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14 INTERVIEW; RICHARD BACKUS His starring turn in

Bob Ciark's anti-war chiiier made ''Deathdream" beiievers


out of everyone.

18 PREVIEW: “THE DEAD 2” Howard J. and Jon Ford 54 INTERVIEW: BRENDAN FLETCHER One of Canadian
hopped continents to shoot another cuituraliy specilic horror’s most familiarfaces goes on another “Rampage" for
zombie opus. Uwe Boii.

20 NOTES FROM THE UNDERGROUND: “THE 60 INTERVIEW: CHAD ARCHIBALD As part of Biack
BATTERY” Jeremy Gardner proves iess can be more Fawn Films, he finds evil In Ihe wafer, on-line and in olher
even when it comes to the undead. common places.

62 INTERVIEW: BILL LEEB Formerly of Skinny Puppy,


he’s exploring sfrange new sonic worlds with Front Line
Assembly.

INTERVIEW; MICHAEL MARSHALL SMITH 64 INTERVIEW: GRAHAM BAKER The director’s first
The BBC's "Intruders'' gives ongoing televised life to Ihe hurrah in feature films was Damien Thorn's Iasi, “The
aufhor's creation. Final Conflicl."

ON SET; “MURDERDROME” Australian roller derby 66 DIARY OF THE DEB; “MDDEL HUNGER,” PART
becomes a lot more brutal in Daniel Armstrong’s ode to TWO All starred swimmingly on Debbie's directorial debut,
and then...

28 FEATURE; “THE STRANGE COLOR OF YOUR MINIFEATURE; IAN ROGERS The author's "House’
BODY'S TEARS Bruno ForzanI talks his and Hdlene
" due lor reassessment as a television projecl.
Cattet's surreal follow-up to “Amer."

30 PREVIEW:
GRAVY

“THE GUEST 6 FIRST RITES For love of the games
There's jusi one violent
V visitor in the latest 7 POSTAL ZONE Column inches
from the "You're Nexl"
duo, but he does plenty 8 MONSTER INVASION "The Possession of Michael
Kihg’’ and “Honeymoon"

56 THE VIDEO EYE OF DR. CYCLOPS Reviews of


"Phantom of Ihe Paradise," "Prom Night,” "The
Innocents," "The Sacrament," “Slagelrighr and others
' , —

I meation this each time re switch gears and spotli^t video games in fAN-
I GORIA, but seeing as we 're focusing on them once again this round (the last
'

isissue#334, Costfwonia cover story), i


again: I don't play video games. I never have. And it's not because I dont
appreciate them. 1 like them. In fact, I enjoy watching other people play video games
which is I know, but 1 do. Especially these days, when advances in the medium dic-
weird.
tate that most modem games look like cinema and come armed with complex narratives,
dense sound design and, in the case of horror-themed titles, immersive qualities that suck
you into their finely sculpted worlds and trap you.
FANGORIA is not just about movies, it's about the genre's influence on popular culture
and its reach into m^iad mediums. And In the case of the pair of pulse-pounders we've put
on this cover, Fango's Sam Zimmerman had the unique chance to get sneak peeks at two
games that revel in old-school siuvival-horror propidsion, but also tie directly into the
legacy of one of the most terrifying and influential dark fantasy films of all time, Ridley
Scott's still-ni^tmarish 1979 classicAiim.
Both The Evil Within and, obviously, Alien: Isolation capitalize on the same xenomorphic
stalk-and-kill elements that made Scott's lan dmark motion picture such an influential
work. Hell. A/ien was essentially plotted like a video game, before there were evolved
video games to plot-rip from. One sequence in which D alla s (Tom Skerritt) is stalked by the
H.R. Giger-forged monster is even partially rendered as a kind of proto-video game. Aifen's
basic dramatic thrust is that of running, hiding, collecting and trying to survive a night
with a rampaging terror that stalks your every move. You cannot trust anyone, either; a
kindly doctor can end up being a sociopathic, milk-leaking android. And when you get to
the climax, the last level, you must amass all of your wits and skill to finally put an end to
the threat.
It's the same basic framework elicited in countless honor films of every subgenre, and
it is most certainly the soul of the survival video game. Both The Evil Within and Alien; /so-
lation arrive with much drooling fanfare, and both, according to our sources, are designed
and executed with eye- and ear-popping grandeur And both have the power to terrify infi-
nitely, the latter element missing from many a contemporary honor film. With Sam's slam-
bang first-person account of fighting for his virtual life, it made sense to put this duo front
and center on our cover, and we hope we please our fanbase, who often complain that we
don't cover gaming nearly enou^, and perhaps the less game-schooled readers who mi^t
just be persuaded to flex their thumbs and give these titles a shot.
But even if you're not sold on this angle, we've supported the cover editorial with a
wealth of wild content. Alien is celebrating a birthday; the grand dame of sci-fi shock turns
35 this year, and its influence is felt eveiyvAiere. Countless projects on all manner of
screens owe their imagery to the late Dutch artist Giger's shattering, oozing, biomechani-
cal creature designs and phallic architectural concepts. Here, then, we present a celebra-
tion of Giger's life and tunes, supported by some exdusive photos you won't see anywhere
else. Complementing that spectacular bit of editorial is a lengthy new interview from UK
artist, filmmaker and Fango correspondent Ashley Thorpe with the nimi table actor John
i

Hurt, who counts his definitive turn in Alien as one of the most vital of his almost 200 film
. credits. Here he discusses the making of the film and the seminal, blood-spitting moments
.
in which he birthed an indehhle movie monster.
Outside of all this contemporary digital death and classic creep, implanted in our first
few pages is my favorite of this issue's features: a chat with actor Richard Backus about
his cole as the doomed post- 'Ham blood junkie in late director Bob Clark's deeply disturb-
ing 1974 classic DeoWdrarm {aJs.i. Dead of Night], If you're never seen the film, you
^ simply must. It's a terrifying anti-war statement stapled onto achflliog, ^oulish riff
in the classic W.W. Jacobs tale “The Monkey's Paw.” Clark had made the wonky Chil-
ren Shouldn't Play With Dead Things the same year asDeathdream and would shoot
L-.the immortal Rlacli Christmas ayearor so later, but for my money, the terribly sad,
r brutaUy violent and just plain weird Deathdream is his finest horror film. Maybe his best
film, full stop.
“Just Plain Weird." I think I've found the new FAlfGORIA tagline..
— Chris Alexander. Editor

WWW.FnNGDRin.CaM
...In regards to Dump Bin Diaries: Fruits' Oblong, by the way. And get this: He
Mr, Parker, too continually fall
I actually lives in the house that was used as
vidim to these DVD horror collec- Dennis Christopher's home in Fade to Black,
Kons. I don't remember the name ond the stoirs he pushed his vvheelchoir-bound
of thisone porticulor gos stotion, aunt down leod into our shared courtyordl
but it’s near my buddy Cory's Tim Sullivon
house and there ore heops ond los Angeles, CA
heaps of those cursed things. 90
percent of the films contained
within eoch compilation ore utter Seeing Red
garbage, ond 30 percent ore appreciated that several issues ago, in
...I

repeotu ocross several of them, Fartgo#329, you addressed the significance^


some cleverly renamed to dis- Elizabeth Shepherd’s red coot in Damien:
guise the crimel Omen it. I listened through the movie's DVD
Does this prevent me from commentary for any kind of info obout this,
purchasing them? Why do not I and one of the bigwigs on for^ hisnome it— I

|ust pay for my domned gas ond —


ond title sold he'd fired the first director ond
walk out the door? blome Killjoy.
I bristled about him on several issues, one of
That shit is hilarious. But mostly, which was that red coat, which he said was 'all
the true problem is that I'm an wrong' For the role of John Hart. thoroughly I

oddict, rn toke horror any way I appreciated Shepherd's history behind That
con get it and those collections coat and the paintings that went along with it.
**Dead** Alive ore hello cheop. Sc it's my own fault. This is why subscribe to FANGORIA: You get
I

.. T>iought you might like this pic oF TFie King, Mr. Porker, I iust wonted to let you know l^scoop that other mogozines don't report. I

myself and my copy of FANGORIA #1.1 hove thotyou do not surfer alone. I'm right there with
hod ihol mog since '79 and hod the whole you, slogging through the mire, one gos station Thot sold,do hove to osk when subscrip-
I

Down of ihe Deod group sign it, obng with ot 0 fime. And thoi^s to your heroic efforts, I tion mogozines ore moiled vs. vvhen the mog-
Ricou Browning, who is also bolured in that plan to deliberately avoid Psychopalhs ond azine goes to bookstores. was in Barnes & I

Issue. still hove o subscription today. 50 yeors


I Maniocs. That is, if it isn't oireody sitting on Noble 0 Few weeks ogo ond sow issue #335 on
ar>d still a honor freak. Thanks For many years the pile... the shelf, but hodn't gotten it in the moil yet. I

Diana Thoren didn't wont to reod it there, but was disap-


John Slaughter Snellville, GA pointed that the mog appeared in the store be-
Grand Prairie, TX fore received my subscription copy. There's
I

Trevor Porker replies: 'Your kind words ond something compelling ond cheoper, of —
moral support are very much apprecialed tf's — —
course wout getting the mag at home, but I

Precious Columns ofwoys aisfieortening to find oneself sucked in thought thotolso meont getting it before stores.
. I con't believe 35 years hove possed since yel again by some bulk-quonlity DVD pockoge Any insight you could Aed on this would be
FANGORIA «1 was not yet 20
hit the stands. I or decetffo/ bait-and-swilch cover art Dump wonderful.
ot the time, ond still very impressionable. This Bin Diaries aspires to aid fellow compulsive col- Glenn Allen
publication was my cup of (poisoned) tea, and lectors like ourselves, warning ogainsl retail Livingston, NJ
ihave been reading Fango nsirly regularly ever fiash ond fiucksterism wfu7e rngfi/ighfing ony
e. have always enjoyed the rarvge of mov*
I genuine bargains to be hod out mere. You keep Chris Alexander replies: "VSfe ore constantly
. —
.overage old, new, remoke, homegrown, reading and I'll keep diggirtgl" trying to gel every issue to our valued sub-
foreign, etc. —
and been exposed to films I scribes before it hits newsstands. Sometimes it
might have otherwise missed. The one monthly works, sometimes there is a slight delay. Either
column miss is Skeletons in the Closet, which
I First-Rate Rites way, it is oggrovoting, ond we fully uooenstond
revealed a current octor/celeb who appeared your editorial on
...You outdid yourself with ono appreciate your concern. VSb're working
in a horror film earlier in their career; these ond deod on —os evoco-
Nosferotu. Eloquent fiord to correct this going hrward, ond we
nuMets of information were presented with five —
os the f'lm itself ond vvith o surprise end- (honk you ond every subscriber experiencing
ffWtion and nostalgia. know that kind of I ing did rrot foresee.
I A
love of o film focilitotes the some problem for their potiencei Artd
trivia is available on the Internet, but always it the love of your lifel Beautiful! Thonk you For (honks so much for reading the mag and dig-
added to myenjoyrTvent of the magazine. Keep knockirvgit out of the park time and time again. ging what we dol'
up the good worki Cannot wait to read what you hove to soy
Jocki Berillo Kipe about Phontom of the Paradise, another fove of Send alt your love and loathing to chrisQ
AusHn, TX mine. My next-door neighbor is hlorold "Juicy
/
tcon Hoppen somefimes iHot rsond their downward-spiraling
one Halt ^
o couple cones lo relotion ship.
I ^1 like iHeir spouse isn't tHe

person they marri^, but thol prob-


obly hosn'l occurred os quickly or
'
HONFYMOON' “Both Paul and Beo
kind of transformafion," Joniok
notes, ‘so it
go through a

was obout Rnding those


it does in Hon^
"
os
month in select tne-
is ie ones where these
oters and on VOD From Mognet other things ore happenirtg inside of
Releasing, it follows ner/ly wedded Beo what a real rebtionship is like, and there was them. We pwent through that scene By scene,
{Game o Thrones' Rose Leslie) and Paul a dimension to him that popped that hodn't I talking things through and makirtg sure we
(Harry Treadaway, Penny DreodfuTs Victor seen in anyone else.“ were tracingit in an organic way, so that the

Frankenstein] to a cottage in the middle of Janiok bosed the movie's setting on a audience wouldn't feel cheated when the
' '
' ' '

the woods. re hoping for a peaceful


They're
ds. TI Conodion bmily cottoge where she spent her
childhood summers, and originolly considered ing this line of, yes, it's o rebtionship
or^e nignt and later turns up disorient^, with shooHng there, but the limil«l scnedules of movie, and we wanted to show how thot
her busy leods relationship evolves os they evolve with each
necessitoted other, but at the some time, since it’s olso o
filming ato time genre movie, we hod those pbt points to hit.'
when it would Helping her hit them with the right impact
have been too was makeup FX artist Christopher Nelson,
cold up north to whose credits range from Kill St// (in which he
do the required also pbyed the Groom) to Amencon Horror
water scenes. Story. "We tolked about the influences want- I

The Honeyfnoon ed to draw From," Janiok recoils. "A bt of it


teom wound up was David Cronenberg, A/ien keeping
Alien just keepii —
traveling to Lake it very visceral ond toctile. Thot wos portiolly

Summit in North due to the budget, and portiolly because I

Corolina, where feel that if you con execute proctical efbets


Janiok, Leslie the right way, it will feel more real. At this

and Treadawoy point in the game, CGI always gives a little

riTl had o few days


before produc-
too much
the fact that
distance; ifs a
we were
little too shiny.
able to do things physi-
So

tion begon to cally was great."


explore the chor- —Mkhael G/ngo/d
no memory of whothoppened to her, their
'
" p
gives wov to
y strange oehovior.
feor, suspicion ond increos-
FEARFILIMFORECAST
'I wos interested in exploring themes of September 1 2: At the Oevith Door October 2, 201 S: Victor Frankenstein
identity, and the idea that the person you Horteymoon (limited)
{limited), Oct. 6, 20 5: Crimson Peak
1 1

love could turn into someorse different,' soys Sept. 7: TTte Cuefl
1 Oct. 23, 10 5: The Conjuring
1 2
first-time feature director Leigh Joniak, who Sept. 9: The Scribbler (limited). Tusk
1 November I 3,1015: Friday the llch
wrote Honeymoon with Phil Graziodei. Tak- Sept. 26; Asmodexio (limited) (new film)
ing a few cues from Jnvasron of the Body October 3; Annubelle. Inner Demons Nov. 25, 201 5: Krompus
Snotchers, Joniak ar>d Graziodei tailorra (limited), Stephen King's A Good Alorrioge January S, 20 6: TTie Forest. Untitled
1

their script to whot they knew woud be mod- (limited) Blumhouse Horror!
est meons. 'We tried to be os coreful os we Oct. 10: The Canal (limited), Deed Snow: Jan. 29, 2016: Untitled New Line
could to limit the bcotions and the cost with- Red vs. Dead (limited). The Devi/’s Hand Horror Film
out compromising the norrotive, ond just be (a.k*. Where [he DevS Hides; limited). Dracuto June 24, 1016: The Mummy (new Rim)
strategic,' she notes. “That mode it easier Untold. The Port 2 (limited) August II, 2016: Specvol
once we got into production,' Qct. 17: Housebound (limited) September 9, 20 1 6: Untitled New
And with the exertion of Ben Huber and Oct. 24: Exists (limited), Oui/o. Stone* Line Horror Film
Hanna Brown os Beo's childhood friend Will heorst Asylum (a.ka. EIrzo Groves; limited) October 14, 2016: AMonscer Colls
and his wife Annie, Joniak limited her cast to Oct. 31: ABCs ofOealh 2 (limited). Oct. 11,2016: Untitled Blumhouse
just Leslie and Treadaway, who are front ond Horns, The Mtssionary (limited) Horror 3
center the entire movie. She knew the duo November 7: JessabeUe November 4, 20 1 6: Skull Island
would be up for the challenging job, having Nov. 1 4: Wolves (limited) April 7,1017: Pacific Rim 2
been on oomirer of both British octors. “I Nov. 2 1 s Extroterreitrtol (limited). VIHIS: June 6, 20 1 8: Godrilla 2
loved Rose's Came of Thrones chorocter," the Viral (limited) Undated: Area SI, Cherry Tree (limited),
director says, 'and I had seen her in Down- Nov. 28: The Babodook (limited) Ciown, Cooties, Creep (limited), Feor Clinic
ton Abbey and this small Scottish thing called Nov.: A Girl Walks Home Alone ert Night 47 Meters Down, The Green In-
(limited),
New Town, and thought her energy was
I (limited) Tenio,lncornate,lt Follows (limited). Killers
great and liked that she hod o different lo^. December S: The Pyramid Late Phases,
(limited], Kristy (a,kz, Satanic],
Everything obout her felt different from whot Dec. 12: Demonic Lost River, Moggie, Mercy, Monsters;
you gerserolly see with American actresses. January 2, 20 1 S: Amnyville; The Dork Continent (limited), NIghtlight (lim.
Awokening ited).Out of the Dark (limited). Outpost
, ,
a listofpotentioi Jait.30, 201 S: Lazorus 37 (limited). Paranormal Activity S, 750C,
odors got sent, ond wos like, 'Woit!
I I I Fabruary 27, 201 S: The Vatican Topes
could possibly hove him?' " Joniak confinues. March 13, 20IS: Scouts vs. Zombies mer of Blood (limited). Torment (limited),
"We set up a Skype meeting, and he wos in, May 29, 20 1 S Insidious: Chapter 3
: The Town That Dreaded Sundown (remake).
I
believe, Mexico doing The lone Ronger, June l2,20l5:;urafsicWorfd(30) Trail Hunter (remake). The Veil. Viral.
and he still had his moKeup on, which was July 24,20 S: Poltergeist (remake)
1 Visions. When Animals Dream (limited).
resome l/oughsl. He was in his trailer, like, August 7, 2015: Goosebumps The Women in Blacto Angel ofDeath.XX
'e been here a long time a very long — Aug. 21, 20 IS: Sinister 2
...le.' It wos a similar thing with him; wos I September 2S, 20IS: Untitled
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{ LISTEN FOR FREE }

Join FANGORIA’s Rebekah McKendry.


FEARnet's Rob Galluzzo and Inside
Horror's Elric Kane as they discuss
all things horror and go in depth with
all the latest horror movies &
news, welcome special guests
and tackle a myriad of topics

weekly.

PAST GUESTS INCLUDE:


Dean Cundey, Mick Garris,

Stuart Gordon, Lance


Henriksen, Danielle Harris,
Felissa Rose, William Lustig,

and many more!!!

twitter.com/KillerPOV
geeknation.com/podcast/killer-pov/
, —

Walker. Jessica Levy was the casting


agent, and she asked me to stare at a

DERTHOpm WAI^THEN HELL


Actor Richard Backus recalls his tour of duty as a
lampshade and focus all the malevolent
and vicious anger I could on it. and then
transfer that look of hatred to her That's
all 1 really remember about the audition.
I've heard rumors that 1 beat out a young
Christopher Walken for the role. If so
and I have no idea if there's any truth to
that— then it was a case of winning the
battlefield casualty who comes home... changed. battle but losing the war!
FANG: What were your first impressions
By SIMON FIXgOHN of Bob Clark and Alan Ormsby?
BACKUS; After being cast. I was flown
ost horror fans urith an appreciation FANGORIA: How did Deathdream come down to Florida, where I met Alan, and

M for the genre's past will offer


1974 slasher prototype Black Christ-
mas when asked to name a film directed
up the your way?
HICHASD BACKUS; By 1972, 1 was get-
ting established in New York theater cir-
his then-wife Anya, so be could make a
plaster cast of my head for prosthetics

hy the late Bob Clark. Fewer will likely cles and had a little buzz behind my name,
tell you that the same year saw Clark having appeared in a Broadway comedy
cany out producing duties on the Ed- caBei Promenade. All! I had also been for-
Gein-in-all-but-name offering Deranped. as tunate in landing a top theatrical agent It
well as the release of the chilling Vietnam was enou^ to get me into an audition for
what was then being called The Night
‘it’s a terrifying
depiction of PTSD...
YOU could almost
do the exact same
film with Andy not
being dead.”
War aHagory Deathdream, both collabora-
tions with writer and fellow University of
Miami alumnus Alan Ormsby.
In fact, this August saw the 40th anni-
versary of the 'Thmpa world premiere of
Deathdream (a.k.a. Dead of Night] a zom-
bie film of sorts that sees supposedly dead
soldier Andy Brooks (played by stage
actor Richard Backus) return to wreak
havoc on his small-town home after being
Undeod Andy (seen here between lohes) followed George
willed back into existence by his suffocat-
A. Romero's ghouls h making o peitinl stotement.
ing mother (lynn Carlin) Genuinely creepy
.

