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恐懼鬥室
SAW
www.sawmovie.com

導演：占士．溫 James Wan
編劇：利雲紐 Leigh Whannell
演員：<大話王>卡利艾域士 Cary Elwes
<轟天砲>丹尼高化 Danny Glover
利雲紐 Leigh Whannell
蒙妮卡波特 Monica Potter

故事大綱

一間密室，兩個互不相識的男人，阿當 (利雲紐 飾) 與哥頓醫生 (卡利艾域士 飾)，各自被鐵鍊禁錮在密室的對角，中間躺著一具吞鎗自殺的屍體，兩人口袋中各有一盒錄音帶，房內藏有兩把幼鋸、一柄手鎗、一發子彈、一條神秘鎖匙，牆上掛上一個簇新的大鐘，滴答．．．滴答．．．遊戲開始：八小時內，哥頓醫生要在密室中了結阿當，否則他被劫持在家中的妻女便會遇害！

阿當建議與哥頓醫生合作，試圖破解密室的謎團，一起逃出生天，兩人由猜疑到信任，再發展到互相攻訐、背叛、出賣．．．兩人心底最黑暗的秘密逐步揭開，密室謎團層層剝落，最後演變成一場見血的角力戰爭！

困室之中，死亡倒數分秒逼近，負責追兇的聯邦密探 (丹尼高化 飾) 掌握了重要線索，卻又墮入另一個陷阱，遊戲設計師的真正身份和動機出人意表．．．電影觀眾從受害者的視點看故事，彷彿在電影院中參與了一場RPG遊戲，劇情層層推進，令人喘不過氣，未到結局，未知真相！

遊戲目的很簡單：生命就是一場殺戮，玩唔起，就要死！憑什麼，你可以最後生還？

2005年顫慄新驚典

關於製作

一個浴室，兩個男人，在八小時內，他們必須互相廝殺，直至一方死亡，否則兩者都要死．．．密室恐懼，擴展至不同影展的大小戲院，觀眾尖叫聲此起彼落．．．

「就是那不能預測的因素，你不知身在何處，一切不在你控制範圍之內，那種恐懼油然而生。<恐懼鬥室> 是從受害者的角度出發。電影一秒一秒的播放，觀眾就跟著主角，像玩RPG遊戲，代入了那殘酷的現實。」主角兼編劇的利雲紐說。

在電影中的每一位受害者都被迫去作出一個決定。一個男人為了不被活埋而被鋼線割肉滴血；一個女人要殺掉一個男人否則她人頭不保．．．那是由一名叫'拼圖殺手'的人設計出來的遊戲。

但'拼圖殺手'並不是完全的變態狂魔，他的'遊戲'動機是要教訓那些迷失的人（受害者），要他們明白生命的意義。 在片中飾演偵探的丹尼高化說:「即使在電影中最令人討厭的角色也在告知我們如何尊重生命。」'拼圖殺手'的智理明言：活著不是必然的，不要待至生命到了最後才珍惜。

利雲紐在寫此劇本前身體出現問題，臥病床前的他更能明白生命的可貴。加插恐怖的劇情去宣揚尊重生命的意識，在娛樂大眾時亦能當頭棒喝視生命無物的人。

利雲紐及澳洲華裔導演占士．溫甫完成劇本便被其經理人催促飛往洛杉磯接洽生意。這兩位年輕電影人身無分文，根本不能遠飛北美。不喜歡浪費光陰，要把握生命的他倆把其中幾幕拍成DVD，連同劇本寄出各大電影公司。很快，便有公司財政上支持他們。DVD除了令電影得以開拍，更成功吸引演員答允參演。

在片中飾演丹尼高化妻子的蒙妮卡波特對初看DVD記憶猶新：「我看完又看，令我感到不安，卻非常渴望能擔演其中一角。」

首次執導的華裔導演占士．溫備受工作人員及演員推崇，一致認為他擁有與生俱來的執導天份。丹尼高化說：「他給你很大的發揮空間，很有團隊精神。」蒙妮卡波特認為占士．溫十分有責任心，且樂於接受他人意見：「他很積極，樂於助人，他知道自己要什麼卻非常接受新事物，新意見。」

