Please help me understand what is causing each of these issues and any ways I could fix them!
EPSON PowerLite Home Cinema 3020. I've had it for a few years, without issues most of the time.
Issue #1: in the last 24 hours, the whole screen has turned blue — I can still see what the input is supplying but everything is extremely blue. I tried changing display settings and specific color levels and everything stayed very blue, with some slight shifts if any as I changed settings. Pictures are from when I reset the display settings.
Issue #2: for the past 2-3 months, there has been a vertical line of pixels that only show the blue portion of what should be displayed. The line is a few pixels wide and extends throughout the screen vertically. It sometimes goes away and sometimes comes back — it's present most of the time.
Issue #3: over the past 6 months or so, the edges of the screen and the edges of images on the screen are bluish on one side and reddish on the other side — like red/blue 3d video. It seems like something has slightly shifted over time and is just a little out of alignment. I could still see images and text clearly enough to keep watching stuff on it despite this issue.

The anti-Pact picture \"Casablanca\" helped to create public sympathy for the Grand Alliance and promoted war bonds through various scenes
Even though the American public voted for an interparty coalition of politicians who supported intervention in varying degrees (along with a noticeable minority of voters who opposed any and all intervention) and behind the scenes the federal government has been silently working for years to intervene in Europe and the Far East, the vast majority of the American public did not at all expect the outright declaration of war on Japan the 76th Congress managed to produce. As a result, there was opposition from the start to the war effort through strikes despite the partial success of President Hayes in preventing the miners' strike. Although the brutality and scale of the attack on San Diego succeeded in temporarily uniting the American people (indeed, along with most of the American continents joining to the Grand Alliance), the divisive elections of 1940 along with the stubborn opposition of the SWP to President Hughes in the constitutional crisis of 1941 led to fear among most Americans of defeat on the battlefield and civil war at home. Together with the speed of President Hughes' handling of the crisis (by ordering the return of all forces from North Africa to deal with the escalating domestic insurgency), Hollywood entered the picture.
The basis for the creation of the cinema was a variety of new technologies and inventions mainly through the ability to photograph and record images and sound. In the United States, in 1893, the inventor Thomas Edison together with his assistant William Kennedy Dixon introduced the kinetoscope; A device through which films could be watched by inserting a coin and the viewing was done using a "peek box" - a rectangular box that contained the projection mechanism, when the viewer saw the film through a glass lens at the top of the device. Edison's shady conduct in his business and legal issues will also be the motive for the migration of those involved in the fields of cinema from the New York state to the Los Angeles area, and for the establishment of Hollywood (along with a favorable weather for shooting outdoor scenes most of the year).
During humble beginnings of the Post-Grant's New America when the film industry was still in its infancy, many immigrants, mainly Jews, found employment field as a result of not being accepted in other more established industries in the competition for the job market and therefore even though the pioneers of American cinema such as D.W. Griffith were American directors who for the most part represented a sentimental southern and traditional Grantist world view there were already those who opposed Integralist concepts like Charlie Chaplin. After the Great War, various filmmakers and actors such as Marlene Dietrich immigrated from Europe. They joined a long line of film actors born in the United States, most of whom flocked to Southern California from Western New York after the first talking motion pictures were shown there as the new industry slowly but gradually took on an image of glamor and investments from various tycoons.
A typical motion projector during the \"classic Hollywood\" era
In the period called the "classic era of Hollywood" or the "golden age" from approximately right before the start of the 1930s all the way to the start of America's involvement in World War II, different high-budget studios already competed in films with complex and long plots and produced westerns, "film noir" films, musicals, animated cartoons and biographical films. At that time, thousands of people were employed by the film studios - actors, producers, directors, writers, stuntmen, and technicians. The movie studios owned hundreds of movie theaters in different cities across the United States where their realized products were shown to the public, who was eager to pay the entrance fee. Thus by the beginning of the fifth decade of the 20th century, Americans had long since become accustomed to the culture of viewing news broadcasts about the state of the world through screenings at the local cinema before the start of the motion picture for which they had come for their leisure.
As soon as the Japanese bombing of California began, it seemed that the industry would collapse or at the very least shut down for a long period of time until it could be rebuilt in New York. However, President Hughes understood its potential and insisted that filming continue despite the situation in the state. He ensured that funds and federal technical equipment poured in (both directly and indirectly) with direct instructions for directors to begin the production of propaganda films to mobilize public opinion in support of the war. Nevertheless, prestigious film premieres were indeed often canceled, even though these films that were shot in California got distributed with haste all across America.
Therefore, Hollywood underwent another transformation and a new variety of films were created which hinted (and some of them did not hint at all but were in fact a blatant propaganda product) the importance of the fight against the Pact.
The history of collaboration between the US military and Hollywood was long-standing at this point. The first collaboration between the Army and Hollywood took place in 1923 in the Mitchel era (that was also a certain indirect tribute to the former president who was fond of the world of aeronautics) with the production of the film "Wings" that aimed to encourage recruitment to the Army Air Corp. The film, which was shot on a huge budget for its time dealt with a triangle involving two pilots and the girl they are in love with - a combination of the romantic and heroic genres without any criticism of the military and its actions. However, it paled in comparison to World War II and the sense of "what is at stake" by both the federal government and Hollywood. This period brought the cooperation to a new level. The military recruited Hollywood stars such as William Clark Gable, Gary Cooper, and Henry Fonda, and used them in propaganda films for the US military and the war effort. For this purpose, some of the most important Hollywood directors were also recruited - John Ford, Howard Hawks and Frank Capra. Capra particularly excelled: Between the years 1942 to 1946 he directed a series of eight propaganda masterstrokes called "Why We Fight" in which each episode presented in length the audience a different enemy combatant nation of America while actors went on tours of different fronts around the world to boost morale and present their film works to the soldiers.
With the end of the war, Hollywood tried to adapt to a brave new world, but the cessation of the flow of funds and equipment was something it was not ready for. Combined with the beginning of the television era, Hollywood had to reduce the number of its film production, although quite soon in the strong post war economy, tycoons even allowed directors to increase their quality of film production. As a result of the changes, the studios began to focus mainly on the production of entertainment content that the television medium could not provide to viewers – an even bigger and more spectacular show for the eyes. Although television broke the hegemony that the American film industry had in the American entertainment industry, as a result of the direct competition there were many changes that benefited the film industry. That was due to public opinion beginning to see cinema as a more serious artistic medium worthy of respect compared to home Television.