yet moving at the same time, Deathdream purposes. I liked him immediately. Alan
remains a superb, somewhat unheralded also took me to an eye doctor for scleral
accompaniment to Clark’s better-known lenses and to a dentist for teeth prosthet-
work, as evocative now as it was upon its ics. I have no recollection of my first meet-
original release. FANGORIA tracked Children Shouldn't Plo/s Alan Ormsby ing with Bob, but he was charismatic,
down Backus to get his thoughts on the whipped up more deod thmgs as Deolhdream's with brilliant blue eyes, and seemed very
low-budget shocker four decades on. clear about what be wanted from the film
and us actors. Also, be did not seem to
have any overly inflated ego; I recall him
asking me to read a script he was working
on and give him my opinion, which was
very flattering for me.
FANG: Do you remember what the on-set
atmo^here was like?
BACKUS; Bob was very easy to work
with. I don’t recall him ever lasing bis
temper, although be must have at some
point, don't you think? He, Alan and Anya,
along with many others on the crew, had
done Children Shouldn't Play Vrith Dead
Things together, so there was an estab-
lished rapport and also the excitement of
working on a higher-budget film. 1 know it
doesn't make “good copy," but my recol-
lection is that there was a mood of happy
work without a whole lot of off-camera
drama. Lynn Carlin was great fun to work
Andy's gradual dhinlegrstiun makes those around him want to hide their eyes too. with and joked around a lot—which made
Anya [who played Andy's sister Cathy] a tween takes and joked, “You could be the you had to wear and the intensity of the
unhappy because she liked to with-
little next Steve McQueen: he never says any- role itself, was the part of Andy a tourer
draw and “get into character” and Lynn thing either." challenge than you expected?
would tease her and made that hard to do. As regards filming, the biggest shock BACKUS; Yes, definitely. That was partly
But they liked each other and certainly for me was bow few takes they did. I had because of there being almost no retakes,
got along well. always thought they just took take after as 1 mentioned above, but also because it
When John Marley [playing Andy's take until the scene was perfect. Well, t required such concentration on my part,
father] first arrived, he was in a foul guess Stanley Kubrick could afford to do which had to be summoned up in all its
mood, and 1 thought, “Oh boy. this ain't that, and undoubtedly some big stars vividness for a shot or two after hours of
going to be fun working with him.’’ But he could demand it, but small-budget films waiting around for the setup to be com-
was apparently just tired from his fU^t and TV were "Get the shot and let's move pleted. But that’s filin work for an actor,
and upset about the lodgings they bad on." After a take, the director would say.
“After a take, the
director would say,
*0K for camera?'...
No one ever said, ‘OK
''
for the actors?'
as f came to learn.
Also, there were many moments shot
that never made it into the movie. There
were scenes of Andy wandering around
town, seeing what he'd barely noticed as
a young man and was now lost to him for-
ever. Tliere was one shot of a veterans’
home with two blind. 1 believe, veterans
sitting on the porch in front of a huge
American Hag. It was a real iconic kind of
oe. Andy stops in front and stares
them and they ask, “Who's there?" but
he says nothing and then moves on.
I’m sorry that didn’t make it into the
final film.
Actually, the very first day’s film-
found for him. They quickly got him a “OK for camera?" And the camera opera- ing involved Andy's ni^t out with his for-
hotel more to his liking—thou^ further torwouldre^ond, “OK for camera. "Then er girlfriend, his sister and her boyfriend,

from the location and be was great from he would ask the same of sound. No one which ends at the drive-in. We were film-
then on and extremely helpful to me. ever said, "OK for the actors?" I was nat- _ in a burger joint around a table. Jane
When we were doing the scene in the urally eager for positive reinforcement, [Daly] and Anya knew each other from
backyard where he keeps trying to get me but 1 tried hard not to ask the director; Children, but Michael [Mazes] and 1 were
to eat something and participate in the “Was that all ri^t?” meeting each other and the two women
family, to no avail, he turned to me be- FANG; Tkkiog into account the makeup for the first time. Bob was frustrated that
we couldn't get the sense of old FANG: Were you at all concerned
friends who knew each other well. I, with the Vietnam aspect of the story,
of course, being Andy, couldn’t con- considering the war was still raging
tribute to any of the supposed cama- at the time of filming?
raderie, so 1 was no help at alL Bob BACKUS: Concerned that it mi^t be
never got the scene he wanted, and it perceived to be '‘political" and become
controversial? No. I guess I wasn't I
Ihad another scene wbere Tom thought it was a brilliant and dra-
Savini. I think, working with Alan, matic way to show how the war was
put actual maggots under some mor- being “brought home." It’s a horribly
tician’s wax so it would crack and the painful film, and certainly a met^bor
maggots woiUd come out, and I would and pain of Vietnam
for all the horror
notice this as I looked in a mirror. coming back to haunt America. The
Again, never made it into the film. destruction of the family is also a
I’m probably one of the few actors metaphor for what was happening
who has ever done a scene with mag- during that era, with generations
gots as his acting partners. turning against each other and some
Originally, the ending was sup- guys going off to war believing in it
posed to include a shot of my father while others demonstrated against it.
finally realizing what a monster his It tore the country apart
son is and shooting me twice, only for It’s also a terrifying depiction of
the bullets to have no effect on me. PTSD, with Andy coming home utter-
since I'm already dead. [Production ly scarred by his experience. You
manager John] “Bud” Cardos taped could almost do the exact same film
two squibs to my body over chest pro- with Andy not being dead, don’t you
tectors and ran wires down my cos- think? I think of all the Vietnam vet-
tume and out my pant legs to a
battery. 1 tried to get him to tell me
DERTHDRERia erans who were not able to readjust
to daily American life, who became
exactly what was going to happen, hermits or alcoholics or wound up
but he preferred to “surprise" me. I acting out in scary ways. There is
was a little scared, but did trust Bud. something grimly truiiiful at the
It worked fine, but they cut that heart of the story, and I think that is
the generator so we could watch it, then in large measure why it has resonated
One night while we were filming in the we turned and watched the actual rock- with people over the years and continues
cemetery, the single Apollo nighttime et's glare as it lifted up into the night sky. to find an audience.
was schediUed. They ran a TV off
liftoff It was thrilling. FANG: Did you attend the Tampa pre-
miere in August '74. and if not. do you
remember when you first saw the film?
BACKUS: I'm puzzled that I wasn’t invit-
ed to the world premiere, but obviously
John Marley [vriio did attend] would have
been the draw, and perhaps they decided
they were spending enough flying him in
and putting him up at a hotel. Or, perhaps,
1 100$ invited and was unable to go, and

have simply forgotten. I was a very busy


stage actor, and could well have been in
the middle of a production. 1 think I would
have walked over hot coals to go. but I don't
really remember. As for my first viewing of
it, it was much like the first viewing most

of its fans had: late-ni^t TV


FANG: What are your memories looking
back at the film now, some 40 years later?
BACKUS: Well, I remember it as a very
exciting time for me. 1 thought it had
something to say about the Ifietnam War,
but in a very theatrical and commercial
way. and I thought it was the start of a
film career for me. That was not to be, for
a variety of reasons, but I still have a
great fondness for the movie and for the
people involved, and I was deeply sad-
dened by Bob Clark’s passing |in 2007). I
don’t have a lot of e^erience with film as,

I’ve indicated, but I remember most the


generosity of everyone involved in m akin g
Deathdream. And that it was a genuinely
fun. though demanding, experience. I’m
certainly touched and pleased that Death-
dream has become something of a cult
classic, and has entertained and thrilled
so many people over the years.
B

i
Behind-the-scenes - DEC.EDU/DF

Digital Filmmaking Program at Douglas


u
nr
beauty and the horror together;
FANG: What were some
as far as casting?
of the challenges

FORD: Actually, that was much harder


than we thought it would be. There are a
lot of movies made in Bollywood, so we
thought we would get people very easily.
At one point, we were like. “Let's cast a
well-known Bollywood actor." But they
were impossible to get to, and the idea of
making a zombie movie was completely
alien to people there, so 1 think thQ' didn't

A new country provides fresh blood for the


brothers behind the international zombie saga.
STACI LAYNE WILSON
ritish brothers Howard J. and Jon Ford branches and worse hurled at them. FAN-
made a namp for themseives with their GORIA spoke with Howard J. Ford about
B unusual zombie movie The Dead shot
on location in Africa on 35nmi film. When
— facing culture shock to create the cine-
matic kind...
it came time for the sequel, how could

they possibly top the brutal territory guer- FANGORIA: When you first came up with
rilla shooting style and overall impact? the concept for The Dead, did you ever
Bollywood! Well, not exactly; ^e guys envision yourselves going around the
did tahe their show on the road to India, world with these ghouls? quite trust what we were up to. In the end,
filming on location and employing locals HOWARD J. FORD: Jon and I knew going we started casting out of film schools. We
in naturalistic settings, but there are no in that making a zombie movie in Africa needed people who could speak English
sparkling saris or dance numbers here. was very, very different Not everyone is clearly enough,and that wasn't easy.
The Dead 2, s tallrin g onto DVD and used to seeing that so it had the potential FANG: Did your actors with speaking
Blu-ray September 16 from Anchor Bay. for a sequel. We talked about it even while roles comprehend English, or did some do
follows American construction worker writing the first one; in fact there was the it phonetically?
Nicholas Burton (Joseph Millson) as be potential for [The Dead 2 to begin) where FORD: The main people we used did com-
struggles to get from ^e barren boonies —
The Dead left off literally finm the exact prehend it, but a lot of the actors cer- —

into Mumbai where his pregnant Hindi moment. In the end, we didn't feel right tainly those with nonspeaking roles and —
girlfriend waits — as everyone else is flee- going back to Africa after all the major people we worked with didn't speak any
ing in the opposite direction from a zombie problems we had there. At some point we English at alL We had to go through trans-
plague. Not only was the environment decided to do it in a different country, lators, which makes it very diffi cult to get
hostile, so were some of the citizens; as because we didn't want to give people the
same thin g again. We thought, “Let's tiy
the brothers shot on their very ti^t sched-
ule and even tighter budget, they fell un- to come up with the most beautiful coun-
“We thought, ‘Let's try
der constant persecution, getting rocks. try in the world," because it's all about the to come up with the
most beautiful country
in the world,’ because
it's all about the
beauty and the
horror together.”
people to do exactly what you want. It was
an incredibly frustrating process, on both
Dead film s.
FANG: Is the zombie shamble sort of uni-
versal, or did you have to train the extras?
FORD: All the extras were trained. Some
people knew about zombies, but others
bad no clue what we were doing. In fact,
it was impossible to get shots of them, be-
cause they thou^t it was ridiculous and

were laughing. It was a nightmare. There


Son about thot — fbe Dead ore invoding India in tbe Ford Brolhers' sequel. is so much footage we can never use.
— t

since they wouldn’t take it seriously.


FANG; It's easy to take it for grant^ that

eveiyone knows the George A. Romero


movies...
FORD: Trust me. they didn’t. They had
never even heard of George Romero. I
don't think we met one person who had
seen a zombie film. We made the first
international zombie movie in India.
There have been a couple of local films

one is sort of a dance thing but it's not in
their culture.

the previous one. There are a lot of refer- were real. There was sort of unrest when
^
ences (to the original] that not eveiyone is a man ran across with blood on his sboul- .

going to get, and Jon and I will be very cu- der; they really started to get won
rious to know who gets what In the veiy about him. We also had a sequence
beginning, the shlpAjircon Princess comes harrowing one, at least I hope so—
in, so the infection derives from Africa. Jon and I knew was going to be the be:
FANG: What were some of the unique the film in terms of the emotional sc
challenges of shooting in India? You cant [While shooting it), we almost got threat-
help but notice all the bugs and the dust ened with being stoned to death beca
in &e film; that must have been bard on we were filmin g on someone’s turf at that ,

you and your equipment. point. Theyweregrabbingthecamerasoff j


FORD; It was. There were a lot of diffi- Jon’s shoulder and mine. The locals b
culties. India was incredibly hot and cally said they were goingto kill us, an
FANG: Indian horror films are usually we tried to leave, they were going tost
based on ghosts; is there any sort of zom- us to death. We said, “Let’s pay then
bie aeature in their folklore? 11:30 and 2:30 in the deserts, film," and they were like, “No. Pay any-
FORD: Not really. There is in Africa, but it was too hot to do anythin g We i way." I said, ‘I will pay ifthey let us shoot,
was much more foreign to them |inlndia|. that there were just so many ]
but I am not paying to not shoot." We had
We tried to find |a local] term; the one we wanted to do more ci^ shots . to work something out; it was quite a
use in the film is ‘zinderlash.'' The near- like that, but the moment they saw our scary moment
st translation in Hindi that we could get cameras, we would have 1,000 people in Tb be honest, though, India was much
; “corpse alive," and that is kind
d of
ol a the frame; we literally could not get the easier than Africa. I want to give you tons
actor in front. We had to go covertly; if we of horror stories, but I have to say it w.
id you just wanted a shot of the actor in the smoother process. We were also abl
concept for how the zombies street, we had to hire shops at a location, eat food that didn’t give us food poisoning.
;
FORD; Once we came up with the idea for then position the cameras so people We were literally throwing up every day
The Dead —the dark skin and vriiiteeyes couldn't see them. [in Africa]. We spent less time in India ^
we knew we had to carry that oven be- covered doing that which I felt was a perk.
cause it's the same infection, even though around FANG: How easy is it to get inside peo-
^
this film doesn't follow along exactly from Imight have thought] some of them (continued on page 72)
I "

hen I was a kid, 1 used to have my bling down dead ends, and struggling up-

W mother drop me at the Waldenbooks


on 192 in Kissimmee. Florida so I
could read FAlfGORlA. front to back, whfle
stream toward ideas I couldn't articulate.
My first draft was a classic try-too-hard,
an overwrought think piece about Fredric
she noodled around town running errands. Brown's classic, super-short horror story
Years the confidence to start making
later, “Knock' and how it has become some-
Flimoker Jeieniy Gudiiei sez you don't liove to
my own httle Handycam horrors was part- thing of a creative mantra to me lately. If
gel this drastic when working on o microbvdget.
ly born of all the weird movies 1 ordered you aren't famUiar with the story, it reads
from the ads in each month's issue. So as follows: implications of that knock frightening,
when 1 was presented with the opportu- “The last man on Earth sat alone in a they are also a whole lot cheaper than
nity to write this article —
for a publication room. There was a knodi at the door. .
.

vriiatever you'd have to build if you decided


that helped inform my decision to walk a I wrote about its “brilliant, chilling to open the door.
dark road and tell stories with teeth — efficiency, and the Lovecraftian way it llie second touched on something I be-
wanted to savor it as long as possible. allows a reader's mind to give horns and heve too few no-budget film makers are
However, as of this writing, with my teeth and tentacles to whatever might be willing to embrace: the fact that intelli-
back against a second deadline, I may have on the other side of that door." 1 even gent, effective, exciting, engaging, terri-
savored the opportunity at the expense of called it “a towering example of the power ^ng, thought-provoking stories can be
having actually seized it It is time to stop of suggestion, and the effectiveness of told with little more than a pen and a
'

chewing and just swallow the damn thing. keeping the monster ‘offscreen. ' It was a Post-it note. I wanted to remind the kid
But because I wasn't explicitly told wbat lot of hyperbole, but I wanted to use the reading Fango and considering saving up
1 could or should write, a map of n^efiorts story as a springboard to talk about two for a camera that good stories need only
thus far would look like a goddamn sea important lessons I believe it lays out, and be well-told. They don't have to kick you
urchin: a big black ball of thoughts erupt- that every microbudget genre filmm aker
ing in every direction, with sharp points should remember. “Our default reaction
going nowhere. The first involves e^loiting the primal
I was told the article should clock In at part of our brains that allows an audience
to a major issue
between 1,600-1,800 words. 1 have in- to imagine a horror far worse than we wasn't to find more
dulged in around 5,000 words so fan Ram- could conjure with latex. Not only are the money, and extras,
and time; it was to
simplify."
into soul-crushing debt, or alienate you
from your friends and family. They should
be it\fomed by your limitatioas from the
start, not stifled by them.
1 thought it was a good idea, one Fm

very passionate about. But then I launched


into a labored analogy about a treehouse
and a spaceship that ended up ^iraling
into a weird guerrilla-filmmaking call-to-
arms diatribe. Everything but the buU-
hom. 1 wrote. “If we don’t want to ask
permission to make movies, we have to
build them ourselves. With our friends, in
Ifl 0 situotion Kke tWs, the question arises: Use those bionkels to stoy comfortabie, or to biock out oim own backyards. The way we made tree
the horrific si^t in the windows? forts in the forestwhen we were kids. But
'

just because we used to pretend the box


we built iu the tree was the coclqiit of a
rochetship doesn't mean we should try to
make a space opera in a treehouse on a
four-figure budget.
“If we want audiences to engage with
and enjoy our movies, we are forbidden
from using our limitations as excuses.
Especially wheu we can tell a story just as
compelling and suspenseful as a mission
to Uars, about real people, with relatable
problems, who happen to be sitting in a
treehouse. Who are they? Why are they there?
Are they hiding? Held captive? What's outside?
Instead of lamenting all the fancy sets
and FX we don't have, we should accept
the challenge of turning what little we do
have into something unique and interest- The gog is os important as the bonds when subduing the living deod.
ing and informed by our own perspective.
It seems to me a waste of time, creativity side. Cover the windows and crank up the the film inside a car surrounded by zom-
and money to try to turn the treehouse groaning and the growling. The scratch- bies, the difficulties of actually filming it .

into a spaceship. But worse than that, it's ing and pounding. Give your characters had somehow esc^ed us until the day wi
a waste of a perfectly good treehouse." the sense to stay in unpopulated areas. were supposed to do it Dozens of untrained
And then a quick research detour re- Stick to the woods. Suggest the threat. actors would have to be on screen, in char-
vealed a startling discovery; “Knock," the Focus on the people." acter, in every single setup, for hours. It
story that had spurred all that bloviating, I recounted an anecdote from produc-

wasn't, in fact, the whole story. Although tion in which, because of location avail-
it was first presented to me as a complete ability, we were facing the prospect of

thought “the shortest horror story ever having to shoot an absurd 40-pIus pages,

written" it turned out to be merely the in a cat in one day. AH while an increas-
prologue to a longer (and regrettably much ingly hungry and bored horde of extras
more specific) sci-fi tale. Something about stared in through the windows:
an imm ortal race of beings called the Zan, “It was ludicrous. Though it seemed
who kill everything on Earth except pairs like a cool idea —way back when, with
of species for a weird zoo and cant under- just a pen —to stage the entire third act of
stand why aU of their fauna is dying and
blah blah blah, whatever. In truth, I never
read it. I'm sure it's a wonderful story, but
that discovery was a real blow to it stand-
ing as a pillar to the power of the unseen.
1 had written myself down a ranting

rabbit hole.
I decided to start oven Refocus. I fig- A whole Battery of crewmembers bn't required
ured 1 should at least mention the movie
to mdie a weol movie, [ust o taleoted team like
that made this assignment possi'ble. The {left to right) Gardner, production manogei Etise
Battery. A zombie film I made with a hand- Stella, sound recorder Kick Bohun, OP Christian
ful of friends inIS days for $6,000. So I Stella and producer/slac Adam Cronheim.
went back to the word count. 1,600-1,800.
And 1 realized that the nebulousness of We needed a fix, and fast
couldn't be done.
what 1 was allowed to write, coupled with So we shot what we cmuld and wrapped,
the strictures of how much I had been and went home with the knowledge that if ^
allowed to write, ended up being a nice we didn't come up with a work-around, v
parallel to the topic 1 bad already touched wouldn't have a movie.
on: embracing yoim limitations. How does "So we settled on blankets. That wi
'
one wrestle the vastness of imagination our big fix: cover the windows with blan-
into the finite box of a microbudget? kets.
I gave examples from my own film, ‘Whether that decision is effective is

which has been labeled both lovingly the finished film is up to the audience, but
"


and mockingly an anti-zombie zombie The Battery lakes low-cost zombie ciiema ei it remains a proud moment, because oi
movie: “So how do you make a zombie mov- of encloseil besieged spaces ond inlo default reaction to a major issue wasn't
ie without zombies? You lock them out- the ^eat DBtduors. (continued on page 72)
"

