he thought it would be great if I directed the sequel and asking me to come on board, I think it was because he wanted a director who would be capable of safeguarding his performance, translating it into a visual-effects realm, with some degree of authority from experience with that. We had been circling each other as actors for so many years, and it was wonderful to finally get the chance to work with Tom."

"Andy has spent years in front of the camera as well as behind it. He's done performance capture and animation, and he understands story and nuance and vocal landscapes," says Hardy. "He's a great actor, a great director, and a decent man too. He was perfect to direct this and has done an amazing job."

Hardy is committed to every film he makes but took that commitment to another level with this film: he receives the first feature film writing credit of his career, having penned the story with Kelly Marcel, who also wrote the screenplay. "Tom is a creative force with a brilliant mind for generating ideas, so collaborating with him on the story for Venom: Let There Be Carnage was a really fun and exciting time where anything felt possible for these characters that we have grown so fond of," says Marcel. "Tom worked tirelessly to bring this story to life both in development and on set. We all know how talented he is onscreen, but I'm very excited for people to get to see how brilliant he is offscreen as well."

The story that Hardy & Marcel wrote captures the psychology of the situation. "Eddie and Venom have been living together, sharing one body, for a while now. They know each other inside and out, literally. And like any close-quarter living situation, their ticks and foibles are starting to wear a little thin on each other," says Marcel. "They have been forced together through circumstance and this movie asks the question of whether there is a will to save the relationship or go their separate ways. Are they just cohorts through happenstance or do they actually belong together?"

Serkis says that Eddie and Venom might be a match made in hell - but they are a match nonetheless. "It's Jekyll and Hyde," he explains. "Eddie is rather arrogant, thinking life owes him a favour. Venom is the complete opposite, unfiltered and speaking his mind totally. And they're trapped together. After meeting in the first movie, they've now got the seven-year-itch; they've had enough of each other and can't wait to be apart."

For producer Matt Tolmach, the reason Venom connects with audiences is a combination of factors - a bit of wish fulfillment, a complex motivation, and a perfect match of actor and character. "There's always something fun and dangerous about characters that push the dark side. You just wish you could do exactly what Venom does," he says. "But Venom also has a code. In some ways, he becomes a conscience for Eddie - Eddie sometimes plays fast and loose with the truth, but Venom has a very real sense of what he thinks is right. And when you combine that with Tom Hardy and this unbelievable dynamic that Tom created between himself and this alien alter ego, it's just so much fun to watch a man at war with himself."

It's the old story - can a human man and an alien symbiote share one apartment (and one body, for that matter) without driving each other crazy? (Answer: no.)

"The argument in the apartment is one of the first things we shot," says Serkis. "For two years, these two have been living a frat party kind of life in Eddie's apartment, and he's sick and tired of his place being trashed. It's like living with an oversized toddler with no control whatsoever."

After their epic breakup, though, it becomes clear that neither is going to make it on his own. When part of the symbiote leaps into Cletus Kasady moments before his execution, the serial killer becomes host for Carnage, an even-larger, even-deadlier, and much-more-malevolent spawn of the alien, ruthless and pure evil.

"Carnage is who the fans have been waiting for, finally making his big screen debut," says Arad. "He's Venom's ultimate adversary, stronger and more violent in every way. It doesn't help that serial killer Cletus Kasady is Carnage's host, enhancing his maniacal worldview into something incredibly sinister. In the comics, Carnage is Venom's offspring - his 'son', if you will - which makes the conflict between them far greater."

"Carnage is such a huge part of and the most beloved villain in the Venomverse," says Marcel. "Bonding with Cletus, together they are a psychotic, dangerous, and insane killing machine."

Kasady - a killer even before gaining Carnage's powers - doesn't feel Eddie's need to try to restrain the symbiote. To stop Carnage, Eddie and Venom will have to find a way to make their relationship work.