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I recently bought an used Epson EH-TW5300 projector (HC 2040 in the US) with 3900 lamp hours and it is great for 150€ but I noticed a pinkish flickering spot in the top left corner and am worried that it could get worse. I made two photos showing the issue, the second is in the color mode "BrightCinema" and the first is in "Natural", showing that with reduced lamp power the spot becomes smaller and moves upwards. I don't know a lot about projectors but seeing the spot move makes me hope the issue is just the aged lamp and not the LCD damaged, which would not be fixable.
Do you have any experience with this? Thank you in advance!

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Here's a new edition of "Directors at the Box Office", which seeks to explore the directors' trajectory at the box office and analyze their hits and bombs. I already talked about a few, and as I promised, it's John Carpenter's turn.
Carpenter grew up affected and bothered by the highly religious Bible culture of the deep south, and found cinema as an escape from the racism and politics around him. He began making short horror films with an 8mm camera when his father gifted him a camera and a projector before he had even started high school. He enrolled in USC School of Cinematic Arts, but would drop out during the last semester to make his first film.
From a box office perspective, how reliable was he to deliver a box office hit?
That's the point of this post. To analyze his career.

It should be noted that as he started his career in the 1970s, some of the domestic grosses here will be adjusted by inflation. The table with his highest grossing films, however, will be left in its unadjusted form, as the worldwide grosses are more difficult to adjust.

Dark Star (1974)

"The spaced out odyssey."
His directorial debut. It stars Dan O'Bannon, Brian Narelle, Cal Kuniholm and Dre Pahich, and follows the crew of the deteriorating starship Dark Star, twenty years into their mission to destroy unstable planets that might threaten future colonization of other planets.
Carpenter and O'Bannon started writing a script for USC. The film began as a 45-minute 16mm student project with a final budget of $6,000. To achieve feature film length, an additional 50 minutes were shot in 1973, with the support of Canadian distributor Jack Murphy (credited as "Production Associate"). O'Bannon's friend, John Landis, got them in contact with producer-distributor Jack H. Harris for distribution. However, Harris demanded 30 minutes of cuts. This is something that O'Bannon and Carpenter disliked, as "We had what would have been the world's most impressive student film and it became the world's least impressive professional film."
The film had a very limited theatrical run, and there are no box office numbers available. Carpenter and O'Bannon were unhappy that there were empty screenings and the audience not laughing with the jokes. But it found a cult following after they got famous for their later works. At the very least, their careers were starting.