;r

l^iiilUng Food For


IgMgE)
At a downtown restaurant, the cuisine won’t kill you, but something else
might steal your sanity.
By MICHAEL GINGOLD
ror genre, however, “I dont like slasher, I
don't like campy,' he says. "I like real,
and I prefer character-driven stories,
whether it's a documentaty about a rock
star or a film about a cleaning woman.
That's what I tend to gravitate toward:
people you can get involved with. So I told
Marc [Landau, Devoured'^ scriptwriter
and one of its producers) to keep it char-
actenbased with horror elements: that's
sort of how the idea came about'
Oiliver and Landau had spent some
time trying to get a narrative fright fea-
ture off the ground; they had, in fact,
attempted to launch a zombie film, and
before that a story about a horror-movie
crew encountering a real-life haunting.
Eventually, they decided to develop a pro-
ject that could be done inexpensively
using elements they had at band most —
cmcially their key location: Raoul's, a
well-regarded bistro in the SoHo area
Someone's in the kitchen and dyin' to gel out: Morto Milons m Devoured. (where, in fact, this interview is taking

f you hear the title Devoured and think


you’re about to see a movie about can-
nibals or the undead chomng down on
huntan flesh, you're not the only one. "One
of our actors kept asking us which scenes
had zombies in them," recalls director
Greg Olliver. "1 was like, 'There are no
zombies tonight, man.’ He kept asking
that over and over again, and I’d be like,
'Did you read the script?' He'd say. 'Yeah,
yeah, yeah,' and then the next night he
would ask, 'Where are the zombies?’ ‘You
didn't read the f“king script, man there —
are no zombies in this film!’
No living folks eat anyone else, either,
though Devoured (now on VOD from Grav-
itas Ventures after an award-winning fes-
tival run) is set in a restaurant; instead,
heroine Lomdes (Marta Milans) is being
mentally and emotionally con-
sumed by forces without and possi-
" ' bly within. A Mexican itumigrant in
.'.^New York, working as a cleaning Who's worse, the living or the dead? Oiei Blly (Tyler Hollmger) mokes it a tough coll.
woman for money to send home for
' the care of her sick son, she is regu- slow bum that builds to a startling climax place) Olliver had been friends with
. Karim
larly harassedby her boss (Kara Jackson) inwhich we learn just who, or what, is Raoul, one of the owners, who became a
and the eatery's chef. Billy (lyier KoUin- plaguing Lourdes' psyche. producer on the project ‘He went to film
To make matters worse, she starts to
ger) . It's a rather surprising approach com- school, and was sort of sucked into the
have fiightening visions suggesting that a ing from Olliver, previously better known restaurant business by his family, so I
malevolent presence is watching and as a documentarian whose breakout film knew 1 could lure him into this," the dlrec-
stalking her at her workplace. A classic was literally as heavy metal as movies
psychological haunting story in a very get:Lemmy, about the legendary Motor- Raoul's offered just the right atmos-
modem setting, Devoured is an enveloping head frontman. When it comes to the hor- phere for Devoured, particularly down-

where I'm in my Uttle apartment, and I'U


iMidet could use o helping hand, nol ihis kind. hear a noise and be sure I saw something
at the end of the haU. That was sort of the
idea of what these ^osts are she's not —
sure if she’s reaUy seeing them or not.
“We tried to be subtle with it,” he adds,
“and we reshot a few things to give the
film more of a horror kick, because h’s a
very slow bum. The first edit was so slow,
people were like, "This is the slowest
thing Tve seen in my life.’ So we added
some stuff to try to amp it up a Uttle bit,
and then it got a bit too cheesy and we
pulled some of itout. We sort of wound up
in this strange genre between psychologi-
cal thriller and horror. It's not the easiest
thing to seU; more of a film that 1 be-
it’s

lieve word of mouth will he^ get out there,


because it's not easy to make a trailer that

eiqilains what goes on in the movie with-


out either disappointing or confusing peo-
stairs, where a good deal of the action director Gonzalo Ldpez-Gallego| and the ple. It's a weird area we feU into, but we
takes place. “The basement is kind of U.S., the latter of which led to her De- made the film we wanted to make."
scary," OUiver says. “If we walked down voured casting. “Lourdes is in practically
there right now, during operating hours, every shot," OUiver notes. “It's like an
it's not frightening and it's perfectly hour and a half of her, so that was terrify-
clean, but at night, when it's quiet, it's a lead actress when we
ing, trying to find
pretty ^ooky. It runs the whole length of didn't have the budget to pull in a name,
the restaurant, and it’s low-ceillnged with where we'd seen enough of her work to be
old, exposed brick and wine cellars and confident in her Marc saw Marta on an
stuff like that. In fact, Karim was worried episode of Law & Order. Special Victims
that people wouldn’t come here if they Unit and liked her in that, so we brought
saw ghosts in his basement, so we were her in, and she was just great. You could
going to make up a production designer tell she had that quality; you know, you
and studio backlot name and all this stuff can watch a good actor and believe fiiem,
to put in the credits to fool people in case but to watch an hour and a half of some-
the film ever blew up. so we wouldn't get body? That takes a lot, and Marta came in
him in trouble. Luckily for him the film
,
and blew everybody away. There was no
hasn't blown up yet [ioupAs], but yeah, other person we even considering casting
that basement can really look haunted."
Certainly, the restaurant's elegant din- Milans adroitly navigates a story in
ing area is quite an attractive contrast which Lourdes' mental state is sometimes
though that created issues during the in question. “She was reaUy on top of that,
Devoured shoot “We had to film at night and wanted to figure her character out
while they were closed and be done by the and understand what was going on in her
time they were cranking up and bringing head in every scene," OUiver says. “Wheth-
er it was obvious to the audience or not.

“[The restaurant she wanted it to be obvious to her That


was tricl^, because you're not sure wheth-
owner] was worried er some of what happens is real or in her
that people wouldn’t head, and her min d is playing tricks on In a film like Ikii, you wont to be m'

come here if they saw her. Stuff Uke that stiU happens to me, witk rile cutlery.

ghosts in his
oasemenl.’’
in things in the morning," OUiver recalls.
“So we would come in at around 10 or 11
p.m., and we could have some romantic
couple sitting in a comer until 1 in the
morning. The entire crew would be up-
stairs waiting until that couple left, and
then we would run down and set up and
start shooting —
but we'd have to be out at
8, so we'd only have about six hours to
film by the time we were done lighting."
At the center of aU that activity and
the film's drama is Milans, who turns in a
moving and empathetic performance as
the tormented Lourdes. It’s her first fea-
ture lead after appearances in shorts and
on television in both Spain (including La
piet azul for Open Grave and Apollo 18 Tbete't bringing work homo with you, and Ibeu there's what hoppens to Lourdes (Milans).
MAY WE
INTRUDE?
Author Michael Marshal! Smith had no problems
with the BBC taking his novel “The Intruders” to
the small screen.
By PAUL KANE
ichael Marshall Smith is a came The novel revolves around ex-traffic

M most genre fans should be familiar


with, from his early SF novels liie
spares and One of Us or his later thrillers
cop Jack Whalen, who has carved out a
successful writing career for himself,
albeit accidentally: his book The Intruders
such as the Straw Men trilogy, Bad Things features pictures of places where break-
sni Killer Move (as Michael Marshall). ins occurred. ‘He gets drawn into the
Now, his 2007 novel The Intruders has investigation of a strange death by an old
been turned into a TV series for BBC school friend who arrives back in his life
America, starring John (Li/e on Mars) from nowhere,’ Smith explains. 'The that concerns fundamental aspects of
Simm and Mira {Mimic) Sorvino and airing deeper he gets into this mystery, the more human nature, and who we are —and also
Saturday ni^ts at 10 p.m/9 Ceutral. he realizes it’s part of a much larger one appears to involve his wife Amy.’
The Intruders’ journey from page to
saeen wasn't an easy one. Smith recalls:
“The process was sloooooow. The BBC in
London optioned the book soon after pub-
lication, and producer Jess Pope do^edly
spent many years trying different approach-
es, and screenwriters, in attempts to
ad^t it for British television. In the end,
it just didn't work — partly, I think, because
the locale is such apart of the story. Luck-
ily, [BBC Worldwide’s] Jane Trantor and
Julie Gardner had been keeping an eye on
itsprogress and waiting in the wings, and
when the BBC in London eventually let
go, they were ready and willing to scoop it
up. 1 bad some initial conversations with
them about ways of going forward, but to
be honest, I then didn't hear much—ex-
cept for being told that The X
Files and
Millennium's Glen Morgan was on the case,

which was great news until a phone call
info rmin g me that a season of scripts was
about to be greenlit.

“I realized how hard


it is to wrench
something you've
created in one
medium to another.”
‘After that, I was more involved,' Smith
continues, ‘^vith conference calls and a
^
few meetings in LA to discuss the adapta- n
tion, and also ideas for further seasons.
|
I’ve read each script as it emerges, and u
made a few observations, but they're o
doingsuchagreatjobtbat I really haven’t \
had a lot to say in most cases!’
|
Having written screenplays himself in ^
tbe past, including an aborted adaptation
|
of Clive Barker’s Weaveworld, was the au- f
thor tempted to write for the series at any
|

point? “Not in the least even if it had I
been offered to me.* he insists. “Way back I
"

when the novel was first op-


tioned,I did a few months'

work on the adaptation, and


realized how hard it is to
wrench something you've cre-
ated in one medium to another.
And if you have the opportunity
for someone like Glen Morgan
to steer the adaptation, you'd
be a fool not to be delighted to
let him get on with it. This is
not a time for ego or protecting
your precious bahy; it's a time
for letting the most talented
people available do what they

do best and a hell of a lot
better than you do. On both a
practical and creative level,
you want the best people for
the job. You are not iways
that person.”
Also on board is The Blair
Wtch Project and Loedy Molly’s
Eduardo Sanchez, as director
of the first four episodes. “I
was delisted to hear he was
going to be involved,” Smith
says. “Blair Witch is one of the
seminal recent horror movies, of course, making perfect little Deco-style inserts
and he's great on mood and texture. I for all the hotel-room numbers. And ii
was also happy to hear Daniel Sta mm the hospital, an entire ward had been
would be directing the rest, as I'd enjoyed recreated, including a children's section
his movie The LastExordsm, and he's got completewith cheery murals. John S imm
a very clear fix on the material too.” told me a spooky story about noises that
He was equally pleased with the cast- he and actor Tory Kitties [playing lawyer
ing choices: "There was a momentary Gary Fisher] heard while filming in the
beat of surprise when I heard John Simm hospital late at ni^t.”

had been cast purely because he's The novel was dedicated to Smith's
British, and Jack Whalen is an ex-LAPD son Nate, so it was a special treat to be

cop but I immediately realized what a able to take him to the set. ‘The Intrud-
great, great choice it was. John's a ers was the first book 1 wrote after Nate
superb actor, and his style of committed was bom, and many of its ideas gestated
and yet subtle performance absolutely during long pre-dawn sessions with him.
fits tte character. As 1 tweeted at the To be ableto go up to Vancouver with his
time, ‘FQe under awesome news.' I met 9-yea^old self and watch filming with
John for the first time at the table read him and my wife was really, really nice
for the first four episodes. He was, as I Hopefully, it might even convince him
was rather expecting, down-to-earth and that when Daddy's lurking up there it

charmin g just a nice, friendly guy. the stu%, some of the time he's actually
"Mira [who plays Amy] is another doing something.”
great piece of casting,” Smith adds, "and He's doing quite a lot now, in fact, and
from what I've seen so fan she totally more adaptations of his work are also on
owns the Her role is central and
part. the way. “At the moment, I'm trying to
quite complex, and there aren't many push toward the end of the next novel.
actresses who could do such a great job. There have been a lot of distractions
It's a massive privilege to be involved in over the last year, what with TV stuff
this kind of creative challenge together. and helping run the 2013 World Fantasy
Now based in California, Smith and Convention, but I'm finally getting there.
his family were able to visit the Vancou- A few more screen things are about to
ver set to observe the filmin g. "On the happen; a great director caUed Fabien
first day, we went to a shoot in a hotel \Tromatized: Meet Lloyd Kaufman]

downtown a location with perfect, very Martorell has done an awesome
atmospheric Art Deco-style decoration. short movie of a story of mine called
On the second, we watched filming at ffnbe/i^ [starring Tobin Bell] which ,

Riverview Hospital, a sprawling and will be out soon, and Loose Cannon
Modison O’Donnell (Millie Drown) is a small dild with
spooky institution half an hour outside Films has made a fantastic, fun half-
a biq port to pkiy hlrvdet^ mystery.
town that's been featured in a lot of hour short of another story called The
shows, including The X
Files. Both were "It's always extraordinary to see how Seventeenth Kind. I've got a few TV ideas
fascinating, but the second day was per- much attention to detail goes into a qual- Tm looking forward to working on later in

haps the best not least to observe the ity TV production. For the hotel scenes, the year, and there may be news soon
degree to which MUUe Brown, who plays they'd completely redesigned the 14th about a movie script I wrote, too.
9-year-old Madison in the show, was floor of the hotel in Vancouver to be the “Lots to do. as always.” Smith con-
absolutely nailin g it. ninth floor of a hotel in Seattle, including cludes, “and so little time.” 'g?
sizing each other up and practicing their
sledging when not takin g direction from
Armstrong — the only person on the con-
crete battleground who isn’t on wheels.
He is obviously in his element as he yells
with a smile. “Ready, steady, action!’
“Every single character is a roller-
derby player,’ Armstrong ejplalns. “The
scenes we’re on now establish that, and
we meet all the principals. Essentially, a
supernatural killer on skates [Momma
Skate, played by the awesome B on the
Rocks] comes out and starts murdering
people, and the rest of the movie is basi-
cally a slasher film, but they str^ on their
skates the whole time."
The two teams circling the arena are
The Alam os and The Dirty Harriets, popu-
lated by such stars as Cherry Sl^ (Amber
Sajben), Princess Bitchlace (Daisy Mas-
terman), Clit Eastwards (Dayna Seville],
Hell Grazer (Rachael Blackwood) and
Cyndi Lawbreaker, a.k.a. Louise Monning-
Wh» (»vlil possMy inthnidats Ikse gals? S«e MunlerDrome aid find vat.
ton, who has also been helping coordinate
the gals and epitomizes the can-do atti-
ate on a winter’s Saturday night, deep returning to his real night's work. tude necessary to get no-budget indie pro-
in the dead industrial heart of Mel- For more than a few years. Arm- ductions MurderDrome across the line.
bourne, Australia's endless western strong's Strongman Pictures, whose “1 hate makeup artists,' she says, refer-

suburbs, your intrepid reporter finds him- motto is “Films for Fans' and which has encing one of the past jobs she has taken
self stumbling around a car park shrouded put out a number of shorts and music on. “The ones who are really pushing for it
videos, has been threatening to lay a fea- will step on you, they don’t really care

“The movie is ture on us. Over a short period late in the about the projects; that's my experience.
last decade, they actually managed to
basically a slasher shoot two. also Including the female-
film, out [the wrestling/zombie enterprise From Parts
Unknown: Fight Like a Girl, before both
characters] stay on plummeted into postproduction hell. Jlfur-
their skates the derDrome (released on Stateside DVD this
whole time." month by Camp Motion Pictures] was the
first to emerge, and Armstrong says.
—Daniel Armstrong, “We're trying to replicate a roller derby
director/co-writer and getit as authentic as we can. All the

characters in the film are derby players,


in darkness, attempting to find the loca- and toni^t, we're doing the first of the
tion for the low-budget/high-energy roller- murders. One is a scalping, and the other
derby slasher flick MurderDrome. The is a hook to the groin; both victims are

^production has rented the Sunshine


Roller Rink, and although they’re
dragged into the darkness, with some
screaming. We'll finish at about 5 or 6 in
- '*
'working past normal hours, the deci- the morning. It's a long night, but all of
’<*
/b made to turn off all exte- the nights on our 14-day shooting sched-
nor li^ts in order to dissuade any ule have been so far.'
'
''
who might want
potential interlopers The next si^t is a stark contrast to
to drop in fora casual late-night skate. the dismallylit exterior where we’ve been
The ody light seems to be coming from a hanging out thus far Inside the rink, an
cigarette smoldering away in the dis- impressive crowd of over 100 are milling
tance. Fortunately, the face at the other around the brightly lit veuue. The small
end of that death stick belongs to Murder- crew bu^ themselves as the rowdy audi-
Drome director/co-writer/producer/editor ence, who are artfully ^read across the
Daniel Armstrong, who’s more than hapi^ stands, start braying for girl action. All Moimno Skate (B on the Rocks) bucks the trend
to chat briefly with FANGORIA before eyes areon the two teams, who in turn are of slow-stalking slasher vllcins.
anyway- TSey’re all about
getting tbeir next gig, set-
ting evetytbing up, and
they don’t care about who
ialls by the wayside as they
do that. Whereas I’m more
about getting the project
done, finding the best peo-
it, and if that means
ple for
someone else taking over
part of my job and my doing
something else, that’s just
what I do. You don’t get
precious about your role;
you just do what has to be
done to get the best result
possible.”
Armstrong reveals just
how important Lawbreaker
is to MurderDrome: “I had
wanted to make a roller-
derby movie for ages, and
had a script that was sim-
ply awful and not working
out It was a ripofi of Tht
Warriors, but instead of a
street gang it was a roller
derby team, and it was shit
Then 1 wanted to make a
slasher film, but I couldn’t
make that work. So then I
said, 'How about a roller-
derby slasher?' and went
from there. 1 soon met
Cyndi, who's a derby orga-
nizer and also a script edi-
tor, so she worked on the
screenplay [as did Trent
Schwarz] and set the whole
thing up from the derby
perspective."
While MurderDrome was
originally envisaged as a
web series of five episodes,
itquickly grew beyond this
concept. During another
short break from filming.
Armstrong sweeps his

Her eyes aren't the only piercing things about Cherry Skye (Amber Srqben).
explains, "Every .singl e per-
son you see there, about 60-odd people all creating all sorts of mayhem, and whose
workiog hard, is a volimteer. We've begged, energy and taste for blood really shines
borrowed, stolen, made things ourselves, through in the finished film, but their fans
rented, deferred everything we can. It’s are even more rabid than you could expect
going to be. realistically, maybe a S6,000 or want. When MurderDrome had its world
cash investment. Obviously, we hope to premiere Down Under at the 2013 Mon-
get a big audience, and there are tie-in ster Fest, a second screening was re-
lotions. We have sold some advertising to quired that night due to incessant and
try and cover a portion of the costs, and loud demands.
we may make some money back via Inter- Hie movie has since rolled around the
net advertising. This is experimental for planet through a varied of fest saeen-
us, just to see if there is the c^aciW to ings, inunediately launching itself to the
malU these sorts of films on on extremely top of the sports-horror tree. Admittedly,
low budget. It may be ambitious, but it’s that's a presently tiny subgenre (one that
also fun and it would be very satisfying to also includes another Aussie production,/
find an audience and cover our costs by Know How Many Runs You Scored Last
advertising on-line. That would be great, Summer), but one that demands the atten-
because it cuts out any middleman.” tion of good-time trash fans — especially,
Armstrong wisely enlisted the support in the case otMurderDrome, if you're even
of not just Lawbreaker but the overaU slightly partial to roller derby. And keep
Melbourne roller derby community, and your eyes peeled for From Parts Unknown leaise Monningleii hejped bring UuderDroin^s
this has paid off big time. Not only does he as it wrestles its way out of post and onto leom together b^oio (as Cyndi lawbreaker} being
have a cast of maniacs who truly enjoy screens soon as well. jjf „k..,.rl.
STRANGE,
Bloody,
The
Beautiful
creators of “Amer" deliver more delirium in
“The Strange Color of Your Body’s Tears.”
By ROBERTO D'ONOFRIO
Introdnction by CHRIS ALEXANDER
n Ixis Variety review, critic Jay Weissberg FAlfGORIA; In some ways. Strange Color,
« said of The Strange Color of Your Body "s about a man's attempts to find his missing
Tears-. “[Itsl story [deals with] disap- wife, can be considered the male answer
pearances. people behind walls, and gap- to Amer, which was more female-centered.
ing head-wounds resembling vaginas, Was this a conscious choice?
edited to within an inch of its life and suit- BRUNO FORZANl: Well, actually it's
• able only for die-hard FANGORIA read- curious, because Helene and I wrote the

, ers." This checklist was, of course, meant screenplay for Strange Color in 2002, long
as a criticism in what was largely a nega- before Amer. Nowthe cormection between
tive review, but as all eyeballs on this arti- the two pictures seems evident, because deconstructed it, playing with it; there-
-• cle are no doubt "die-hard FANGORIA they both deal with desire, each from a fore, in the end, the question is no longer
readers," suffice it such a lita-
to say that difierent perspective. So I have to admit whodunit but rather “Who am I?” Strange
- ny, as predicted by Mr. Weissberg, sounds that Amer was the point of view of a Color is about schizophrenia, while Amer
. absolutely delicious to us. female protagonist on fantasies, while was about paranoia.
. Strange Color [uow in U.S. theaters and this time, we are seeing the point of view FANG: Do you consider yonrself an experi-
coming to disc in December from Strand of a male protagonist. But we didn't do it mental filmmaker? Your and Cattet's
Releasing), wiiter/directors Helene Cattet consciously. I suppose we all have, inside movies have much in conunon with the ap-
and Bruno Forzani's delirious follow-up to of us, themes and compulsions we can't proach of certain genre auteurs, like
their art-house horror hit Amer, is a mash- suppress, and that revead themselves in a Dario Argento with Do you believe
. up of vintage Euroshock sound and image- subconscious way. that today's audiences have lost contact
. ry. only vaguely hampered by a semblance FANG: Your movies express many themes with narrative freedom?
of plot involving a haunted apartment and common to fantastic cinema, especially FORZANl: Using your comparison, I must
. the psychosercual/phantasmagorical phe- the relationship between sexual trauma say that the first time 1 watched Inferno, I
nomena occurring within. Like Cattet and and repression. didn't fully understand it, but it really
Forzani's previous woiii, Strange Color is FORZANl: Our model of inspiratioa, vdien scared me anyway. 1 believe it's because
. an audacious cinematic eaperience, the we are about to write a story, is [late
. duo using giallo tropes to craft a work of anime master] Satoshi Non, wbo always
. deft surrealism and visceral impact, sin- built his storytelling as a construction of
gular and unconcerned about pleasing a different layers, so that every time you
conventional audience's sensibility. FAN- watch the movie, you discover new as-
^ GORIA took some time at Spain's Sitges pects. In the case of Strange Color, we
. film festival to speak with Forzani. used the classic idea of the whodunit and

that film reaches your itmer self, as the


cinema of David Lynch does. What we
want is for the audience to have such an
experience the first time they see our pic-
tures that they will want to discuss them,
and go back and watch them again.
FANG: Your movies have strong aesthetic
28 '1 echoes of 0alli and other Italian fantastic
cinema. Federico Zampaglione, while
talking about his film Tiilpa, said that
what really characterizes a giallo is the
plot and the mystery m^ect, and not the
aesthetics. Do you agree?
FORZANl; What we like about gialli are
the obsessions they conjure up; we're not
very interested in the crime plots. As I
mentioned before, Irfemo is an amazing
It's not olwoys eosy to know whot you'rs seeing through lie Sfronge Color of Kovr Body's feors. visual experience, even if you don't under-
^
stand the whole story. I know that to some
of our detractors, what we do is just aes-
thetic homages without any substance,
but we don’t see it that way; we use this
fonnal architecture to tell a story. Besides,
we are two different people directicg the
film s, and 1 prefer genre movies while
Helene is more into experimental cinema.
FANG; Strange Color has many s^listic
aspects in common with Amer, what
would you say are the main differences
between the two?
FORZAKI: These movies are like sister
and brother. The Strange Color of Your
Body's Thors is different in the storytelling
and its aesthetic, which is darker than
Amer because the story takes place in
Brussels, which is a less suimy and flashy After two movies, it's cieor thot Bruno Foizani and HelMO Cottet ore pupls of the giolio school.
city than [Amer’s] French and Italian Riv-
iera. The elements common to both films so they'll live it fully or not at all! But two coming up?
are the authentic giallo music of the 70s whether it’s a good or bad experience, we FORZANI: We hope we can continue to •

and a sensual approach to eroticism and hope something from the film will re main work together, but we could also go in dif- >

violence thou^ the new movie is much inside the viewers —somewhere in their ferent directions, especially now that «
-
more violent. heads, or in their bodies! we’ve just had a child. Each movie is a •

FANG; Do you perhaps your love


feel that FANGrHowdidyourpartnershipwithCat- challenge for us, where we try to coexist
for gialli overshadows your own personal tet come about? with our two different points of view. It is • -ww
style as a fi lmm aker? FORZANI; Soon after we became a couple, difficult, because we woric in a very sub- • •• •
FORZANI: Yes, that could be. But with we started to make short films together. If jective kind of fi lmmakin g, based on sen- . « ^
Strange Color, we have tried to go further we hadn’t been in love, we would never sations and feelings. Each movie is a little - »
than gialli and introduce some new have been able to work together; it’s a miracle, wherewehaveachievedtheright . -r-
things. I believe it contains more surreal- matter of confidence. We had two differ- balance of the two of us, and we ask our-
ism and also hints of Spanish cinema, ent backgrounds, and giallo was the genre selves, “How could it be possible to do it «
which has inspired me a lot, like Bunuel, that allowed us to do movies together, again with less pain?” We will attempt to .
but also the idea of ‘‘artsploitation' em- because it intertwines two kinds film: M write something that lends itself to differ-
ployed by August! Villaronga for In a Glass entertainment and experimental. This levels of reading.
Cage. I believe we are now closer to these way, we could fully explore the cinemat-
kinds of films than to gialli. ic language.
FANG: Do you think Spain could be a good FANG: What is it that compels you to DVD/AGDIO
location for your next horror picture? explore such dark subject matter, and are HORROR, GORE ANO SHOCKING.
FORZANI; Yes, and I like Sitges; if I’m there themes and ideas you would like to BIZARRE, EXTREME XXX DVDs!
No prison mall accepted! $2 cash for
thick & sick catalog. Must be 18.
Bloodgore DVD, PO Box 543, Iselin,
NJ 08830-0543

not wrong. The Strange Vice of Mrs. Wirdh explore in the future?
and Who Can Kill a Child? were filmed FORZANI; Both Helene and I love the
around this area. Eros-and-Thanatos mix; it’s something we
FANG; What kind of experience do you are very sensitive and receptive to, in a
think the audience will have with Strange can be a good meta-
fictional universe. It
Color? phorical way to talk about love, and an
FORZANI; We tried to make it a true cine- elective approach to explore our impulses
matic experience, like a ni^tmarisb, sen- through extreme tension.
sual rollercoastec Each viewer is different. FANG: So what can we expect from you
a
.