Kasady, at first, seems like the perfect host for Carnage. Though he seems unassuming, even gentle - quoting poetry, painting art on the walls of his cell, and otherwise exhibiting a very active mind - he is a murderer, rotten to the core. The role is played by Woody Harrelson. "Woody is exceptional in everything he does," says Serkis. "Cletus is twisted, devious, manipulative, and damaged as anything, but in Woody's portrayal, you can't help but love him. He could have been just quips and arch, but Woody sits him on a tightrope - a child in one moment, and a deep, dark killer in the next, a real vulnerability underneath it all."

The idea of Cletus's arrested development is expressed in a multitude of ways, from Harrelson's performance to the design of his prison cell to a postcard Cletus sends to Eddie. "It all comes out of the same energy," says Serkis. "His chaotic, childlike scrawl, the same scrawl you see on the prison walls. You come to understand why a person would still be drawing like that in middle age. Woody was very much a part of that - his ideas really came to the fore."

"He's a psychotic killer," says Harrelson. "He had a nasty upbringing, and now feels compelled to take revenge on the people he felt were responsible for the state he was in."

Which means there's a method of sorts to Cletus's madness, a driving force that makes him so dangerous. "Even before he meets Eddie, Cletus has a sense that Eddie is going to be a friend - a lifeline, a guy who believes in him," says Harrelson. Of course, the feeling is all in the mind of the deranged murderer - and when he finds Eddie might not be the friend he's looking for, Eddie (and Venom) will be on a collision course with Cletus (and Carnage).

"Every Venom story has to lead to Carnage," says Tolmach. "In a world inhabited by a genuinely scary symbiote, there's another symbiote who is a whole lot meaner, and a whole lot more dangerous, and a whole lot more deadly. He's the ultimate challenge for Venom and therefore Eddie. Woody was the right person because he's not only one of the great actors alive, but he's got a delicious wickedness that is uniquely terrifying."

"Woody is one of the coolest people I have ever met," says Hardy. "As a human being and as an actor, he is just formidable. There is nothing that you can present him with that will shock him; he has an answer, a solution to everything and he has a story to tell. As an artist, he is just wonderful, with such a brilliant, talented playful creative mind, that it's an absolute joy to work with him."

Harrelson re-teams with Serkis after the two acted together in War of the Planet of the Apes, and it was that experience that made the three-time Oscar® nominee confident that he'd be in good hands with Serkis as director. "As an actor, Andy is hyper-prepared, he's meticulous, he is one hundred percent committed, and I knew he would bring that to being a director," says Harrelson. "Andy's direction affirms you constantly - he's such a giving director. When he gives a comment, it's always in a way that makes you feel like you're going in the right direction."

"I would just sit back and get blown away by his choices," says Serkis. "When I would direct him, he would take that on and twist it and play with it. We had such a lot of fun."

Playing opposite Harrelson as Shriek is Naomie Harris. Marcel says that the two actors paired perfectly. "Woody and Naomie brought such unique qualities to their characters, embracing both the fun and fear and walking that line with great skill," says Marcel. "Woody, as Cletus, has a way of turning on a dime and making you feel like you never quite know if he's going to kiss you or kill you. When coupled with Carnage, he's truly terrifying and a real threat to Venom and Eddie. Naomie's character, Shriek, has her own superpower. She is as psychotic as Cletus and quite the powerhouse."

"I've worked with Naomie a number of times now, and she's one of the best actresses I've ever worked with," says Serkis, who previously acted with Harris on the feature Sex & Drugs & Rock & Roll and directed Harris on the film Mowgli: Legend of the Jungle. "We talked a lot about what her voice would be - she's been kept in a soundproof box, unable to communicate verbally for 25 years. How do you make that believable, that this is the first time she's talked in all that time?"

To convincingly portray that moment, and the character in general, Harris had to key into her sound - the character's signature shriek. "The biggest key to unlocking Shriek is her voice," she says. "It's her weapon and her most defining feature. Andy pointed out that when she meets Cletus again for the first time in decades, it's the first time she's using her voice, so it's croaky."

