The Descent (Veröffentlichung)

[McHolsten]

Gut für Liebhaber der dt. Sprache. Mal schauen inwieweit die Qualität "leidet", 2 x DTS, 2 x 5.1. und die Extras - auf einer Disk?  :eek:
GB ist ja Full-Bitrate!  :respekt:

[Dexter]

Gut für Liebhaber der dt. Sprache. Mal schauen inwieweit die Qualität "leidet", 2 x DTS, 2 x 5.1. und die Extras - auf einer Disk?  :eek:
GB ist ja Full-Bitrate!  :respekt:

Ne, die Deluxe Edition sind schon 2 DVDs :icon_wink:

[DeafYakuza]

Veröffentlichung: 12.06.2006

Freigabe: FSK Keine Jugendfreigabe 

Bildformat: 2,35:1 (anamorph / 16:9)



Tonformat:
Deutsch (DTS 6.1 ES Discrete)
Deutsch (Dolby Digital 5.1 EX)
Englisch (DTS 6.1 ES Discrete)
Englisch (Dolby Digital 5.1 EX)

Untertitel: Englisch für Hörgeschädigte

Extras:
- 2 Audiokommentare
- Making Of
- Deleted Scenes
- Outtakes
- Storyboard-Vergleich
- Bildergalerie
- Trailer & TV-Spots   
http://www.dvd-forum.at/bgr/2227/vorschau_detail.htm
http://www.universumfilm.de/video/sales/movie.html?ID=0d426cc5-5e8d-4323-9b02-84868cedaac0

Soll im Steelbook erscheinen.

Die Single Disc wird die gekürzte FSK 16 Fassung sein.

Keine Deutsche Untertiteln?

[mandator]

Keine Deutsche Untertiteln?

Laut Ankündigung nicht. Wäre ja ein Armutszeugnis, nur engl. UT draufzupacken, aber keine deutschen.

[Mr. Hankey]

Wäre ja ein Armutszeugnis, nur engl. UT draufzupacken, aber keine deutschen.

Aber unterm Strich auch eher unwahrscheinlich, vor allem bei Universum Film. Könnte mir fast vorstellen, dass da ein Fehler in der Angkündigung ist und die Untertitel in Wirklichkeit "Deutsch für Hörgeschädigte" sind!

Einfach  :andy:

[endoskelett]

Die uk-DVD ist schon seit nem halben Jahr draussen. Nur bei uns dauerts noch bis Mitte Juno. Warum erst sieben Monate nach Kinostart  :00000109:

[Strahlemann]

World of Video gibt als Release immernoch den 10.05. an. Was stimmt denn nun ?

MfG

[Dexter]

World of Video gibt als Release immernoch den 10.05. an. Was stimmt denn nun ?

MfG

10.5 Verleih-DVD
12.6 Kauf-DVD

[Strahlemann]

10.5 Verleih-DVD
12.6 Kauf-DVD

Danke!

[mr. pink]

Versteh ich das jetzt richtig, dass die Verleih cut und nur die Kauf ungeschitten rauskommt?

[Durango]

Nein. Am 10.5. kommt die Verleihfassung, welche ungeschnitten sein wird.
Am 12.6. kommt der Film in 2 Versionen in den Verkauf. Einmal als Single-DVD in einer gekürzten 16er Fassung und zum anderen in einer Doppel-DVD-Deluxe-Version mit der ungekürzten Fassung.

[AfterBusiness]

Achtung event. SPOILER!!!

Hat jemand das Ende richtig verstanden?!?!?... erst war das mädel draussen und ist mit dem auto weggefahren und dann wieder in der höhle und sieht nen geburtstagskuchen vor sich mit kind....  :00000109: :doof:

[StS]

Achtung event. SPOILER!!!
Hat jemand das Ende richtig verstanden?!?!?... erst war das mädel draussen und ist mit dem auto weggefahren und dann wieder in der höhle und sieht nen geburtstagskuchen vor sich mit kind....  :00000109: :doof:

Das Mädel war nie draußen...  ;) ...das macht das Ende ja gerade so gut.
Schau Dir die US-Kinofassung an - da hast Du solche Probleme nicht.

