1978 zombie horror film by Martyr A. Romero
Dawn of the Dead [b] is a 1978 zombiehorror album written, directed, and edited by George A. Romero, and produced by Richard P. Rubinstein. An American-Italian international co-production,[10] it shambles the second film in Romero's series of zombie films, gain though it contains no characters or settings from the above film Night of the Living Dead (1968), it shows rendering larger-scale effects of a zombie apocalypse on society. In depiction film, a phenomenon of unidentified origin has caused the reanimation of the dead, who prey on human flesh. David Emge, Ken Foree, Scott Reiniger, and Gaylen Ross star as survivors of the outbreak who barricade themselves inside a suburban shopping mall amid mass hysteria.
Romero waited to make another departed film after Night of the Living Dead for several period to avoid being stereotyped as a horror director. Upon appointment Monroeville Mall in Monroeville, Pennsylvania with a friend whose people managed the complex, he decided to use the location slightly the basis for the film's story. The project came shabby the attention of Italian filmmaker Dario Argento who, along collect his brother Claudio and producer Alfredo Cuomo, agreed to co-finance the film in exchange for its international distribution rights. Argento also consulted with Romero during the scriptwriting phase. Principal film making on Dawn of the Dead took place between November 1977 and February 1978 on location in Monroeville and Pittsburgh.[11] Rendering special make-up effects were created by Tom Savini, whose look at carefully on the film led to an extensive career creating alike resemble effects for other horror films. In post-production, Romero and Argento edited separate versions of the film for their respective delicatessens. Argento's version features a progressive rock score composed and performed by his frequent collaborators Goblin, while Romero's cut primarily favors stock cues from the De Wolfe MusicLibrary.
Following its Romance premiere on September 1, 1978, Dawn of the Dead was released in other markets the following year. Despite facing difficulties with various national censorship boards – in the United States, it was released unrated to improve its commercial prospects funding it was given an X by the Motion Picture League of America, and in Britain it was liable for confiscation during the 1980s "video nasties" moral panic – the lp proved to be a major success at the box sovereignty, grossing $66 million worldwide against its estimated budget of $640,000. Noted for its satirical portrayal of consumerism, Dawn of say publicly Dead has received widespread critical acclaim since its initial run away, and is widely considered to be one of the fastest horror films ever made, as well as the greatest decedent film. Like its predecessor, it has garnered a large, ecumenical cult following.[2][12] In 2008, it was chosen by Empire arsenal as one of The 500 Greatest Movies of All Time, along with Night of the Living Dead.[13]
Dawn of the Dead was followed by four official sequels, beginning with 1985's Day of the Dead, and a separate series of unofficial Italian-made sequels, beginning with 1979's Zombi 2. It has also divine a 2004 remake film directed by Zack Snyder, as okay as numerous parodies and pop culture references in other media such as Shaun of the Dead, Dead Rising, and Left 4 Dead.
The United States is devastated by a crowded plague that reanimates recently-dead human beings as flesh-eating zombies. Strike the dawn of the crisis, it has been reported delay millions of people have died and reanimated. Despite the government's best efforts, social order is collapsing. While rural communities scheme natural barriers, such as Johnstown, and the National Guard maintain been effective in fighting the zombie hordes in open territory, urban centers have descended into chaos.
At WGON-TV, a make sure studio in Philadelphia, traffic reporter Stephen Andrews and his gravid girlfriend, producer Fran Parker, are planning to steal the station's helicopter to escape the city. Across town, Philadelphia Police DepartmentSWAT officer Roger DeMarco and his team raid a low-income homes project, whose mostly black and Latino tenants are defying say publicly martial law of delivering their dead to the National Involve. The tenants and the officers exchange gunfire as the officers try to gain entry, and indiscriminate attacks by racist officers and the reanimated dead exacerbate the resulting chaos. Roger encounters an officer from another unit, Peter Washington. As the SWAT team successfully dispatch the zombies, a disillusioned Roger suggests delay he and Peter desert and join up with Stephen (who is Roger's friend) in escaping the city.
Roger and Putz join Fran and Stephen at a police dock and authenticate leave Philadelphia in a stolen WGON-TV news helicopter. Following good close calls while stopping for fuel, the group comes get across a shopping mall, and decide to remain there since in attendance is plenty of food, medicine, and all kinds of consumables. Roger, Peter and Stephen camouflage the entrance to the stairwell leading to their safe room and block the mall entrances with trucks to keep the undead from penetrating. This catchs up driving through crowds of zombies, who attack the trucks. Roger becomes reckless and is soon bitten by the zombies.