What’s “Next" from Adam Wingard and Simon* Barrett?


A film that crosses the psycho-killer and
shoot-’em-up genres.
*
By SAMUEL ZIMMERMAN
fAKGORlA: The Guest is beholden to a
style,hut homage is the wrong word.
you discuss the tone, and the kind of
movie you wanted to make?
SIMON BARRETT; An overall creative
thing we always try to have guide us is:
When people see our movies, we want
them to see something original and new.
We don't want to repeat ourselves or ape
anyone else. We always try to do some-
thing we haven't seen before, no matter

what that means tonally, or narrative-
wise. At the same time, we don't want
them to be disappointed. We still want
them to be entertained at the level they're
expecting to be entertained, or hopefully
at an even greater level. In terms of the
screenwriting, that's what I was aimin g
for. If someone goes to see this movie,

they're going to have certain expecta-


tions, and I wanted to meet or exceed
them by hopefully bringing humor to it, or
just a new kind of approach. Something
different, but at the same time working
enough within the realms of genre that we
Anne (Moika Monroe) ond loke (Brendon deliver on the entertainment they expect,

Meyer) hove lost a brother ond gained o when they're ^ving us 12 bucks and two sis of the
qvestionoble frictid.
hours of their lives. film, in some'
ADAM WINGARD: In terms of styUza- ways: doing our Own.
Cannon Films
ikely to be painted as a tion, 1 knew this was going to be a nostal- modernized take on that
throwback in some quarters, Adam gia picture going into it I started with the decade.
L Wingard and Simon Barrett's Vou're
Ifext follow-up The Guest is, quite simply,
soundtrack, knowing it would have an
'80s style that was going to be the focal
’.ARBETT; I don't think we're evqj^
excited about imitating what someone
more. about a time and a place
It’s — point, the heart of the movie. There's no else has already done. That’s when you get
“headspace,' as Wingard calls it—evoked overt 'ofcspecific bomaging going on. We into those Scary Mouie parodies of “Hey,
by a duo whose status as film fans was wanted to make a film that kind of existed this is entertaining just because it's
forged by '80s genre fare, but whose in the same frame of mind those '80s immediately recognizable." It’s the l&iest
vision as filmmak ers is to challenge them- possible filmmaking We're always trying
.

selves and push ahead. It's not imitation; “Even though we to take what we like and think, ‘What's
the swoon, style and feel are real, as is the our unique spin on this that we haven’t
aspiration to craft a film that's also pure
want things to be seen before?"
*
entertainm ent. The acclaimed pair have heightened and fun... ' aKD: Simon and I work ^ intu-
previously noted that after their first itively anyway that kind of impossible
urhat the characters it's

feature together, the grim art-horror A for us to hilly copy something else or try to
Horrible Way to Die, they wanted to do are doing always has imitate it
something fun. They did with You 're NeXt, to be true to the rules lANG: “Headspace" is a fantast^way to
and they have again with The Quest
Dreamy, bloody, hilarious, tense we’ye set up.” ". ;nGA".. It’s more a lifetimS, espe-

'
"
and always captivating. The Guest ^^.Simon Barrett cially your formative years just^tnd of
30 (opening September 17 from Pic- banging around in your head up to a point
turehouse) has the wherewithal to movies existed in. We weren't trying to Clearing an amalgamation of that kind of ,
'
,
be an action blowout, a romantic fan- imitate, we just wanted to live in the same aesthetic. It’s not something you’re really 3
tasy and a horror funhouse all at once. It's headspace, because the movies in the ’80s conscious of. It’s the culmination of years |
anchored by Dan Stevens' deliberate per- weren't trying to be movies of the '80s. of experiencing '80s B-movies and sci-fi
|
formance as David, a mysterious military You can even look at the soundtrack as films and action films and all that stuff, t
man who comes to the misguided, violent a good example. Altffough it has a lot of One of the things Adam al- f
aid of a faUen friend's family. Director '80s stuff on it, it primarily consists of ways calls me out on is that the character |
Wingard and writer Barrett spoke to FAN- songs that are sneaJdly thrown in along- motivations have to be very true to some “
GORIA about tone and style, and their modern but have
side those, which ate all sort of reality. We can’t just have them |
process that creates them... a 1980s vibe to^em. That's almost the doing something entertaini ng, or saying a f
Soldier Dovid (Don Slevws) con do
0^ damage even without a rniitury
weapon in his hands.

to go with “action,' and The Guest was a come up with a really complicated action
perfect middle ground, because it was scene, and Adam gets really (luiet for a
still inthe realm of accessibility in terms while. Then he goes off and films it
of our skill set and the action stuff. But it FAMG; You've previously said that you go
also pushed us furthei; because it has all ofi and write 1^ yourself, and then finally
this gun violence. bring something to Win^rd.
If I had told you my template for my BAKRhi.: Adam and I still work togeth- .

career when I was 16, it would've been He didn’t read any of the
er that way.
making action movies with a lot of shoot- script |in advance], and I don’t think he
outs. So when the opportunity came to do totally knew what tiie story or characters
that kind of stuff, we had all ^e reference would be until 1 had a pret^ decent rough
points, and it was just a matter of execut- draft that 1 felt comfortable with. That

ing them in the way I’ve always enjoyed way. 1 was able to give it off to him with-
seeing. It was obviously a challenge, be- out any preconceived notions of what it
cause even though we did have more would be or how it was going to work. I
resources, it's not like we had that much should say that in terms of action stuff, we
more time to pull it off. And on top of that, tend to be much more collaborative. A lot
the week we started shooting all the of the action in our movies is rewritten by
action stuff, in the middle of the summer, Adam during preproduction.
was the week I got really sick. It's hard WINGARD: Location-wise, you're never ,'

to say how difficult it would've been if I going to get exactly what's written, so
iing when I'm trying hadn’t been sick [foupAs]. there'salotof customizing. Action scenes
to get away with something. It's impor- In terms of the creative writ- are pretty much the most technical thing
tant to be Te^>ecthil of your audience. ing process, I just want to say it’s not dif- you can do in a movie, because there’s no
In terms of tone, the problem I have ficult at all. I just write, "The building wiggle room. You have to get the shots to
with a lot of campy and prestige-style e^jlodes." Three words. I don’t under- make it work, and each shot is going to
films is that they don't take place in any stand why it then takes Adam three days have technical elements, like squibs and
recognizable reality, and the characters to figure out bow to shoot it [fou^As). I just (continued on page 73)
don't resemble actiral people. Even
though we want things to be heightened

and fun and fiankly, at certain times, a
little silly—what the characters are doing
always has to be true to the rules we've
set up from the beginning.
tVben we talked about You Ve Next,
you discussed creating big action on a
very modest budget. Here, you seem to
have had more resources, but shifted into
a brand of cinematic violence you haven't
previously e^ilored.
After You're Next, my goal
was to do an action film, and initially that
process started oS with Simon and I cook-
ing up an idea we were going to shoot in
South Korea, and the whole thing was
going to be a nonstop chase. For a variety
of reasons, the project never fully came
together. We came away realizing we had
a lot of gaps to fill in where we were going

NOTHING HUMAN IS
L I E N
Iconic British actor John Hurt talks his craft and his most unnatural birth
scene in the 1979 space shocker.
By ASHLEY THORPE
' ' '
^ here are actors who are dedicated Seosons and The Naked Civil Servant, The
* I to the craft —
disciplines of research Ghoul must have felt like a strange depar-
^ * I —
and Method and then there's that ture. Did you regret it at the time?
* rare breed for whom acting is an imagina- HURT: There are times in your life when
-*•- * tjye mantle naturally donned in order to the bank balance is getting a bit low
* navigate and interpret the world an — “Help!" You need to do it, the kids need
imaginative state wherein, to paraphrase something, whatever, whatever, whatever;
- •
» Plato, nothing human is alien to them, You say yes to something and then think,
*** •
“I don’t see ‘an actor' in the mirror," “Oh God, this is disastrous.” Then, when
• * says John Hurt. “I am an actor, and I play you put your mind to it, it starts to take on
* the part. But I've 'played the part' in a life of its own and become interesting.
* almost everything I've ever done. I played The Ghoul is a perfect ezample.
— the part of an art student when I was an FANG: With Peter Cushing.
• • •
art student I'm horribly conscious of ev- KURT: Peter Cushingl Working with Pete
* erythiag I do, I don't think it’s a good suddenly became "something." But the
point is, by the end of it, I absolutely

^ *

^
“[The cast] knew [the
chestburster] was
adored it; I couldn't wait to get to work!
Every day. But at the start, I thought,
“This is the beginning of the end; 1 should
I • . V
going to happen, never have taken this on. This is so sec-
ond-rate." Me, arrogant me, t hinki ng, “I
t because thw^d read should be doing better than this."
the script. But they
didn’t know how it
*

was going to happen."


. thing: it's not an attractive quality. Yet I
— •** * was suffused with thefeelingthatiwasin
— the right place when I was on a stage."
» Hurt's life has been dictated by the
fMS > imagiuation of other people. For a per-
former who states that “actiag is not
*
— f
-

' *
about creating characters," his talent— at
home equally in the art house and main-
^ » r —
stream cinema has breathed life into
I I— * some of the screen’s most marvelous cre-
ations, wbetheritbehismesmerizingpor-
*
a#s trayal of Quentin Crisp [The 1/aked Civil
»
a.- Serranf), the maniacal devianiy of Calig-
- k
»
ula Cfi Claudius) or the tortured pathos of
John Merrick [T?ie Elephant Man). Hurt’s
»
w 50-year career has marked him as one of
'
This space crew is only wkite-falar 'si the literal sense.
... — the world's finest character actors, and
-• when FANGORIA was granted a special has a huge following. I never call it a FANG: Cushing is always interesting in
audience with Hurt at the Derby Film Fes- horror film. |1975's| The Ghoul is a hor- those films, because he gave them his
, ,»,» rival, we launched our discussion with a ror film. all, regardless. He played all of them
< classic tale of cosmic terror,..
• FANG: That was the first time you worked like Hamlet.
with Freddie Francis... HURT: C ushin g, what an educa-
Oh, Peter
FANGORIA: Let's throw the eat HURT: 1 believe it was, before be [shot] tion. Brilliant, brilliant screen acton
amongst the pigeons: A/ien, a Gothic The Elephant Man. He was an extraordinary FANG: He made a living from those sorts
' ._horror stoiy in space. iigbting man. Extraordinary. He wasn't of movies: he was a jobbing actor. Did you
, JOHN HURT: I'd say it’s more of a the greatest director, but he just loved get to know him personally?
4. • as- ' th^er... m akin g films. Funny thing is. Freddie nev- HURT: By the end, yes. I did. I got to
^ -.4«4 FANG: It does contain a great deal of er directed his own lifting man, yet he know him incredibly well. And it was all
Gothic imagery, though. was brilliant. He'd have a second-rate to do with a mutual recognition that we
HURT: Only ^e Alien itself; the people lighting man and just let him go oS and were trying to do the same thing; We were
* are not. They're doing a very ordinary job. get on with it, and say, “Yes, fine, that's trying to be “real."
FANG: The power is in the collision of what I want." He was just acting at being FANG: In Alien, you replaced Jon Finch,
those ideas. a director, really. We're all actors, you who had to bow out due to illness.
^ « HURT:Absolutely.A/i>nhashadthebng- see [/oupAs].
FANG: After movies like A Man for All
HURT; He replaced me, initially.
FANG: Because you were workiog on a
.. , est fascination of any film I've made; it
.

South African film at the time.


HURTi Exactly. I wasn't available.
So Jon came in, and then he got ill.
Then the South African one fell ^ ^

throu^, and I took over


PANG: Is it true you had to start
filmi ng literally the next day?
HURT; The next day! I was talki ng
to Ridley Scott at midnight in my
house in Hampstead. He left, I got
a car at 7 in &e morning and was
on the set at 8.
FANG: How did Scott manage to
sell it to you? It must have beeu
quite a pitch!
HURT It really didn’t take much
pitching |/aupAs]. One, Ridley was
a marked man. Everybody knew he
and Alan Parker were two likely
candidates to be making major
films, so that wasn't difficult!
Also, what he said about it was
perfect, itsounded extraordinary;
this old vessel knocking around
space. He went through all the

various stages they'll go there,
this is how it will happen and I —
thought it was a very good idea.
FANG; What aspect of it really caught mumble at each other over coffee, they were so much more technical than some- e
your imagination? bitch about their w^es. . thing like Midnight Express. But then, <
HURT: It all happened in a contained HURT Absolutely, but that was part of jUidnipAtcost $2 million and Afien cost 10. *
^>ace, miles aw^ from anywhere. the concept. These are real living crea- FANG: Mfith Scott being a visual perfec-
FANG: The claustrophobic sets were an tures. Here are people doing a job, going tiooist, did that become an issue with *

essential element... round the universe; they're not eiqiectiog regard to the setups? «
HURT I learned that later. When 1 fust anything to happen. HURT Yes. Oh. it was endless. We'd get *
started. I didn't know what the sets were. FANG; They're blue-collar workers in ready for 8:00, fully made up. go down, -<

I didn't realize how extraordinarily sym- space- rehearse a scene, plot it, build the tracks •

bolic they were, and


the other things,
all HUHT And there you are. Then they get and so on, and then Ridley would say no.
but as I went on making the film I discov- distracted, stop off at this other planet, So we'd come in the next day. Same -


,

look something iqi. . "Who wants to go in?*


. —
thing nothing done. Next day nothin g •

“What [Ridley Scott] FANG: It’s work to them. They’re not on a done. It wasn't fun to make in that sense. •

space quest; they don't want to be there. FANG: That brings us to the spacesuits,
said about it was HURT It's their job, for God's sake. And andtheirlackofventilation...
'

<

peifect, it sounded what’s more, they're not getting f"’king HURT Oh, that was awful! But we were *

extraordinary: this old paid l/oupAs]. Well, not enough. And when only in them for very short periods. These '

are they gonna get back? It was a very things get blown all out of proportion. It
vessel knocking clever conception. was a very brief period, but it was bloody ,

around space. FANG: How long were you on set? awful at the time (/ouphs). Basically, <

HURT Well, it wasn't a long shoot for me. everyone said it wasn't possible to venfi- 4

ered more and more, and realized where The setups were longer because they late them, and Veronica |Cartwrigbt| and *
came from.
all this extraordinary stuff
FANG:H,R. Giger...
HURT Yes. Extraordinary sets. Extraor-
dinary designs. And adventurous, hugely
adventurous.
FANG: Especially for the time. That sort
of symbolic imagery had not been seen by
a mainstream audience.
HURT Not since the 1930s, really. And of
course, the '30s were a very different
period, so it was much more esoteric. It
was the first tnify populist film to have so
much symbolism In it
FANG: You mentioned the crew of the Nos-
tromo; there's a real low-key cadence to
the characters. In terms of your perform-
ance, did Scott brief you from ^e start
that be wanted the crew to feel very real
in their interactioos? They're not defined
as archetypes, the way it happens in most
popular films. Some people find those
relationships initially difficult to fathom,
because the crew aren't caricatures; they During filming, the ocinr became etpedolly attached ta one particular co-stoi.
. —

FANG; To Ian Holm, I believe.


KURTi Yes. When you come back, you
only see the top half of me. 1 was actukly
bent double through a hole in the table,
and the body was built lying parallel
above. This was pre-CGI, so when we were
working it out, the cast wasn't on set, and
I was lying there with two prop men

beneath me because the Alien was on the


end of a stick l/oupfts] when it comes
through, uutil you cut to the animated
thing with all the hydraulics and so forth.
Wonderful, isn't it? So you had one prop
man under the table who was pushing,
like, "Coming through yet, Alf?" “Nah,
Eric, can't see nothing.'' [.CoupAs] “Push it
a bit harder!" “That's it, lovely." That’s
actually how it was done. Then the cast
was brought in ^ain.
FANG; The myth prevails that they didn't
know what was going to happen. .

HURT: Well, of course they knew what


was going to happen, because they'd read
the script. But they didn't know how it

All lionds were on deck lor Alren's mosl lomovs noniefll.


(continued on page 73)

» were saying, “I'm terribly saw prototypes, but the object of the
BUSTING A GUT
1 |pospinp| I
"H* •• sorry.. .eeeuuurrrgggh..." \Lauahs] exercise was to get to something of
•t* FANG: Mask steams i^, you keel over... human extract somehow, mixed with this
^ HURT: Yeah. We were breathing in alien DNA, so you could see there was a ohn Hurt's Alien deoth chesiburster is one
^
*-wt-
^

*
aerosol.
* FANG; I've
o^^n between takes.
heard they were bringing you
connection and it didn't seem like science
fiction in the same sense. It had reason.
FANG: There are certain extraordinary
J of ihe mosl bmously poinlul scenes In film
histor)^lch
0 bit of fun with it.
didn't meon one couldn't hove
The odor reprised the classic mo-
ment for loughs in Mel Brooks' 1 987 sci-R spoof
» HURT;TheymayweUbavedonethat.But scenes in Alien that people love to hear
Spaceballs, disgorging o cute extraterrestrial critter
» then they discovered a break in the back. about; the first one is the discoveiy cham-
who rrakes like Michigan J. Frog and sings “Hello!
ber. with the egg and the iacehugger. What Mo Baby" before the startled eyes of Lone Starr [Bill
are your memories of shooting that? On Pullman] ond Borf (J^n Condy).
screen, the egg looks like a genuine, pulsat- That was so funny," recalls Hurt, for ^om
ing, organic thing; on set, it was mechan- Spocebo/fs was his third colloborotion with Brooks.
ics and Scott lying there flapping about "A lot of people don't realize thot The elephant Mon
with rubber gloves on to give it life. To what [for which the octor snagged an Oscar nomination
portroving the tortured Ji^n Merrick] wos Brooks-
extent did you have to suspend disbelief?
mms' first movie. Since then, he used me in History
HURT There was a whole forest of them, of the VVfcrld Port where ployed Jesus Christ
I, I

one of which was functional, and it looked which have to soy was hu^y funny end then
I —
extraordinaiy. It was very realistic due to 5pacebo//s. That [Alien] model was brilliant, doing
the atmospherics and laser lighting and the v^ole song-and-donce routine.' Hurt didn't
know in odvonce thot the little beostie was going to
FANG: Which was also new at that time... homoge o Worner Bros, cortoon with its song
HURT It was. yes. And there was so choice: "Not hll I got there. You don't osk M^ those

much smoke oh, the smoke |IaiipAs|. I things [loughs]. You just go and get on with it.
little

'Mel ohvms gets me lor nothing," Hurt odds.


said earlier it wasn't fun to make, but
"He soys, "Why don't you come on down. Til put
when I say that, I mean that at times it
you in o really nice hotel, it’s just o bit of fun.' Then
was very trying. But there were other
times, of course, when it was fun. 1 have scene that must cost $6 million [laughs], and he got
-- — #* Hurl rills yeor ot the Derby Him FesHval, s'igning
many great memories of saying, “Ridley, me for 0 rice hotel! That's Mel--but fun to do, or

g posigi lor his eorly horror Hick The GhouL


what do you think about this scene?" and course. It's one of the perks of the gome, and really I

he would run behind the camera! Because enjoy things like thot."
».» Typical, really [/oupAs). You never have a he was terrified of actors; he didn't know —Mrehoef Cingold
< chance to try it all out properly, and what to say to them. He was a completely
- everyone knows best it's all, “No, visual and technical man. Over the years,
.
no, it couldn't be possible, not pos- be has taught himself, and 1 understand
^ sible, no." —
be is now much better with actors but at
r>- '^FAHG; Until the actors are falling that time be wasn't |to/pAs| No way could
.

you say he was. Alan Parker was the


^ • ee- ^ HURT “What's happened to them?” actor's director; Ridley was the visualist.