Assault on Precinct 13 (1976)

"A white-hot night of hate!"
His second film. It stars Austin Stoker, Darwin Joston, Laurie Zimmer, Tony Burton, Martin West, and Nancy Kyes. It follows a police officer who defends a defunct precinct against a relentless criminal gang, with the help of a death row-bound convict.
Carpenter had hoped to make a Howard Hawks-style Western like El Dorado or Rio Lobo, but when the $100,000 budget prohibited it, Carpenter refashioned the basic scenario of Rio Bravo into a modern setting. He wrote the script in just 8 days, and it included many references to Hawks' works. He filmed the movie in just 20 days, and he referred to this film as the most fun he has ever had directing.
There are no box office numbers available, although it was reported that it had poor sales. While it received initial mixed reviews, its reputation grew and it would become one of his best films. But he needed a hit if he wanted to continue in the business.

Halloween (1978)

"The night he came home!"
His third film. It stars Donald Pleasence, Jamie Lee Curtis, P. J. Soles and Nancy Loomis. The plot centers on a mental patient, Michael Myers, who was committed to a sanitarium for murdering his teenage sister on Halloween night when he was a child. Fifteen years later, having escaped and returned to his hometown, he stalks teenage babysitter Laurie Strode and her friends while under pursuit by his psychiatrist Dr. Samuel Loomis.
After watching Assault on Precinct 13 at the Milan Film Festival, independent film producer Irwin Yablans and financier Moustapha Akkad sought out Carpenter to direct a film for them about a psychotic killer that stalked babysitters. He agreed on the $10,000 salary under the condition that he would write, direct and compose with complete creative freedom and asked his then-girlfriend Debra Hill to co-write it with him. They wrote it in just 10 days, with Hill writing most of the dialogue for the female characters.
The low budget meant that no big stars would appear in the film. Carpenter wanted Peter Cushing to play Dr. Loomis, but his agent refused with the low salary. Christopher Lee would turn down the role, although he would later deem this as the biggest mistake of his career. Yablans then suggested Pleasence. For Laurie, Carpenter wanted Anne Lockhart, but she was busy. He decided to get Curtis, feeling that publicity would sell itself by casting the daughter of Janet Leigh from Psycho.
The film enjoyed a huge success in theaters. It quickly became a word-of-mouth sensation, and earned $70 million worldwide, becoming one of the most profitable horror films ever. It received acclaim, and has been named as a huge influence on the slasher genre. It would spawn a franchise, although Carpenter would not direct another installment ever again.

• Budget: $300,000.
  
• Domestic gross: $47,274,000. ($226.4 million adjusted)
  
• Worldwide gross: $70,274,000.
  

The Fog (1980)

"Bolt your doors. Lock your windows. There's something in the fog!"
His fourth film. It stars Adrienne Barbeau, Jamie Lee Curtis, Tom Atkins, Janet Leigh and Hal Holbrook. It tells the story of a strange, glowing fog that sweeps over a small coastal town in Northern California, bringing with it the vengeful ghosts of leprous mariners who were killed in a shipwreck there a century before.
While visiting England, Carpenter and Debra Hill witnessed an eerie fog rolling over the landscape from a distance. Carpenter decided to tie the fog to a an actual event, the wrecking of the Frolic, that took place in the 19th century near Goleta, California. However, Carpenter hated the film after watching a rough cut, and realized that he needed to reshoot more scenes in order to compete with the increasing horror market. Around one-third of the film was filmed during reshoots.
Thanks to its low budget, it was a great box office success, making $21.4 million domestically. While initial reactions were divided, its reputation grew with time.

• Budget: $1,100,000.
  
• Domestic gross: $21,448,782. ($81.3 million adjusted)
  
• Worldwide gross: $21,448,782.
  

Escape from New York (1981)

"1997. New York City is now a maximum security prison. Breaking out is impossible. Breaking in is insane."
His fifth film. It stars Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence, Isaac Hayes, Adrienne Barbeau and Harry Dean Stanton. Set in the near-future world of 1997, it follows a crime-ridden United States, which has converted Manhattan Island in New York City into the country's sole maximum security prison. Air Force One is hijacked by anti-government insurgents who deliberately crash it into the walled borough. Ex-Special Forces and current federal prisoner Snake Plissken is given just 24 hours to go in and rescue the President of the United States, after which, if successful, he will be pardoned.
Carpenter started writing the script after the Watergate scandal, inspired by Death Wish. No studio wanted to finance it, but the success of his previous films allowed him to finally make the project happen. The studio wanted a big star, but Carpenter was interested in Kurt Russell. Russell wanted the role to help him avoid being typecast for Disney comedies. Carpenter struggled to film New York within the film's $6 million budget, although he still had cooperation from the city in shutting down 10 blocks. Certain matte paintings were rendered by James Cameron, who was at the time a special-effects artist, and who also served as the director of photography at some points.
Carpenter enjoyed another box office success, as the film made $25 million domestically. It also received critical acclaim, and helped elevate Russell's career.