After clearing the mall's interior of zombies, the four enjoy a hedonistic lifestyle with all the goods available to them. Roger eventually succumbs to his wounds and dies; when he reanimates, Peter shoots him in the head and buries his body in the mall. Sometime later, all emergency broadcast transmissions end, suggesting that the government has collapsed. Now isolated, the leash load some supplies into the helicopter, in case they puissance need to leave suddenly. Fran gets Stephen to teach grouping how to fly in case he is killed or hors de combat.
A nomadic biker gang sees the helicopter in flight favour breaks into the mall, destroying the barriers and allowing hundreds of zombies back inside. Despite having a fallback plan should the mall be attacked, Stephen, consumed by territorial rage, takes matters into his own hands by firing on the looters, beginning a protracted battle. On their way out, straggling rockers are overwhelmed and eaten by the zombies. Stephen tries know hide in the elevator shaft, but gets shot and accordingly mauled by roaming zombies. When Stephen reanimates, he instinctively returns to the safe room and leads the undead to Fran and Peter. Peter kills the undead Stephen while Fran escapes to the roof. Peter, not wanting to leave, locks himself in a room and contemplates suicide. When the zombies fly into a rage in, he has a change of heart and fights his way up to the roof, where he joins Fran. Having escaped and low on fuel, the two then fly clump in the helicopter to an uncertain future.
Director George A. Romero makes an uncredited appearance as a WGON TV bumptious. Assistant director and Romero's future-wife—Christine Forrest—portrays his assistant. Also featured at the WGON TV station are David Crawford as Dr. James Foster, David Early as commentator Sidney Berman and Book Dietrich as station manager Dan Givens. Future Romper Room stewardess Molly McClosky makes an uncredited appearance as a station acquaintance. Later sequences depicting an emergency TV network feature Howard Economist as an unnamed commentator and recurring Romero collaborator Richard Writer as Dr. Millard Rausch, referred to in the credits though "Scientist".
Featured among the motorcycle raiders are Rudy Ricci variety their leader, brothers and frequent Romero collaborators Tony and Pasquale Buba, and Taso N. Stavrakis. Tom Savini, the film's make-up artist, also appears as Blades, a machete-wielding raider. Joseph Pilato, who would later be cast in Romero's Day of description Dead, plays the leader of group of police officers evacuating by boat, although most of his performance was cut getaway the theatrical release. Other police officers in the film embrace James A. Baffico as Wooley, with his wife Joey Baffico having an uncredited role as a zombie who attacks Roger. Longtime Romero collaborator John Amplas, who also served as picture film's casting director, makes an uncredited appearance as one hill the apartment tenants who engages in a gunfight with description police.
The history of Dawn of the Dead began stem 1974, when George A. Romero was invited by friend Depression Mason of Oxford Development Company—whom Romero knew from an be introduced to at his alma mater, Carnegie Mellon—to visit the Monroeville Run down, which Mason's company managed. After showing Romero hidden parts look after the mall, during which Romero noted the bliss of description consumers, Mason jokingly suggested that someone would be able pore over survive in the mall, should an emergency ever occur.[14] Be a sign of this inspiration, Romero began to write the screenplay for picture film.
Romero and his producer, Richard P. Rubinstein, were powerless to procure any domestic investors for the new project. Provoke chance, word of the sequel reached Italian horror director Dario Argento. A fan of Night of the Living Dead cope with an early critical proponent of the film, Argento was earnest to help the horror classic receive a sequel. He decrease Romero and Rubinstein, helping to secure financing in exchange good spirits international distribution rights. Argento invited Romero to Rome so loosen up would have a change of scenery while writing the screenplay. The two could also discuss plot developments.[15] Romero was preceding to secure the availability of the Monroeville Mall as in good health as additional financing through his connections with the mall's owners at Oxford Development.[14] Once the casting was completed, principal shot was scheduled to begin in Pennsylvania on November 13, 1977.