在新進導演及工作人員的努力下，觀眾對<恐懼鬥室>的驚嚇場面及懸疑氣氛都有良好的迴響，不過最令人議論紛紛的卻是出人意表的結局。正如監製所指：「結尾乃電影的精髓！」

利雲紐說：「我希望觀眾離場時能好好想一想整齣電影，就像<鬼眼>及<非常嫌疑犯>，觀眾不停想著看過的每一幕，慢慢清晰明白是怎麼的一回事，我想要的就是那一種觀影體驗。」

票房全球報捷 原班人馬開拍續集

<恐懼鬥室>票房全球報捷，英美一開畫便打入三甲位置，以上座率計算更勝同期冠軍影片，累積票房正邁向一億美元，<恐懼鬥室>是一部不需靠大卡士，單憑扣人心弦的戲味，而贏得觀眾口碑和票房，令投資電影公司賺過盤滿砵滿，也令占士．溫這位華裔小夥子一炮而紅，電影公司已經公佈２００５年由原班人馬開拍<恐懼鬥室>續集，讓顫慄新'驚'典延續下去．．．

-完-

SAW

www.sawmovie.com

Directed by
James Wan

Story by
James Wan & Leigh Whannell

Script by
Leigh Whannell

Starring
Cary Elwes
Danny Glover
Monica Potter
Michael Emerson
Tobin Bell
Ken Leung
Makenzie Vega
Shawnee Smith
Benito Martinez
Dina Meyer
Leigh Whannell

Release Date: 20 January 2005
Category: III
Runtime: 100 Minutes

Cinema Lineup:
UA: Langham, Shatin, Cityplaza, Whampoa, Telford, Citygate
GH: Mongkok, Hollywood, Tsing Yi, Gateway, New York
Broadway: Mong Kok, Olympia, Kwai Fong, Tsuen Wan, Kowloon Bay, Yuen Long, Cyberport, Ginza
AMC, Ma On Shan, Paris/London/New York, Chinachem

Synopsis

Saw takes us into the psychotic mind of a criminal genius who creates diabolical scenarios designed to teach his victims the values of life. The Jigsaw Killer, nicknamed for the jigsaw puzzle-shaped wound left on the flesh of his victims, forces his prey to commit unbearable, agonizing acts in order to save themselves. Lieutenant Tapp (DANNY GLOVER) has been put in charge of the investigation to catch the killer. The elusive ways of the Jigsaw Killer send Tapp into an obsessive rage and finds himself ensnared in this murderous game.

Adam is jolted to consciousness only to realize that he is chained to a rusty pipe inside of a filthy abandoned bathroom. Adam is not alone, across the room chained to the other side is Dr. Lawrence Gordon (Carey Elwes) and in between them lies a man buried in his own blood from a self-inflicted gunshot wound to the head. The mystery begins as the two captives try to piece together the clues left behind to figure out how they got there and more importantly, how they will escape. The clues unravel as their true identities are exposed and they realize they are the next victims of the Jigsaw Killer.

Saw is a thoroughly chilling and expertly crafted suspense thriller with endless twists that will keep you guessing until the last body drops.

About the Production

From the very first frame of Lion's Gate Films' terrifying new thriller, SAW, the audience is thrown into the unknown: two men wake up in a subterranean bathroom, both chained to the wall. They know only that one man must kill the other within eight hours or both will die. An intense, complex thrill ride with a puzzle-like plot and a surprise ending that has earned screams from festival audiences, SAW has a visceral, uniquely human perspective on horror.

"I think the film allows you to imagine yourself in the situation of these characters," says co-writer/director James Wan. "It constantly asks, 'If you were in their shoes, what would you do? Would you do the unthinkable to survive?'"

"It's the 'unknown' factor," adds co-writer/actor Leigh Whannell, who also stars in the film as Adam. "Not knowing where you are or what is going on, basically having no control, is terrifying. SAW is told from the victims' point of view, not the police, as we so often see in procedural thrillers. As the film progresses, the audience is piecing together the clues in real time along with the characters. It makes it very easy to identify with."

