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In the world of movies, Lights Out films are generally king, with most people not really giving Lights Out thought to short films outside of using them as a brief bit of entertainment online. Yet, anyone who thinks short films aren't important needs to have a conversation with director David F. Sandberg, who owes his currently healthy Hollywood career to a short he made that went viral. Lights Out, the short film, was released online in lateand was directed, produced, written, composed, and shot by Sandberg. Starring in the short was actress Lotta Losten, who also happened to be Sandberg's wife. This was truly Sandberg's baby from start to finish, and once it crossed the million view mark on YouTube, Hollywood took notice. Warner Bros. While there's no official reason for the delay, we have some ideas. A mere few days after Lights Out took summer by storm in theaters, Warner Bros. Sandberg back as director and Eric Heisserer returning to write Lights Out 2 's script. While Warner Bros. Fans got excited, only to be responded to with deafening silence. No updates on the sequel have been offered sinceand in a few months, it'll have been four years since it was greenlit. The most likely reason Lights Out 2 hasn't happened Lights Out that Sandberg ended up getting wrapped up in the all- encompassing world of superhero cinema. After Annabelle: Creation proved to be another big hit, Warner Bros. Helming a DC movie is a big job, and with Sandberg onboard Lights Out helm Shazam! Outside of Sandberg's schedule, it's also possible Lights Out 2 's script hit a creative snag. After all, the first film seemed to conclusively kill off the monster, called Diana. While Lights Out 2 is still considered to be in development, fans probably shouldn't hold their breath waiting for it. Michael Kennedy is an avid movie and TV Lights Out that's been Lights Out for Screen Rant in various capacities since In that time, Michael has written over articles for the site, first working solely as a news writer, then later as a senior writer and associate news editor. Most recently, Michael helped launch Screen Rant's new horror section, and is now the lead staff writer when it comes to all things frightening. A FL native, Michael is passionate about pop culture, and earned an AS degree in film production Lights Out He also loves both Marvel and DC movies, and wishes every superhero fan could just get along. When not writing, Michael Lights Out going to concerts, taking in live Lights Out wrestling, and debating pop culture. A long-term member of the Screen Rant family, Michael looks forward to continuing Lights Out creating new content for the site for many more years to come. By Michael Kennedy Mar 20, Share Share Tweet Email 0. Continue scrolling to Lights Out reading Click the button below to start this article in quick view. Related Topics Horror lights out. Lights Out | Audubon

Lights Out is an American old-time radio program devoted mostly to horror and the supernatural. Created by Wyllis Cooper and then eventually taken over by Arch Obolerversions of Lights Out aired on different networks, at various times, from January 3, to the summer of and the series eventually made the transition to television. Lights Out was one of the earliest radio horror programs, predating Suspense and Inner Sanctum. In the fall ofNBC writer Wyllis Cooper conceived the idea of "a midnight mystery serial to catch the attention of the listeners at the witching hour. At some point, the serial concept was dropped in favor of an anthology format emphasizing crime thrillers and the supernatural. By April, the series proved successful enough to expand to a half-hour. In Januarythe show was discontinued in order to ease Cooper's workload he was then writing scripts for the network's prestigious Immortal Lights Out programbut was brought back by huge popular demand a few weeks later. After a successful tryout in New York City, the series was picked up by NBC in April and broadcast nationally, usually Lights Out at night and always on Wednesdays. Cooper stayed on the program until Junewhen another Lights Out writer, Arch Obolertook over. Cooper's run was characterized by grisly Lights Out spiked with dark, tongue-in-cheek humor, a sort of radio Grand Guignol. A character might be buried, eaten, or skinned alive, vaporized in a ladle of white-hot steel, absorbed by a giant slurping amoebahave his arm torn off by a robot, or forced to endure torture, beating or decapitation —always with the appropriate blood-curdling acting Lights Out sound effects. Lights Out there had been efforts at horror on radio previously notably The Witch's Talethere does not seem to Lights Out been anything quite as explicit or outrageous as this on a regular basis. When Lights Out switched to the national network, a decision was Lights Out to tone down the gore and emphasize tamer fantasy and ghost Lights Out. Only one recording survives from Cooper's — run, but his less gruesome scripts were occasionally rebroadcast. An interesting example is his "Three Lights Out which became the series' annual Christmas show a version circulates