"I played around with ways of finding that - like any character, it eventually comes to you," Harris continues. "When I found her voice, her husky voice, her damaged voice, I had a sense of who she was. I used her voice as a cloak - that's how I got into her." To convincingly portray the character as a child and as an adult, Harris teamed with her counterpart Olumide Olorunfemi, who portrays Frances/Shriek as a child. After meeting in a rehearsal, Harris and Olorunfemi began an exchange of voice recordings, so that the actresses could be in tune with each other as to their shared character's sound.

Coincidentally, Venom: Let There Be Carnage also represented a years-in-the-making reunion for the actors playing Shriek and Cletus: Harris and Harrelson first acted together in the thriller After the Sunset, which was Harris' first-ever Hollywood movie.

Frances and Cletus might be dangerous criminals, but they really are in love, says Serkis. "Frances Barrison and Cletus Kasady complement each other," he says. "It's another of the film's love stories: they have suffered trauma after trauma, they have been torn apart, and you long for them to get back together. When they do, it's romantic, epic, operatic."

Contrast Frances and Cletus's enduring love with the torch that Eddie still carries for Anne Weying, played again by four-time Oscar® nominee Michelle Williams. "Eddie and Anne have deep love for each other, but it seems like they just can't find a way to translate that love into something sustainable," says Marcel. "Anne wants something grounded and safe and Eddie desperately wants to be able to give that to her, but he's living with an eight-foot alien inside him, so there is absolutely nothing safe or grounded about his life right now. There will always be a push-pull between them, but while Venom is in the picture, three's a crowd."

"As much as Eddie loves her, he does not know how to do it, which leads them to a breakup," says Arad. "On the other hand, Venom is far more romantic. He will do anything to have Anne in their lives because as far as he's concerned, Eddie and Venom are one. Venom is totally infatuated with her and wants her to be part of their little family. He's very protective. It's an interesting juxtaposition of a human and an alien - the alien shows better understanding of what his partner needs, which is quite unique."

"Venom holds a mirror up to Eddie, showing him who he really is: selfish, arrogant, egotistical, incapable of loving anybody but himself," explains Serkis. Anne wasn't able to change him - but Venom will. "Eddie and Venom can't be together, but also can't cope with being apart. He has to commit to Venom because he has no options."

"The undercurrent is that Eddie and Anne really do care for each other, but they are not suitable for each other, because Eddie is only ever thinking about himself," Serkis continues.

Stephen Graham rounds out the lead cast as Detective Mulligan, a cop with the SFPD who can trust Eddie just about as far as he can throw him. "He's got a chip on his shoulder for a lot of reasons," he says. First, it's taken years for Mulligan to get where he is. "There was a major incident as a young rookie, where he shot a young girl - it mentally scarred him and he lost the hearing in his left ear, which became a disability for his police career and got him assigned to menial jobs. He was constantly overlooked by the hierarchy of the police system, and he's an angry, bitter man."

Adding insult to his injuries is the latest slight against Mulligan. "Eddie is getting the last interview with Cletus Kasady - something he feels he should be entitled to, and not some snotty rogue reporter," he explains.

Andy Serkis is one of the world's best-known champions of film characters that blend CG with actors' performances. Through his work in Lord of the Rings, Planet of the Apes, and Star Wars, as well as his performance capture studio Imaginarium, he has pushed the boundaries of what is possible as he turned in performances that many observers deemed Oscar®-worthy.

Serkis's experience with CG characters came through on the film set. "I've spent a considerable amount of my life playing a character with two sides to his personality," says Serkis. "I knew that this film would be about how to free up Tom to imagine Venom's presence. We knew it would not be helpful for him to act opposite a man in a suit, because Venom is a symbiote, coming out of him."

That is why, despite his many years of acting in performance capture, Serkis chose to animate Venom and Carnage with a more traditional CG animation approach. "We wanted to give Tom the freedom in his process to give the performance he wanted." He and his team did, however, find ways to apply what he has learned from performance capture to this film. "We used it as a tool to find the physicality of the characters," he says.