• Budget: $6,000,000.
  
• Domestic gross: $25,244,626. ($86.7 million adjusted)
  
• Worldwide gross: $25,244,626.
  

The Thing (1982)

"Man is the warmest place to hide."
His sixth film. Based on the novella Who Goes There? by John W. Campbell Jr., it stars Kurt Russell, A. Wilford Brimley, T. K. Carter, David Clennon, Keith David, Richard Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis, and Thomas G. Waites. It tells the story of a group of American researchers in Antarctica who encounter the eponymous "Thing", an extraterrestrial life-form that assimilates, then imitates, other organisms. The group is overcome by paranoia and conflict as they learn that they can no longer trust each other and that any of them could be the Thing.
Producers David Foster Lawrence Turman approached Universal over adapting Campbell's novella. While there was an adaptation in 1951, they wanted something that would be more faithful to the source material. While the producers wanted Carpenter in 1976, Universal preferred the veteran Tobe Hooper instead. After Hooper failed to impress, and after the box office success of Halloween, Universal decided to hire Carpenter. This made The Thing his first film made under a big studio.
After Carpenter disliked the script drafts, he got Bill Lancaster to write the film. While he struggled in adapting the film, he made some changes. These included reducing the 37 characters to just 12, and choosing to open the film in the middle of the action, instead of using a flashback as in the novella. Lancaster aimed to create an ensemble piece where one person emerged as the hero, instead of having a Doc Savage-type hero from the start. Lancaster's original ending had both MacReady and Childs turn into the Thing. In the spring, the characters are rescued by helicopter, greeting their saviors with "Hey, which way to a hot meal?". Carpenter thought this ending was too shallow. He opted to end the film with the survivors slowly freezing to death to save humanity from infection, believing this to be the ultimate heroic act.
While the film was in pre-production, there was still no design on the effects needed for the Thing. Rob Bottin was assigned for the job, and he deduced that the creature had been all over the galaxy. This allowed it to call on different attributes as necessary, such as stomachs that transform into giant mouths and spider legs sprouting from heads. It required so much cooperation from the crew; it took 50 crew members to operate the Blair-Thing puppet. The team wanted the film shot in black-and-white, but Universal refused as they didn't want to risk losing television rights.
While Carpenter composed the scores for his films, he decided that the film needed an European musical approach. So he flew to Rome to speak with Ennio Morricone to convince him to take the job. By the time Morricone flew to Los Angeles to record the score, he had already developed a tape filled with an array of synthesizer music because he was unsure what type of score Carpenter wanted. Morricone wrote complete separate orchestral and synthesizer scores and a combined score, which he knew was Carpenter's preference. Carpenter picked a piece, closely resembling his own scores, that became the main theme used throughout the film.
1982 was a very tough time for horror, as Universal discovered that the audience's appeal for the genre declined by over 70%. But Universal was still having hope on the film, especially as they had a few successful test screenings. On top of that, the only competition was the still unrelease E.T., the Extra-Terrestrial, and they expected that film to appeal solely to kids. However, after one market research screening, Carpenter queried the audience on their thoughts, and one audience member asked, "Well what happened in the very end? Which one was the Thing...?" When Carpenter responded that it was up to their imagination, the audience member responded, "Oh, God. I hate that." After returning from a screening of E.T., the audience's silence at a trailer of The Thing caused Foster to remark, "We're dead."
And Foster's fears were right.
The film disappointed in its opening weekend with just $3.1 million, ranking #8 and behind the fourth weekend of Poltergeist. With a huge amount of competition that summer, it didn't have staying power at the box office, finishing with just $19 million domestically, marking a box office failure. But the bad news didn't stay there. Not only very few people watched it, but nearly everyone who watched it hated it. The film received insanely negative reviews on its release, and hostility for its cynical, anti-authoritarian tone and graphic special effects. Carpenter also saw repercussions to his career. He was attached to direct an adaptation of Stephen King's Firestarter, but Universal fired him after the poor reception of The Thing. His previous success had gained him a multiple-film contract at Universal, but the studio opted to buy him out of it instead. He also said that while he continued making films, he lost confidence.
As years passed, however, the film underwent through a re-appraisal. Once derided, the film found a second life as a huge milestone in the horror genre. It's now hailed as one of the greatest horror films ever made, as well as one of the most influential. Carpenter deemed it as his favorite film, although he lamented that it took years for the film to get the attention it deserved. He noted that his career would've been very different if the film was a success at first, although he also states he does not regret anything he made.

