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Exclusive Interview: Caroline Munro
By Jonathan Stryker
Caroline Munro is one of the nicest, upbeat and most gracious personalities I’ve met. Acting in films for nearly four decades she has amassed an impressive filmography of genre titles. Much has been written about Caroline on other websites, so without regurgitating what has already been said more eloquently than by anything written by yours truly, let's get right to the interview that Caroline was kind enough to grant to House of Horrors recently.
Jonathan Stryker: How did you end becoming an actress?
Caroline Munro: I suppose really it was all by accident. I didn't set out to be an actress, you know, I have dyslexia and therefore school was always a problem for me. I love art, and I love the languages, but when it came to math and science that wasn't my thing. So, it was quite hard – I struggled in school, you know, I went to school at a convent, which was taught by nuns and they were all very strict. I suppose they regarded me as a bit silly. I really didn’t consider myself to be stupid when I was in school, I was rather bright. It's just that my math and my English just weren’t up to scratch. I thought I was going to do art as art was something that I thought I could do better than other things. I kind of geared my head into thinking that that's what I was going to do. In fact, I went to art school on a Saturday to study and there was a chap there who was studying photography and he asked me if I wouldn't mind posing for him. And, I agreed, I said that that was fine. I was about 16 at the time. And he sent the photos to a newspaper in London. My mom knew that he did this because he needed her permission. There was a competition run by the photographer in the Sixties named David Bailey, who was wonderful. So, the photograph won, I won and I became the face of the year. Soon after that, I began modeling and as a result of the modeling along came the acting, and the acting won out over the modeling because by the time I got around to doing DRACULA A.D. 1972 I had already fallen in love with the idea of acting and was thrilled that I had the opportunity to work with Christopher Lee. I really knew that this was what I wanted to do. All my energy, drive and passion were channeled into acting.
JS: One of my favorite directors as Gordon Hessler. What was your experience under his direction?
CM: Oh, Gordon was wonderful to work for. We had the delight to do SINBAD which was much fun. It was interesting because we had two directors almost: we had the iconic Ray Harryhausen who of course directed all of the special effects. Of course Gordon would do the dialog scenes which were vitally important. So, in essence we had two directors and that sort of gave me a double whammy if you like. But, Ray would actually step in and help when we were shooting in front of blue screen and we really had nothing to react to. It was really left to the actors’ imagination and the most amazing artwork of Ray to create images that we didn't really understand. The actors didn’t know, until we came to do the dubbing, what the images would look like. So, it was a real eye-opener when we got to see it. The process itself was long and slow, but done with absolute love and care, and also a lot of passion. Gordon was absolutely fantastic to work with, he is a very modest and an intelligent man to work with.
JS: The thing that really amazes me about a lot of the actors and actresses whom I meet and talk to, they all tell me that they generally don't watch their own films. I have a hard time believing this because you would think that after all the hours of hard work you would want to see how well the work came out. Do you want your films?
CM: Yeah, you tend not to like to watch it because you’ve done it and there’s nothing you can do. It’s finished. As an actor or an actress you think that you would really like to go back and retake it, but you can’t. At that point, you sort of have to let it go. With my films, they tend to drag them out around Christmas time. I’ll see SINBAD or Bond is on again, so…
JS: I've always been a fan of the special effects in movies, and I often wonder what it's like to be in a room in front of a crew and a blue screen and trying to use my imagination so that I can react to something that will be seen later. When the movie is finally put together and projected in a theater, are you shocked by what you're seeing?
CM: It doesn’t at the time when I’m doing it. Usually the special effects scenes are quite – you’ve done the dialog scenes, so you’ve got your character. The character is rock steady. I have a very good imagination. To make movies like these, you have to. It’s really a requirement, and not something that you can fake. It’s like when you’re a child, and you play with your playmates…
JS: Yes.
CM: It’s kind of tapping into that and imagining. It’s about reaction, and it’s usually the first reaction that’s the most true. Like when I meet you for the first time, it’s a first reaction, and that’s the most honest. Then you do it, try and make it as real as you can.