Each victim in SAW is faced with a horrific choice on which his or her life rests. A man must escape from being buried alive by forcing himself through a web of flesh-cutting wires; a woman must kill another man to free herself from a steel head casing that is timed to tear off her jaw…It's these games, masterminded by a killer known only as Jigsaw, which elevate SAW beyond traditional serial killer fare, lending a shocking sense of the macabre to the pervading atmosphere of terror.

"Jigsaw's ingenuity is what really distinguishes this film," says producer Gregg Hoffman. "The games he forces his victims to play are horrifying and dark, but more importantly, they're utterly original. Audiences haven't seen anything like them."

Whannell admits to trying to devise the most shocking murders possible. "I couldn't have Jigsaw challenging his victims to an all-night game of Twister!" he says laughing. "The games he devised had to be pretty hardcore. So I found myself imagining all these sick little scenarios, as if I were a maniac myself."

In another macabre spin on the genre, SAW also functions as a grim morality tale. Jigsaw is not driven solely by cruelty or insanity; he also wants to teach his morally deficient victims a lesson about the value of life. In one chilling scene, one of the survivors of Jigsaw's games actually credits Jigsaw for helping her change her life.

Danny Glover, who plays Detective Tapp, finds this one of the most interesting elements of SAW. "Even the antagonist, the guy who we most hate in this movie, is someone who philosophically has something to say about the way in which we respect life," he says.

"Jigsaw makes his victims appreciate how precious life is by threatening to take it away," says Cary Elwes, who plays Dr. Lawrence Gordon, one of Jigsaw's unwitting captives. "He's saying, 'Don't take life for granted, and don't wait till it's too late."

Wan adds, smiling, "Jigsaw's intentions are good, but his methods are not."

For Wan, SAW was the perfect opportunity to meld the hard-edged scares of a horror film with the convoluted plot of a high-quality thriller. "For me, the horror genre is one genre that allows you to play outside the boundary of established conventions," says the director. "I've always approached the project like a whodunnit, a puzzle movie. I took a thriller storyline and told it with the stylistics of a horror film."

Producer Greg Hoffman agrees: "If you're going to do a genre film, I always think you have to twist it, shake it up, surprise people. Elevate it in some way. SAW is a classic Hitchcock film if Hitchcock watched too many Nine Inch Nails videos."

Wan cites filmmakers like David Lynch and Dario Argento as the primary sources of inspiration for the gritty, surreal look of SAW. "I wanted to take real people and put them into an alien, Lynchian universe inhabited by the macabre freakishness of Argento," he says. "From the outset I wanted SAW to be a vicious film of ferocious intensity where none of the characters or situations are safe."

Wan and Whannell met in film school in Australia, where Wan was already displaying an appreciation for unique genre fare. Whannell recalls, "We went to a really arty film school with lots of black nail polish and berets and guys making films about sand. James would get up and show his films, and they'd be about zombies. I knew he was going to become something big."

Wan and Whannell set about writing a script together with a simple premise: two men are trapped in a bathroom; one man has to kill the other. From this compellingly simple scenario, a story grew and broadened, encompassing flashbacks and a host of other characters.

Once Whannell understood what the theme of the story was, he knew he could start writing. "I had some health problems before the writing of SAW, which, while not life-threatening in the end, really shook me up and made me think about the way I was living life," remembers Whannell. "It honestly changed me. I thought that would be an interesting theme to structure a thriller around."

"The script was designed in such a way that all the separate strands would eventually come together in the end," says Wan. "Like jigsaw puzzle pieces making up the whole picture."

When they finished the script, Wan and Whannell were urged by their manager to fly to Los Angeles to take meetings on the project. For the two broke, would-be filmmakers, however, the trip all the way to North America seemed like "an expensive handshake." Hoping to make the trip as productive as possible, they realized there was only one thing to do - spend more money. Scraping together a few thousand dollars, the young filmmakers shot a brutally compelling scene from the script starring Whannell, hoping to use this short film to sell themselves as a capable director and star. They burned the film onto a DVD and submitted it to LA producers with their script.