• Budget: $15,000,000.
  
• Domestic gross: $19,857,465. ($64.2 million adjusted)
  
• Worldwide gross: $19,857,465.
  

Christine (1983)

"How do you kill something that can't possibly be alive?"
His seventh film. Based on the novel by Stephen King, it stars Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky and Harry Dean Stanton. It follows the changes in the lives of Arnie Cunningham, his friends, his family, and his teenage enemies after he buys a classic red and white 1958 Plymouth Fury named Christine, a car that seems to have a mind of its own and a jealous, possessive personality, which has a bad influence on Arnie.
Carpenter was the first choice to direct the project, although he was working on two projects first. When those projects stalled, he agreed to direct. He said this was not a film he had planned on directing, saying that he directed the film as "a job" as opposed to a "personal project." This was because, after The Thing flopped, he needed something to maintain his career in Hollywood.
The film earned $21 million domestically, which was barely enough for the film to break even. It received a favorable response, although it didn't get the acclaim like his previous works.

• Budget: $10,000,000.
  
• Domestic gross: $21,017,849. ($65.9 million adjusted)
  
• Worldwide gross: $21,017,849.
  

Starman (1984)

"He has traveled from a galaxy far beyond our own. He is 100,000 years ahead of us. He has powers we cannot comprehend. And he is about to face the one force in the universe he has yet to conquer. Love."
His eighth film. It stars Jeff Bridges, Karen Allen, Charles Martin Smith, and Richard Jaeckel. It tells the story of a non-corporeal alien who has come to Earth and cloned a human body in response to the invitation found on the gold phonograph record installed on the Voyager 2 space probe.
Carpenter was eager to shed his image as a maker of exploitative thrillers and make something new in his filmography. Despite receiving positive reviews, it barely passed its budget.

• Budget: $24,000,000.
  
• Domestic gross: $28,744,356. ($86.4 million adjusted)
  
• Worldwide gross: $28,744,356.
  

Big Trouble in Little China (1986)

"Jack Burton's is in for some serious trouble and you're in for some serious fun."
His ninth film. It stars Kurt Russell, Kim Cattrall, Dennis Dun and James Hong. The film tells the story of truck driver Jack Burton, who helps his friend Wang Chi rescue Wang's green-eyed fiancée from bandits in San Francisco's Chinatown. They go into the mysterious underworld beneath Chinatown, where they face an ancient sorcerer named David Lo Pan, who requires a woman with green eyes to marry him in order to be released from a centuries-old curse.
While 20th Century Fox was struggling with the film's tone and script, they decided to hire Carpenter as he could film very quick, giving him 10 weeks of pre-production. It didn't help that the film was competing against The Golden Child, a comedy starring Eddie Murphy with a similar theme. Carpenter made sure to accelerate filming so that the film could open months before The Golden Child. Carpenter envisioned the film as an inverse of traditional scenarios in action films with a Caucasian protagonist helped by a minority sidekick.
The film received very positive reviews from critics. But that didn't translate to box office success, as the film made a disastrous $11 million domestically, which was worse than any of Carpenter's films. After the commercial and critical failure of the film, Carpenter became very disillusioned with Hollywood and became an independent filmmaker.

• Budget: $25,000,000.
  
• Domestic gross: $11,100,000. ($31.6 million adjusted)
  
• Worldwide gross: $11,100,000.
  

Prince of Darkness (1987)

"Before man walked the Earth... it slept for centuries. It is evil. It is real. It is awakening."
His tenth film. It stars Donald Pleasence, Victor Wong, Jameson Parker, and Lisa Blount. It follows a group of quantum physics students in Los Angeles who are asked to assist a Catholic priest in investigating an ancient cylinder of liquid discovered in a monastery, which they come to find is a sentient, liquid embodiment of the son of Satan.
The film received mixed reviews, with some feeling the film did not accomplish its goals. But it was a much needed success at the box office for Carpenter.