JS: Tell me about your experiences with Vincent Price on THE ABOMINABLE DR. PHIBES and DR. PHIBES RISES AGAIN sets.
CM: Oh, working with Vincent Price was p-I almost said priceless! (laughing) I don’t think that I’ve ever said that before! He was an absolutely…wonderful, sweet, and funny man. And a fabulous chef! Vincent and I used to first go into the make-up room. He would bring all of these wonderful little things that he made. I remember he brought in this huge plate of pâté that he’d made for the make-up girls, hairdressers, everybody. We sat there getting ready to do the scene in the coffin. So, we had some pâté, toast, and drinks and a day of filming in the coffin! But, Vincent was wonderful. Such a wonderful, caring person. And thoughtful. Extraordinary, really. I miss him very much.
JS: He’s one of my favorites, too. Anyone who’s in my age group and older has at one time or another seen one of his films on TV. CM: Oh, I’m sure!
JS: When I was 12 my grandmother bought me an old radio show called ESCAPE! and the episode was called “Blood Bath” and it was written by James Poe. Vincent was the star and it was this excellent thriller set in the jungles of South America about a group of men searching for uranium who are double-crossed by a greedy faction within the group. It’s one of my favorites; the acting, the ability to use just sound effects to convey mood and tell a story, was just brilliant. Vincent effortlessly moves between his character, Harris, and that of narrator. He and Boris Karloff has the two most amazing voices –
CM: Oh, I’ll tell you, Christopher (Lee) is really the last of that group of iconic figures: Peter Cushing, Donald Pleasance, I worked with them all…
JS: God, I am so…jealous, you have no idea!
CM: They were all extraordinary people – you don’t realize it when you’re young. You think, Well, yes, they’re all rather well-known. But you’re kind of working with them, and doing scenes with them, working with Peter Cushing on a horror film like DR. PHIBES, and then doing the might “lighter” AT THE EARTH’S CORE…he had such a wonderful sense of humor.
JS: I understand that you were offered Ursa in SUPERMAN.
CM: That’s true, I was.
JS: But instead you played Naomi in THE SPY WHO LOVED ME. Did you go with the Bond film because Bond films did pretty steady box office and you felt that it would lead to superstardom?
CM: Yes, it’s true, I was offered Ursa. My agent at the time, Dennis Salinger, said that I should go with the Bond film because it seemed the best bet. SUPERMAN at that time was untried, whereas there had been Bond films before and he felt that it was the best role to take. When you say stardom, I think that I really am lucky to have enjoyed doing what I have done. Apart from my daughters, acting has been my passion. If I have achieved any little bit of notoriety, that’s great. But the idea that I have actually given something is rewarding. And what I receive back is when people come and see me at the conventions, and that is reward enough – and getting paid is nice, too! (laughs) I am very lucky to do what I do, but I was not very ambitious, never thought of conquering Hollywood so-to-speak. I had the chance to go to Hollywood, but I had my family in England and that’s where my heart is. If I could work in Europe, that was my choice.
JS: Is that why you did Luigi Cozzi’s STARCRASH?
CM: (laughs)
JS: I met him in 1990 in Albany, NY when Dario Argento was here promoting OPERA.
CM: He’s just lovely, he’s so sweet. I heard about STARCRASH when I was New York shooting some commercials for Noxema. Men’s aftershave. It was American, they weren’t shown in England. And I got a phone call and it was Luigi. He said that he had this project for me and that he wanted me to do it. He knew that I had worked with Ray Harryhausen and he loved Ray’s work. He knew that I could work with effects that weren’t there on-set.
JS: Afterwards you were in MANIAC and THE LAST HORROR FILM. How did you get those roles?
CM: MANIAC was written for me and Joe (Spinell) because we worked so well together in STARCRASH. The producers, and my husband at the time (Judd Hamilton), thought that we’d be great together. So, they thought up this film that came to be MANIAC. It did well enough that some time later Joe was looking for someone for THE LAST HORROR FILM and they asked me to read it because I was in New York at the time. I was initially hesitant because I had to fly back and forth to see my family and had all sorts of things to do. But, I read the script and really did it to work with Joe again.