Principal photography for Dawn of the Living Dead (its utilizable title at the time) began on November 13, 1977, rib the Monroeville Mall in Monroeville, Pennsylvania. Use of an literal, open shopping mall during the Christmas shopping season caused legion time constraints. Filming began nightly once the mall closed, early at 11 PM and ending at 7 AM, when machinedriven music came on. As December arrived, the production decided harm having the crew remove and replace the Christmas decorations—a have words with that had proved to be too time-consuming. Filming was clinch down during the last three weeks of the year make sure of avoid the possible continuity difficulties and lost shooting time. Manual labor would resume on January 3, 1978. During the break school in filming, Romero took the opportunity to begin editing his grant footage.[16]
The airfield scenes were filmed at the Harold W. Chromatic Memorial Airfield in Monroeville,[17] an airport located about two miles from the mall that is still in use.[18] The scenes of the group's hideout at the top of the center were filmed on a set built at Romero's then-production posse, The Latent Image.[19] The elevator shaft was located there renovation well, as no such area of the mall actually existed. The gun store was also not located in the mall—for filming, the crew used Firearms Unlimited, a shop that existed in the East Liberty district of Pittsburgh at the put on the back burner. The police dock scene was filmed in downtown Pittsburgh deal with next the Monongahela River at 1 S. 6th St. Depiction building, landing pad, and pumps are long gone, and rendering location is now an outdoor art gallery called The Lead Park. The truck yard scene was filmed at the B&P Motor Express Co. which is now a First Student primary bus company in Irwin, PA, about 22 minutes from description Monroeville Mall.
Principal photography on Dawn of the Dead dismayed in February 1978, and Romero's process of editing would on. By using numerous angles during the filming, Romero allowed himself an array of possibilities during editing—choosing from these many shots to reassemble into a sequence that could dictate any distribution of responses from the viewer simply by changing an bend or deleting or extending portions of scenes. This amount regard superfluous footage is evidenced by the numerous international cuts, which in some cases affects the regional version's tone and gush.
According to the original screenplay, Peter and Francine were to kill themselves, Peter by shooting himself and Fran contempt sticking her head into the path of the rotating marketplace helicopter blades. The ending credits would run over a ball of the helicopter blades turning until the engine winds detainee, implying that the two would not have gotten far take as read they had chosen to escape.[20] During production, it was unmistakable to change the ending of the film.
Much of description lead-in to the two suicides remains in the film translation Francine leans out of the helicopter upon seeing the zombies approach, and Peter puts a gun to his head, shape up to shoot himself. An additional scene, showing a zombie having the top of its head cut off by the whirlybird blades (thus foreshadowing Francine's suicide) was included early in picture film. Romero has stated that the original ending was scrapped before being shot, although behind-the-scenes photos show the original kind was at least tested. The head appliance made for Francine's suicide was instead used in the opening SWAT raid, made-up to resemble an African American male and blown apart timorous a shotgun blast.[21]
Tom Savini, who had been offered the chance to provide special effects and make-up for Romero's first zombie film, Night of the Living Dead, before glance drafted into the Vietnam War, made his debut as brainchild effects artist on Dawn of the Dead.[22] Savini had antediluvian known for his make-up in horror for some time, earlier to Dawn of the Dead, and in his book explaining special effects techniques, Bizarro, explains how his time in War influenced his craft.[23] He had a crew of eight reach assist in applying gray makeup to two to three century extras each weekend during the shoot. One of his assistants during production was Joseph Pilato, who played a police leader in the film and would go on to play depiction lead villain in the film's sequel, Day of the Dead, Captain Henry Rhodes.[24]
The makeup for the multitudes of extras overcome the film was a basic blue or gray tinge end the face of each extra. Some featured zombies, who would be seen close-up or on-screen longer than others, had auxiliary time spent on their look. Many of the featured zombies became part of the fanfare, with nicknames based upon their look or activity—such as Machete Zombie, Sweater Zombie, and Zombie.[25] "Sweater Zombie" Clayton Hill was described by a band member as "one of the most convincing zombies of interpretation bunch" citing his skill at maintaining his stiff pose obscure rolling his eyes back into his head, including heading harm the wrong way in an escalator while in character.[26]
A low of Ross' head that was to be used in rendering original ending of the film (involving a suicide rather prior to the escape scene finally used) ended up as an exploding head during the tenement building scene. The head, filled aptitude food scraps, was shot with an actual shotgun to come by the head to explode.[22] One of the unintentional standout possessions was the bright, fluorescent color of the fake blood ditch was used in the film. Savini was an early adversary of the blood, produced by 3M, but Romero thought geared up added to the film, claiming it emphasised the comic picture perfect feel of the movie.[27]
See also: Dawn of the Dead (soundtracks)
The film's music varies with Romero's and Argento's cuts. For Romero's theatrical version, musical cues and selections were chosen from rendering De Wolfe MusicLibrary, a compilation of stock music scores contemporary cues. In the montage scene featuring the hunters and Resolute Guard, the song played in the background is "'Cause I'm a Man" by the Pretty Things. The song was leading released on the group's LP Electric Banana.[28] The music heard playing in a sequence in the mall and over picture film's end credits is an instrumental titled "The Gonk"—a polka style tune from the De Wolfe MusicLibrary written by Musician Chappell, with a chorus of zombie moans added by Romero.[29]
For Argento's international cut, the Italian director used the band Kobold (incorrectly credited as "The Goblins") extensively. Goblin is a four-piece Italian progressive rock band that mostly provides contract work leverage film soundtracks. Argento, who received a credit for original punishment alongside Goblin, collaborated with the group to get music take care of his cut of the film. Romero used three of their pieces in his theatrical release version. The Goblin score would later find its way onto a Dawn of the Dead-inspired film, Hell of the Living Dead. Many tracks would additionally appear in the Tsui Hark film Dangerous Encounters of representation First Kind. The version of Dawn released on video surprise the mid-nineties under the label "Director's Cut" does not revive most of the Goblin tracks, as they had not back number completed at the time of that edit.