• Budget: $3,000,000.
  
• Domestic gross: $14,182,492. ($38.9 million adjusted)
  
• Worldwide gross: $14,182,492.
  

They Live (1988)

"You see them on the street. You watch them on TV. You might even vote for one this fall. You think they're people just like you. You're wrong. Dead wrong."
His 11th film. Based on the short story Eight O'Clock in the Morning by Ray Nelson, it stars Roddy Piper, Keith David, and Meg Foster. The film follows an unnamed drifter who discovers through special sunglasses that the ruling class are aliens concealing their appearance and manipulating people to consume, breed, and conform to the status quo via subliminal messages in mass media.
Carpenter acquired the film rights to both the comic book and short story and wrote the screenplay, using Nelson's story as a basis for the film's structure. Because the screenplay was the product of so many sources, Carpenter decided to use the pseudonym "Frank Armitage", an allusion to one of his favorite writers, H. P. Lovecraft. For the role of Nada, the filmmaker cast professional wrestler Roddy Piper, whom he had met at WrestleMania III earlier in 1987. For Carpenter, it was an easy choice: "Unlike most Hollywood actors, Roddy has life written all over him."
The film debuted at #1, although it dropped very quickly, it was still a small box office success for Carpenter. It received negative reviews for its social commentary, writing, and acting. However, its reputation grew with time, and it's now one of Carpenter's greatest films. And for having one of the best quotes in cinema history:

"I have come here to chew bubblegum and kick ass. And I'm all out of bubblegum."

• Budget: $3,000,000.
  
• Domestic gross: $13,447,978. ($35.5 million adjusted)
  
• Worldwide gross: $13,447,978.
  

Memoirs of an Invisible Man (1992)

"Women want him for his wit. The C.I.A. wants him for his body. All Nick wants is his molecules back."
His 12th film. Loosely based on the novel by H.F. Saint, it stars Chevy Chase, Daryl Hannah, Sam Neill, Michael McKean and Stephen Tobolowsky.
Saint's novel attracted the attention of Chase, who bought the rights even though the novel wasn't finished. William Goldman was assigned to write the screenplay in the mid 1980s, by which time Ivan Reitman was attached to direct. While Reitman liked the script, Chase (who financed it as his passion project) disapproved and he decided to leave. Wanting less comedy, Chase approached Carpenter over directing the film. While Carpenter preferred being independent, he agreed to direct the film, especially after Chase vouched for him to the studio.
The film was panned by critics and was another box office dud for Carpenter. Carpenter would go on to say that the production of the film was very troubling and vigorous. While also battling studio executives, Carpenter claimed Chase and Hannah were "the stuff of nightmares" and "impossible to direct". In 2023, he said:

"It gave me a chance to make a quasi-serious movie. But Chevy Chase, Sam Neill — who I love and had a longtime friendship with — and Warner Bros. … I worked for them, and it was pleasant. No, it wasn’t pleasant at all. I’m lying to you. It was a horror show. I really wanted to quit the business after that movie. God, I don’t want to talk about why, but let’s just say there were personalities on that film … he shall not be named who needs to be killed. No, no, no, that’s terrible. He needs to be set on fire. No, no, no. Anyway, it’s all fine. I survived it."

Mmm, I wonder who is that "he" 🤔

• Budget: $40,000,000.
  
• Domestic gross: $14,358,033. ($31.9 million adjusted)
  
• Worldwide gross: $14,358,033.
  

In the Mouth of Madness (1994)

"Lived any good books lately?"
His 13th film. It stars Sam Neill, Julie Carmen, Jürgen Prochnow, David Warner and Charlton Heston. It follows John Trent, an insurance investigator who visits a small town while looking into the disappearance of a successful author of horror novels, and begins to question his sanity as the lines between reality and fiction seem to blur.
The film received mixed reviews and was another bomb for Carpenter. But it has found some fans, who deemed it as an underrated piece of work.

• Budget: $8,000,000.
  
• Domestic gross: $8,924,549. ($18.8 million adjusted)
  
• Worldwide gross: $8,924,549.
  

Village of the Damned (1995)

"Beware the children."
His 14th film. A remake of the 1960 film, it stars starring Christopher Reeve, Linda Kozlowski, Kirstie Alley, Michael Paré, Mark Hamill, and Meredith Salenger. The plot follows a small town's women who give birth to unfriendly alien children posing as humans.
The film was another critical and commercial dud for Carpenter. The film also marked the last theatrical performance by Reeve, before his paralysis. Carpenter described the film as a "contractual assignment" that he was "really not passionate about" and stated that it is one of his least favorite films that he's made as a director.