[AfterBusiness]

Wieso die US-Kinofassung?!?... ist die länger bzw. anders geschnitten?!?

:icon_eek:

[StS]

Wieso die US-Kinofassung?!?... ist die länger bzw. anders geschnitten?!?

Da die US-Version wird leicht verändert sein. Ich habe gerade gesucht, aber die betreffende Meldung leider nicht mehr finden können (war u.a. bei Bloody Disgusting erschienen). Auf jeden Fall soll das Ende anders sein (vielleicht bricht es an der betreffenden Stelle ab, ich weiß es nicht). Es handelt sich allerdings nicht um eine längere Fassung.

[StS]

EDIT: Doch noch gefunden - hier ein BD-Interview mit Neil Marshall:

In 2002, a small independent British film with the unusual title of "Dog Soldiers" was released on an unsuspecting public. Coming at the same time as the Iraq War, many filmgoers stayed away, thinking it was a "war movie". But for those who did see the film and realized that this was one of the most original takes on the werewolf story, "Dog Soldiers" has achieved a cult status among horror fans. Now, writer/director Neil Marshall has a new film, perhaps one of the most frightening films in a long time, waiting to be released in the U.S. "The Descent" is the story of an all-female group of cavers and what goes horribly wrong when they find themselves in an unexplored cave system. Screened at the Sundance Film Festival this past January, Marshall was more than pleased at how loudly American audiences can scream!

BD: Thank you for taking time to talk with Bloody-Disgusting, Neil. How about giving us some background information on yourself? I know you were born in Newcastle-upon-Tyne, England on May 25, 1970. Where did you receive your education and film training? Were you always a horror fan? What did your family think about your wish to work in film?

NM: My first experience of making films was not at film school, but about 8 years earlier when I first got my hands on a Super8 cine camera. My best friend (Mike Johnson, who's Mum's camera it was!) and I set about making film after film, not having a clue where to start but only knowing what we wanted to achieve. This was the best training I could have got because we had to do everything ourselves - shooting, editing, special effects, the lot. And along the way we learned so much from making so many mistakes.

I later went to film school in Newcastle and applied that knowledge to making more elaborate films, like my graduation film - BRAIN DEATH, and you can probably guess what genre that fell into.

I guess my affiliation with horror began when I was 5 or 6 years old and my dad let me stay up late one night to watch Boris Karloff in FRANKENSTEIN. I was hooked on the dark gothic feel and appreciated the ability to scare me so much, and yet maintain a strong sense of character with a 'monster' you cared about. From then on I was hooked on horror, watching everything I could, starting with films on TV like "Jaws", "The Omen" and "Alien" and then getting into the 'Video Nasties', "The Shining" and Carpenter's "The Thing" around the early 80's. These are the horror films that have stuck with me and inspired me most.

BD: You got your start editing films such as "Driven" and "Killing Time" which you also co-wrote. What inspired you to write your first feature film, "Dog Soldiers", which you also edited and directed? And are you amazed at the cult status "Dog Soldiers" has achieved among horror fans?

NM: Necessity being the mother of invention - nobody else was making soldiers versus werewolves movies, so I had to write it myself. It was a film I really wanted to sit in a crowded cinema and watch myself. Maybe it's a little selfish, but it's true.

Editing is by far the best way to learn anything about directing, and as such I knew I wanted to edit DOGs myself. I very much shot the film for the edit, sometimes cutting a take half way through because I knew that's where I'd be cutting it in the edit. It saved a lot of time, especially when trying to shoot an action film in 6 weeks!

I'm amazed by its cult status and very chuffed. It's a quirky horror film with lashings of gore and plenty of laughs, perfect for a post-pub session with a few cans.

BD: "Dog Soldiers" came out at a politically sensitive time, just prior to the Iraq war. Did you receive any backlash for releasing such a war-related albeit horrifying film?

NM: It certainly affected our box office in Australia. We opened the same day the war started! We couldn't compete with Bush's multi-billion dollar production! In the UK, I guess it must have had an effect of some kind. I know a lot of women stayed away because it had 'SOLDIERS' in the title and they took it to be a war film. But hey, that's their loss!

