O dread will appear in a trio in the new variation of the book series ‘Rua do Medo’ by RL Stine. Created by Netflix, the films ‘Rua do Medo: 1994 – Part 1’, ‘Rua do Medo: 1978 – Part 2’ and ‘Rua do Medo: 1666 – Part 3’ will arrive at the Gushing foundation on July 2 and 8 and 16, individually. The trailer for the set of three was delivered on Wednesday (19), see:
Stine is considered the “Stephen King of youth writing”, and was known worldwide as the writer of the “Goosebumps” book series, which has effectively become a television, animation, game, and movie series. ‘Rua do Medo’, despite the fact that it has six versions delivered in Brazil, is not too well known outside the specialty of the author’s fans.
However, Netflix promises to change that. The transformations were coordinated by Leigh Janiak and interconnect three diverse time periods of more than 300 years. As in the books, each of the narratives occurs in the anecdotal town of Shadyside, Ohio, consistent with the plot centered around a gathering of young people.
“We shot each of the three movies during a crazy and scary summer,” Janiak said in a meeting with Variety. “It is a fantasy for the general population to now find the story in a similar way, at the same time, with only seven days of waiting in between. I can’t wait to invite everyone into the realm of ‘Rua do Medo’ in 1994, 1978 and 1666! “Completed the producer of the film.
The first rights to adjust the books, released since 1989, were with Fox and were purchased by Netflix last year. Despite the energetic and youthful bearing of the books, Stine says the movies are suggested for adults. “The devotees of ‘Rua do Medo’ will be delighted, and there will be great astonishment,” said Stine.
Another thought of the boss was to make heroes out of individuals who are generally not the pivotal characters in disgusting horror movies. “Until recently, straight whites were the only characters who eventually lived. Consequently, it was significant for me and my essayists that ‘Rua do Medo’ was performed by individuals that society, in fact, generally calls ‘other,’ ”he added.
Along these lines, the LGBT characters acquired remarkable qualities. “We needed to tell a romantic story that was consistent with the experience of being LGBT in the 90s.