among collectors under titles like "Uninhabited" or "Christmas Story" ; it has a plot typical of Cooper's gentler fantasies. On the first Christmas after World War I, three Allied officers meet by chance in a train compartment and find one another vaguely familiar. They fall asleep and share a dream in which they are the Three Wise Men searching for Jesus. But is it really a dream? In the best tradition of supernatural twist endings, Cooper has the officers wake to find a strange odor in their compartment—which turns out to be myrrh and frankincense. In the mids, Cooper's decade-old scripts were used for three brief summertime revivals of Lights Out. The surviving recordings reveal that Cooper was experimenting with both stream of consciousness and first-person narration a few years Lights Out these techniques were popularized in American radio drama by, among others, Arch Oboler and Orson Welles. When that doesn't work, they put him in a jail cell haunted by the ghost of a previous occupant, a smooth gangster named Skeeter Dempsey who describes his own execution and discusses the afterlife knowledgeably. Lights Out the final twist, the narrator reveals that he has taken Skeeter's advice to commit Lights Out and is now himself a ghost. Another story, originally broadcast in March as "After Five O'Clock" and revived in as "Man in the Middle," allows us to follow the thoughts of a businessman as he spends a day at the office cheating Lights Out his Lights Out with his secretary. The amusing contrast between what the protagonist thinks to himself and what he says out loud to the other characters enlivens one of Cooper's favorite plot devices, the love triangle. One radio critic, in reviewing a March episode that used Lights Out first-person narrators, said:. Technique in writing and producing this script is one of Lights Out radio license Lights Out can't even be compared to the flashback from the movies, since characters dead at the close of the tale do considerable talking of their experiences. This feat, combined with the terse, stark sock of the drama, is probably one of the most realistic pieces radio has ever presented. Other Cooper scripts are more routine, perhaps in part because the author's attention was divided by other projects. From the summer of until AugustCooper was NBC Chicago's continuity chief, supervising a staff of writers and editing their scripts. He Lights Out in order to devote more time to Lights Out as well as a daily aviation adventure serialFlying Time. From early to midCooper produced close to scripts for Lights Out. Typical plots included:. The show benefited tremendously from Chicago's considerable pool of creative talent. The city was, like New York, one of the main centers of radio production in s America. The sound effects technicians frequently had to perform numerous experiments to achieve the desired noises. Cooper once Lights Out them build a gallows and wasn't satisfied until one of the sound men personally dropped through the trap. The series had little music scoring save for the thirteen chime notes that opened the program after a deep voice intoned, "Lights out, everybody! A veteran radio dramatist, Ferrin Fraserwrote some of the scripts. When Cooper departed, his replacement—a young, eccentric Lights Out ambitious Arch Oboler —picked up where he left off, often following Cooper's general example but investing the scripts with his own concerns. Oboler made imaginative use of stream-of-consciousness narration and sometimes introduced social and political themes that reflected his commitment to antifascist liberalism. Although in later years Lights Out would be closely associated with Oboler, he was always quick to credit Cooper as the Lights Out creator and spoke highly of the older author, calling him "the unsung pioneer of radio dramatic techniques" [7] and the first person Oboler knew of who understood that radio drama could be Lights Out art form. NBC was flooded with outraged letters in Lights Out. His next story, one of his most popular efforts, was the frequently repeated "Catwife," about the desperate husband of a woman who turns into a giant feline. He followed with "The Dictator," about Roman emperor Lights Out. This set the pattern for Oboler's run: Lights Out every two horror episodes, he said later, he would try to write one drama on subjects that were ostensibly more serious, usually moral, social, and political issues. Like Cooper, Oboler was much in demand Lights Out highly prolific. In Augustsinger Vallee, then the dean of variety show hosts, claimed that Lights Out was his favorite series. Oboler occasionally redrafted his Lights Out scripts for use on Vallee's and other variety hours. Oboler met the demand by adopting an unusual scripting procedure: He would lie in bed at night, smoke cigarettes, and improvise into a Dictaphoneacting out every line of the play. In this way, he was able to complete a script quickly, sometimes in as little as 30 minutes, Lights Out he might take as long as three or four hours. In the morning, a Lights Out would type up the recording for Oboler's revisions. Years later, Rod Serling, who counted radio fantasists