^ |£oupAs| Veronica very nearly fainted FANG; The other big scene for you, obvi-
completely, and 1 was extremely woozy. ously, is the cbestburster. Can you talk us
little. I'd hate that to take the
But, that's through that?
* headlines. —
HURT Yes of course there’s the writh-
_• «. » FANG; Can you remember your first reac- ing around and “Uuuurrrgghh” and all
tions to seeing the Alien designs? Were that l/oupAs]. That’s the easy bit. Then
Hurt once egoin disagreed with somelhing Ihol ate
« you privy to the initial concepts? there’s a cut. Can't remember H it's across
Its way out of him in Spaeebolls.
p. g HURT: Yes, I saw some of the early ones. the table or across to someone...
Fantastic Fest Shorts.
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Stills: Yellow, Ryan Haysom and Jon Britt, 2012 |


Angst, Piss & Shit, Fredrik Hana, 201 3

Isolation
^^Two brand new video games epitomize the return
of old-school survival horror.
By SAMUEL ZIMMERMAN
hinji M ikami is repeating himself. “Retum." “Basics." “Essentials."
The father of suivival borroi; cre- In December 2013, I’m in the utterly
I


ator ot Resident Evil a virtual wealth lovely Horsham, England. There, at Cre-
eerie imaginatiDn and instigator of ative Assembly headquarters, the concept
luntless gaoieplay-induced nightmares of looking back is twofold. Game designer
IS snch sights to show us. His legacy is Gary Napper, lead artist Jude Bond and
wdeniable, and his highly anticipated The ensemble of artists and team-
their entire
Spil Within (coming October 14 from mates are previewing Alien: Isolation (out
Bethesda Softworks] promises expansive isn't hard: It's puling in an luiending loop
worlds of heavy atmosphere, hmited “My idea of survival on two screens just 20 feet away. The
resources, copious monsters and puzzling
eocounters. But inspiration for the game,
horror is a game that mazelike office is decorated with concept
art direct from the Fox archives, to help
hich has avid players and horror fans is neither pure horror build a world as oppressive and classically
isitively staked, is rooted in a compara-
nor pure action.” scary as in the movie. Going back to it for

dy simple sentiment one be keeps
— Shinji Mikami,
inspiration isn't simply a book, it's an aspi-
^Jjiterating. ration. It's also a way of avoiding compar-
. ^ Let's get back to frightening basics... creator, The Evil isons to previous Alien games, whose more
^ Fear is universal, and the desire to re- action-heavy leanings hewed closer to the
qpcperience the intensity of survival-horror
Within —
sequels v^ich (in small part) led to
L glassies is hterally globe-spanning. From October 7] for press. They have the same 2013'$ disastrous Alien; Colonial Marines.
j winter 2013 through summer 2014, I've — —
goal as Mikami to induce fear but their And it's a no-brainec really. Until now,
.^fimped oceans and communicated around reference point is even more specific. It's the Alien games have generally ignored
the world. For what, exactly? To discover not just a matter of survival horror in their roots, in a way encapsulating how
the surging hunger for horror in a purer essence, but survival horror as originally many see survival horror and later Resi-
form. The desire to be utterly terrified is envisioned by Ridley Scott. dent Eeil installments as having gone
there, in everyone from gamers to publish- In this case, looking to wrong; barring titles
ers to developers to creators, as the evolu- Scott's seminal like Outlast, it's

tion of the genre has only seen the devolv- 1979 film often big ac-
ing of its fri^t factor. It's why I'm contin- Alien
uously bearing a
string of syn-

the wintertime trip


to England. Just
outside is nature in
stirring form; the
Horsham trip saw
fomiliarfly accommodations at
~

r breeds pore
terror vreeti
n familiar
face (?)
reteris for
ous Hammer vibes,
a rural manor. Gothic
grounds giving off seri-
while here, as Bethes-
da reveals an Evil Within demo, the
Pacific Ocean tumbles just across the
Affeit; Isolallmi. street On both occasions. I'm there and
approach across everything, from the less and the ovprt threat of medical horror
^chitecture and the equipment to the is payable (I wade through a room flooded
^effects. That has given us a very good with blood and deceased patients). It’s
^Understanding of how it was all put also where the mutant spider corpse be-
^together. Clearly, the original movie is this gins haunting my existence. Admittedly,
nbcduting, beautiful thing but we’ve got a
,
it's but one small part of a seemingly epic

%uch, much bigger game to make. So piece of work. It’s therefore no sho(^, but
Cnderstanding how the aesthetic works, all the more tantalizing, that vAien asked
luMd how this stuff was put together, has what his favorite Evil Within antagonists
Been important to us in delivering what’s might be, Mikami mentions nothing of
Kssentiaily a city inspace.' what 1 was privy to.

^mlien:
Jonathan Court, lead producer
Isolation,
on
expounds further “We've
‘One of my favorites is a creature that
has key features of a typical Japanese
I still find myself gripping
ghost, flie j/urei.
way, literally down to the style of the controller vdien she appears. If I had
eir concept art. IVpically, in games toname another creature, it vrould be the
u'U see very painterly images, with lots Boxman. He looks like a butcher with a
fw cotors and details. We went for a more metal safe for his head. You can't really
Jme-art, felt-tip-pen kind of look, to mimic know what he’s thinking, other than that
Son Cobb's ai^ork. He was the original be just wants to slaughter you, and that,
incept artist for a lot of Alien’s environ-
We adopted the same kind of ap- Mikami also points to influences out-
they did in terms of color choices, side gaming; “It's safe to say that Romero's
d tones to expand on his ideas Dawn of the Dead has had an impact on all
believe he would have. Sometimes, Ike subtlest vinds are the spookiest. the survival-horror games I've worked on.

There's a visible George A


Romero influenco on some of the
ghouls Wilkin,

‘The other rule we set ourselves,' he the story and characters. Unraveling the In creating the world of The Evil Within,
.
continues. 'n)ecause the film was made in mystery is veiy much a part of the game- there were also Inspirations from Shutter
1978-79, (was that] if a prop or tool or play experience. I want players to dis- Island and older horror films. There are
of environment couldn't have been cover tlfls for themselves.' places in the game that pay homage to
piade on set in 1979, we wouldn't include Inquiring further into Alien: Isolation them. Other influences have come from
it either. That ruled out thin gs like holo- and The Evil Within continues down this Japanese horror movies and TV shows.'
i
^ams and the kind of hi-fi sci-fi we’re path. Both teams are entirely confident in Pete Hines, part of the Bethesda team,
used to seeing in games recently. It's been their games and the experiences they maintain s that some of The Evil Within's
lol; it has meant we've taken references offer— and from what I’ve seen, they have scaliest a^ects involve no thing at all. He
from a lot of objects and real-world —
a right to be but while one is loquacious, succinctly notes, ‘Sometimes, even the
stuff that most people wouldn't the other is mysterious. And perhaps that absence of action can be very unsettling.'
" look at. It has given everything a
' speaks to what gamers desire. It's likely And that seems to be the most effec-
' functional feel. Everything seems many are already sold entirely on Mika- tive way both The Evil Within and Allen:
, like a proper tool." mi's name, primed for a dread-fueled, Isolation can push against the contempo-
By contrast. The Evil Within is more enigmatic new work from the master rary crop of actioners far removed from
ited in the fantastic, and Mik ami is The E3-specific demo for The Evil those basics of survival horror. Both
leh less willing to divulge about it. Within is a frightening affair. With little emphasize anticipation over confronta-
laying fairly coy when asked about the context. I'm dropped into an unpredict- tion, as the latter is more overwhelming
two worids ^e game promises—which I able world. A dark, crawling manor just than gratifying.. .though the teams know
Experienced myself when the environ- be^ing to be explored lies ahead, but a that can certainly be fun in its own way.
^lent of the demo suddenly changed he — smaller structure to the right proves even Again, Mikami neatly boils it down: “It's
loffers, “What I can say is that there are more surprising. This is where the con- about creating tense situations and turn-
worlds that are very Intertwined with struct shifts, the enemies become relent- ing them into entertainment.' “-a"
layStationiK

I
franchise hos yei to reach the heights
scond irstollmert, (PlayStation 2|

In this undeHooked slow

(he player ossumes the role of Jock


.
a privote investigator who [ourneys

lerent endings to
encourage
reploys, ond if this

lets his shear*


(PlayStation)

questo Inhng hell. Very few game dorkened corridors. Stay in the shadows,
power to noralyze through suMe
Amnesid frequently Rods you noj wotch the predotory inhcfeitonts slip right

too terrified to go into the ne»t ro- —


post you hope. (PC)
of whot you hear. It's olso home —Mall Serafinr
ALIEN The
THE FATHER OF THE
vision of artist

aas Rudi Giger was batcbed la Zurich


in 1940, the result of the union of
and designer H.R. Giger forever changed the face
dark fantasy.
By SHADE ROPE
of

Tolher, devoting himself completely to her


being. She, in turn, would find her im^e
H Kans-Richard Giger and Melly Meier,
in 1939. His egg nestled deep in his
welded into some of Giger’s later bio-
mechanical paintings. Their on-again/oS-
mother's womh, fertilized hy his fother, he again romance would fuel their mental
waited nine months to become, and be. health and illness, and their artworks, in
Like one of his own mutant babies nestled various measures.
deep in a gun, waiting to erupt forth into Giger’s combmation humanoid and
of
our dimension. H.R. Ciger’s own path machine, or “biomechanoid,” blossomed
throu^ human consciousness begins in in the late ’60 b as these
images of sexual-
the place of his materialization, the town ized living beings conjoined with steel
of Chun Switzerland. mechanics began to domin ate his mind-
As a child living above his father’s scape. In 1968, a friend talked him into
pharmacy, the future cbanneler of mu- giving up his day job and throwing himself
tated biomechanoids woiUd sh in the bay fully into his artwork. The following year
window, the only part of the bouse that saw the printing of Giger's first posters by
received sunlight Through a crooked pas- friend and collector H.H. Kunz, and their
sageway to a coiutyard behind the apart- worldwide distribution. Come the mid-
ment young Giger would cover the sole 1970s, Giger’s nightmarish visions be-
window overlooking the courtyard and came even more concrete, as ink and
give himself over to the world of his inner acrylic meshed and spectral, flowing,
mind, fashioning himself an architect of dark-lit, thin-limbed, bluish-white-skinned
castles and fortresses, constructing his goddesses formed the centerpieces of his
own ghost train that ran rampant in the Thtovghout his IHc, H.R. Giger wc$ oUe to
niffitscapes. 1973/74's ‘The Spell” series
courtyard of his imagination. As he drew surrouid hbnself with the realzation of his intoxicates the viewer, who becomes
these fantasies over and over again, he biiorre imaginings.
drawn into these amalgams of being,
planned a museum in a castle, with a death and eternity. Syphilitic-looking mu-
spectacular metal railroad built into the in his home country. tated infants, blowing multimorphed half-
palace. One reali^ would
day, his inner In his teens. Giger discovered Basel- lidded women, dripping condoms and
Gnd flower under his command, as many based Carl Laszlo's Panderma art maga- Punch-puppets brandishing vibrators fill
of the creatures nestling in his interior zine, latching on to the forward-thinkin g these landscapes of fantasmic doom.
eye would make their way into our artworks in its pages. Giger's father was 1976 brought both an end and a begin-

world in particular, his castle dream not fond of art, feeling it was a profession ning to Giger as his beloved Tolher ended
would find its way to flie hills of Gruyeres, vrithout a future, but this negativi^ only her depression with a bullet, leaving the
spurred young Giger to pursue his desires. artist alone and emp^. Throu^ Dali and
After interning for three years drawing American painter Bob Venosa, Giger was
blueprints, he enrolled in the Zurich introduced to Alejandro Jodorowsky and
School of Applied Arts, where his profes- began work on the ill-fated Dune project
sor. Hansjbrg Mattmiiller, allowed every Using storyboards from legendary artist
student to feel fecial, introducing them Jean “Moebius" Giraud, Giger designed
to all forms of art. At age IS, Giger first —
the world of Baron Harkonnen creations
began drawing bis beloved city of New that would remain in bis fertile mind
York, and by age 20 he was painting his throughout his creative lifespan. Though
first oils, inspired hy Salvador Dali and Jodorowsky’s Dune eventually fell apart,
Hans Bellmen
Giger's mid-to-late-’60s oil pieces set Stepping into the
the template forwhat would become the Giger Bar is like
iconic images he would soon emblazon
upon the universe. Although he never entering a fossilized
really cottoned to painting with oils, feel- prehistoric
ing the process too slow, the pieces from
this periodgave bis ideas a forai and flu-
monstrosity.
idity that would manifest in his later the next year Dan O'Bannon contacted
work. “Head III” demonstrates his soft Giger about working on another iteration
morphing of human and otherworldly of the project, this time by British director
beast, while his “Homage to S. Beckett” Ridley Scott. Although this second at-
paintings offer a fuller portrait of the tempt would suffer its own troubles and
unz^ping and recombining of the human fall by the wayside, Giger was commis-
body and organic forms, and the mal- sioned by O'Bannon to design what later
Spedes star Notashe Heestridge takes o seot in leability of life. In 1966, while toiling at became known as the facehugger and the
the Hofkonnen Capo Chaii hosed on Ridley his day job designing office furniture, Alien egg to accompany the pitch of his
Scott's untealiied Dune. Giger met his first love and first muse. Li Alien script to Brandywine Productions.

Once Scott signed on to direct, this led realization of his Space Jockey and the other pieces of furniture. These were real-
to Ciger's conceptualizing of the final derelict ship. The next year, 1980, Giger ized in both black polyester and shiny alu-
zenomorpb and all things Alien. Around received an Academy Award as part of minum — glorious thrones for discerning
the same time Giger created those first A/ren's visual FX team, and also returned aficionados.
concept paintings to present to potential to his beloved New York for an exhibition Now internationally recognized and
financiers, he sent a copy of his first book at Hansen Galleries, financed by Pent- more financially solvent, Giger was freer
JVecTonoRiicon.hotofithe press, straight to house publisher Bob Guccione, and saw to create fantastic pieces to share with his
O’Bannon. The writer shared it with Scott his work printed in 14 full-color pages in new admirers. Despite the praise and hon-
and 20th Century Fox, who were particu- the magazine. ors heaped upon hisA/ien work, however,
larly excited by the painting Necronom After five trips to Manhattan, Giger's Giger's subsequent involvement in the
/F-^epicting a phallic monster and — infatuation with the dQ' led to the crawl- film industry would never reach the level
theyalldecided they had found the man to ing underground cockroach dwellings of of trust and fiiendship he shared with
envision their creature. his New York City series —amalgams of Scott. In 1985, MGM commissioned Giger
The studio engaged the artist to create machines and motion, pumps, grinds, to create nightmarish sequences for Pol-
all the Alien-related designs, vdiicb Giger whistles and the general nightmarish tergeist U, fiiough his work was largely
produced as a series of paintings. Deliver- cacophony of an ever-evolving living ignored in the final film save for a couple
ing even more than originally asked, metropolis, which were collected in the of quick scenes, including Steve Freeling

Giger painted Hieroglyphics a full life Ugly ^blishing book Hlf?. Giger/N.Y. City. (Craig T. Nelson] vomiting up a particu-
cycle of the extraterrestrial organism Meanwhile, Giger's colleague Conny de larly slimy creature.
and moved to Shepperton Studios in the Fries had been working from his designs Giger's famed Necronomicon and Necro-
UK for several months to sculpt the crea- of the highly detailed Harkonnen Capo nomicon 2 books began seeing new trans-
ture suit and oversee and assist in the Chair for Scott’s Dune project, among lations and editions around the world.
tion of the grand master’s creations, with
fully usable tables and chairs for patrons,
winged creatures adoring the arched ceil-
ings, various sculptures highlighted on
the walls and a large reproduction of
Giger's painting "The Way of the Magi-
cian" displayed upon the eastern wall.
Also in 1998, the Giger Museum at the
Chateau St. Germain in Gruyeres opened
its doors. The multistory ^cility holds
Giger's own art as well as his personal col-
lection of beloved works from favorite
artists and friends. His long-term plans
included a train ride built inside the tower
of the museum
building, a kind of seated
monorail gniding guests through the exhi-

Despite the praise


heaped upon his iUren
work, Giger’s
includingjapan. There, the Gist Giger Bar worlds of art, music and film .
subsequent
would opea in To^o in 1998, albeit in a In 1990, work commenced on a Giger
much more limited form than the artist Bar in the artist's hometown of Chur.
invelvement in film
first imagined. Giger felt that a bette^ While creating this space, Giger also lent would never reach
realized three-dimensional approximation a hand to David Fincher's ill-fated Alien^, that level of trust.
of his dark canvases needed to be brought a letdown for both the artist and the up-
into existence. In 1990, after 10 years of and-coming director Giger's oeuvre then bitions; this elaborate serpentine venture
friendship, Giger enlisted his most trusted expanded with a 1993 set of Tarot cards, was never realized, but the sketches alone
warrion agent Leslie Barany, who would each featuring a different painting, and a are enough to cause salivation among the
prove to be one of his best friends, valiant- planned collaboration with Swatch watch- artist's fans. Fortunately, the Giger Bar
ly taking on the many violators of the es, which did not come to fruition — though achieved full realization at the Giger
artist’s copyii^ts and Gghting claw and Giger’s imaginings for this series were the —
Museum a deep, skeletal cavern with
fang for every well-earned dollar and basis of the Watch Ahart exhibition at the industrial vertebrae ascending, criss-
credit Giger conld achieve in the mad Alexander Galleiy in New York. crossing and descending throughout the
1994 saw Giger given a shot at creat- vaulted ceilings of the ancient castle it's
ing the hellish locomotive he once saw in been built into. Stepping into this mecha-
his mind's eye as a youth for the sexy sd- organic environment is like entering a fos-
fi film Species, starring Natasha Hen- silized prehistoric monstrosity, while
stiidge. The train sequence was not in the being provided with fine beverages for
oiiginal script, but the artist saw this pro- careful imbibing.
ject as the perfect opportunity to realize Giger’s physical form may have depart-
one of his childhood dreams. Much to his ed in May of this year, yet the manifesta-
credit, producer Frank Mancuso Jr. ini- tions of bis magnificent mind and the
tially bit, but then pleaded budget limita- powerful steps made by his good friends
tions as the reason for not paying for the have given us films, artwork and even
finished construction of the complete set
with tunnels, tracks and a full station.
Sc alin g back Giger’s original idea, a
more minim al version of the scene was
film ed, one which barely saw the ghost
train in action. Taking this idea to a more
personal area, Giger began construction
on his own ghost train for his garden.
Ever since childhood, Giger bad imag-
ined slithery creatures escaping from his
mind and occupying his surroundings,
and in the '90s, these fleshy beasts
erupted into our world via a trio of

venues Uving environments that are a
dark art lover’s ni^tmaiisb dream. The
UNEARTHLY VIDEO Giger Bar in Chur opened February 8,
Homx Thriller* Gore Weird *
1992, just three days after Giger's birth-
* *
Exploitation Sexploitation Nasty day. and what a present! More than 20 Hie man is gone, but yov con toast his achievements
All genres on DVR. uncut & uncensored! years later, it is still delighting patrons at tne Giger Bar.
Low prices! Huge Selection! with Karkonnen chairs, intricate frames
For a shocking, giant illustrated catalog. aronnd mirrors, Giger’s life mask embed- The man tonched many in his more than
Mail S2 [cash only], or PayPal to: ded in the bar and restrooms flowing with fivedecades of life, and his work for Alien
metallic organics. From 1998-3002, Peter will endure long after we've also joined
Unearthly Video, Dept F,
Gatien's infamous Limelight hosted sev- him as dust.
POBOX6B1914
Orlando, FL 32812-1914
eral Giger works in the uppermost chapel He was bom.. .and he lives.
of the by then quite desecrated church. Hans Rudi Giger: February 5, 1940 to
E-mail:full v< staOyahoo.com
The entire room functioned as an installa- infini ty 'hjf
pS: no prison mail]
-Ain't It Cool News
tliis West Side Story thing where he's

white and she’s Chinese, in the midst of


this war between vampires and gang
members. But what happened was and —
this is not a slam on Toronto —
because we
were non-union with our cast, we had too
many characters to get quality actors all
theway down. A lot of the gang members
were just acceptable, and a few were just
The late director John Fasano revealed to us why bad.They were really hard-pressed to fill
his hopping-vampire opus made him jumpy. all the Akan speahing parts we needed.
FANG: So you went Ahead with it any-
By KENNETH GALLANT way?
By FASANO: Well, Sonoko said she

p had this money, so we wrote the


V script and scouted locations in
Toronto’s Chinatown. We made
a deal with all the Chinese
restaurants on one block to
leave their lights on the ni^t
we were shoot Sal
goiujg to

