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RESIDENT EVIL: EXTINCTION

Adapting Resident Evil:Extinction
The third and final installment of the $100 million Resident Evil trilogy, Resident Evil: Extinction is again based on the wildly popular video game series. The first film established the world of the Resident Evil film franchise; the second film, Resident Evil: Apocalypse, found Alice (Milla Jovovich), L.J. (Mike Epps) and a renegade Umbrella officer named Carlos Olivera (Oded Fehr) escaping Raccoon City and Umbrella's plot to extinguish them. Resident Evil: Extinction finds them loose in the Las Vegas desert, moving from place to place in an armored convoy, outrunning and outgunning the throngs of Undead that lurk in the wide, empty spaces that can no longer be called civilization.

"I think the strength of the Resident Evil movies is that they're not just zombie movies,” says writer/producer Paul W.S. Anderson, the creative force behind the Resident Evil trilogy. "There are creatures in these films, more than just the Undead. There are also a lot of science fiction concepts in the movies, as well, so they're bigger than just a zombie movie.”

Constantin's Bernd Eichinger, Robert Kulzer and Martin Moszkowicz, who first envisioned the Resident Evil movie franchise, are once again reunited with Davis Films' Samuel and Victor Hadida and Impact Pictures' Jeremy Bolt and Paul W.S. Anderson.

"Paul has done something which is very unusual for a genre movie,” says producer Robert Kulzer. "It feels like a very epic movie, with story arcs that go across several movies and combine again and get separated again. All of these characters have taken on lives of their own. He's so connected with this franchise, and these characters and the world of the game. I think this world really inspires his imagination.”

Taking the director reins this time is Russell Mulcahy, who started his career as a music video director before helming such seminal films as Highlander and its sequel, as well as The Shadow and Ricochet. "For my generation of filmmakers, Highlander was a big thing,” says Anderson. "Russell pioneered a very distinct visual style, a lot of moving camera and crane work, lots of very fast cutting. He's got a very cool eye and sees great ways to shoot. His work certainly had a big influence on me as a filmmaker and that's why I was very excited to work with him on this movie.”

"When we had our first meeting with Russell, he literally came in with a book,” recalls Kulzer. "He had storyboarded the entire movie, and he took us through it – shot by shot, scene by scene. We were just blown away by this.”

"Horror films have always been a great passion of mine, so it's great to get my hands on such a fantastic script,” says Mulcahy. "Visually, Resident Evil: Extinction is different from the previous two films. The first one was quite claustrophobic; the next one was outside on wet night streets, and now, we take them out into the desert. It has a very western feel but is futuristic, crazy and creepy.”

"We took a lot of inspiration from another genre of films that I grew up with, which is the post-apocalyptic movie, of course, Mad Max and The Road Warrior being the best of them,” Anderson adds. "There's a whole audience of people who don't know how cool seeing armored trucks blast through these desert landscapes can be.”

Where the first two films unfolded in tight, contained spaces, the third film's large scale action sequences take place amid post-apocalyptic landscapes in broad daylight. "What's terrifying is not necessarily that which goes bump in the night, but that which whispers at mid-day,” says Mulcahy. "In some ways it's even more terrifying. We do have our dark, spooky scenes, but we have a wonderful visual contrast of this blasted sand and stormy desert landscape, such as Las Vegas covered in sand. And then you go underground to the Umbrella Corporation, which is all blue an

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