To me DOG's is part horror movie, siege movie, war movie and western all rolled into one. There are so many homages to westerns like THE WILD BUNCH and RIO BRAVO, but nobody ever seems to pick up on those!

BD: I have heard rumors that there may be a "Dog Soldiers 2". Do you know anything about this and are you in any way involved?

NM: No comment. I know nothing.

BD: "The Descent" has to be the most frightening film I have seen in a long time. How did you come up with the story and the creatures the women are confronted with in the cave?

NM: It was a process of evolution. I came up with the story of a caving expedition gone wrong. My business partner Keith suggested it be an all female group, something I loved because it had never been done before in this kind of movie, and also because the plot did not hinge upon the fact that they are women - they're just characters in the story, and the story is very much character lead.

The CRAWLERS changed from being much more mutant-like to being as human as possible, because humans are far more scary! I wanted the CRAWLERS to be an offshoot of the human race. 'Cavemen' who stayed in the caves, and evolved to survive in that environment.

BD: You shot "The Descent" in Scotland although the part involving the cave is supposedly set in the Appalachian Mountains of the US South. I have read that this is your "tribute" to James Dickey's "Deliverance" only on a much more horrific level. Would that be a fair statement to make?

NM: Absolutely, DELIVERANCE is one of my all time favourite films, and terrifying in its own right. I deliberately put a few nods and winks into the film as tribute to the original - The Chatooga National Park, named after the river they filmed "Deliverance" on, and a banjo hanging on the cabin wall, to name a few.

BD: How did you go about casting the six women? They are such an eclectic group and international as well - Hong Kong/Philippines for Natalie Mendoza, Saskia Mulder from The Netherlands, Scottish Shauna Macdonald, and Irish Nora-Jane Noone. Was this a conscious decision, to have an international flavor to the group?

NM: With casting I kept a very open mind and met as many actors as I could before making the final selection. It was important that they had very individual and dynamic looks -I knew it was going to be dark down there. But also, the climbing community is an international one so it seemed only right and authentic that they should come from across the world. But the bottom line was that they all had to be exceptional actors and up for a very difficult and physically grueling shoot. They also had to be able to hold their own at the bar!

BD: How much training did the women have to undergo prior to filming? There are some seriously physical things some of the women have to do such as hanging from the cave roof while placing the pitons and rappelling down their ropes into the cave.

NM: We put the girls through 2 weeks of intense training before the shoot - CLIMBING, WHITE WATER RAFTING and CAVING - the last being a trip we all went on to Derbyshire, to help get a feel for the real experience.

BD: The cave itself is amazing. Who designed it and how many soundstages did it take up at Pinewood Studios?

NM: The genius behind the cave sets is my Production Designer SIMON BOWLES, who also worked on DOG's. Despite the amount of caves we only took up 2 stages at Pinewood, but we crammed in about four or five sets per stage.

BD: Without giving anything away, the creatures are among some of the most horrific things I have ever seen. I know Paul Hyett designed the SFX makeup - what did you tell him you wanted as far as the creatures' look?

NM: I told him I wanted them to look like Iggy Pop and have the physical attributes of bats!

BD: Is it true that the actors did not see the creatures before the first big reveal and they ran off the set screaming (and laughing)?

NM: We kept the CRAWLERS totally hidden from the girls right up until they encountered them for the first time, during a take, within the context of the film. We were able to do this because we shot the film in story order. They never saw any of the designs or sculpts. They never even met any of the actors playing the crawlers. It was a total surprise and really helped build a sense of tension and anticipation on set. The pay off was that when they saw the crawler, they ran away to all the corners of the set in a fit of hysterics and screaming!

BD: How long was your shooting schedule for "The Descent" and what sort of budget did you have to work with?

NM: We shot the film in 7 weeks - 2 location, 5 in the studio - with a budget of £3.5 million.

BD: I have read that the ending of the UK version is different from the US version. I have only seen the UK version - will that remain the case, that the US audiences will get the abbreviated ending?

NM: When we were cutting the film I suggested ending the film at an earlier point. But in the end we decided to stick to the script and go with the original, much darker ending. The US release has, in a way, given us a rare opportunity to try out the other ending and see how it plays. The original ending is the one that has been released in the UK and across the world and it's proved itself. That's set in stone. Now we get a second chance, and the original ending will almost certainly be released in the US on DVD, so they'll get to see it regardless.