JS: Are you partial to horror films?
CM: I’m not a horror girl by choice. If I was to choose to go to the cinema I wouldn’t necessarily go to a horror film, I’m not one that’s good at being scared.
JS: What are some of your favorite films?
CM: SOME LIKE IT HOT, BREAKFAST AT TIFFANY’S, THE MISFITS, ON THE WATERFRONT, THE PAWNBROKER, THE L-SHAPED ROOM, DAYS OF WINE AND ROSES. DON’T LOOK NOW is an amazing film.
JS: Thank you for speaking with me.
CM: Thank you so much! It was wonderful meeting you!
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Exclusive Interview : Director David Cronenberg
By Jonathan Stryker
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Source:
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Nov 2, 2007, 11:32
PM
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David Cronenberg & Jonathan Stryker |
One director who needs no introduction to horror fans is David Cronenberg. With a filmography that spans 40 years beginning with his short film TRANSFER and continuing with his most recent work EASTERN PROMISES with Viggo Mortenson and Naomi Watts, this brilliant Canadian filmmaker has carved a niche for himself that has included one dazzling and provocative film after another, simultaneously wowing and repulsing audiences the world over. Mr. Cronenberg is responsible for some of the most unforgettable, iconographic, and genuinely disturbing images ever committed to celluloid, as evinced by the parasitic creatures affixed to Joel Silver's face in SHIVERS; the phallic parasite growing in Marilyn Chambers's armpit in RABID; the murderous children in THE BROOD; the malevolent mind-controllers in SCANNERS; the vaginal stomach opening in VIDEODROME; and the game port in eXistenZ to name a few.
David Cronenberg graciously took some time out of his busy schedule to meet with me in October at the posh New York Regency Hotel in midtown Manhattan over a cup of tea to discuss his career. Many thanks to RJ Millard of Focus Features for arranging this interview.
Jonathan Stryker: Was becoming a filmmaker a way of liberating yourself from the difficulties of being a novelist and struggling to find your own voice?
David Cronenberg: Well, that's an interesting question. The movie thing certainly came in sideways. When I was starting out, the technology certainly intrigued me because I'm a gadget kind of freak. The drama part, you know, working with humans was obviously exciting, as opposed to writing where you're isolated and spending a great deal of time alone. But, the fact that I could write was very important. There were no scripts around when I started making short films, so you had to generate them yourself somehow. And if you could write, that was a real strength. So, they did kind of blend together, the writing, and it's only maybe now that I'm beginning to feel that I perhaps don't have the temperament to be a novelist.
JS: (Laughs) Wow, even after all of these years?
DC: (Laughs) I'm still not convinced totally. And it's funny because I thought of Ingmar Bergman. When he published his four screenplays he re-wrote them so that they sounded sort of like novels because at that time the novel was still the premier art form, and he felt that movies were a lesser art form. Of course, ironically, he was one of the people who elevated it to the point where film was considered an art form.
JS: True. For that matter, where would Wes Craven be without THE VIRGIN SPRING?
DC: Yeah, so I guess that I haven't given up the things that the novel can do, movies cannot do, and vice versa obviously. So, in a way, I kind of would like to do both. However, the amount of time it would take, you know, to take the years off that it would require to write a novel, that's difficult for a film director to do in practice. So, whether or not I could ever really do that, you know, it's a nice fallback should I ever get to the point where the physical aspect of filmmaking would say become difficult because I'm too old or whatever. But at the same time, from what I understand with novelists you need stamina to write a novel as well! Even though it's not the same thing, there's an interesting crossover.
JS: One of the most difficult things that a director must decide prior to filming is the placement of the camera. Do you know what you want prior to shooting?
DC: No, I don't. I totally don't. I don't do storyboards. And I find that a strange sort of development which maybe comes from Hitchcock's mythology that he liked to promote the idea that he did everything himself. But, if you do that, you really are cutting out the collaboration of your actors, really. If you figure out where they are going to stand in a room, before you have even designed a room, or found a location, and haven't cast the actors, it means that you're not...I mean, why cast fabulous actors and then tell them where to stand and how to say the lines? You really want their involvement and their collaboration. They'll say, "No, maybe I should be lying on the floor instead of standing at the window." If you don't have that in your storyboards you say, "No! That'll ruin everything!" So, you end up limiting yourself.