''
Y Viviano and Marilyn Tokuda com-
-V ing up the street. paid them all
^ in advance, and the night we showed
up, they were all closed with their li^ts
offi So we had to put our own lights in the

street so we could see. I wanted to have a


nice long tracking shot of them coming up
the sidewalk, and that fell flat
FANG: You must have been really frus-
trated at that point.
FASANO; 1 was, but here’s the thing
about The Jitters —
there's no post audio.
When we got to the end of the shoot, it
turned out they didn't have S750,000.
they only had $500,000. We had spent
almost all of it to make the movie. There
f&« Ihterd hopping vompires will hove you running lor your Itfo.
are no [original) sound effects: when I

hen director John Fasano unleashed I


“ edited the movie, I would take a great
fight scene from Commando and cut my

W the heavy-metal/horror mashups


Rock 'n Roil Nightmare and Black

Noses, ’80s headbangers rejoiced. Unfor-



1|Ut 3 jf|n|
- fight scenes so the punches lined up with

tunately for them, Fasano then decided to


follow a different path altogether; his ^
third Canadian-lensed production dealt
with Chinese hopping vampires a first—
for North American cinema. That film was
1989's The Jitters, and it is admittedly
something of a mess in terms of tone and
execution, the seriousness of the story-
telling clashing with the silly antics of the
hopping bloodsuckers, though it does
boast fine creature FX by Steve Wang. In
.
^ •,

memory of Fasano (who died this past j


. i
Juby) we present a chat with the director * 1 '
.

about this odd entry in his resume. \, V,

FANGORIA: What led you to make


s
^ movie about hopping vampires? JAMBS Wm MMiUYtt TOkUDA
,g^ JOHN FASANO: There are a bunt
> of movies from Hong Kong, like 20 i

{ ;'._30.aboutyiai!ysAi,thehoppingvam- that stuffbutcoiUdn’t do it for that money,


pires. They're comedies, and they’re They had this script by Sonoko Kondo
' very funny. A company called Gaga andjeff McKay that was a haunted-house
Communications heard about Noser story with vampires and took place in
and said they’d give me $750,000 to make Maryland, i had just done Black Roses,
the Erst En^sh-langUc^ bopi^-vampire vriiii^ had a lot of characters, for $450,000,
movie. The first thing 1 said was that so for $750,000, I thought I could take
wasn’t enough money, because there $200,000 out for post and do it as a sort of
would be so much wirework involved. I epic, with opposing gangs and lots of
had the foresight to visit with a coordina- —
extras but that was my first mistake,
tor in Tbronto, who said he could do all My-ez wife and I rewrote the script into
sound guy our edited foouige, which was
full of punches and chairs smashing and
whatevei; and he didn’t put in any sound
effects. He bad this button on Us key-
board that went shhhhhh every time some-
one would punch somebody. It just kept
making the same sound.
You have to understand that if The Jit-
ters had been Gnished the way I wanted it.
I might have stayed in New York and gone
to Canada for turn or three more movies. I
was so disappointed with the post for The
Jitters, I took a copy ot Black Roses and
drove to LA, saying I wasn't going to
make low-budget movies out of New York
anymore. Paul Mitchnick. who also shot
Black Roses, went crazy because some of
his best shots are in The Jitters, with the
worst soundtrack behind them. I was so
disappointed that it drove me out of New
York — and it saved my life, because I
came to Hollywood and have lived there

FANG; Despite all those trials and tribu- nothing, really, but for that amount he saidhe was trying to track it down. I said,
lations, Steve Wang did a Gne job on the made the Chan suit from the waist up and “I have a really good idea —
let's put it out
creature FX. the Chan change-o head that splits open; on DVD. and if somebody actually owns
FASANO: I'd seen an article on Steve in he did all this work for a very small those rights, they'll come out of the wood-
FANGOKIA; he and his partner Matt Rose amount, and he did it because I told him I work and say, ‘Hey. you aren't supposed to
won some makeup contest, and they were would gjve him the lead FX credit do that. That would be the best way,
'

like 18-year-oldMds. Steve has a ^arac- FANG; How did The Jitters Gnally Gnd its instead of doing all those legal searches
ter-design aesthetic that’s amazing, and way to DVD from Retromedia and Bay- throu^ the Internet." 1 always assumed

he and Matt were working for Stan Win- View last year? it would be the film I would have to buy on
stonatthe time; they had done the Preda- FASANO; I ran into ]eS McKay when we VHS on eBay when my previous copy wore
tor and then the Gill-man for The Monster were doing our commentary tracks for the out; now it's Gnally on DVD, and people
So I went to Steve and said, “I can Zombie Nightmare DVD and asked him can see the movie that drove me ont of the
give you X amount of money," which was what had happened to TAe //iters, and he low-budget Glm business. ^

WINNER WINNER WINNER


)( )( )C )C
A 10s Style Gidllo Experience

SONNO
i
PROTONDO
you wish you’d never uioken up...
“HYPNOTIC, UNSETTLING, DISTURBING"

“SONNO PROFONDO RESURRECTS GIALLO”

Out on VOD dnd Umitod Edition DVD Aug. 26th


up the ultra-rare VHS Sept 23rtl!

Llmlteti to 200 copies!

i^^j^INKvision
anadian actor Bren-
OUT FOl^ IV with squibs on them

ms
dan Fletcher has running away... I don't
C one of those ‘Oh. it's
that guy" faces espe- —
know bow many blank
roundswe shot during
cially when it comes to the filming oi Rampage,
genre fare. Since begin- but it was a lot. 1 mean,
ninghisacting' I was expending mag
his early after mag after mag, so
done all it was cool. It feels like
rorTV my own little action
n 1996 to Bates Motel franchise at this point
this year), confronted
Familiar genre face Brendan Fletcher takes FANG: Is that always
Krueger in Freddy vs. up arms a second time for Uwe Boll. you in the action se-
Jason, taken part in the quences, even when Bill
two Ginger Snaps se- By MICHAEL GINGOLD has the helmet and all
quels and this year Qed
horror's rebooted little green man in
Leprechaun: Origins, among many others.
A startling eight of those others were
directed by Uwe Boll; Fletcher's showiest
part for the notorious German was 3010's
Rampage, in which he plays a disaffected
young man who dons homemade armor to
go on an epic shooting rampage. Last
month. Boll's politically oriented sequel
Rampage: Capilai Punishment, once again
starring Fletcher, hit DVD and Blu-ray
from Phase 4 FQms. and FANGOSIA got a
few words with Fletcher on this latest
venture into violence and his stint with
the Leprechaun.

FANGORIA: What is Rampage: Capital Pun-


ishment all about?
BREIfDAN FLETCHER; It picks up a few
years after the first one, and it's kind of
more of the same, but this movie was a
chance for Uwe Boll to express his politi- It's bod luck for Metisso Roibuigh, Brendan Flelchei and Stephanie Bennett 'n lepretftwn; Or^'ns.
cal views, and deliver them throu^ ultra-
violence —which people seem to like to FLETCHER; WeU, it's basically about the armor on?
watch, you know? The theory is if we kill Julian Assange and Edward Snowden, a FLETCHER: Yeah; we had one stunt guy
enou^ people and there's enou^ blood, Democratic martyrs we
lot of these sort of do a little bit, but I did most of it They
people watch, and then they'll get the have now as our civil hlierties are being used a lot of these special squibs that they
message we're trying to send. chipped away. Bill takes over a television call zerks; they're basically like paint-
FANG: So what is the message in this one? station and holds everyone hostage in the balls, and they would hit my costume and
basement so he can do an interview explode to create sparks. And sometimes
where he can speak his mind, and get
his message out to a wider audience. "In this one, Bill's
FANG: And kill a lot of people along
the way. I assume?
killing people from
FLETCHER: And kill a lot of people more ofa political
in the process.
standpoint. It seems
FANG: Is this Rampage as over-the-
top in its violence as the first one? a little more justified
FLETCHER: would say it's alm ost
I to him."
more realistic. 1 mean, in the first one
we had a lot of, maybe, more satirical they would get in between the cracks;
elements, like the bingo ball and there were many days vAen I would come
killing people over a coffee. In this home with welts and bruises from those
one. Bill's killin g people from more of things. But that's all part of the experi-
a political standpoint It seems a lit- ence, you know? It makes you feel alive.
tle more justified to him. and his rea- FANG; You seem to have become Boll's
sons for doing it go a bit deepen favorite acton you've done eight movies
FANG: How was the experience of with him at this point. Howdid that all get
shooting up an entire town in the started, and why does he keep coming
first one? back to you for his films?
FLETCHER: It was pretty fun. I cant FLETCHER; I guess we just like working

lie when you've got two automatic together. Some people de;^op a shorthand,
weapons in your bands and people you know what 1 mean? Where it's easy to
work, and we kind of know what each
BBI Williamson (Fletcher) goes from mad- other is thinking. It started with ffeort of
dog killer to political onimal 'n Rampage: America, a school-shooting movie that was
Capital Runishment. pretQr good. We aren't always successful;

BloodSayne: The Third Reich was a bit of a


gong show, and Blubberella was even
worse. But when bis heart’s in the right
place, and the rest of our hearts are in the
li^t place, I think we come up with some
pretty good stuff. Rampage was probably
one of his better ones, and he's had some
other good movies Tunnel Rats. Stoic and
Assault on Wall Street. Those axe the sorts
of films be puts a little bit more care into.
FANG: You started with Boll early in his
career: when did you first become aware
of the notoriety be was spawning on-line?
FLETCHER: That was a Utfie bit later, I

guess, after he had done a few video-game


movies —
after the first BloodRayne, prob-
ably. He's an interesting personality and
quite a prolific producer: I don't know
anybody who can make as many movies as
he does. So that’s something, you know?
He's pretty amazing in that way he can
put out so much work. A
lot of people
struggle to get one movie made, and at
one time he was doing five a year. He's
kind of a celebrity director now; he's a
brand, and I love the way he challenged
his critics to bozing matches and stuff
like that. I thou^t that was hilarious.
FANG; Were you famili ar with Dylan
-Homswog^e" Postl as a wrestler before
you did Leprechaun: Origins'?
FLETCHER; Oh yeah. I’m a big WWE fan.
Dylan is such a nice guy and was super-
excited to be there, even though he had
to go throu^ two hours of prosthetics in
the morning —
always smiling and super-
positive. It was his first movie, so he kind
of looked up to us and took cues from us
actors who have been around a little bit.
Really humble, and an awesome guy. He
took us to a Summerslam event and
showed us around, and we hung out with
abunch of the wrestlers. It was awesome.
FANG: So he never stayed in character
when he was off-camera?
FLETCHER; Well, he would kind of crawl
around in his prosthetics and f'k with us
a little bit. yeah. He had a good time.
FANG; Were you a fan of the previous Lep-
rechaun film s?

FLETCHER: Yeah, but it's been a while


since I've seen them. I don't even remem-
ber which ones I saw. This movie is a real
break from those, though. It has nothing
to do with them, so I didn't rewatch them
for research or anythin g 1 wouldn't even
call this an entry in that series as much as
a stand-alone film.
FANG: How was it working with up-and-
coming director Zach Lipovsky?
FLETCHER: WeU, he came in fourth in
Steven Spielberg’s On the Lot series,
and he’s a special effects genius. He
was super-nice and so well-prepared,
so he made our lives really easy. We al-
ways knew exactly what was going on and
how to work for his camera. He did a lot of
stuff that you don't often see; he was con-
stantly putting GoPro cameras on differ-
ent props and things like that. So it was
cool and kind of a different experience
working with him .

to his daughters' own promsl s, film buffs and hon enthusi- ous 4K digital restoration. No de-
Rounding out the disc ore cut :ts olike hove since proised the toils ore bst in the 2.35:1 tronsfer,

scenes that were reinstoted for it hnd commercial


foiled to gronting The Jhnocenis more
Prom Nighfi network airings success upon its releose. Accord- depth and atmosphere then ever.
(ollowing credited but editra ing to Froyling's commentory on
actress Liz Stalker-Mason to finally Criterion's DVD and Blu-roy (pori- CYCLOPS BATIHG:
be seen), ossorted pramotionol horn pr
sr js UKdiscsl,
materials ond |on Ine Blu-roy djredor Jock Clayton wi
onlyl a nifty collection of rrever-
belore- the populor Hammer films of the
era, instead striving for a more
CVCLOPS RATING: < subtle spookiness; unfortunately,
fright fans perceived it os not
having enough shock volue,
. . movies come in two whereas James buffs felt it wos
st)des visually: One of them still too horrific.
I is in your bee, and the Froyling also discusses scenes
that foiled to moke the Knot cut,
undeHying themes, differences
between Ira various incornations
Turn and how Truman Capote
Thofs film his- me to write the script. There's
torian Christo- _. introduction by Froyling os
I pher Froyling well, shot at the Englisr monsion
I talking about used os the Rim’s eicterior l«otion, f simply coll it
I the haunting West's best ond most chilling Rim
I ond moody motogropher John Boiley obout yet. Toking the tragedy ot Jones-
1961 Gothic '
nocenis DP Freddie Francis that
or film THE INNOCENTS scusses the distinct oesthetic he the most of the frightening polen-
an odaptation of
(Criterion), eoted for the movie. Additiorsol
Henry James' novaks The Turn of ippiements include the amusing ogoin in the present day, and
the Screw. Set in the Wetorion originol theatrical trailer (which pulls off the tricky bolancing act
era, the story follows o repressed of playing off fears of religious
governess spinster IDeboroh Kerr) itself) onc?n^ chots with the fundomenlolism while staying
who finds herself coring for two
precocious children in an impossi-
movie's script supervisor
tor.
ond edi-
Though these features ore E polhetictaword those whose
stion leadsthem into danger.
The setting is Eden Parish,
0 compound in on undis-
'

ised foreign country


when
only as

ing perto I of
honey-dipped menoce)
has lured 0 Rock of disers-
frondsised followers with
promises of utapio. All
seems well at Rrstwhen a
team from Vice. com
(played by AJ Bowen, Joe
Swanberg and Kenlucker
Audleyl orrives to docu-
ment Ira place, but it's not
long before the scory
seams begin to show...
Expertly juxtaposing
severol different comeros'
points of view. West builds
a full head of suspense on
the way to an ending
ihoKs horrifying partiolly
bly lorge monsion fraught with on ersgoging and offer fresh anec- because of, rather thon in spite of,
air of mystery and decoy. What dotes. they are a bit redundant its inevitabilitv. The 1.78:1 trans-
initially seems o dreomtike fairy occess to 0 broader voriety of ferscapture the right verite otmos-
tale becomes increasingly sinister phere without sacrificing dority,
ond supemotural througn this ing —but there ore no compoints ond on the commentory. West,
f'lm's languid journey. Though crit- obout the Blu-ro/s cri^, sumptu- Bowen and Amy Seimelz (who
plays Audle/s sister and part of trchestra. The docu's creator, fre-
^
DISC OF THE MONTF the cult) deliver an
history of the project, explaining
how everything from the
excellent oral quent Parker collaborator Seon
Blodgett, also contributes further
ond
0
V
s PHANTOM OF THE PARADISE (Shout! Foclo^)
the cotnerowoni to the sound
octing to octor-interview behind-the-

I Brian De Palma's best film? It's an unanswerable question,


considering the variety of his filmography and the ferocity
design contributed to the onscreen but oil worth- ^^1
reality. 'Creafirtg The Socromenf while; two more segments cover
with which each picture affects his many devotees; what Reveoling the Vision* adds further more of

m
I
the subtle but crucial
would posit is that iKs his most dazzling. It's the film where the deloil on the creolion of the com- visual FX ond the erection of
master visuol stylist is pound and the obstades the team .

sonically matched, and faced and overcame, The T1 ollowed Parker tofully cap-
a fantasia of metotex- West Experience’ is a video love .. - the movie's most splottery,
tuol spectacle follows. letter to the hlmmoker with some startling setpiece. I=f3
worthwhile on-set footage; "Pre-
A lowly, brilliant musi-
cian (William Finley) at-
tempKng to iranslote
Q irtg for Talceoff*

ind-lhe-scenes video of the


offers cool CYCLOPS RATING:
—Mtefioe/ Gingo/d ^
helicopter setpiece; and o brief
Faust into a pop conlata AXS TV segment is redundant ould there ever be better “5
is

and
into
disfigured, destroyed
ultimately
a Faustian deal
drown
from the stronger feolurettes
C costing br o poir of oge-
less, efeganl vampires
devoting their existences each to
g
himself in o Phantom of CYCLOPS RATING; other and art then Tilda Swinton
the Opera/ Dorian — Aticfioe/ GingoW and Tom Hiddleston? ThaKs espe- "T*
dally hard to argue after you've
Groy-esque foie of the
he half-hour documentary vatched ONLY LOVERS LEFT (^9
sleazy, devilish enter-
toinment industry.
Operatic horror, horror
T on IFC/MPI's PROXY DVD
ond Blu-ray opens with o
AUVE (Sony Pictures), Jim Jor-
musch's expectedly ond reword-
^
JS
opero. Gothic melo-
number of its cost and creotors ingly idiosyncratic venture into
genre territory. Eve (Swinton) ond
^2
hoving 0 bit of o hord time sum-
dranra, musicol theater, marizirsg the movie. ThoKs because Adorn (Hiddleston) prefer to
rock 'n' roll pastiche and cinematic homage all converge into it doesn't fall neatly into any or devour literature and music,
something that’s nonetheless utterly unique. It should follow genre category, ai

that Phontom of the Paradise is celebrated as the minor mos- though they do hove to deal with
terpiece it is. Yeah, in Paris and Winnipeg (of all places),
the traditional thirst —o tricky
proposition in on age when so
maybe; for the rest of the globe, that has token some time,
much of humanity hos become
and the time is now.
'contaminated.* The dissolution of
This Scream Foctory Blu-roy/DVD package is a sight to
the modem world has led Adorn
behold (and the label’s best this year). Feoturing o lovely to shut himself up in his Detroit
widescreen transfer that richly captures the colors, costumes house, o shrine to cbssic music
and design both sumptuous (the German Expressionist stage irretutobly be ond Instruments, ond Eve returns
set) and abject (the Fmontom's teeth), the music and lyrics by describe as a
Paul Williams and De Palma's striking stylistic storytelling, the showcase for strong female per- w°e^m oi^" rmwkw h^
formances, os Alexia Rasmussen,
set olso sports a thorough inspection of all things Phantom.
Separate interviews with cast and crew, as welfas a docu-
Al^o Bavins and Kristina Klebe
mentary ('Paradise Regained,' stolen by the hilarious Gerrit
eoch express very twisted takes
Grohom) chronicle the film's genesis, production, mokeup, on familiol or romontic love, ond
music, costumes and reception. What’s best, however, is an whose inleroctions leod to dedd-
hour-long conversation between Williams and Guillermo del edly disturbing developments. A
Toro, coisdidly tolking Phantom and all manner of creative fulltwo hours ond engrossing
processes, ortistic inspirations and personal histories. Both throughout, thanks to o narrative

edifying and heartfelt, iKs a direct window into the sworld of construct (by Parker and co-scripter
Kevin Donner) that has you anx-
an artist ond those deeply affected by his work.
ious to find out what happens

CYCLOPS RATING: eeee —Samuel Zimmerman


next, Pr<^ is also a wholeheort-
edly indie production that bears a
very professional sheen in the Terrific perbrmonces oil
discs' 2.35:1 transfers. oround (Swinton and Hiddleston
How the project wos ore also supported by Anton
pul together with a lot of Yelchin os Adom's only humon
friend and John Hurt os an un-
I base and pos- dead Christopher Marlowe) ore
craft from i‘ complemented by c polpoble
eoled in meloncholic atmosphere, as Jar-
I that lengthy featurette. In iiuscfi — mirroringhis protago-
I between onscreen com-
I ments by all the major or art fhot avoids prsten-
I contnbutors (and a few lion.The 1.85:1 transferson
I distrocting stock music theDVD and Blu-roy ore
I cues), we're ollowed subtly sumptuous, bodeed by
I gratifyingly detailed rich soundtracks (especially
' •••'
I peeks at Parker
Park guiding the Blu-ra/s DTS-HD 5.1
his cost, thee Moster Audio). The key extra is
Leo Rinaldi's 50-minute docume
tary *Travelling ot Night With Jim
Jarmusch,* which eschews tolking
heods for o wealth of well-caught
wirh his leodslo achieving jjst the ow Man," an EC-tin^ tale of a

ao
ht consistency of filled blood.
notable ore about
of deleted/axtended scenes, in-
o half hour C pon kid whose bed-nestirrg
irmon murders the lod's ene-
mies (oh my God, Ihot endinglj;
CYCLOPS RATING;
—Michael Cingold
cluding a bit illustrating the dam- Pau! Lynch's "Need to Know," o

aging effects of the sun which, if
included,woub hove been one of
Only tovers UflAlMs
ulotions to genetic
copi^
vompire
W lore.
deft (xecursor to ftontypoof with
ices McDormond ond Williom
jrd G reydon Cbrk's WITH-
OUT WARNING
has
bng been noted as a pre-
and 0 launch-
cursor to Preobtar,
ing pad br a lew of its cast ond
CYCLOPS RATING: —
crew and the bonus features on
—Atrchoef Gingold the Screom Factory Blu-roy/DVD

credit for RickBaker as well.


