![]() He is not afraid of making people uncomfortable. Sonnier’s brand has always been hard R-rated material with deeper messages and themes. And it's not my aesthetic - it's not my brand, anyway. And that is such a neutered way of making movies. And it’s just so typical Hollywood, because they're trying to appeal to everyone and offend no one. … At one point there was even an evil dog put in the script. ![]() All the really icky, dangerous stuff in the movie, like kids (in) danger or a a sexual predator in the house, got removed. All of the stuff about Nana's apple butter. ![]() So at one point, everything – all of the religious iconography - got removed. In an exclusive interview with, Sonnier described how hard it was to bring a movie like “Shut In” to the big screen in today’s Hollywood: He is the producer of “Shut In,” as well as “Run Hide Fight,” “Bone Tomahawk” (starring Kurt Russel and Patrick Wilson), “Brawl in Cell Block 99” (starring Vince Vaughn) and “Dragged Across Concrete” (starring Vince Vaughn and Mel Gibson). “We’re not making ‘Christmas Romance in the Rockies’ or ‘Hillary’s Hard Drive Part III,’” he told Axios. Jeremy Boering, CEO of the Wire has insisted that he and his team are not interested in making explicitly religious or political movies but rather movies that resonate with the values of their audience in ways that mainstream Hollywood is increasingly reluctant to make. It has already bought and distributed the Bonfire Legend-produced “Run Hide Fight” and produced a handful of comedy specials by Adam Carolla under the umbrella of “Truth Yeller,” but this is its first “Daily Wire Original” feature film. This is part of The Daily Wire’s overall push to diversify its platform from the political commentary that has made it a $100 million company. ![]() “Shut In” is produced in collaboration with Dallas Sonnier’s Bonfire Legend production company. You could say the context of the film is more important than the film itself. Hollywood has known this forever and wielded the power of story like a weapon. Stories express values, and values shape culture. “This film is going to be the first step in producing content that you are going to love,” said Ben Shapiro, editor emeritus of The Daily Wire and host of “The Ben Shapiro Show.” “It reflects your values rather than the values of Hollywood. “Shut In” is a solid home invasion horror film that seamlessly integrates faith with its claustrophobic thrills - and “solid” is exactly the bar it needed to clear to be a potential game changer for entertainment produced by religious conservatives for religious conservatives.Ĭonservatives - religious and otherwise - have long railed against a perceived anti-conservative and anti-religious bias in mainstream entertainment. Voltage Pictures is handling international sales for “Shut In” with overseas releases expected later this year.(REVIEW) In a push to create a conservative alternative to Hollywood, the conservative news outlet The Daily Wire produced its first film, premiering Feb. Its producers are Sonnier and Amanda Presmyk (“Run Hide Fight”) of Bonfire Legend. The executive producers of “Shut In” include Boreing and Daily Wire co-founders Ben Shapiro and Caleb Robinson. The project fell apart, and after the option period ended, Sonnier chose to take the project out of New Line and over to The Daily Wire. The project went on to be set-up at New Line Cinema, and even got as far as starting pre-production with Jason Bateman as the director. The heart-pounding psycho-thriller centers on a young single mother who is held captive in her pantry by her violent ex and his meth-addict friend, and she must escape to save her children before it’s too late.īased on a script by Melanie Toast, Bonfire Legend’s Dallas Sonnier (“Bone Tomahawk”) first discovered the “Shut In” script on The Black List website, purchased the rights, and introduced Toast to her agents at UTA. Directed by DJ Caruso (“Disturbia”) and starring Rainey Qualley (“Ultrasound”) and Jake Horowitz (“The Vast of Night”), “Shut In” marks the return of indie film icon Vincent Gallo (“Buffalo ’66″) in his first feature role since 2013.
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