BD: How much research did you do into caving and cave systems before you wrote "The Descent"? And did you do any spelunking yourself to get a feel for what your characters were going to be in for?

NM: I did a lot of reading, but like I say, just the one caving trip as prep. I'm a bit claustrophobic myself!

BD: Both Shauna Macdonald and Natalie Mendoza play such strong characters although at first, it is just Mendoza's "Juno" that is in charge. What brought about "transforming" Macdonald's "Sarah" into almost a "Ripley" character late in the film?

NM: The whole point of THE DESCENT is that it's Sarah's story - her long descent into madness. She loses everything she loves and cares about and lapses into violent psychosis, dispensing any threat that gets in her way, crawler or human! I wanted to see a warm, loving character like Sarah regress into a primal savage, wielding a bone, and clubbing the brains out of some poor crawler's head!

BD: There seem to be a lot of references to other films scattered throughout "The Descent". Films like "Apocalypse Now", "Predator", "Alien", "Aliens", "Carrie", "The Matrix", "The Blair Witch Project" and "The Shining". Was this a conscious tribute to favorite films or a case of just overly analytic viewers?

NM: All of the tribute I put in there are deliberate, with the exception of "Blair Witch", which I don't really rate that much. It's a nod and wink to fellow fans of these films, but if it also helps raise awareness of these films to a new generation of filmgoers who've never seen "Apocalypse Now" or "The Shining" and in turn urges them to check out these masterpieces, then that can only be a good thing.

BD: There has been a lot of discussion about the UK ending and what it means. Without giving anything important away, would you agree with the statement that the final woman has finally descended into madness or is, in fact, dead?

NM: I don't want to say too much, but in my mind she's still alive, just insane, and yet in that insane place she found happiness by re-connecting with her dead daughter.

BD: In "Dog Soldiers", you had an almost all-male cast and this time around, you have an all-female cast. Was there much difference working on the two films as far as the casts went?

NM: They were both a pleasure to work with and are now great friends. It's testament to their dedication to these projects that we made the shoots so much pleasure and fun to work on, but never gave anything less than 200% when the camera was rolling.

BD: The score by David Julyan is wonderfully creepy and at times reminded me of Ennio Morricone's score for John Carpenter's "The Thing". What did you ask of David as far as what you wanted for the soundtrack?

NM: The story is that when I wrote DESCENT I was listening to David's haunting score for "Insomnia", and when it came time to choose a composer I never believed for a moment we could get him, but we did!

Also, when we were cutting the film we put on a temp score, mostly made of David's earlier work, but also a few John Carpenter scores like "The Thing". Some of it worked so well we couldn't help but pay a little homage in the final mix.

BD: The UK working title of "The Descent" was "Crawlspace". Why the change and were you ever concerned about the other cave-set horror movies that were coming out before and after "The Descent"?

NM: The original script title was THE DARK, but when we got wind of the other production of the same name we decided to change. CRAWLSPACE was okay but only really relevant to one aspect of the film. THE DESCENT works so much better than either because it's what the film is really ABOUT.

BD: What sort of reaction have you received from UK audiences and critics since "The Descent" has already opened there? And how did things go for you at Sundance?

NM: We did very well at the UK box office and the critical reception was astonishing, they really got behind us. We ended up being one of the most critically acclaimed British films of the year! It's always great sitting at the back of a packed out cinema screening of "The Descent" and watching the terror in the audience, watching them jump! SUNDANCE was no exception. If anything it was a bigger reaction than anything I'd experienced before. When you guys scream you really SCREAM!

BD: What can you tell us about your next film, "Doomsday"? And do you have any other up-coming projects you can tease us with?

NM: Can't really say too much about DOOMSDAY at the moment, but what I CAN say is that it's my post apocalyptic sci-fi adventure - very much in the style of MAD MAX, THE ROAD WARRIOR and ESCAPE FROM NEW YORK! All films that I grew up with and still love now.

BD: What are some of your favorite horror movies?

NM: I guess ALIEN, THE SHINING, THE OMEN, THE THING, THE FOG, DAY OF THE DEAD and AMERICAN WEREWOLF IN LONDON, to name a few!