at Rod Ser- According to o couple of the
I ling's Iconic television series, ling . ...
5, ,
I bitchy octor ore interviewees. Baker did initial
1 983'5 Twi/rght Zone: The Movie, Rod Serling). Image has taken the the most notable of mese, while design work on the movie's alien
wos 0 commerciol bust, CSS still show seriously ond supplemented Borbora Cupisti is the likable and hunter before his protege, cred-
thought it wise to greenlighto resilient final girl. With Stage- ited mokeup FX creotar Greg
frighfi primary-colored lighting Cannom, look over. The fact that
short yeors later. The results were the menoce is extraterres-

I far better than trial —


and particubrly the fly-
expect^, with ing little bloodsuckers it uses

as weapons h^ped set Wth-
out Warning apart from the
slosher fore prevoleni in the-
best in dork- aters ot the tirrte, and there are
bntosy TV's o few narrofive turns that defy
history. Imoge the generol conventions of ter-
Entertainment's rorized-youth cinema. Adding
I
attractively
THE TWILIGHT
pockaged eran octars in the cast, rsotably
ZONEsTHE COMPLETE Jock Pobnceand Mcirtin Lon-
’80S
in the Dork before going on to
se who may hove missed it Oscor glory. Inexplicably

SC .The ke
absent from any LJ.S. home
video fill now. Without VMom-
irtg looks pretty good in its

slOMering or 1.85:1 transfers, the images


in, horror on ore shorper in the doylignt
scenes than at night, but over-
all it holds up rataer well foro
flick shot for $150,000 espe-—
I and hi ^ icolly given that, as Cbrk notes
tion an eerie, uns^ing psyche- Soavi sriows the clear influence of on his commentary, half of that
delic toke on the iconic Zone his mentor Dorio Argenta (who
theme music courtesy of none coincidentally explored similor The director’s talk hos 0 duti-
other ihon The Grot^l Dead (I), territory oround the same time ful, just-lhe-focts oir to it, though

ow

H
washing over o scory main-title sharp and cleon is the with Opera), while contributing some of those facts ore pretty
sequence. I.6S:1 tronsler on Blue fresh Hourishes morking him os ond he hos very cleor
interesting
The episodes follow' Underground's new Blu- on enthusiastic talent on the rise. memories of the 35-year-old
... „ - j often equol- ray of Michele Soavi's STAGE- Ifs thus a little surprising tlleclfonof
Irish. Standouts include FRIGHT? Enough so that the when, in on interview segment,
tn-directed "A Little artificiolity of the opening scene's Soavi confesses he hod no initial
Peace end Quiet," in which sets is imrrrediately evident, giving ospirotions to direct, ond wos
Melindo Dillon finds a medallion away the gag in advance. At all convirreed to step up from AD sta-
that gives her the power to stop other times, trough, the remoster- tus by producer Aristide Mossoc-
time, with 0 clirnox that will stick ing, also ovailabte on a new cesi fo.k.a. Joe D' Amato]. Th^
with you; "Nightcrowlers," per- ore interesting little revelotions
haps Williom Fnedkin's best work like this scottaed throughout the
of the ’80s, violently odapting o discs’ onscreen chats: Soavi re-
Robert R. McCammon story ofo calls Mossaccesi taking over css
Vietnam vet haunted by ghosts of DP to finish the nsovie, and the
the past; Joe Dante’s "The Shod- many performers (himselF irsclud-
ed] who played the killer; Brandon
divulges the origins of Mossoc- down the house ,

cesi's Ator, ond nis segment dis- on boord ore Connom, cine-
ploys co-star Robert Gligorov's mologropher Deon Cundey (who
eye-opening subsequent ortwork; shot Wtaming just ofler Hollo-
ond Rodice admits mot he stale v^nj ond producer Doniel Grod-
House on the Edge of ihe Park
and Oly ofihe LMng Dead roles onolher tangential Halloween
From Soavi when the letter was an connection: Wbrning co-scripter
octor. Makeup artist Pietro Teno- "Ben Nett" isa pseudonym for
glio and composer Simon Boswell writer Bennett Tramer, alter whom
olso have their say, rounding out John Carpenter nomed Laurie
o very satisfying pockoge thot Stroefe's offscreen crush object.
also includes a remark^le collec-
tion of posters and other promo CYCLOPS RATING;
art beoring the movie's various —Michael Gingofd

iting a Black Fawn set is very mucb one of


a gang: You dress in biker vests and color-
coded do-rags. Tell us about that.
ARCHIBALD: We just love being on set
and making film s with talented people we
respect Much like on any film shoot, we
spend so much time together that it is like
a family. We just try to take it to the next
level. Love and respect to everyone who
works with us. We see the hard work and

YOUR SORROW passion that our cast and aew put into
our films, and it's so inspiring. Too many
productions toss their crews a paycheck
and say, ‘See yal" It is the crew that makes
a film, and there's no way we're going to
The soakin’ psycho saga heralds a wave of let that go unacknowledged. We all walk
horrific entertainment from Biack Fawn Fiims. around with Black Fawn bandannas; on
every film, we give the cast and crew a dif-
By KELLY MICHAEL STEWART ferent-colored one so people can tell which

f you were to talk to any indie film-


maker these days, they’d likely say they
I have a movie or two in development,
which is usually code for "looking for
money" If you can scrape together enough
to even make one picture, you're doing
very well. But the Black Fawn Films
team, led by Chad Archibald, are an
exception to that rule: Having already
made a name for themselves in the indie
world, they recently signed one of the
biggest such deals in Can adian history.
This was no overnight success. Archi-
bald got his start co-directing 2CI05’s Des-
perate Souls with Gabriel Carter and
producing several subsequent features:
he made his solo debut at the helm with making them the inarguable heroes of projects each person has worked on.
the dark sci-fi/drama Neverlost in 2010. contemporary Canadian genre cinema. On the first Antisorfa/, everyone stayed
More recently, he and Black Fawn Films Archib^d sat down with FANGORIA dur- in the house we were shooting in, crammed
partners Cody Calaban and Christopher ing the shooting ol Antisocial 2. into the few rooms we weren’t using. We
Giroux completed the early-2014 release all got so close, and late one night we
Antisocial (directed by Calahan), Archi- FANGORIA; Can you tell us how Black could hear the shen anigans going on down-
bald returned to the director's chair for Fawn Films started? stairs. We joked that they soiuided like a

The Drownsman the story of a water- CHAD ARCHIBALD: Black Fawn started bunch of pirates down there, and it slowly
bound serial killer that premiered at this in 2008 as an outlet to produce movies and caught on. Abunch of rogue filmmakers
year’s Fantasia festival and was acquired music videos. Our first feature was a re- the Black Fawn pirates. We all lived in

by Anchor Bay Entertainment and the venge flick called Sueet Karma, which we this boarded-up house for a month, and it
team shot anAntisodal sequel, all part of made with some people who would eventu- was like being on a pirate ship because no
a deal with Breakthrough Entertainment. ally become the powerhouse team behind one ever left. We bad some good times in
So successful was that arrangement that Raven Banner Since then, we've done sev- that house.
Breakthrough has pacted with Black en features and countless music videos. FAHG: All the underwater scenes in The
Fawn for eight pictures over three years, FANG: The general Impression when vis- Drownsmon must have been a challenge to
ilnh'sKiof media (pictured) wiil spread further in Hie upcoming sequel.

shoot. What did you learn from that film ARCHIBALD; Antisocial was a very
that will help you on future projects? small-budget film that we all worked so
ARCHIBALD: We learned not to Him a hard to create. It has done great for us
water movie in liovembec Every day was and we left it on a cliffhanges so right
a challenge on The Drownsman. People from the first festival screening, people
say, don't film with children, animals or have been asking us what happens next.
water, 'cause they're all extremely hard to We also became really close to the con-
control. We
had an amazing design team cept, and there's so much more to explore
who worked tirelessly through all the with the idea that it seemed like a no-
challenges. It was such a small film with hrainec It’s turning out great I can't wait
such ahuge, amhitious idea, and we’re all to share it with fans of the first one!
very proud of what we created. Much like FANG; Black Fawn Distribution has picked
on any shoot, the lessons are endless and up a number of new titles, including Silent
we will go into the next with the knowl- Retreat anA Discopath. How does that out-
edge we’ve gained. Also keep our con- fit differ from Black Fawn Films?

cepts in our budget range [laughs]. ARCHIBALD: I'm glad you asked, because
people always confuse them. Black Fawn
Films makes features and music videos
for worldwide sales. Black Fawn Distribu-
tion picks up completed projects and re-
leases them in Canada. We created Black
Fawn Distribution to help support tal-
ented indie filmmakers with a very fair
and unique distribution strategy. Eveiy
day, filmmakers give their movies away
hoping to make royalties on the back end,
and never do. It's harsh out there, and we
wanted to create a company that would
fight for the people who poured their
hearts and souls into their movies. They
are the ones who should reap the benefits.
Black Fawn Distribution is by filmmakers
for filmmakers,
FANG: Black Fawn really made waves
with the announcement of the eight-pic-
ture deal with Breakthrou^. What can
we expect horn that?
ARCHIBALD; Over the course of Anft'so-
cialand The Drownsman, we've created a
fantastic relationship with Breakthrou^.
We've just found something that really
clicks, so as we finished up The Drowns-
man, we got together and said, “This is
FANG: What are your current plans for going great How about we do it a hunch
The Dwwnsmanl more times?” All parties agreed, and we
ARCHIBALD: We have a ton more festi- started drafting up the details. I can't say
vals lined up. That movie was such a chal- much about the movies right now. but
lenge tom^e, and I'm really proud of the once we start announcing, then they will
obstacles our crew overcame to create the come in a tidal wave. 1 can say that there
world of the Drownsman. For now, we'll will be blood, hut there will also be some
keep screening the film until it gets re- films you wouldn’t expect. We really
leased next yean want to diversify this slate, and we’ve
FANG: Tell us about Antisocial 2, and gathered some very talented filmma^en
what prompted a sequel so quickly. and unique concepte.
reoking off from his days with pivotal experimental-noise side. Hiese were more
industiial-music icons Skumy Puppy, tlm enough reasons for me to step out on
rive^ad Bill L«eb formed the baod
Front Li^ Assembly in 1986. In cinematic FANG: You use many horror/sci-fi samples
terms, if Puppy was the splatteiy, Fuld- in Front Line's music. Are these nods to
meets-Cronenberg horror film, Front Line your favorite films, or an aesthetic choice
was akiii to Titsuo melting into The Tkrmi- for theme and mood?
nator—ffii has been just as influential on LEEB: Well, that's easy; They are defi-
the evolution of dark electronic music. nitely both. I am a huge sci-fi and horror-
This year; the group unleashed Echoes, a film fan. Those genres really inspired SP
remix of their 5///6oar<f-charting Echo- early on, and of course FLA. I thin k the
genetic album from 2013. In the following two just go hand in hand. In the early
interview, Leeb reflects back on his exten- days, we were lucl^ enough to be able to
sive career as one of the rei gnin g fathers sample from our favorite movies and not
of industrial rock and looks —as the band have any issues, which isn't the case
always has —to the future,., today. To me, it's the most incredible, per-
fect marriage,
FAIi^RIA: Tell about your time with FANG: You have many side projects, from
Skin^ Puppy; were you considered a Noise Unit to Synaesthesia to Delerium.
member or a contributing artist? What kinds of outlets do these acts pro-
BILL LEEB; Definitely a membec I came vide you?
from an industrial bKkground and in-
terest.and cEvin |KeyJ came from Images
in Vogue —
also a syn^esiserband so we— FRONTMAN LEEB: Delerium offers a whole different
side of electronic music, being that it's
more about ambiance and oiganics. It also
would end up arguing. I would be saying allowed us to work with a wide range of
Bill Leeb looks back
Throbbing Gristle and SPE were the great female vocalists who can't really be
rulers of the universe, and cEvin and his on three decades of present in Front Line. 1 find that I have
bandmates were definitely more about sci-fi/horror-tinged music two sides to my brain: a calm side and a
bands like Japan. WMO. etc. In some and beastly beats. more angry/darker side. It gives me a per-
strange way, we found this middle ground: fect balance —
being able to walk that
the harshness and experimentation of tightrope and release music from both
ByJOHNNICOL
^
industrial and the more eclectic
side of electronic music, hence the
Introduction by CHRIS ALEXANDER sides. Working with different people cre-
ates new opportunities, ideas and interests.
"
early sound of Skimiy Puffiy. cEvin being the definitive leader of the That's the most important part: finding
‘._FAflG: How did Front Line Assem- band and [Nivek] Ogre being the creative new ways to work with the same notes.
come to fruition?
bly genius and vocalist. I felt like there was Noise Unit, oddly enou^; —not to dimin-
^ LEEB; When we started SP and got nowhere for me to grow as an artist. —
ish it was kind of literally FLA B-sides,
the respect and early success, we could There definitely was no need for me to be but ironically enough, people started lik-
tell this was going to be a future and not a vocalist in that band. I thought I bad ing those, so we decided to put a new
just a flasb in the pan.The future seemed better step up sooner than later before I focus on them to some extent The new
o have somewhat of an affinity with the could never break that image. Also, our Noise Unit is gonna get the most atten-
nusic, especially because technology was musical tastes were starting to change a tion, It is hoped that it will have its own
just star^g to get its foothold and sam- bit. I was discovering bands I loved like identity. As far as other side projects go.
pling became the latest thing. Having Front 242 and Portion Control, and found there's a new FLA project called AirMech,
in SP and seeing all this, and with that cEvin still wanted to be more on the the soundtrack for a sci-fi PVP strategic
futurist battle video
We each have our own char-
gane. Ban sBi JUST aisa
acters, and ended up look-
Monster, mailorder
I

ing like the Terminator. Due


to the success of the first

second one.
FANG; What jmur favo-
is
rite Front Line album, and
why?
LEEB; I’ve been asked this
several times, and it's im-
possible to ever pinpoint
that. Each album repre-
sents a different point in my life.
We've gone through so many
different phases and people that it would be unfair to single one
album out and say it's the best or my favorite. 1 consider them all
my children, and it will always be like that. Definitive highlights
would be Tiictical SeuTnl Implant, Caustic Grip, Millennium and of
course Echogenetic.
FAMG; What are you most proud of with Echotsi
LEEB: We’re not usually into doing remix albums, but we
we wanted to
thought, due to the success of Echogenetic, that
e^teriment and create an artistic remix collection where we all
picked artists and had every song remixed from the album,

rather than 10 dance remixes of the same song under the pre-
text that this wasn't about money, it was truly done for artistic
merit So began the
long journey of all
the band members
picking their
favorite artists and
^proaching them to
see if we could get
the right vibe for the
right track. When
the songs started
Beriffirfervfl
coming back to us,
we were
excited,and hearing
really
yySw
.SticKer.s^
other people inter-

such creative ways,


we definitely felt we
did the right thing.
FAMG: Rumors arefiyingaroundabout a possible Front Line and

Skinny Puppy tour any truth to this?
LEEB: I'm glad I've always had a good relationship with cEvin
and Ogre, and we’ve talked numerous times about doing a grand
industrial toun Different issues and challenges have cropped up,

and we haven't been able to make it happen yet! It's still a pipe
dream. Having said that, it's something to look forward to, and
strive to attain. We hope it will happen. We’ve had positive feed-
back from them, so who knows? Basically, stay tuned and cross
your fingers.
FANG: What else is in store for you and Front Line?
LEEB: Ironically enough, as I'm answering, we're on a boat
beaded to Sweden, because we're currently on a 14-show tour of
Europe. We just played an amazing show headlining WGT in
Leipzig. Then we have to
get back to finishing the
new AirMech-, much of the
music was made for Noise
Unit, which is on the back
burner. There is definitely a
new Delerium album com-
ing out next year, which will
involve FLA members and Hundreds of shirt designs
Rhys Fulber and we're— Starting at $IS.99
going to do a show with the
E

^ ^ Leipzig Orchestra in late

esting!
which could be inter- shopping:
^ RotremSerfire.com
WWW.

AntichristSupesstar
Damien Thorn was all grown up and ready to conquer the world in the third
“Omen” feature, “The Final Conflict.”
By JOHN NICOL
981 was a banner year for horroc but around when itwas first discussed. How-
it’s unfortunate that The Final Conflict ever, the first Omen was made In 1976,
1 is rarely spoken about with the same i.e.,around the same time as tfie first
reverence as others of its annum. The sequel to The Exorcist, and I would imag-
finale of 20th Century Fox’s Omen trilogy, ine that the idea of a follow-up would most
expertly directed by Graham Baker and certainly have been mooted.
starring Sam Neill as the adult Damien FANG: IhU us about your career before
Thom, Antichrist ambassador to the U.S.. The Final Conflict, and how you landed the
was neither critically embraced nor a box- job directing it
office hit. Perhaps if they had simply BAKER: Like the other British directors
called it Omen III domestically (as it was who broke into features in the late ’70s
in select international markets, and now —
and '80s Ridley and Tony Scott, Alan
on home video), people would have paid Parken Hugh Hudson, Adrian Lyne I cut —
more attention and its cult would be thriv- my teeth directing commercials. At this
ing. Regardless, time has been kind to time, the creative quality of English
advertising was estraordinaiily high, and
we were regularly sweeping the major
awards at international film festivals.
This did not go unnoticed by feature pro-
ducers, in particular David Puttnam, who
was emerging as a major figure in the
British cinema industry. Then a film I
wrote and directed. Leaving Lily, won the
Chicago Film Festival short-movie award.
It was bought for transmission by the
BBC. and a viewing with David brou^t up The main consideration when casting an
the possibility of a collaboration. actor to play an iconic, talismanic role, for
At this time. David was preparing example a historic figure like Napoleon or
Hugh Hudson’s Chorioteo/Fire, which was a controversial one such as Jesus Christ
in the pipeline at Fox and was one of many —
or the devil is credibility. It’s therefore
pictures shot under the terms of the Eady important to find an actor v^ose film his-
fund, a UK government financial-incentive tory doesn't jeopardize his believability in
scheme that encouraged foreign produc- the role.
tion companies to film in the Ult using One possible answer to this is to cast
this beautifully produced, nihilistic hor- British directors and technicians. Coinci- gainst 9pe, which could have an addi-
ror/melodrama, and FANGORIA had the dentally, a colleague of David’s, Andrew tional advantage of generating pre-
privilege of speaking to Baker, pulling Birkin, had just completed the Final Con- release interest; another route is to cast
back the curtain on the third installment flict screenplay for producer Harvey Bern- an unkn own. Ram had just finished play-
of the three sixes. hard. also to Ik shot in the UK for Fox. It ing in an Austr alian film. My Srilliant
was in search of a director; and David rec- Career, and had not yet been exposed to
FANGORIA: Had 20th Century Fox always ommended me. international cinema audiences. 1 was in-
envisioned The Omen as a trilogy, or did it FANG: Did you audition other actors for stantly struck by his particular presence.
evolve into one? the rote of Damien Thom, or was Sam He was being mentored by James Mason,
GRAHAM BAKER: Interesting question. Neill always your first choice? and his sDde quite clearly reflected much
I came later to the franchise, so I wasn't BAKER: Sam was always first choice. of Mason’s screen persona, particularly
his watchful, elegant,
enigmatic, slightly sin-
ister demeanor, which
was perfect for the
adult Damien.
FANG: How was it
working with Neill?
BAKER: Very reward-
ing. I don’t recollect a
single time he didn’t
come on set fully pre-
pared. I had a view of
Damien's character
that involved suggest-
ing a weakness in him ,

a vulnerability, an
Achilles’ heel that
threatened bis sacred
mission —the other side
of the ManicbeaQ coin, the eqiuvalent of
the temptation of Christ. We had many
discussions about this temptation or
threat being a human love for a woman
[played in the film by Lisa Harrow],
which might divert him from his destiny.
Sam beautifully shaded this into his char-
acter portrayal.
FANG: Were there any challenges for you,
or any studio pressure?
BAKER: The Final Coi\flict was my first
full-length studio picture, and challenges
don’t come any bigger than that! There

was always pressure sometimes from
completely unexpected quarters but I —
bad a great crew, and Harvey Bernhard
and the exec producers at Fox were very The U.S. Ambessudet to Great Britain (Robert Arden) moiies way for Domien's svctession in the most
supportive. Also, the footage we were
definitive way possibJe.
sending back to the coast was looking
great, which took much of the pressure set anecdotes you can share with us? reference, it becomes a kind of genre
off. As a first-time director on a feature, BAKER: Apart from the camera jamming hybrid in that, although it uses tropes
you learn fast under fire. I've always on slate number 666? It really did! Rossa- familiar from the occult, horror, sci-fi and
believed in being on top of the daily shot no Brazzi constantly whistling “Some En- other genres, it can't be categorized,
list, and 1 draw my own storyboards to chanted Evening' ffom South Pacific was strictly speaking, as belonging to any of
convey the vocabulary for the scene, but amusing, and became kind of a crew joke. —
these something 1 was aware of from the
this isn't enough. I quickly learned that FANG: Looking back, are you proud of earliest stage.
you really can't leave the set before the Final Conflict, or is there anything you In retrospect, 1 think I would have
key departments know the next morning's would have done differently? handled some of the physical action dif-
first setup. Then, of course, it's off to the BAKER: Yes to both. As I mentioned ear- ferently, making it more edgy, oblique and
viewing theater to watch yesterday’s llec the story itself is clearly based on the disturbing. The sequence involving Lisa
footage and give your notes to the editoc Manichean principle of good and evil Harrow's life-threatening plunge into the
then home for a quiet hour to think about being in constant opposition in the form of lake, for example, now seems to me a tad
tomorrow and make more notes and — duality, in itself arguably the basis for unconvincing. It would have benefitted
then, if you're lucky, before the car comes most dramatic structures. However, fi'om a longer and more suggestive build-
for you, four or five hours' sleep. Maybe. because the Omen series uses the Bible as up and a more dramatic payoff, as would
FANG: Any interesting lesser-known on- its source, and Christianity as its term of the death of Don Gordon. ^