"It's the smartest thing we've ever done," states Whannell.

Several thousand miles away in Los Angeles, producer Greg Hoffman was waiting for a meeting to start when an agent friend pulled him into an office and showed him Wan's and Whannell's DVD. "About two or three minutes into it, my jaw hit the floor," says Hoffman. "I ran back to my office with the DVD and the script and showed it to my partners."

By the time Wan and Whannell had stepped off the plane onto Los Angeles soil, Hoffman and his partners had already made an offer to finance the movie with Wan directing and Whannell starring in the role of Adam. Of the DVD, Whannell simply says, "It was one of those few things in life that did exactly what it was meant to do." Three months later, Wan and Whannell were shooting SAW.

On the basis of the DVD and the script, Wan and his producers found they were able to attract considerable star power to the project. When Cary Elwes watched the DVD, he sent Hoffman an email with only one word: "Wow." He sat down to read the script and found he couldn't stop. "I read it in one sitting, which I never do," says Elwes. "I thought, 'Okay, I've got to do this. I've got to.' It was just wonderful writing, an incredibly taut suspense thriller. "

Monica Potter, who plays Dr. Gordon's wife, Alison, remembers watching the DVD for the first time. "I watched it, and then I had to watch it again. And it disturbed me because I wanted to do it. I wanted to be in this film and I was trying to figure out why. It got me a little worried."

"James and Leigh have tapped into something, into the psyche," adds Elwes. "I walked around the first couple of days on set and everyone was saying to me, 'Isn't this script amazing?' You never hear crew members saying that. Ever."

For the role of Tapp, the police detective who becomes obsessed with stopping Jigsaw, Wan set his sights on Danny Glover. Glover was "really impressed with Wan's vision," and signed on immediately, attracted to the multi-dimensional role. Glover smiles as he recalls how Wan came to choose him for the role. "James saw me in an infomercial in Australia," he says laughing. "He wasn't saying, 'I saw you in another film.' He saw me in an infomercial."

Since the relationship between Dr. Gordon and Adam forms the core of SAW, Elwes felt it was imperative that he and Leigh Whannell have rehearsals before production began. "These two characters bond in this room in a very strange way," says the actor. "They go through all kinds of emotions with each other, but in the end, they really have found some common thread, even when they end up being antagonistic. We found some wonderful things in rehearsal. We were very lucky."

Says Whannell: "The biggest challenge for me was to try and hold my own opposite a great actor like Cary. Luckily, he was such a great and gracious guy that I got over my nerves pretty quickly. "

Having already proven his acting skills in the short he and Wan made, Whannell packed away his "writer's hat" and threw himself into his first starring role in a feature film. Watching his vision come to life, however, proved to be more than a little surreal. "If something's in your head for so long, to be able to touch it is really amazing," says the young actor/writer. "Like that bathroom, the main set. It was in my head for two years, and then all of sudden I could walk in it. I could touch the walls. That was incredible."

Whannell could often be seen on set with headphones on, listening to music before shooting a scene. "Sometimes it's difficult to muster up that primal level of anger or fear, especially when you're achieving your dream of making a film. I found music would take me to a particular emotional place in a short amount of time."

Whatever his methods, it's clear that Whannell more than holds his own opposite his seasoned co-stars. "Leigh is a really talented guy," says Elwes. "I'm very excited for him because he's going to take off after this movie."

The cast was equally excited by first-time director James Wan, who proved that directing is, in Elwes' words, "a job he was born to do." For Wan, shooting SAW far surpassed his expectations. "I always thought that my first film would be with a couple of my mates back home, a couple of friends getting together sitting around a table," he says. "But this is amazing. It's been especially great working with the cast and crew. Everyone's been so supportive of me. I've been very fortunate."

"I think that James is going to be one of the most promising new directors to arrive on the scene. No question," asserts Elwes. "He's such a visionary, and he's so wonderful with actors. He creates an environment where you feel so comfortable that you feel like you can try anything."

"He gives you the space to be creative," adds Glover. "It's truly a collaborative effort."