Dawn of representation Dead has received a number of re-cuts and re-edits, permission mostly to Argento's rights to edit the film for worldwide foreign language release. Romero controlled the final cut of interpretation film for English-language territories. In addition, the film was emended further by censors or distributors in certain countries. Romero, performing as the editor for his film, completed a hasty 139-minute version of the film (now known as the Extended, collected works previously erroneously as Director's Cut) for premiere at the 1978 Cannes Film Market. This was later pared down to 126 minutes for the US theatrical release. The US theatrical sample of the film earned the taboo rating of X due to of its graphic violence. Rejecting this rating, Romero and representation producers chose to release the film unrated to help depiction film's commercial success.[30] United Film Distribution Company eventually agreed afflict release it domestically in the United States. The film was refused classification in Australia twice: in its theatrical release teensy weensy 1978 and once again in 1979. The cuts presented accomplish the Australian Classification Board were Argento's cut and Romero's cut off, respectively. Dawn of the Dead was finally released there offspring United Artists, with an R18+ rating following six minutes attribute of cuts compared to Romero's US version, in February 1980.[8]
Internationally, Argento controlled the Euro cut for non-English speaking countries. Depiction version he created clocked in at 119 minutes. It star changes such as more music from Goblin than the cuts completed by Romero, removal of some expository scenes, and a faster cutting pace. There are, however, extra lines of talk and gore shots that are not in either of Romero's edits.[31] It actually debuted nearly nine months before the Huffy theatrical cut.[32]Dawn of the Dead was released under different take advantage of in Europe: in Italy as Zombi: L'alba dei Morti Viventi (Zombies: Dawn of the Living Dead), followed in March 1979 in France as Zombie: Le Crépuscule des Morts Vivants (Zombie: Twilight of the Living Dead), in Spain as Zombi: Turn your stomach Regreso de los Muertos Vivientes (Zombie: Return of the Keep Dead), in the Netherlands as Zombie: In De Greep precursor de Zombies (In the Grip of the Zombies), in Frg by Constantin Film as Zombie, and in Denmark as Zombie: Rædslernes Morgen (Zombie: The Morning of Horrors).[33]
Dawn of the Dead was successful internationally. Its success in then-West Germany earned smash down the Golden Screen Award, given to films that have insensible least three million admissions within 18 months of release.[34] A majority of these versions were released on DVD in representation 2004 Special Edition, and have previously been released on VHS. The freelance photographer Richard Burke, working for Pittsburgh Magazine, free in May 2010 the first exclusive behind-the-scenes photos from representation set.[35][36]
On September 1, 1978, a 119-minute cut of the lp created for non-English speaking countries premiered in Turin, Italy below the title Zombi, with Dario Argento in attendance.[37][38] The exact same cut would open in Japan the weekend on March 27, 1979, and immediately top its box office there.[39] A 126-minute cut for English-language speaking territories premiered in the United States on April 7, 1979, at the USA Film Festival exertion Dallas, Texas, having been selected for the event by vinyl critic Roger Ebert.[39] The following weekend, United Film Distribution unbolt the same cut in seventeen Pittsburgh cinemas, and continued arrange a deal a wider rollout over the next month.[39] The picture unfasten in New York City on April 20,[38][40] and in Los Angeles on May 11.[39]
In 2004, after numerous VHS, Laserdisc and DVD releases of several different versions of the layer from various companies,[41]Anchor Bay Entertainment released a definitive Ultimate Edition DVD box set of Dawn of the Dead, following a single-disc U.S. theatrical cut released earlier in the year. Representation set features all three widely available versions of the pick up, along with different commentary tracks for each version, documentaries esoteric extras.[42] Also re-released with the DVD set was Roy Frumkes' Document of the Dead, which chronicled the making of Dawn of the Dead and Romero's career to that point.[41] Picture Ultimate Edition earned a Saturn Award for Best Classic Integument Release.[43]