JS: Given the scientific nature of your work, do you ever think of your films as cells, parts of an overall living organism, i.e., an oeuvre? Do you consider yourself an auteur?
DC: Well, I have never thought of my films that way. However, I like that. I like the metaphor and so I accept it, and from now on I will think of them exactly that way!
JS: Do you feel that your lack of Jewish identity during your youth influenced the isolated nature of your films?
DC: Well, I never felt not Jewish. I was pretty Jewish, it's just that I wasn't very religious. And that really separated me from a lot of my Jewish friends who were religious, or at the very least went through the motions of being religious. I went to a high school in Toronto called Harbord Collegiate which was 95% Jewish. The teaching staff wasn't, but the student body was. And it actually was one of the only Jewish schools in Toronto that was shut down for Jewish holidays because there just weren't enough kids there to make it worthwhile to remain open. And I wasn't one of those kids who would have been away, but I was happy to take the time off. I guess it was double alienation, I was alienated from my Jewish friends because I didn't go to Hebrew school, I didn't have a bar mitzvah, I didn't do that stuff. But at the same time, I always thought of myself as Jewish. But not really alienated, you know, just different. I didn't feel that as a pressure.
JS: How involved are you in the advertising campaigns of your films?
DC: I do get quite involved, and I am surprised to say that it is often welcomed, interestingly enough. Focus Features and New Line Cinema have been great. They send me everything. We have arguments sometimes. The poster for EASTERN PROMISES was my choice; there were many other posters created for the film and I gave them scathing reports on why they were no good. So, it is definitely is a collaboration. Legally, I have no right to have any input. But on the other hand they need input. It's a difficult thing, I cannot pretend that I am a marketing guru, that's for sure. It's a real art. But, I can watch the trailers as though I am a spectator and I can tell if it's not telling me something about the real movie. So, I do get quite involved, yes.
JS: What did it mean to you to be inducted into the Canada Walk of Fame as well as being bestowed the Order of Canada?
DC: Well, those are two different levels of things. The Order of Canada is really like the Legion of Honor. It's sort of the highest civilian honor that you can get in Canada. And, it is important to me because when I started making films I was rather scurrilous and considered reprehensible and being on the outside one could certainly take strength from that. But, you don't really want to be considered a bad citizen and so suddenly this is a complete reversal so it does mean a lot, actually.
JS: What are your feelings about home video and how your work has been represented in the different formats?
DC: I love home video. I mostly watch movies at home on DVD. I have the Sony PlayStation 3 primarily to watch movies on Blu-Ray. And I love the fact that you can get true HD over satellite and cable. I'm a bit of a recluse. I don't mind the solitary or family experience of watching movies at home. I don't miss the group experience of the cinema as much as a lot of other people would. So, I rarely see movies at a theater. If I do, it's almost always my own film at a film festival.
JS: Will TRANSFER and FROM THE DRAIN, as well as your work for television, i.e. "Programme X," "Peep Show," "Teleplay," ever be released on home video, or is there a conscious effort to retain them as much as possible from public view?
DC: Well, TRANSFER and FROM THE DRAIN were never made for television. I was just experimenting to see if I had anything to say, if I had an eye and an ear so to speak. But, I did do some work for television. But TRANSFER and FROM THE DRAIN are both very lumpy. I tend to only let them be seen at film festivals like Rotterdam, for example, is attended by real cineastes, you know, they are interested in it because it's your work. They're not interested in whether or not it's any good. But in general, I would say that those films are not good enough. But, some of my later works are more interesting. There is a Region 2 Japanese DVD with some of my work (called DAVID CRONENBERG SHORTS, available from Xploited Cinema), it has an episode of "Peep Show" that I did called "The Lie Chair" and an episode of "Teleplay" that I did called "The Italian Machine".
JS: You've stated that you weren't aware of horror films in Canada at the time that you began directing. Bob Clark's brilliant BLACK CHRISTMAS was released about one month after you wrapped filming on SHIVERS. Were you aware of this horror film at the time?