like Cooper, Oboler, and Norman Corwin among his inspirations, would use a similar process to Lights Out out his many teleplays for The Twilight Zonea series that in many respects was Lights Out television what Lights Out was to radio. Despite acclaim for Oboler's dramas, NBC announced it was canceling the series in the summer of —"just to see whether listeners are still faithful to it," according to one press report but also, it seems, to allow the hard-working author a vacation. Another outcry from fans led to the program's return that September for another season. In the spring ofthe series earned a good deal of publicity for its fourth anniversary as a half-hour show when actor Boris Karloffthe star of many a Hollywood horror film, traveled to Chicago Lights Out appear in five consecutive episodes. Among his roles: an accused murderer haunted by an unearthly woman-like Lights Out creature played by Templeton Fox urging him to "kill Oboler left in the summer of to pursue other projects, writing and directing several critically acclaimed dramatic anthology series: Arch Oboler's PlaysEveryman's Theatreand Plays for Americans. Regular contributors included William Fifield and Hobart Donovan. A recording of the fifth anniversary show survives from this season. Donovan's "The Devil's Due," about criminals Lights Out by a mysterious Lights Out, is in keeping with the formula laid down by Cooper. InOboler, needing money, revived the series for a year on CBS. Airing in prime time instead of late at night, the program was sponsored by the makers of Lights Out Yeast. Most of the Lights Out recordings that exist today come from this version of the show. For this revival, each episode began with an ominously tolling bell over which Oboler read the cryptic tagline: Lights Out Directing and hosting the broadcasts, mostly from New York and Hollywood, Oboler not only reused scripts from his —38 run but also revived some of the more fantasy-oriented plays from his other, more recent anthology series. Some episodes had originally aired on the author's groundbreaking, Lights Out acclaimed program Arch Oboler's Playsamong them:. Another unusual script, "Execution," about a mysterious French woman who bedevils the Nazis trying to hang her, had previously aired on Oboler's wartime propaganda series Plays for Americans. Like Cooper, Oboler made effective use of atmospheric sound effects, perhaps most memorably in his legendary "Chicken Heart," a script that debuted in and was rebroadcast in and It features the simple but effective "thump-thump" of an ever- growing, ever-beating chicken heart which, thanks to a scientific experiment gone wrong, threatens to engulf the entire world. Although the story bears similarities to an earlier Cooper episode about an ever-growing amoeba that makes an ominous "slurp! Recordings of the original radio broadcasts are lost or unavailable, although Oboler later recreated this episode for a record album in Part of the episode's notoriety stems from a popular standup routine by comedian Bill Cosby on his album Wonderfulnessan account of his staying up late as a child to listen Lights Out scary radio shows against his parents' wishes and being terrified by the chicken heart. Cosby also referenced the episode in a camping episode of Fat Albert and the Cosby Kids. Other well-remembered Oboler tales, many of them written in the s and rebroadcast in the '40s, include:. Lights Out often featured metafictional humor. Perhaps inspired by Cooper's "The Coffin in Studio B," in which actors rehearsing an episode of Lights Out are interrupted by Lights Out mysterious coffin salesman peddling his wares, Oboler wrote stories like "Murder in the Script Department," in which Lights Out Lights Out script typists become trapped in their building after hours as frightening, unexplained events occur. In "The Author and the Thing," Oboler even plays himself pitted against one of his own monstrous creations. After the Lights OutLights Out continued to work in radio Everything for the Lights Out and revivals of Arch Oboler's Plays and pursued a second career in filmmaking, first in the Hollywood mainstream and then as an independent producer, writing and directing a number of offbeat, low-budget films, including Fiveabout survivors of a nuclear war, The Twonkya satire of television, and the Lights Out film Bwana DevilLights Out made Lights Out huge profit on a small investment. He dabbled in live television a six-episode anthology series, Arch Oboler Comedy Theaterplaywriting Night of the Aukand fiction House on Fire. Inhe produced an album Lights Out Drop Dead! In —, Oboler produced a syndicated radio series, The Devil and Mr. O he liked for people to call him "Mr. O"which featured vintage recordings from Lights Out and his other series with newly recorded introductions by Mr. O himself. The success of Oboler's Lights Out revival was part of a trend in s American radio toward more horror. Genre series like Lights Out SanctumSuspense and others drew increasingly large ratings. Like Oboler's, this revival aired in the early evening and not late at night, and because of this, it was reported, "only those Cooper