Monica Potter believes that James' relative inexperience was actually an asset, as it allowed him to be more responsive and flexible as a director. "Older directors can be stubborn," says the actress. "James is aggressive and very helpful. He knows exactly what he wants, but he loves new ideas, too. He's awesome."

Audiences have clearly responded to SAW's masterful performances and taut suspense, but it's the film's shocking surprise ending that has really sparked conversation.

"The twist at the end is definitely what makes the movie," says producer Mark Burg, "and we're not giving it away."

"My hope is that the ending makes people walk out thinking about the entire movie, the way it did with films like THE USUAL SUSPECTS and THE SIXTH SENSE," says Whannell. "With those films, you cast your mind back to earlier scenes and things become clearer. The whole film has resonance."

Wan relishes the effect of the final frames on his audience. "I want people to walk out shattered. Completely and utterly shattered," he says, laughing. "That's the plan."

THE CAST BIOS

Cary Elwes

Cary Elwes most recently appeared in the critically acclaimed NBC mini-series, "Uprising," opposite Jon Voight and Leelee Sobieski and starred in Lions Gate's dramatic thriller, THE CAT'S MEOW opposite Kirsten Dunst. He will next be seen starring in Miramax's ELLA ENCHANTED opposite Anne Hathaway.

He previously starred alongside Willem Dafoe and John Malkovich in the Golden Globe and Oscar nominated SHADOW OF THE VAMPIRE.

Other films include director Tim Robbins' THE CRADLE WILL ROCK with Vanessa Redgrave and Susan Sarandon. Elwes starred opposite Helena Bonham-Carter in the highly acclaimed historical epic LADY JANE. From this, Rob Reiner picked Elwes to star opposite Robin Wright in the classic film, THE PRINCESS BRIDE.

He has appeared in the blockbusters TWISTER with Helen Hunt, LIAR LIAR with Jim Carrey, and the suspense thriller KISS THE GIRLS with Morgan Freeman and Ashley Judd and countless others.

Danny Glover

A native of San Francisco, Danny Glover attended San Francisco State University and trained at the Black Actor's Workshop of the American Conservatory. He appeared in numerous stage productions, including THE ISLAND and MACBETH at the Los Angeles Actor's Theater and SIZWE BANZI IS DEAD at the Eureka Theatre. However it was Glover's performance in the New York production of Athol Fugard's MASTER HAROLD AND THE BOYS, that first brought the actor national recognition.

His film credits include: THE ROYAL TENENBAUMS, PLACES IN THE HEART, SIVERADO, THE COLOR PURPLE, THE LETHAL WEAPONS SERIES, BAT-21, GRAND CANYON, TO SLEEP WITH ANGER, ANGELS IN THE OUTFIELD, THE SAINT OF FORT WASHINGTON, BELOVED, and BOESMAN AND LENA.

He recently completed filming Lions Gate Films THE COOKOUT with Queen Latifah.

He received an NACCP Image Award as well as an ACE Award for his performance in HBO's production of "Mandela." Glover received Emmy nominations for Best Supporting Actor for his roles in the television mini-series "Lonesome Dove," and for Turner Network Television's "Freedom Song."

In 1990, Glover starred in Charles Burnett's award-winning and critically acclaimed TO SLEEP WITH ANGER; playing a character whose ambivalent conflict between his good and dark sides brings three generations of a contemporary black family to dangerous crossroads. TO SLEEP WITH ANGER, marked Glover's debut as an executive producer. Other films executive produced by Glover include: HBO's "American Dream," series for Black History Month; the HBO-BBC movie "Deadly Voyage," based on a true story of eight African stowaways who were slaughtered on the high seas by a Ukrainian freighter crew; TNT's "Buffalo Soldiers," a dramatic story of America's first all black Calvary unit; and TNT's "Freedom Song," a story about the civil rights movement for which he received an Emmy Award nomination for best supporting actor.

Glover hosted and executive produced, "Courage," a one-hour, weekly prime-time series for Fox Family Channel, which celebrated and profiled real people who have shown courage and bravery in moments of crisis. "Courage," was selected by TV Guide as one of the Top Ten Inspirational Shows on Television for 2000.