• Budget: $22,000,000.
  
• Domestic gross: $9,418,365. ($19.3 million adjusted)
  
• Worldwide gross: $9,418,365.
  

Escape from L.A. (1996)

"Snake is back."
His 15th film. The sequel to Escape from New York, it stars Kurt Russell, Steve Buscemi, Stacy Keach, Bruce Campbell, Peter Fonda, and Pam Grier. When a terrorist brainwashes Utopia, the daughter of the President, into stealing a detonation device, Snake Plissken is assigned to find the device and the girl in Los Angeles.
A sequel was stuck in development hell for years. Unsatisfied with the drafts, Carpenter and Russell decided to write the film themselves, along with Debra Hill. Carpenter insists that Russell's persistence allowed the film to be made, since "Snake Plissken was a character he loved and wanted to play again." Carpenter credited that same enthusiasm with motivating Russell's work on the script, declaring "I used his passion to do the movie to get him to write more".
The film received mixed reviews, who deemed it as inferior to the original. While the film made as much as the original in North America and was his highest grossing film in decades, it also carried a higher budget, so it was another flop for Carpenter. Time was kind to the film, and is considered as a worthy follow-up. Carpenter himself says that he is proud of the film, and even says is better than the original.

• Budget: $50,000,000.
  
• Domestic gross: $25,477,365. ($50.7 million adjusted)
  
• Worldwide gross: $42,377,365.
  

Vampires (1998)

"Prepare for the dawn."
His 16th film. Based on the novel Vampire$ by John Steakley, it stars James Woods, Daniel Baldwin, Sheryl Lee, Thomas Ian Griffith, Maximilian Schell, and Tim Guinee. It follows Jack Crow, the leader of a team of vampire hunters. After his parents were murdered by vampires, Crow was raised by the Catholic Church to become their "master slayer". The plot is centered on Crow's efforts to prevent a centuries-old cross from falling into the hands of Jan Valek, the first and most powerful of all vampires.
After making Escape from L.A., Carpenter considered quitting as he stopped having fun with filmmaking. However, he was fascinated by the novel and set out to adapt it. After all potential actors turned down the offer to play Crow, he offered it to James Woods. Woods was interested in doing the film because he had never been offered a horror film before and wanted to try something new. The MPAA took issue with the film's over-the-top violence, threatening to give it an NC-17 rating unless some of the gore was cut. Ultimately, about 20 seconds of footage was cut from the film.
You can guess how it all went. Surprise surprise, another flop.

• Budget: $50,000,000.
  
• Domestic gross: $20,308,772. ($38.9 million adjusted)
  
• Worldwide gross: $20,308,772.
  

Ghost of Mars (2001)

His 17th film. It stars Natasha Henstridge, Ice Cube, Jason Statham, Pam Grier, Clea DuVall and Joanna Cassidy. Set on a colonized Mars in the 22nd century, the film follows a squad of police officers and a convicted criminal who fight against the residents of a mining colony who have been possessed by the ghosts of the planet's original inhabitants.
Broken record but you are right: another bomb. Carpenter stated he was intentionally trying to make the film as over-the-top and tongue-in-cheek as possible. He claimed he was trying to make a mindless and silly, yet highly entertaining and thrilling, action flick where "the universe allows its characters and plot points to be silly without becoming full-fledged comedies."

• Budget: $28,000,000.
  
• Domestic gross: $8,709,640. ($15.3 million adjusted)
  
• Worldwide gross: $14,010,832.
  

The Ward (2010)

"Only sanity can keep you alive."
His 18th and final film. It stars Amber Heard, Mamie Gummer, Danielle Panabaker, Laura-Leigh, Lyndsy Fonseca and Jared Harris. Set in 1966, the film chronicles a young woman who is institutionalized after setting fire to a house, and who finds herself haunted by the ghost of a former inmate at the psychiatric ward.
After Ghosts of Mars, Carpenter simply lost interest in filmmaking. In the meantime he had done two episodes for the anthology TV show Masters of Horror, and he said that the series reminded him of why he fell in love with the craft in the first place. Carpenter said that the script "came along at the right time for me", and he was particularly fascinated by how the film took place within a single location.
The film received a very limited run in theaters before hitting digital, so it became another flop and his lowest film ever. It also received poor reviews, and some lamented that this would be his swan song.