scripts which stressed fantasy rather than horror" were broadcast. These included a bloodless ghost story about a man who accidentally condemns his dead wife to haunt a nearby cemetery and "The Rocket Ship", science fiction involving interstellar travel. Cooper, then an advertising executive at New York's Compton Agency, may have had little or nothing to do with the actual broadcasts other than allowing his scripts to be performed. This was followed by an eight-episode revival in the summer offrom NBC Chicago, although at least one of the scripts is not by Cooper an adaptation of Charles Dickens ' " The Signal-Man ". This series also avoided the use of outright gore. In fact, a review in Variety complained that the premiere episode, The Lights Out Ploverswas "a Lights Out too serious in content for a thriller" since it included "religious background, philosophical discussion and dream diagnosis A third series Lights Out eight vintage Cooper scripts was scheduled to run in the summer of as well. Broadcast from Hollywood over ABC Radio, it starred Boris Karloff and was sponsored by Eversharp, whose company president canceled the series after the third episode, apparently unhappy with the gruesome subject matter. The premiere, "Death Robbery", featured Karloff as a Lights Out who brings his wife back from the dead, only to find she's become a gibbering homicidal maniac. An uncredited Lurene Tuttle plays the wife. This episode is one of the few surviving examples of Cooper's Lights Lights Out work that reflects the sort of explicit horror that characterized the original series. Eversharp paid off Cooper for his five unused scripts Lights Out Lights Out ended its long run on network radio. ‘Lights Out’ sẽ có phần hai - Phim chiếu rạp -

Lights Out is a American supernatural horror film directed by David F. It is Lights Out on Sandberg's short film of the same name Lights Out features Lotta Lights Outwho starred in the short. After the short film's success, Sandberg announced a film adaptation based on his short film. Filming wrapped on August 5, In a textile factory during closing hours, an employee named Lights Out encounters a silhouette of a strange woman with claw-like hands when the lights are off, but cannot see it when the lights are on. After she leaves, her boss Paul encounters the woman and is killed. Paul's stepdaughter Rebecca is called into the school nurse's office because of her brother, Martin. Rebecca and Martin are half-siblings, sharing the same mother, Sophie. The nurse was unable Lights Out get in touch with Sophie to inform her that Martin has been falling Lights Out in class lately. Rebecca tells the official that Sophie has depression and is taking antidepressants. Martin tells his sister that their mother has been talking to a woman named "Diana". Rebecca assures him that Diana is not real, and that she had also heard their mother talk to the imaginary girl when she was Lights Out child. Rebecca Lights Out into an argument with Sophie when she realizes her mother is not taking her medication, so she takes Martin to her apartment. That night, Rebecca is woken by the same shadowed woman that killed Paul. She narrowly escapes an attack when she turns the lights on, making the woman disappear. The next morning, she notices the name "Diana" has been scratched into her floor, along with a scratch drawing Lights Out a stick figure. She remembers finding the same name and drawing as a child, and realizes Diana is real. Rebecca finds a box of medical records and research in Paul's office. His findings reveal that her Lights Out was admitted to a mental hospital as a child. While there, Lights Out befriended a young patient named Diana. Diana suffered from a severe skin condition that meant she could not go out in sunlight, and was accidentally killed by the hospital staff when they tried an experimental surgery on her under intense light. It Lights Out believed that she was evil and was able to "get into people's heads". Diana's father committed suicide after Diana got into his head and influenced him to kill himself. Rebecca, her boyfriend Bret, and Martin stage an intervention with Sophie about how Sophie is letting Diana haunt them. Sophie becomes irate but secretly asks Rebecca for help, as Diana won't let Sophie go. The group Lights Out the night at Sophie's, intending to get her help in the morning. To avoid an attack from Diana during the night, Lights Out rig the house to be as brightly lit as possible. This proves useless when Diana cuts the power to the Lights Out. She traps Rebecca and Martin in the basement and attempts to kill Bret. Bret escapes and seemingly abandons the others. Lights Out the basement, Rebecca finds a black light; when she clearly sees Diana with it, she realizes it's not powerful enough to harm her but she doesn't disappear in it Lights Out can get severely hurt if a bright light shines on her while the black light is still shining Lights Out her. Bret returns with two police officers. The officers free Martin and Rebecca from the basement. The officers also see the shadow of Diana, but she kills them. Rebecca and Martin go out, but Martin insists on getting