DC: No, and don't forget that Bob Clark was American, he was from Florida. And we thought of him that way, he was not a Canadian filmmaker. That doesn't mean that he wasn't welcome, and also he did some very interesting things with sound in that movie and we were pretty interested in that, Ivan Reitman and myself, we noticed that stuff. He was using Canadian technicians but not really CBC-TV-type sound, he was doing really interesting movie sound which was very experimental, and yet in a commercial movie, so that was fascinating. But, BLACK CHRISTMAS wasn't really a Canadian film in that sense than, and of course I didn't know that that was going on when I was shooting SHIVERS. Remember, I was in Montreal doing SHIVERS while he was doing BLACK CHRISTMAS in Toronto. And new those are like two separate worlds, really.
JS: STEREO and CRIMES OF THE FUTURE were filmed in some of the strangest and most antiseptic-looking buildings I've ever seen. Where was this?
DC: (Laughs) They still exist in Toronto. Scarborough College was a brand-new building at that time. It was practically not even inhabited, it was all poured concrete. It had a very interesting style, and we had some very interesting architects working. And whenever there was a new building going up I was almost always the first one there to see it. I was really fascinated by the question of space. I think that that's something that you really have to master, it's a surprise. How do you move the camera through space with people moving in different directions and how do you carve out the space? It's not easy actually to do it with style and elegance, as opposed to just going out there trying to get whatever you can get. And so the architecture as the shaper of space before I even got to the location was a crucial element to me, it would draw me.
JS: A HISTORY OF VIOLENCE and EASTERN PROMISES both star Viggo Mortensen, an actor I have liked immensely since first seeing him in CRIMSON TIDE. Do you have any other films in the works with him?
DC: Well, I love Viggo, you know, and I would love him to be in every movie that I make obviously. So, whatever movie project that I am playing with, and I'm toying with several right now, I will always look for a part for him. He's the sort of actor who even if he wasn't the lead role he would still take it.
JS: EASTERN PROMISES boasts a lustrous score by the great Howard Shore, who has scored 12 of your films. Where did you meet him?
DC: Well, Howard is a Toronto boy, and we've know each other since we were teenagers. And then he got his gig with Lighthouse, which was a very successful Canadian big band that traveled around the world, and then did Saturday Night Live with another Toronto boy, Lorne Michaels, so Howard was the musical director for Saturday Night Live, and one of the nurses in the All Nurse Band. But, he was always around because we had friends in common and he was a bit older than me.
JS: Thank you so much for your time; I could sit here and talk for another five hours!
DC: (Laughs) OK, thank you.
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Exclusive Interview: Joe Lynch
By Jonathan Stryker
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Source:
Jonathan Stryker |
Oct 10, 2007, 8:26
PM
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Joe Lynch is a fountain of movie
knowledge and possesses inordinate enthusiasm for anything horror. Just 31, he has amassed an almost
encyclopedic database in his head about the genre’s best artists. House of Horrors caught up with him recently
as he promoted his new film, WRONG TURN 2: DEAD END, which is due for release
in Joe’s words, “Between October 8th and 10th,” clearly
thinking outside the box when warned by Fox not to disclose the film’s DVD
release date.
Jonathan Stryker: You’re from Long Island, NY. What was life like growing up there?
Joe Lynch: I was born in 1976 in Port Jefferson, NY and I live in Los Angeles now. Growing up on Long
Island was deeply disturbing!
(laughs)
JS: Did you watch a lot of movies when you were young?
JL: Yeah, I started the moment I came out of my mother’s womb. My mother couldn't get a babysitter when I
was a kid so she used to take me to see everything. Most of what I grew up seeing were horror
movies, and she also bought me Fangoria Magazine to show me how all this stuff
was make-believe, which was really cool!
So, since I was a kid, movies were my film school.
JS: Can you tell me your earliest memories of
going to the movies?
JL: Most of the movies I saw were films at multiplexes that I would
sneak in to see. I would even pay for
EXORCIST III and go see other movies, and I was conscientious to want my money
to go to Fox for EXORCIST III even though I was sneaking into other films.
