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The Blair Witch Project (1999)

Trailer
0:31 | Trailer
Three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind.

Directors:

Daniel Myrick, Eduardo Sánchez (as Eduardo Sanchez)

Writers:

Daniel Myrick, Eduardo Sánchez (as Eduardo Sanchez)
Popularity
1,685 ( 4)
19 wins & 26 nominations. See more awards »

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Photos

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Cast

Complete credited cast:
Heather Donahue ... Heather Donahue
Joshua Leonard ... Joshua 'Josh' Leonard
Michael C. Williams ... Michael 'Mike' Williams (as Michael Williams)
Bob Griffin Bob Griffin ... Short Fisherman
Jim King Jim King ... Interviewee
Sandra Sánchez Sandra Sánchez ... Waitress (as Sandra Sanchez)
Ed Swanson Ed Swanson ... Fisherman With Glasses
Patricia DeCou ... Mary Brown
Mark Mason Mark Mason ... Man in Yellow Hat
Susie Gooch Susie Gooch ... Interviewee with Child (as Jackie Hallex)
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Storyline

In search of a local legend, three bold amateur documentarians--director, Heather; cameraman, Josh; sound recorder, Mike--hike into Burkittsville's gloomy Black Hills Forest to find a shadow: the fabled Blair Witch. Now, one long year later--after that fateful October of 1994--there's still no sign of the student filmmakers, apart from the raw footage they left behind. Who knows what truly happened during their creepy five-day journey into the mouth of madness? Was there, indeed, an intangible supernatural presence in the dark woods that led to the team's disappearance? Either way, the missing trio must have seen something. Could the nightmarish myth be real? Written by Nick Riganas

Plot Summary | Plot Synopsis

Taglines:

Everything you've heard is true. See more »

Genres:

Horror | Mystery

Motion Picture Rating (MPAA)

Rated R for language | See all certifications »

Parents Guide:

View content advisory »
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Did You Know?

Trivia

The waitress asking about Blair High School is played by Sandra Sánchez, the sister of director Eduardo Sánchez. See more »

Goofs

In the house a red light flash (from a camera) can be seen though an open window. See more »

Quotes

Interviewee: There was this old Mary Brown...
Heather Donahue: Mary Brown? Hmm.
Interviewee: Yeah, and she was kind of a crazy - - crazy lady.
Heather Donahue: How was she seen by the community?
Interviewee: Crazy.
See more »

Crazy Credits

The beginning and end credits are designed in the style of a documentary, e.g. jumping slightly, static instead of rolling credits. See more »

Alternate Versions

In early versions, the interviews with Mark Mason (Man In Yellow Hat) are not present -thereby excluding the scene that explains the ending. And the interview with Mary Brown is slightly extended. The drinking scene in the hotel room is also extended. See more »

Connections

Spoofed in Paper Mario (2000) See more »

Soundtracks

America The Beautiful
Lyrics by Katharine Lee Bates (as Katherine Lee Bates)
Music by Samuel A. Ward
Sung a cappella by Joshua Leonard
See more »

User Reviews

Tense, unsettling, original, intelligent, short, cheap.
3 November 1999 | by Lloyd-23See all my reviews

This film is not a feature film. For a start, it is not feature length, also, it is not shot on film. More importantly, it does not have what feature films have these days: star actors, special effects, exotic locations, explosions. Instead, seeing B.W.P. is seeing something else that a cinema can be: a place where people can share an intimate experience created by a few people on a tight budget. I would be glad of its success if only for that reason.

The first section of the film appears at first to be amateurish and slow. In fact, it is very deft, and very efficient at what it does. It tells the audience everything it needs to know about the characters and situation, and nothing more. Also, it gets the audience into the habit of viewing the film's format: alternating between black and white (very grainy and poorly focussed) film, and the washed out colours of shaky pixilated video. The film makers managed to set up a rationale for why the film is so cheaply made. Three people hike into the woods for a few days to shoot a documentary, with borrowed equipment, and are in the habit of videoing everything for the hell of it. They cannot carry tripods, steadicams, dollies, large lighting rigs, or the like, so everything we see is lit either by raw daylight, or by a single light fixed to the camera, which illuminates just what is within a few feet of the lens. The film creates its own excuse to be cheap. This is intelligent.

The acting and script are both excellent. The well-cast actors are presumably playing pretty-much themselves, and are convincingly naturalistic, and neither too likeable or too dislikeable. The slow route into hysteria is well documented. Rather than simply having a character say "We're lost!", we see many scenes which show the trio getting more and more hopelessly lost, and more annoyed with each other for this. By the time they are thoroughly lost, the audience shares the despair.

My friend and I, after seeing it, both felt a little sick. I put this down to my having been tense for a hour, he put it down more to motion sickness. The jerky, badly-framed camerawork is hard on the eye and stomach, but I applaud the director for its uncompromising use. Similarly, no compromise is made with the dialogue. Some of it is very quiet and must be listened for, some is technical jargon, which is left realisticly unexplained.

One of the great strengths and weaknesses of the film is the editing. It is good in that it does much to heighten the tension, with many key moments lasting just a little too long for comfort. Each time the characters find something nasty, the viewer is made to want the editor to cut soon to the next scene, and the fact that he doesn't adds to the sense of being trapped, as the characters are. The problem with this, though, is that one is left wondering about the motives of the fictional editor. In truth, of course, the film is edited to create these effects, and to entertain, but the film's rationale is that these are the rushes of a documentary put together posthumously by someone other than the film's original creator. Why, then, would an editor piecing together such footage, edit for dramatic effect rather than for clarity? Why would he keep cutting back and forth from the video footage to the film footage, when neither shows any more information than the other?

The film is stark. After one simple caption at the start, all that follows is the "rushes". I wonder if the film might not have been improved with an introductory section which documented how the rushes were found and edited. A programme was made for television which did this. Perhaps a portion of this might have been added to the film, making it more complete, and more believable (and proper feature length).

While I applaud the fact that young original film-makers have managed to create a mainstream hit out of a simple idea, well-handled. I dread the possible avalanche of inferior copies which may come.

Most horror films these days are created not for the audience, but for the makers. The departments of special effects, make-up, model-making, animation and so forth all try hard to show potential future employers what they can do. The result is that nothing is left for the audience to do, since everything can be seen and heard, and the viewer's imagination can be switched off. Today, it is possible to see pigs fly on the screen, and so film-makers show off and show us a formation of Tamworths, which is something which will look impressive in the trailer. To show us less is to make our minds fill in the gaps. This way, we create our own terrors, perfectly fitted to ourselves. The ghastly face I see in my head, is the ghastly head which I find scary. The ghastly face I am shown may be one I can cope with quite easily. If I see a believable character screaming in hysterical fear at something I cannot see, my own brain creates demons for my night's dreams, demons far more mighty than anything CGI graphics or a latex mask could portray.

This film will stay in your thoughts for some while.


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Frequently Asked Questions

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Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

30 July 1999 (USA) See more »

Also Known As:

The Blair Witch Project See more »

Filming Locations:

Maryland, USA See more »

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Box Office

Budget:

$60,000 (estimated)

Opening Weekend USA:

$1,512,054, 18 July 1999

Gross USA:

$140,539,099

Cumulative Worldwide Gross:

$248,639,099
See more on IMDbPro »

Company Credits

Production Co:

Haxan Films See more »
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Technical Specs

Runtime:

| (Special Edition)

Sound Mix:

Dolby SR

Aspect Ratio:

1.33 : 1
See full technical specs »

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