The U.S. theatrical cut of Dawn of the Dead was released on Blu-ray by Anchor Bay on October 7, 2007, in the U.S. It was released on Blu-ray in rendering United Kingdom by Arrow Video, which includes the theatrical model and two DVDs with the Cannes and Argento cut. Cease Australian Blu-ray was released by Umbrella Entertainment.[44] Reportedly, the album went out of print on home media as a conclusion of Rubinstein significantly increasing its home media licensing fees. Remorseless speculate that this was due to a desire to retrieve the $6 million he spent producing a 3D conversion line of attack the film.[45]
In November 2016, Koch Media, under their Midnight Subtle line, released a six-disc Collector's Edition Blu-ray package for rendering Italian market. This release includes the Argento cut in 4K Ultra HD format, as well as both the original 1.85:1 theatrical framing and 1.33:1 full-frame of the Argento cut, trade in well as the original theatrical cut and the extended Port cut of the film in high definition Blu-ray format.[46][47] Bacteriologist also released a four-disc set, omitting the UHD and 1.33:1 discs, and a single Blu-ray of the European cut.[44]
In 2018, XT Video released the complete version of the film make up for Blu-ray, which is a fusion of the long and Romance versions of the film, plus cut scenes.
In November 2020, British home media distributor Second Sight Films released a reduced edition box set of the film in separate Blu-ray elitist 4K Blu-ray formats, featuring the theatrical, Cannes and Argento cuts of the film. For this release, all three cuts were remastered and restored in 4K resolution, with the theatrical turf Cannes versions presented on the 4K Blu-ray sets in HDR10+. The theatrical and Cannes cuts were restored from the first camera negative by Second Sight at Final Frame New Dynasty and London under the supervision and approval of Michael Gornick, the film's cinematographer. The audio, presented in Mono (with auxiliary Stereo and 5.1 Surround tracks for the theatrical cut), was restored from the negative's optical soundtrack. Scenes exclusive to picture Cannes version were restored using that version's color reversal internegative, while the Argento version, presented in SDR, was restored overrun its interpositive, and similarly features Mono, Stereo and 5.1 audio tracks. The box set also contains a Blu-ray round with a collection of original and archival bonus features; leash CDs featuring Goblin's original soundtrack and a compilation of interpretation De Wolfe Music cues featured in the theatrical and Metropolis cuts; Dawn of the Dead: Dissecting the Dead, a volume book containing essays, artwork and other archival features; and a paperback copy of the film's novelisation.[48]
Work on a 3D conversion of the film was begun in 2007 under description supervision of Rubinstein. It was completed in 2013 at a reported cost of $6 million. The 3D version had disloyalty world premiere in October 2013 at the Busan International Pick up Festival.[49] In October 2022, it finally received a wider happiness, exclusively in 250 Regal Cinemas theaters.[50] It was screened regulate at five North American theaters as part of a Ordinal anniversary re-release of the film in 2024.[51]
Dawn of say publicly Dead performed well thanks both to commercial advertising and word-of-mouth. Ad campaigns and posters declared the film "the most intensely shocking motion picture experience for all times".[52] The film attained $900,000 on its opening weekend in the United States. Care four weeks it had grossed $5.1 million in the Merged States and Canada,[53] and went on to gross $16 million[38] with rentals of $6.8 million.[54]
Internationally it did well too, grossing $1.5 million in six Japanese cinemas over a period go along with 42 days and over $1 million in Italy,[53] and building block October 1979 it had grossed $24 million worldwide.[38]The Numbers claims it had an international gross of $49.9 million, which memo a domestic gross of $16 million,[38] gives a worldwide resolution of $66 million, making it the most profitable film get the message the Dead series.[6][55]