JS: Have you always been a fan of horror films?
JL: Yeah, all the horror movies
I love I ended up seeing on video. The
EVIL DEAD films, John Carpenter’s films, THE STUFF, RAWHEAD REX. I would go see movies just because a
particular cinematographer, like Dante Spinotti, shot the film.
JS: Tell me the horror films that
had the biggest impact on you.
JL: Oh, shit…THE THING, THE BLOB, THE EXORCIST, THE TEXAS CHAINSAW
MASSACRE, ALIENS, THE EVIL DEAD, A NIGHTMARE ON ELM STREET, FRIDAY THE 13TH
PART II…the list goes on and on and on…the big one for me was SUSPIRIA because
I didn’t know what the fuck was going on, you know? But I could not stop watching it. I mean, what eight year-old watches SUSPIRIA
and tries to understand it? Too many
films to name, but those are the ones that just vomited out of my head.
JS: How did WRONG TURN 2: DEAD
END come to you?
JL: It came to me in a PDF file while I was in Tokyo!
A friend of mine was working at a production company and he was asked by
other people there if he knew of anyone who would want to direct this script. So, he recommended me. I read the script and was inspired by the kind
of “video nasty” feel to it and I just latched on to it. I said that I wanted to make this the
ultimate love letter to the Eighties splatter movies. I wanted it to be authentic right down to the
fonts in the lettering, the blood color, the tone in the actors’ performances, and
the overall look and feel of an Eighties splatter flick, where I'm basically
lamenting the end of the type of horror movie that I grew up watching when I was
a kid.
JS: Bear McCreary is a great
composer. Was he your first choice to
score the film?
JL: Actually, Mike Patton was originally set to score the film, but
that fell through, unfortunately, due to a scheduling conflict. But, we’re gonna work together someday. So, I was laying down a lot of temp tracks to
get the mood of the film and just put in as much music as I possibly could, but
it just wasn't working. So, my friend
Yale called me up and said, “Dude, you're going in the wrong direction. Buy the scores to the new BATTLESTAR
GALACTICA series and listen to them.” I
put them on, and it fit like a glove, it was amazing. You know, the film has a particular tone
because it’s horror, but it also has action and a sense of humor, too. And all
of that fit in with what Bear had written, even in the GALACTICA stuff. His music is grand, operatic, bombastic, and
theatrical. There were moments in that
that just inspired me so much. So, I
called Bear and he came in and watched a rough cut of the film and agreed to do
it. One of the greatest honors that I
could have had was being a big Oingo Boingo fan. My wife and I were driving up to Santa Cruz
one day and Bear calls me up on my cell and tells me that most of Oingo Boingo
was in his house playing the music to my film!
I literally had to pull over when he told me that. This movie, more and more, literally becomes
me. If someone ripped out my soul and put it up there on the screen, for better
or for worse, WRONG TURN 2 would be the result.
I see so much of myself in the film, and I don't want to sound like an
egomaniac. I got to make so many great
creative choices, right from the beginning!
And I'm so proud of that. The
fact that I got Bear to score it, and the fact that I got to do the types of
kills that I've wanted to do right from the beginning, the fact that I got the
chance to do everything I wanted was just incredible.
JS: How did you come up with the
ideas of the types of kills you ended up doing?
JL: Basically, I asked myself, what type of kills do I want to see? What is it that I have not seen before? And then, let's face it, when you watch these
movies from the point of view of watching it as though you're in school, and
learning about how movies are made, you ask yourself what you yourself would
want to see that's never been done before.
And I'm so grateful for the opportunity to be given this script so that
I could make the film that would enable me to make the type of movie that I
want to see. This is very much a
personal film for me, and Bear is a huge part of that. Bear is a genius, and I would love to work
with him for as long as I continue to make movies, unless of course he becomes
too big in the industry…and then I’m fucked!
(laughs)
JS: How will WRONG TURN 2: DEAD
END be different from its predecessor?
JL: Well, in certain respects, it is very much a direct sequel to the
original film. It wouldn’t make any
sense that the survivors of the first film would come back to the woods
(laughs).