BD: Do you enjoy reading any horror writers and if so, who are among your favorites?

NM: James Herbert - why has nobody ever made a good film from his work?!

BD: Is there anything I haven't asked that you would like to add?

NM: Don't think so.

BD: What is one thing no one knows about Neil Marshall but you think they should know?

NM: Despite all the blood and guts, I'm just a big softy at heart!

[Nibi]

Habe ihn mir gerade mit meiner Freundinn angeschaut und bin ganz hin und weg.  :respekt:
Ein absoluter Schocker besondern in den ersten 60 Minuten.
Einmal habe ich sogar laut aufgeschrien (ist mir schon ewig nicht mehr passiert) so das meine Freundinn vor schreck von der Couch gefallen ist  :LOL:.

Einzig negatives, wenn man es so nennen will, war das übermäßige Splattern. Hat am Ende ein wenig die Spannung weg genommen. Dennoch ganz großes Kino.

Also eine absolute Empfehlung 9/10 

[Tomalak]

ein schönes Interview, schade nur, dass nichts über den neuen Film zu erfahren war

[Glod]

So, gerade eben das Steelbook erstanden. Sehr schicke Aufmachung. Innen liegen auch ein paar Fotos bei (bei der Reservoir Dogs SE). Werd' ich mir bei Gelegenheit anschauen. Wird aber wohl eher um die Mittagszeit sein, wenn draußen die Sonne scheint. Ich bin halt ein Weichei.  :icon_mrgreen:

[Mr. Hankey]

Ist übrigens wirklich eine Top-VÖ von Universum Film geworden! Vor allem in Sachen Sound, ist das Teil wirklich Astrein! :icon_eek: Dazu alle Extras der britischen VÖ und ein wirklich lecker aussehendes Steelbook. Alles in allem möchte ich mal behaupten, dass diese VÖ sogar die britische Scheibe noch schlagen kann. Sammler sollten somit diesesmal wirklich hier zugreifen! :respekt:

[Mr. Vincent Vega]

Alles in allem möchte ich mal behaupten, dass diese VÖ sogar die britische Scheibe noch schlagen kann.

Bitte was??? Die UK-DVD ist und bleibt Referenz. An den Full-Bitrate DTS-Ton reicht der lediglich etwas lautere DTS-Track der dt. DVD nicht im entferntesten heran.

[Vince]

Ist übrigens wirklich eine Top-VÖ von Universum Film geworden! Vor allem in Sachen Sound, ist das Teil wirklich Astrein! :icon_eek: Dazu alle Extras der britischen VÖ und ein wirklich lecker aussehendes Steelbook. Alles in allem möchte ich mal behaupten, dass diese VÖ sogar die britische Scheibe noch schlagen kann. Sammler sollten somit diesesmal wirklich hier zugreifen! :respekt:

Wobei doch irgendwo zu lesen war, dass Bild und Ton auf der GB-Scheibe besser seien. Ich kann's mangels Vergleichsmöglichkeiten leider nicht beurteilen, mir scheint Bild und Ton der deutschen VÖ aber zumindest ordentlich (hab allerdings noch nicht ganz so sehr drauf geachtet).

EDIT: Mr. VV war wohl schneller.  ;)

[Mr. Hankey]

Bitte was??? Die UK-DVD ist und bleibt Referenz. An den Full-Bitrate DTS-Ton reicht der lediglich etwas lautere DTS-Track der dt. DVD nicht im entferntesten heran.

Ich meine das auch mehr im Gesamtbild gesehen. Kann schon sein, dass das Bild und der Ton auf der GB-DVD etwas besser sind, allein schon aufgrund der 4 fetten Tonspuren auf der deutschen DVD (2 mal DD 5.1 EX, 2 Mal DTS 6.1-ES discrete) und dazu noch 2 Kommentarspuren, die natürlich Speicher fressen. Aber im Gesamtbild sind Bild und Ton bei der dt. VÖ immer noch Top und im Gegensatz zur GB-VÖ gibt es für uns auch noch ein wirklich schickes Steelbook als Verpackung. Und das schlägt die GB im Gesamtbild oder stellt sich zumindest mit ihr auf eine Stufe! Rein technisch gesehen, hat die GB aber sicher noch die Nase vorne! ;)