CAVERNCXIi HAUNTER HOUSE WHERE YOU


•/S VC AND INTENSE_A HAIJliCINC
AND FEEI. AROUND TO REACH
HAVE TO IJSTEN .DARK AND UNCOMFOrtTAnif
DAYIJdfr-RUE MORGUE MACA7INE -FANGORIA
THINGS MAGABRE." -FANGORIA

Available on CD and Digital Download |

^ [Tunes
fter two days of rehearsals with my brought so many talented people in to
Buffalo-based the^s for my director- bring these characters to life was a god-
A ial debut Model Hunger, the camera
truck arrived. Driving it was my new cine-
send. The cast really made this film.
We had to shoot 'TiSany out first, so the
matograpbec Wolfgang Meyei; with gaffer next few days focused on her. Day two, we
Daniel Lipski in the passenger seat. I had were at 2nd AD Sam Qualiana’s grand-
met Meyer on the set oiDisdples, and saw ma's house, which was the perfect envi-
how hard he worked and how strong his ronment for young Debbie. Mary Bogle
creative input was. His New York street flew in to play Debbie’s mom, which was
savvy also told me he would be the best very exciting for me. Michael Varratl
guy to take this on with only two weeks' drove in to play the devious and flamboy-
notice. 1 had eveiything mapped out for ant hairdresser Jose. Mary, Mia and
the first DP, but wanted to change it up Michael really hit this “nightmare” of
since I was now working with Meyer. Debbie's out of the park; it's creepy, sur-
Every player in the filmmaking process real and disturbing.
has his own style, and while I had the Our Fishkill cops, played by David
same vision for the story, I knew be would Marancik and Michael O'Hear, also ap-
bring his own set of ideas to complement pear in Debbie’s ni^tmare. They were not
mine. Lipski is one of the greatest indie —
only great in their roles, but like every-
lighting guys working today, so I felt —
one else on set inaedible troupers, see-
really good about this duo. ing as how the heat and humidity were as
Jen Morgart and her assistant Paul extreme as the material. Our first couple
McGinnis had been busy painting and of days shooting in Buffalo resulted in
wallpapering the sets. It was spectacular some magical scenes.
how they transformed each level of the While key makeup artist Marissa Ma-
house into the homes of the lead charac- sella propped all the actors, our head
ters, Ginny (Lynn Lowry] and Debbie makeup/I^ artist Ingrid Okola organized
(Tif^y Shepis) In the movie, they’re two
. some of the more complicated g^s. One
shot in particular required a very bloody,
pulpy meat shot of a victim of Ginny's
whose stomach is chainsawed open. For
this, Ingrid ordered a pig from a meat mar-
ket, and our FX department was excited

MODEL HUNCtER about its arrival very excited.
Our line producer Greg Lamberson
wore multiple hats; while that’s not im-
common for an independent film, he really
did the lion's share of the behind-the-
Size Zef^o is a Bitch scenes and on-set work. Before shooting
began, he sent out a detailed schedule
listing every scene to be shot on each of
By DEBBIE ROCHON
the 18 days. It was pretty straightfor-
different houses that sit side by side; young Ginny, and Bette Cassatt pl^ed her ward, but what began on day three was a
Ginny's floor is delicate-looking with an flawless, slender brunette foil Chloe. Our
innocent, floral feel, which works well for 1960s-flavored studio was perfectly
her to entrap victims, while Debbie's floor dodgy-looUng. This was the scene where
is stark and dark, with vertical lines to Reginald unceremoniously tells Ginny her
visually express her neurosis and Rear body type ain’t cutting it anymore, and
Wlndow-esque paranoia. she's being phased out of the mag. It took
Tiffany was our first airport pickup, a while to shoot, as Jayne was a model in
and along with her luggage, she brou^t real life and not yet an actress. She gave
her lovely daughter Mia. As a few scenes her all while having to speak in a South-
involve Debbie having flashbacks to her ern drawl, and after a fair amount of
8-year-old self, it was a nnyor coup being coaching, we got it. We had to spend the
able to cast Mia in that role. They stayed time on this scene, because it's the tipping
with Jennifer and Bill Brown, PAs and point in Giimy's past.
friends of the production. It was a friend-
lier atmosphere, especial^ for Mia, con- Everyone on set were
sidering ^at our VIP pads, although Why we get the feeling Debbie isn't directing a
washed multiple times, still had incredible troupers, do
sweet, loving scene between yoang Debbie (Mio Page)
junkie vibes floating around. seeing as how the and her mom (Mory bogle)?
Day one of shooting in Buf&lo: On
heat and humidity
yQ ^ the slate was Ginny’s flashback to cluster of confusion I still don't under-
*

the event that set her on a cannibal- were as extreme as stand. Most of our departments, whether
|
^ istic course. Bob Bozek played Regi- was FX makeup, crew or set design, |
the material. it

nald, a bisexual T&A


photographer who seemed not completely aware of what was ^
shoots Bettie Page-style spanking photos Next, we shot some of Tiffany's dream going on. I kept reminding everyone that I
for the magazine Model Hunger. His sleazy sequences. As Debbie, she finds herself itwasclearlywrittenonthe schedule, but 8
s^le includes fondling his crotch when be trapped in a coffin. Rod Durick, who built people seemed to want a daily breakdown |
captures a great image, and his face a lot of our key set pieces, designed a bril- on top of the 18-day one. If we’d had a 1
sports a festering herpes sore illustrating liant coffin that could be taken apart and crew of SO-plus people, I could see need- ~
his indiscrifflinant gallivants. Jayne Cas- shot from any angle. Tiffany was excep- ing this, but there were days when Greg |
well played the voluptuous, redheaded tional, as I knew she would be. Having was too busy organizing flights, pickups, S

ping any balls. Soon. Brian


Fortune would be arriving
from Dublin, Michael Tburber
from Boston, lynn Lowry from
LA. Goth star Voltaire from
New York City and a number
of other actors. I sat on the
porch every evening decom-
pressing with David, venting
all the emotions I never
showed daring the shooting
day. He was a rock.
I was getting mad, though.

I had spent so much time try-


I
ing to keep the peace behind
the camera that it had started
to piss me off how my people
couldn't see that nothing mat-
tered but the movie. And we
were about to get a surprise
visit from Hollywood one —
that would incite a rage in me

Two generations of Shepis (liffoBy and, ri^t, her doughter) slme


one dork screen history.

catering times, location management and of the ship, 1 told my


1st ADing to reiterate info that was al- people we should be
ready sent out. It felt like a waste of his striving to get what
time, considering the huge amount of was in the frame as close to perfection as that could not be contained. I had also just
sceneswe had to covet possible; the rest was just a distraction. been informed that eight yes, eight —
Day three was also the first of what On the other side of the camera, my ac- people had died in our location house, and
would be a series of flying-by-the-seat-of- tors were giving outstanding perform- a lot of weird paranormal action went on
our-pants shoots. One of Debbie's night- ances. which elated me. I loved working there. Great.Now I was making a movie in
mares required a monkey's paw, symbolic with file cast; they were so open and giv- a place with an apparent demonic posses-
of both death and those who take unnec- ing and enthusiastic. This being an ambi- sion. This was only the beginning...
essary risks in life. The makeup de- tious project with what seemed like a cast
partment had the 18-day breakdown, but of thousands, there wasn't time for drop- TO BE CONTINUED
that morning didn't know this prop was
needed for some reason. Marissa came up
with a plan to glue hair and nails to a
blown-up plastic ^ove. It looked terrific,
but was ultimately a gorilla's paw. not a
monkey's paw, and was cut in editing.
Here began some confusion regarding
the sets and which were needed when. I
sat down with my crew after the third day
and asked what they needed to make the
days work. Art department wanted an
hour before anyone stepped on set; then
camera, lighUug and sound wanted a re-
hearsal to see what they would need. I
said Off. we would start at 7 a.m., so at 6
the art team could have the space, then
we'd do a walk-through and sound could
have the 30-ish minutes they insisted on
to mic the area, then lighting and camera
would have an hour while the actors were
getting made up and dressed. Well, this
new plan lasted for all of two days before
it fell apart. We were getting our scenes

done, and done well, but a smoothly run-


ning machine it was not It was as though
each department felt blindsided by the
others, and tension began. As the captain Directing a kMiy pholo shoot wos brand sponktng new territory.
Ersatz Film 2’6

I Am a Ghost
a film by H.P. Mendoza

•BRILLIANT.
I1k« Kjbrlck. Sefgrruin. Hitchcock
tainment in mind? Do yo«
^enre writers do this ^Moy?
I
believe most people these
ip on o sleody diet oF TV
so only natural ihol the

eveet I
it's

come up in Ihol culture ore


iccordirtgfy, 1'^ had review*

with thof. H probably


HO^SE 1
chonged course and begon doing
heuItep
luolly
short stories and novels, but my love For
laSBOGEBS ]
screenwriting remained. Oteroll, Feel I

the types c^ stories 1 write, be they


Jflpij lulurol Fiction or mysteries, have a
I

moinstreom quality that perhaps diows

my screenwriting bockoround, which i

heovy on dialogue end structure ond


lelinga story in on expedited monnei
FANG: Domestic horror is bock in

bsiSwSiM
JUST LIKE YOUR FAVORITE HORROtFILMS:
IT WASN’T A HAPPY E

Thanks to the FEARNET fans and Horror Community


for your support and encouragement.

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DEAD 2_ NOTES-
R oberto E. D'Onofrio
by Luigi Cozzi's return behind the
camera and is interviewing him about it
Is amazed

pie's
(continued fiom page 19)

heads with a zombie fitm today, find more money, and


(continued fiom page 21)

extras, and time; it


for Fango. Simon Fitz|onn is relieved since it's not so easy now with the old was to simplify. Find a solution that was
that his Dook on the horror films of Bob conventions? organic to the characters’ situation and
Clork is about to see the light of day. Ken- FORD; We try to cast our own path. We o^anic to the characters’ situation and
neth Gallant is mulling over his options care a great deal about the fans, and we
lor Spinal Death, a project that brings to- are grateful for the people wbo liked The of staring at his own mortality that be
gether the best of horror and mefol. Jer- Dead, and anyone who parts with their would try to block it out. It was consis-
emy Gardner still works at a restou- hard-earned cash to get a copy of The tent with the way be uses headphones
ront—which speaks volumes on how dif- Dead 2. 1 absolutely appreciate them, throughout the film to escape a reality be
ficult is to moke o living making movies.
it because we can't do this without them. At wants no part of. And as a result of our
Michael Helms encounters fangs the same time, to be honest, we just make being forced to put up blankets, we were
and mud on the set of the new humons- our movies how we want to make them. able to refocus the audience’s attention
vs. -animals Rick The Pack. Paul Kane We don’t listen to anything or anyone. In on the protagonists, rather than invite
is theoword-winning author of books fact, Jon and 1 don't let anyone read the tbeir eyes to wander to the zombies in the
like The Hellraiser Films and Their Legacy. scripts before we make these films, windows. By embracing our limitations,
Debbie Rochon loves her psychotrop- because we don’t want to be influenced and being creative in our problem-solving,
ic drugs. Matt Serafini spends most of by anything. We just want to do them our we inadvertently reinforced oiu- original
hisdays harassing video looels to reieose —
way not that we have all the money to intent to make a movie about two peo-
Howling II on Blu-ray. Kelly Michael do so. We don’t want to be influenced. ple... that also has some zombies in it."
Stewart is getting ready for Blood in the FANG: So how much of the sequel is in- 'Then I stopped again. Backtracked.
Snow 2014 (www.bloodinthesnow.ca). formed by The Dead, since you went from Went on another tangent. This time about
Ashley Thorpe is proud to be part of one very foreign country to another? And the glut of horror, and bow even if we
the forthcoming We Are the Morfions: will you be going forward with any of can't help the way our movies are mar-
The Legacy of Nigel Kneale. Vivienne those ideas in a third one? keted. we can at least make sure they
Vaughn is covering Stoneheorst Asy- FORD: No, because 1 believe the possibil- absolutely stink of our sensibilities:
lum tor Foitgo. Staci Layne Wilson ities are endless, since every single coun- “Like a lion spraying a tree: This Is
recently completed her first feoture, the try has itsown culture and viewpoints Mine. Big budgets mean more voices,
rollicking zom-com Fetish Factory. and architecture. You could find some- which means everything ends up beige:
thing that is specific to each country and but at the micro level, there is no excuse
extract that. We try to do that with the for making a movie anybody else could
bod dream thot hos endured for Dead films. In The Dead 2. we tried to tap make. And if we can manage to put a lit-
&30 years will be celebrated in into what’s relevant to Indian people. tle bit of our personality and perspective
What we are doing is taking audiences up on the screen, our films will find an au-
o believe it has been three who might not be interested at all in the dience. They will forgive the lack of ex-
Wes Craven :e gave first cultural situation in India on a ride with ploding heads and flying demons, because
I
us A NIGHTMARE ON ElM STREET, us. You are coming on a journey, whether we will have shared something intimate.
'
and we’ll mark the onniversary by pre- you like it or not. You're going to be “My movie has hardly any zombies. It
. seating o new interview with the writer/ exposed to things in that culture. We’re is peppered with baseball references and
. director. Look for words with perenniol not making the sort of horror film that is nods to my favorite films and the music I
,
Freddy fighter Heother Langenicomp just about the gore. Yes, we need adegree love. It has awkward masturbation and a
'
and others as well! of that, and it needs to be scary in places, song-and-dance and real-time tooth-
There are also plenty of new night- but at the same time, we want to take brushing, and a nine-minute shot where
I

,
rr>ores to explore, including ANNA- people on this experience. I believe that nothing happens. It shouldn’t work. But
BELLE, the much-awoited follow-up to horror audiences are much more intelli- somehow, bMause of it, I’m writing a col-
The Conjuring revealing the bockstory of gent than non-horror fans credit them for. umn for FANGORIA"
the deadly doll. Another origin tale is Personally, I think people can be inter- I meant the whole thing as a pep talk ,

explored in DRACULA UNTOLD, and ested in the horror, but also other facets but it ended up coming across as vaguely
we hit the set to get the gory details. of the culture, and that they'll be willing
Stephen King is reppM cinemoticoHy to come on the adventure, So I pivoted again. And again. At one
this fall with me domestic chiller A FANG: Wbat would you like to do next, point going all the way back to wandering
GOOD MARRIAGE; we'll chat with whether it’s another Dead film or not? in on my father watching The Hills Have
director Peter Askin about the adap- FORD: Ihave to say, we're not going to do Eyes when 1 was 4, and how he decided
tation. King's son Joe Hill sees his first another Dead film immediately. Both Jon that w e tell ic
big-screen treatment with Alexandre and I want to do something Afferent. If day 1 was going to die. But I definitely
A|a's HORNS starring Daniel Rad- enough people support The Dead 2, then didn’t have time to dig that deep.
cliffe, for which we’lf present on on- we will come back and do a third one and And now here I am. Up against an
locotion report. beyond. For oow, I have a thriller coming 1.800-word wall. Ignoring my own advice.
^
Then we'll talk to Eduardo up that I’m hoping to shoot later this year. Strug^ng against my limitations. Show-
"Sanchez about his Bigfoot bash It’s a visceral story about a mother ing the monster too much. Stitching all of
^_EXISTS and a holf-dozen of the searching for her missing child in a for- n^ incongruous ramblings into one Frank-
filmmakers behind ABCs OF eign landscape. Jon wrote a revenge enstein's monster and pointing out the
^ DEATH 2. On the musical tip, look thriller that is a very interesting drama. seams. This whole effort may just be a
lorRichard Band discussing his early It's quite intense and quite different. We cheap, meta. bridge-burning, fkce-flat fail-

horror Kores and a sit-down with lOSS both want to do these other movies, and ure. But at least it has my stink all over
stalwart Ace Frehley. Wake up and then we'll potentially come back together it.And even though this opportunity was
pick up FANGORIA #337! for The Dead 3. But quite hooestly, if peo- a perfectly lovely treehouse, I was always
ple don’t want to see another Dead, we going to try to turn it into a spaceship.

ON SALE OCTOBER IN are happy to not go to some land where


www.fangoria.com we’re nearly going to die. They could let
us off the hook here!
GUEST
(continuedfrom page 31)
HDBT (continued from page 34)

just timi ng in general.


With The Guest, it was really important
not to lose the characters wi thin the action
was going to happen. How it happened
was very different, because they put in
little explosive caps and used five or six
SUBSCRIBE
scenes. I wanted to make sure, especially
during the main shootout at the end, that
we didn't lose David within all that, and
could still see what he was thinking and
cameras on that scene. So [the cast]
should have guessed somethingwas going
to happen, because you don't use that
many cameras unless you want to really
TODAY!
Ydd’u Snna With Dcucht
feeling. That's part of the fun: watching catch something.
your characters react to the situations FANG: One thing that gets lost in discus- When You Rem
they’re in, and how they handle them. sions of the technical aspects of the
That can raise the stakes on an action chestburster scene is the importance of
scene, as long as you keep the characters your performance in it. Your acting, as
the focus and not just the spectacle. much as the FX, truly makes it effective.
FAlfG; In your quest to make films that If it had been acted badly, it would have
are purely entertaining, are they ever been laudable, but because the audience
also personal? believes you’re choking in agony, it's har-
BAIUIETT: I tend to read “personal’ as rowing and difficult to watch long before
equating to self-indulgent. The funny the Allen emerges. How did you prepare
thing is, I had an idea simil ar to The Guest for that?
a long time ago, and that project was very HURT Acting is an imaginative exercise,
self-indulgent. 1 stopped writing it be- in whatever you do. Of course there are
cause 1 realized no one would want to see all sorts of technicalities and this and
it. It was very dark and kind of pointless. that, but you do have to play it—you're
I see a ton of movies, and as a viewer, I'm quite right. So how do you do that?
constantly insulted and disappointed by Well. ..you imagine. You imagine you're
how bad they are. particularly genre films. being poisoned from the inside or some-
That's the main, motivating thing. That's thing like that. Something's growing in
the creative spark of every story I write you
— “I cant amr gghhh ," you know? The current boom in horror shows no sign
for Adam, and that we work on together But that's what I do. I'm not a docton I of subsiding, and the world's longest-run-
I’m sure there is some of my personal- don't understand someone’s illness, I'm ning fright magazine is the one place to gel
ity in The Guest, but there's also a lot of an actor —
I only understand what hap- all the gory details! Quite simply, FANGO-
RIA is truly THE magazine of movie terrorl
Dan Stevens and Maika Monroe (who pens to that character.
Vh gotta have It—every issue!
plays Anna| A big part of being a screen-
. FANG: There was a truly lovely thingyou
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writer is getting excited about collabo- said a few years back, I believe for a Dun-
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blueprint for an artistic vision. from playing cowboys and Indians.’ ing S45.43 off the newsstand price.
FANG: Adam, similarly, are these film s HURT Oh yes! Essentially, that’s what it Wicked Subscription Offer #2: Or, If
personal in terms of how you craft them? is. Exactly that I got castigated for say- you want only a taste of poison and not the
WINGARD: I feel like I'm able to under- ing that by Lindsay Anderson [director of
stand more after the fact, when 1 see the if.,, sad 0 Lucky Man!]. He heard me say

final prodnct put together. 1 start noticing it, and he went, ‘John, how dare you sag

character traits Simon and 1 are both that? How dare you be so outrageous? A
attracted to thatspeak to where we’re at. ridiculous remarkr And I remember say-
The character of Luke [Brendan Meyer] ing, “Hey. Lindsay, it's all right, but it is FANGORIA'Subscriptien
was based both on experiences I had grow- basically that." There are all sorts of
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ing up I had situations with bullies when sophisticated edges to it, but the essen-

I first entered junior hi^ —


and also quite tial thin g for an actor is to have an imag-
a bit on my younger brothers. So there are ination. It's not to do with “character,”
a lot of things I bring to it like that it's to do with the situation you're m. uCHscover JMssierCard
If you watch Simon's and my stuff, You're about to die, bow do you feel?
many things are based on a relationship You're about to die in flame, bow do you
with some sort of deception. I don't know feel? If you’re about to die because you've
if that's because that's how Simon and I got something inside your gut. how do
subconscious^ feel about ourselves we — you feel?
think we have trouble in relationships FANG: If the perfect genre script could
(faupAsI — but I feel strangely like The fall at your feet, what would it be?
Guest comes full circle that way. Starting HURT Of a genre... I guess The Origin of
with A Horrible Wag to Die and through the Species 'HSS always interesting. That’s
The Guest, I think you'll see there's an arc. a genre film. I tend to lean toward the
There's that theme going through them, reasonable. 1 look for logic. But then, the
and it progressively changes in some longer I live, I realize there’s less logic
ways. Our archetype changed from A] than you ever thought there was. If we
Bowen to Dan Stevens, but the movies thin k about the origin of bacteria, we
have also gotten strange^ lifter as well. know it comes from the tails of comets. It
With a lot of this stuff, only when the seems to me that this globe is influ-
smoke clears later and I'm in a complete- enced. ..by that which we do not know.
ly different headspace do I realize, “Oh my And we then profess to know about that
God, even though they seem like straight- which we do not know.
up genre movies, there's a lot of hi^ra FANG: Wonderful. Now there is a beauti- 3E OIM.INEATWWWF>
personal symbolism in there.’ ful place to leave it.
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