JS: Right!
JL: Let alone go to fucking Central Park
without feeling nervous. So, it makes
sense that they aren't back. To prepare
for this film, I looked at ALIEN and ALIENS and the tonal shift from the first
film to the second film. There are
(dialog) lines from ALIENS that are in the movie, and there are even lines that
the Fox people didn't even get until I told them, and they said, “That’s
great! Talk more about ALIENS! That’ll rack up the DVD sales!” So, it would behoove me to make the same exact
movie again where Rob (Schmidt) was very loving to DELIVERANCE, I SPIT ON YOUR
GRAVE, THE HILLS HAVE EYES, and CANNIBAL HOLOCAUST. My pitch to the executives was what if
Jean-Pierre Jeunet (ALIEN 4) remade CANNIBAL HOLOCAUST. So, the film emphasizes more “wrong” in the
wrong turn. Like ALIENS, it injects more
of an Eighties sensibility where there is more of a blending of hardcore action
and a sense of humor, too. It's not a
comedy whatsoever. I am a firm believer
in the idea that a horror film can have some aspects of comedy without it being
an out-and-out comedy. For me, that's
the sugar that makes the medicine go down.
I've always seeing ALIENS as a roller coaster ride, and this is the type
of movie I set out to make by making this film. If you watch WRONG TURN and
WRONG TURN 2 as a double feature, I think you’ll find that they feel like they
are both part of the same film. Even
though my film stays true to the original film, I also feel that it stands on
its own as well.
JS: What’s next for you?
JL: I’m just waiting for the film to come out. Right now I’m working on THE OZONERS, which is
very much for me a pet project. I've
always been a fan of monster movies. And
I'm not talking about the man dressed up as a monster type of movie. I’m talking about the films that really get
under your skin, like a great Cronenberg film, or THE THING and THE BLOB remake. These are film is that really work with on a
ground-level and give you the impression that the effect is really a part of a
person’s body. I miss the heyday of the
good horror movie. When I saw THE HOST,
I thought, well now the technology really exists to allow you to do anything
you really want pretty much. I love Sam Raimi’s
and Peter Jackson's movies because the camera really becomes another
character. Likewise, the camera in WRONG
TURN 2: DEAD END is a character as well.
With THE OZONERS, it’s a period film – it takes place in 1994! Who has done a film about the Nineties?! It’s gonna be DAZED AND CONFUSED MEETS THE
THING – I can’t fucking wait!!! I am so
excited.
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EXCLUSIVE INTERVIEW: SID HAIG
By Dave Dreher
Source:
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Oct 9, 2007, 8:48
AM
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Today brings the release of NIGHT OF THE LIVING DEAD 3D on DVD and to help drive that point home our own Patrick Desmond had conducted an interview with the one and only Sid Haig.
It's an audio interview and it's a good one.
CLICK HERE to download the MP3 and bask in the greatness that is the one and only Sid Haig.
Remember, NOTLD3D comes out today and it comes with 4 pair of 3D glasses so you can sit around in your front room looking silly.
I love 3D and this is a great film to share with friends and just have a grand old time.
So, check out the interview and then run on out to your local video haunt and pick this baby up.
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INTERVIEW: Director Uwe Boll
By Dave Dreher
Source:
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Sep 19, 2007, 10:4
PM
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Uwe Boll. The name alone stirs up a wide range of emotions from horror fans. With films like House of the Dead, Bloodrayne, Alone in the Dark (just to name a few) under his directors belt he is often the brunt of cruel jokes and wise cracking reviewers.
Our own Patrick Desmond got the opportunity to talk with Uwe at length about his film career, the horror genre and the art of making an independent film. I was fascinated at just how intelligent and articulate of a man that Uwe is and found him to be an interesting interview. This is some time you're going to want to spend and I think you'll come away with a new found appreciation for the man.
We've broken this interview up into two parts to make the download a little quicker. Get your clicking finger ready. These are good ones.
UWE BOLL INTERVIEW - PART ONE
UWE BOLL INTERVIEW - PART TWO
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