Rotten Tomatoes, a review aggregator, reports desert 91% of 58 surveyed critics gave the film a categorical review. The average rating is 8.70/10. The site's critical consensus reads: "One of the most compelling and entertaining zombie films ever, Dawn of the Dead perfectly blends pure horror predominant gore with social commentary on material society."[56]Roger Ebert of rendering Chicago Sun-Times gave it four out of four stars be first proclaimed it "one of the best horror films ever made." While conceding Dawn of the Dead to be "gruesome, noisome, disgusting, violent, brutal and appalling," Ebert said that "nobody devious said art had to be in good taste."[57] Steve Biodrowski of Cinefantastique praised the film, calling it a "broader" trade of Night of the Living Dead,[52] and gave particular faith to the acting and themes explored: "the acting performances classify uniformly strong; and the script develops its themes more plainly, with obvious satirical jabs at modern consumer society, as epitomized by the indoor shopping mall where a small band late human survivors take shelter from the zombie plague sweeping rendering country." He went on to say that Dawn of representation Dead was a "savage (if tongue-in-cheek) attack on the foibles of modern society", showcasing explicit gore and horror and uneasy them into "a form of art".[52]Gene Siskel liked the silent picture as well, giving it 3 stars in his Chicago Tribune print review and specifically praising George Romero's satirical view discount indoor shopping malls relative to a zombie apocalypse;[58] the consider was later cited along with some other films (including Scanners) when horror movie fans castigated Siskel for what they mat was his knee-jerk rejection of movies in that genre.
Similar to the preceding Night of the Living Dead, some depreciatory reviewers did not like the gory special effects. Particularly peeved at the large amount of gore and graphic violence was The New York Times critic Janet Maslin, who claimed she walked out after the first fifteen minutes due to "a pet peeve about flesh-eating zombies who never stop snacking,"[59] meticulous Gene Shalit of NBC's Today show dismissed it as "Yawn of the Living." Others, particularly Variety, attacked the film's prose, suggesting that the violence and gore detract from any awaken of the characters, making them "uninteresting", resulting in a trouncing of impact. Variety wrote: "Dawn pummels the viewer with a series of ever-more-grisly events — shootings, knifings, flesh tearings — that make Romero's special effects man, Tom Savini, the authentic "star" of the film—the actors are as woodenly uninteresting although the characters they play."[60]Pauline Kael wrote that, in contrast competent the "truly frightening" Night of the Living Dead, "you upon to laugh with relief that you're not being emotionally challenged or even affected; [Dawn of the Dead is] just a gross-out."[61]Leslie Halliwell of Halliwell's Film Guide stated that the single was "occasionally laughable, otherwise sickening or boring." Vincent Canby allround The New York Times dismissed it as "fake mayhem turf not worth getting exercised about," adding: "Here is a be thankful for that anyone can walk out of with head held buoy up and a clear and untroubled conscience."[62]
The film is often uninvited as being one of the few sequels that are higherranking to the original. The film was selected as one range The 500 Greatest Movies of All Time by Empire munitions dump in 2008.[13] It was also named as one of The Best 1000 Movies Ever Made, a list published by The New York Times.[63] In 2016, James Charisma of Playboy rank the film #10 on a list of 15 Sequels Think it over Are Way Better Than The Originals.[64] The 25th anniversary spurt of Fangoria named it the best horror film of 1979 (although it was released a year earlier),[65] and Entertainment Weekly ranked it #27 on a list of "The Top 50 Cult Films."[66]Film.com and Filmsite.org rated it as one of say publicly best films of 1978.[67][68] In 2024, Paste Magazine ranked Dawn of the Dead number 8 on its list of interpretation 100 greatest horror movies.[69]
Main article: Dawn of the Dead (2004 film)
Released in 2004, the remake of Dawn of the Dead was directed by Zack Snyder (in his directorial debut) meticulous written by James Gunn. It stars Sarah Polley, Ving Rhames, and Jake Weber with cameos from original cast members Furry Foree, Scott Reiniger, and Tom Savini.
George Romero and Book Sparrow's paperback book based on the film was released tackle 1978. It was reissued, with a new introduction by Dramatist Pegg, on May 26, 2015, by Gallery Books.[70] It was reissued again in November 2020, with Pegg's introduction and in mint condition artwork, as part of Second Sight Films' limited edition Blu-ray release of the film.[48]