For example, Spencer Cook, who oversaw the animation, says that footage of Hardy performing as Venom would inspire his team's work. "That gives us some clues and indications of what we would want to take from Tom's performance to put into Venom," Cook explains. "We take those ideas and apply them to the Venom version - it's an artistic interpretation of what Tom is doing."

There's one simple reason why they keep going back to Hardy. "Venom is Tom," says Sheena Duggal, the film's visual effects supervisor. "Ultimately, everything that we do is built on his incredible performance."

The character of Venom had been well-designed for the first film, but Carnage would need to be drawn from scratch. "Venom is like a quarterback or a rugby player - very heavy, grounded, a Neanderthal physicality, a heavyweight, big shoulders, very, very, very strong," says Serkis. "We wanted Carnage to be the opposite of that. He's a shapeshifter, asymmetrical, reflecting Cletus Kasady's personality. His tendrils are finer and thinner, and can weaponize in different ways. He can change his molecular structure to become anything, any shape, even turn to mist."

"The place we started, of course, is the comic books," says Duggal. "From there, we explored anatomy, we explored materials, what the character's made of, how it reflects light, what colour it is, how it moves and performs, what does the full character look like versus what does a tentacle look like - and how do we bring them all together and put everything into a cohesive world?"

"Unlike Venom, Carnage didn't necessarily have to be bipedal; he can move his tendrils in different ways," says Serkis. "I worked with a lot of dancers at the Imaginarium studio to find interesting ways of moving that character - as if we were taking Venom's energy and displacing it and moving in really interesting, more psychologically driven, twisted ways. It was great to have that opportunity to work with performance capture to form a basis, to find a physical vocabulary for the way Carnage would be."

"His arms and legs have the same priority as his other tentacles. He's like the Vitruvian Man," says Duggal. "Ultimately it's like fighting a creature who is made of barbed wire and like a bramble bush - he's so vicious and weaponized and powerful and dangerous. Even if he just swipes you with a tentacle, he's all covered in razors and barbs, you're just going to stick to him and be torn to shreds."

"One of the ideas we had for Carnage was that he would evolve throughout the film and grow his own weapons," Duggal continues. "As he becomes more and more powerful, he propagates more and more weapons, more barbed and dangerous, and his human form becomes less and less apparent. He can grow a spear from his spine, then pull it out and use it like a javelin, and it just grows back. He can grow other weapons, or eject them as projectiles."

As he did on the first film, Hardy found that his best performance came from pre-recording Venom's lines, which the sound team would then feed into his ear for Hardy to act against. "Tom's process is driven mostly by audio", says Serkis. "He builds a whole sound radio play before every scene."

"After rehearsing a scene, Tom would go off into a corner with a sound recorder and lay down a Venom track, which the sound guys would quickly cut into shape," Serkis explains. "Then, we'd fit Tom with an earpiece, an 'earwig', with the sound guys feeding Venom's voice into his ear. That way, Tom can get his timing, he's able to act against Venom, and he creates a physical presence for the character wherever he chooses to place his eyeline."

"I have a radio transmitter that can play audio in and out, from up to 200 yards away," says Patrick Anderson, the production's playback sound technician -- the sound engineer specifically responsible for the playback of Venom - who Hardy calls his "partner" for the scenes in which he acts opposite Venom. "I can feed him the Venom dialogue - and Tom will give me feedback, like 'Take an extra beat before you feed me this line,' or 'Interrupt me with this line, mess with me' - because Eddie can't control the alien living inside of him. Having the cues set up individually, line by line, we're able to make it free-flowing and chaotic, and a little more kinetic for Tom."

Venom's voice is enhanced by movie magic, but not by much - according to Anderson, Hardy's performance brings the character most of the way there. "It's pretty phenomenal how much of the character he can inherently give me," says Anderson. "I'm just polishing the last 10% with a couple effects of my own - a little bit of pitch shifting to put it in that low monster register, some modulation to make it spacey sounding."