[Mr. Vincent Vega]

Ich meine das auch mehr im Gesamtbild gesehen. Kann schon sein, dass das Bild und der Ton auf der GB-DVD etwas besser sind, allein schon aufgrund der 4 fetten Tonspuren auf der deutschen DVD (2 mal DD 5.1 EX, 2 Mal DTS 6.1-ES discrete) und dazu noch 2 Kommentarspuren, die natürlich Speicher fressen. Aber im Gesamtbild sind Bild und Ton bei der dt. VÖ immer noch Top und im Gegensatz zur GB-VÖ gibt es für uns auch noch ein wirklich schickes Steelbook als Verpackung. Und das schlägt die GB im Gesamtbild oder stellt sich zumindest mit ihr auf eine Stufe! Rein technisch gesehen, hat die GB aber sicher noch die Nase vorne! ;)

Kommt halt drauf an, ob man einem Schuber oder Steelbook den Vorzug gibt. Sagen wir es so: Auf die dt. hätte man nicht 9 Monate warten müssen, so lange nämlich habe ich die UK schon. :icon_mrgreen:

PS: Vom Bild nehmen sich die beiden objektiv nicht viel, jedoch arbeitet die Kompression sehr unterschiedlich. Ich denke bei Wicked gibt es sehr bald einen Vergleich.  ;)

[Mr. Hankey]

Kommt halt drauf an, ob man einem Schuber oder Steelbook den Vorzug gibt.

Bin da sonst eigentlich auch nicht so wählerisch, geschweige denn ein Steelbook-Freak, aber das von "The Descent" finde ich nun wirklich mal verdammt schick geraten, weshalb ich mich wohl so oder so dafür entschieden hätte. Beide VÖs im Regal zu haben, ist aber natürlich die beste Lösung! ;)

Ich denke bei Wicked gibt es sehr bald einen Vergleich.

Sei bitte so gut und poste hier dann den Link dazu, sobald der Bildvergleich online ist. Wäre super! :D

[Mr. Vincent Vega]

Sei bitte so gut und poste hier dann den Link dazu, sobald der Bildvergleich online ist. Wäre super! :D

Gerne, ich muss aber vorsichtig sein, da ich mir vom Master dann wieder anhören darf, ich sei geltungssüchtig und ADS-behaftet.  ;)

Bis denne.

[flesh]

Kann man denn beim Steelbook nun unbedenklich zugreifen, oder kommt wieder mal ein Extended Cut, Director's Cut, Unrated, was auch immer nach?

[Blade Runner]

Gerne, ich muss aber vorsichtig sein, da ich mir vom Master dann wieder anhören darf, ich sei geltungssüchtig und ADS-behaftet.  ;)

Bis denne.

Erspar dir die Provokationen. Die ziehen bei mir nicht *gähn*

[Mr. Vincent Vega]

Erspar dir die Provokationen. Die ziehen bei mir nicht *gähn*

Offenbar doch. Aber du kommst ja nicht einmal mit einer eindeutig als solchen deklarierten Ironie zurecht.

Was immer dein Problem ist, mach das das nächte Mal mit mir persönlich aus oder lass es bitte bleiben. Ich diffarmiere hier auch niemanden.

Kann man denn beim Steelbook nun unbedenklich zugreifen, oder kommt wieder mal ein Extended Cut, Director's Cut, Unrated, was auch immer nach?

Das weiß man natürlich letztlich nie wirklich, aber ich würde mir ziemlich sicher sein, dass nicht. Die UK-Version (=dt. Fassung) dürfte der DC sein.

[Blade Runner]

Offenbar doch. Aber du kommst ja nicht einmal mit einer eindeutig als solchen deklarierten Ironie zurecht.

Och, natürlich komme ich mit einer als Ironie deklarierten Provokation zurecht, die Tage später noch einmal nachtreten möchte.

Was immer dein Problem ist, mach das das nächte Mal mit mir persönlich aus oder lass es bitte bleiben. Ich diffarmiere hier auch niemanden.

Mal gucken