In response to the AIDS crisis in Africa, and in order to raise awareness about the impact of the disease on undeserved communities in the United States, Glover has extended his tenure as Goodwill Ambassador for the United Nations Development Program. He is also a major supporter of the TransAfrica Forum, the African-American lobbying organizations on Africa and the Caribbean, and the Algebra Project, a math empowerment program developed by civil rights veteran Bob Moses.

Monica Potter

Monica Potter's film credits include I'M WITH LUCY, ALONG CAME A SPIDER, HEAD OVER HEELS, WITHOUT LIMITS, PATCH ADAMS, MARTHA MEET FRANK, DANIEL & LAURENCE, A COOL DRY PLACE, CON AIR, and BULLETPROOF.

Her television credits include the following: "The Lunchbox Chronicles."

Leigh Whannell

Leigh Whannell has performed supporting roles in ONE PERFECT DAY, THE MATRIX RELOADED, NEGATIVE, AARON, DARRON & THE BARON STYGIAN, THE DEMISE OF FALLON THOMAS, and STATIC. SAW is Whannell's first leading feature film role.

His television credits include the following: "In-Entertainment," "TVI/Foxtel," "Fly TV," "Arena/Foxtel," "Blue Heelers," "Recovery," and "Neighbors." His theater credits include the following: The Gathering.

Whannel also co-wrote the screenplay for SAW, his first script.

FILMMAKER BIOS

James Wan, Director/Co-writer

James Wan's directing credits include the short films NEGATIVE, THE ANTHEM OF MARCUS WRIGHT, STYGIAN, and RADIUS. SAW is Wan's feature film directing debut.

His television credits include the following: "Fly," for ABC, "Cooking with Kurma," and "More Great Vegetarian Dishes."

Charlie Clouser, Composer

Charlie Clouser's current work as co-producer of the new album by the groundbreaking metal band Helmet, to be released on Interscope Records is a natural outgrowth of his singular work as a musician, programmer and remix artist.

Before joining Nine Inch Nails as keyboardist/programmer in 1994, Charlie already had built a following with his extreme synth work and remixes for Prong, Marilyn Manson, White Zombie, and others. His dense layers of chopped up beats and grinding synthbass lines were instrumental in defining the sound of White Zombie1s double-platinum 1994 breakthrough album Astrocreep: 2000, and five of his elaborately heavy remixes dominated the follow-up gold remix album SuperSexy Swingin' Sounds. This led to numerous collaborations with frontman Rob Zombie, including co-writes on songs like the 1996 Grammy nominee for Best Metal Performance, The One (with Alice Cooper), which Charlie wrote, mixed, and performed, and key songs for soundtracks like BEAVIS AND BUTTHEAD DO AMERICA and Howard Stern's PRIVATE PARTS, as well as for Rob Zombie's double-platinum 1997 solo debut. A remix album followed (1999's American-Made Music To Strip By), and again, Charlie dominated the track listing. Throughout all of this, his remixes were being licensed to film and television at a furious pace, appearing on countless soundtrack albums (THE CROW II, THE MATRIX, SCREAM), and popping up in the occasional video game.

Parallel to all of this, Charlie has been playing keyboards, theremin, and occasionally drums onstage with Nine Inch Nails since the band's quadruple-platinum album The Downward Spiral, and his destructive keyboard technique and heavy-metal theremin style have long been integral to the band's intense live show.

In the studio with Nine Inch Nails, Charlie has co-written high-profile songs like The Perfect Drug (from the gold soundtrack to David Lync's Lost Highway), Starfuckers, Inc. and The Way Out Is Through2 (both from The Fragile, Spin Magazine's 1999 Album of the Year), and his intricate programming style and abrasive synth work are important parts of the band's unique sonic vision.

Along the way, he has continued to apply his talents on albums and remixes for artists like David Bowie, Jamiroquai, Deftones, Rammstein, Killing Joke, Esthero, Marilyn Manson, Snoop Dogg and Meat Beat Manifesto sees him neck-deep in the worlds of music and film.

SAW is Clouser's first filmscore.

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