Bringing the characters to the screen also required a close collaboration with the film's legendary director of photography, the three-time Oscar® winner Robert Richardson. "Venom needs to be lit in a specific way, or you can't see the articulation of his anatomy," says Duggal. "We found the best way to articulate the form of Venom is to use spectacular highlights that reflect off of his slimy surface. On set, we had a standalone bust that the stand-in could wear on his head and shoulders, and a bit of Venom material on a ball that we could hold in place of tentacles. With these, when Bob was lighting the shot, he could have a physical reference of what Venom would ultimately look like in the visual effects shot."

Another way the filmmakers were able to get a picture of how Venom or Carnage might look in a scene was with AR technology. "We had an app that allowed us to put Venom or Carnage on any surface in the set environment, and then move around and see how it looked," says Duggal.

Shriek would also require a visual effects enhancement. "In order to achieve the desired effect, we relied on two ingredients - the visual representation of the scream, using Cymatic patterns - Cymatics is the study of visible sound and vibration - and its interaction with the environment. "The visual representation for how it interacted with the environment ranged from replacing live-action props to make them fly around a cell room, to fully replacing Shriek digitally so we could make her cheeks, hair, and clothes react."

Stunt coordinator Jim Churchman and fight coordinator George Kirby were charged with choreographing the film's fight scenes - including the face-off between Venom and Eddie in their apartment. "It's a full-on lovers' quarrel," says Churchman. "The first thing Tom said was, 'I want to destroy the whole place.' We start it off with head butts, and it escalates from there, until finally the bookcase is knocking him over. Eddie can't really hurt Venom, so when he does, he's punished for being so audacious as to try."

"The tone of the fight was that it was supposed to be comedic but painful," adds Kirby. "The reference we kept coming back to was Buster Keaton - old-school, black-and-white stunts. Eddie's moment is, what's really going to get back at Venom? What does he care about most? And it's Sonny and Cher, two pet chickens that Venom is keeping in their apartment. If anything's going to get back at Venom, it's his precious pets."

Hardy says that the interplay between the very scary characters and the more comedic scenes are the hallmark of the franchise. "I think that's our signature," he says. "It can be both dark - with genuinely frightening super-villain in Carnage - but it can also be funny and playful, too. There is so much fun to be had here."

The comedic fights weren't necessarily formative influences for Churchman (who says he grew up on the "dirty, gritty" fights of films like Roadhouse) or Kirby (whose martial arts background was influenced by Jackie Chan and Jet Li), or even Hardy himself, who is skilled in jujitsu. Churchman and Kirby had to resist the temptation to show what Hardy could do. "Tom's very into jujitsu, but Eddie isn't," says Churchman. "It wouldn't be right for Eddie. It's a catty fight."

For the more dangerous stunts, Hardy worked closely with stunt double Jacob Tomuri. "We did the hard-hitting stunts with Jake, and then Tom would turn on the performance with world-class acting," says Churchman. "Jake knows Tom so well and has good insight to Tom's flavor, so he's a great resource. If Jake is saying that a particular stunt is something that Tom would like, we know we're going in the right direction."

Production designer Oliver Scholl and costume designer Joanna Eatwell were charged with creating a stylish but grounded look for the wild antics of Venom and Carnage that would build toward an epic design at the film's climax.

"If you have a crazy, out-there character, the thought is to render that character realistically in realistic environment," says Scholl. "The more believable the environment is, the more you believe the character. You can raise the stakes and go crazy."

Indeed, Scholl gives Venom and Carnage an elaborate backdrop for their epic showdown: a gothic cathedral covered in scaffolding, in a state of renovation.

"A gothic cathedral is one of the most complex architectural settings you can put something into," acknowledges Scholl. "It's architecturally elaborate, sophisticated and very big. It's a fun challenge."

Working out how best to use such a vast interior required close collaboration between the art department, stunts, and VFX team. Maximizing the space and the opportunities for the characters - that where the scaffolding comes in, according to Scholl.