their mom out as well. She sends Martin and Bret out and goes back for her mother. As she climbs the stairs, Diana tells Rebecca that she killed Rebecca's father years ago. As Diana prepares to kill her, Sophie appears with a gun from one of the dead officers. Sophie has realized she is the tether for Diana to exist in the real world, and sacrifices herself to save Rebecca. As her body falls, Diana vanishes. After the long night, Bret comforts Martin and Rebecca in an ambulance outside the house, assuring them that Diana is truly gone. Sandberg, along with his wife Lotta Losten, created the initial short film for a film competition. Although the film did not win the competition, the short soon went viral, leading to Sandberg to be contacted by several agents, to the point where he had to develop Lights Out spreadsheet to keep track of them all. Although Wan enjoyed the short, he was hesitant that it could be turned into a feature until Sandberg produced a treatment for the feature-length version. The Lights Out to Hollywood was somewhat Lights Out for the couple, requiring that Losten quit her day job in order to do so. Once in Hollywood the two were unable to get an apartment due to not having a US credit score, Lights Out them to rent Airbnb on a monthly basis. In JuneGabriel Bateman and Teresa Palmer were cast in the film as the child and teenager leads. In that same month, Maria Bello was cast in the film as the mother of Bateman and Palmer's characters, alongside Alexander DiPersia as the boyfriend of Palmer's character, Billy Burke as the stepfather of Palmer's character and father of Bateman's character, and Alicia Vela-Bailey as the main antagonist Diana were also starring it. Principal photography for the film began in June in Los Angeles. Special effects of having the ghost appear and disappear were mostly done by using Lights Out split-screen technique as also used in the short. Sandberg said "Whenever she's in frame with another character, it's basically just a split screen. So Lights Out shoot it with her and without her. You turn the camera on with her, you turn it off and she walks off, and then you turn it on again. It's super simple, actually. In the scene when Diana appears in Rebecca's room, James Wan suggested replacing passing car headlights in an early treatment with the flashing neon sign that appears in the final film. Sandberg originally based the character of Rebecca on a real girl that he knew who was suffering from depression, and who was engaging in self-harmwhich is why Rebecca has scars on her arms, but the development of the film made it less about depression and more of a ghost story in which Diana would have been the real person who died and became a ghost. Wan came up with the idea of making Diana the ghost. Rebecca's boyfriend was also given a twist of being a rocker, but is actually Lights Out and responsible, even driving a safe car like a Volvo. Another twist Sandberg liked was making the imaginary friend for the mother rather than the trope of Lights Out the friend be for the child. After hearing concerns from critics that the ending of the film was promoting suicide, Sandberg interviewed with The A. Club where he said he was distressed about that idea, and wanted to explain his position. He said that he originally wanted to make a film about depression, as he has also suffered from it, and Lights Out one of his friends had committed suicide. Diana was not a ghost back then, Lights Out during the development of the film, it became more of a horror film. It still retained some Lights Out about depression Lights Out mental illness. He had originally shot a second ending to the film in which Martin becomes depressed and Diana comes back one more time before Lights Out is killed. However, test audiences hated that ending, saying that Sophie's sacrifice would have been in vain. The film benefited from being released in the wake of the global success of The Conjuring 2. The site's critical consensus Lights Out, " Lights Out makes skillful use of sturdy genre tropes—and some terrific performances—for an unsettling, fright-filled experience that delivers superior chills without skimping on story. A clunky script occasionally loosens its grip on the nerves, but chances are Diana will Lights Out have you sleeping with the lights on for a good while after leaving the theatre. Lights Out gave me the chills. A few critics were less taken with the film. Pictures had greenlit a sequel. Heisserer and Sandberg will return to write and direct the film, respectively, while Wan and Lawrence Grey will return to produce under their Atomic Monster and Grey Matter Productions banners. From Wikipedia, the free encyclopedia. Theatrical release poster. Release date. Running time. British Board of Film Classification. June 7, Lights Out Retrieved June 8, ShowBiz Junkies. Retrieved April 22, Box Office Mojo. Retrieved December 18, Retrieved June Lights Out, Daily Dead. Retrieved August 17, Retrieved July 2, June 29, Archived from the original on June 30, August 9, Retrieved August 20, August 5, Retrieved August 5, The A. Lights Out 30, Retrieved July 22, April 22, Lights Out Hollywood.