• Budget: $10,000,000.
  
• Domestic gross: $7,760. ($11,115 adjusted)
  
• Worldwide gross: $5,351,580.
  

Other Projects

As mentioned, he is also a composer, having scored nearly all his films. He also scored the recent Halloween trilogy, even though he didn't write nor direct anything.
Many of his films have been remade and he doesn't care in the slightest. He has said that they can do whatever they want as long as he gets paid.

“I love it, if they are going to pay me money. If they pay me, it’s wonderful. If they don’t pay me, I don’t care. I think it’s unfair if they don’t pay me. I think everyone should pay me. Why not? I’m an old guy now and I need money. Send me money.”

The Future

Carpenter has not directed another film ever since. He has said multiple times that he feels burned out by the industry and he is not interested in returning to the director's chair. He said he would only return for a new film under three conditions: it needs a reasonable budget, plenty of time to prepare, and time off for the basketball season and the playoffs.
He said he is content with his current lifestyle. What's that lifestyle? In his words, "Get up late, watch a little news, play a video game, watch some basketball, go to bed." Ain't that the dream?

MOVIES (FROM HIGHEST GROSSING TO LEAST GROSSING)

No.	Movie	Year	Studio	Domestic Total	Overseas Total	Worldwide Total	Budget
1	Halloween	1978	Compass	$47,274,000	$23,000,000	$70,274,000	$300K
2	Escape from L.A.	1996	Paramount	$25,477,365	$16,900,000	$42,377,365	$50M
3	Starman	1984	Columbia	$28,744,356	$0	$28,744,356	$24M
4	Escape from New York	1981	AVCO	$25,244,626	$30,339	$25,244,626	$6M
5	The Fog	1980	AVCO	$21,448,782	$0	$21,448,782	$1.1M
6	Christine	1983	Columbia	$21,017,849	$0	$21,017,849	$10M
7	Vampires	1998	Sony	$20,308,772	$0	$20,308,772	$20M
8	The Thing	1982	Universal	$19,857,465	$0	$19,857,465	$15M
9	Memoirs of an Invisible Man	1992	Warner Bros.	$14,358,033	$0	$14,358,033	$40M
10	Prince of Darkness	1987	Universal	$14,182,492	$0	$14,182,492	$3M
11	Ghosts of Mars	2001	Sony	$8,709,640	$5,301,192	$14,010,832	$28M
12	They Live	1988	Universal	$13,447,978	$0	$13,447,978	$3M
13	Big Trouble in Little China	1986	20th Century Fox	$11,100,000	$0	$11,100,000	$25M
14	Village of the Damned	1995	Universal	$9,418,365	$0	$9,418,365	$22M
15	In the Mouth of Madness	1994	New Line Cinema	$8,924,549	$0	$8,924,549	$8M
16	The Ward	2010	ARC	$7,760	$5,343,820	$5,351,580	$10M

He made 18 films, but only 16 have reported box office numbers. Across those 16 films, he made $340,067,044 worldwide. That's $21,254,190 per film.

The Verdict

Not reliable. Not even close.
Well, he ain't known as a cult filmmaker for nothing. Carpenter didn't get the respect and appreciation he deserved at first, so he was often struggling to find an audience in theaters. Despite so many bombs, studios continued financing him, which is a welcome surprise. At least, he got to see that his once-reviled works are now an influential and beloved part of cinema. Now, as he puts it, his career would look far more different if The Thing wasn't a commercial and critical dud in its initial release. We can't theorize, for we don't know this kind of what if. But Carpenter built an impressive and memorable filmography, even if his later works represented some of the worst films he made.
And look, he is content with retirement. Playing video games and watching the NBA sounds like a good deal for anyone.
Hope you liked this edition. You can find this and more in the wiki for this section.
The next director will be Danny Boyle. One of Britain's most important directors.
I asked you to choose who else should be in the run and the comment with the most upvotes would be chosen. Well, we'll later talk about... Robert Zemeckis. He was one of the biggest filmmakers, now it's a surprise if he makes a hit.
This is the schedule for the following four:

Week	Director	Reasoning
April 29-May 5	Danny Boyle	It was a long wait, but 28 Years Later is finally happening.
May 6-12	Wes Craven	A horror legend.
May 13-19	Clint Eastwood	Great actor. Great director.
May 20-26	Robert Zemeckis	Can we get old Zemeckis back?

Who should be next after Zemeckis? That's up to you.