"It gives you another layer to interact with," he says. "It gives you access to the roof and the platforms, and makes it more visually interesting. With a construction elevator and the scaffold, you can bring the characters into spaces they couldn't otherwise be."

For Shriek's cell at the Ravencroft Institute, Scholl created a room with a backstory. "We started with the idea that this is not a custom-built room. It's a basement room in the Institute that's been adapted, an old underground space that's been converted, so you should see the history in the design," he says. "When Shriek was 17 years old, they would have just put her in a soundproof glass box. That was our starting point, and from there we conceived how that room would have developed and evolved, updating the cell and the tech, soundproofing the walls, putting up microphones and cameras."

Costume designer Joanna Eatwell put the main characters into costumes that would subtly reflect their characters. "When we first see Shriek, she's in a uniform," Eatwell explains. "She's been locked away for 25 years. When she breaks out with Cletus, the world is their oyster. They've robbed the first shop that they loved and now they have the most outrageous clothes. Being swaggy is an expression of freedom for them."

In addition, Eatwell's costuming choices were respectful of the actors' commitments. "Woody is a longtime vegan, so whenever we could use non-animal products, we did. All of his clothes were vegan and cruelty-free. His costumes had no leather, the snakeskin and fur are fake. His boots were made in Italy out of non-animal fabric."

Another opportunity for Eatwell to flex her creativity was a costume carnival scene, where Venom fits right in after escaping from Eddie's apartment. "It's an outpouring of madness. The costumes all had to be extreme," she says. "The only place where Venom can have his moment to relax is on the fringes of society. We didn't want anything tied to any specific culture or holiday - it all had to be completely original. And it was a blast for us and the 700 or 800 background performers who came out to do this. We had a wonderful crowd department who made it all run like clockwork - getting hundreds of people fitted, dressed, and prepared when the day came."

Most of the film has a muted colour palette, but for this sequence, Scholl and Eatwell let the blacks, whites, and reds pop. "That really was an exception to the muted real world," says Scholl. "Somebody's just got taken over by an alien and is freaking out, so we approached it like a psychedelic trip. We really were able to go over the top! We used light projectors to pull it all together."

"The carnival was enormous fun, a costume extravaganza," says Eatwell. "We decided very early on to restrict the colors to black, white, and red - with the size of the crowd, if we had every single colour under the sun, it would've lost the impact and it would've just become a mess. But because it was very carefully themed, individual elements stood out. It worked. It was an outpouring of madness."

Phil Lord and Christopher Miller, the creative minds behind The Lego Movie and 21 Jump Street, bring their unique sensibilities to a fresh version of a different Spider-Man Universe with Spider-Man: Into ...Read more
Playmobil: The Movie artwork

Playmobil: The Movie

For more than 45 years, children around the world have been delighted by the 7.5 cm-tall (three-inches) plastic figure toys known as Playmobil®. This year, the popular toys come to animated life in ON Animation ...
Peter Rabbit artwork

Peter Rabbit

Bombshell artwork


The Equalizer 2 artwork

The Equalizer 2

The Wolverine artwork

The Wolverine

Once Upon a Time... in Hollywood artwork

Once Upon a Time... in Hollywood

Raging Bull artwork

Raging Bull

With this stunningly visceral portrait of self-destructive machismo, Martin Scorsese created one of the truly great and visionary works of modern cinema with Raging Bull, now given the Criterion treatment and ...
What Happens Later? artwork

What Happens Later?

Room at The Top: Vintage Classics artwork
FBI: Season 5 artwork

FBI: Season 5

Basket Case: Limited Edition artwork

Basket Case: Limited Edition

Trigger Point: Series 2 artwork

Trigger Point: Series 2

What's a bad miracle? They got a word for that?
Nope (2022)

The Equalizer 3


Mean Streets


Planet Earth III




Boat Story


John Wick: Chapter 4



#BadBiology available #BluRay #4KUHD 26th February by Severin Films
Get a free daily news update. DVD365.net works with the Amazon Alexa flash briefing skill