Well I’ll be damned, the ending to Kevin Smith’s Red State wasn’t supposed to suck. In fact, Smith reveals to EW his original scripted finale, which was then animated for affect.
Below you’ll see the video of what was supposed to happen in Red State, had Smith’s budget not been only $4 million, and instead were $12M.
In the final battle between Church and State, horns begin to blare. It’s explained in the movie that it was just kids playing a joke on the Church members. The original ending, well, it jumps the shark quite a bit, and I love it.
Originally, the audience is caught off guard when the Church members begin exploding one by one, and you think it’s the ATF blasting them. That is, until they explode as well. John Goodman’s character closes his eyes, and when he opens them he sees a giant angel (who Smith wanted to be Ben Affleck’s character from Dogma) and the Four Horseman of the Apocalypse riding across the sky.
How abso-fucking-lutely insane…
Animated by Dennis Fries and Dan Costales with sound design by Bobb Barito.
We now have several new clips from the phenomenal indie Spring, the stunning new genre-defying supernatural love story from directors Justin Benson and Aaron Moorhead (Resolution, V/H/S: Viral), now in theaters and on VOD nationwide from Drafthouse Films and FilmBuff.
“Evan (Lou Taylor Pucci, ‘Evil Dead,’ ‘Thumbsucker’) is a young American fleeing to Europe to escape his past. While backpacking along the Italian coast, everything changes during a stop at an idyllic Italian village, where he meets and instantly connects with the enchanting and mysterious Louise. A flirtatious romance begins to bloom between the two – however, Evan soon realizes that Louise has been harboring a monstrous, primordial secret that puts both their relationship and their lives in jeopardy.“
A few days ago Fox made it official that “The X-Files” will return, with David Duchovny and Gillian Anderson reprising their roles as Mulder and Scully.
Even bigger news was that creator/executive producer Chris Carter would be returning for the 6-episode mini.
X-Files News has been blessed with the first ever post-announcement interview with Carter, and has asked some very specific questions from colonization to cast.
December 22, 2012 was an intricate part of the series, which was teased through nine seasons and two movies. It was a focal point as the “colonization date” for the alien race, which Carter addresses, as well as whether or not we’ll see The Smoking Man’s (William B. Davis) return.
“I’ve thought about that,” he says referring to the colonization date. “I don’t know exactly how I’m going to address it, in a big way, a mild way, a modern way, a mention or a plot point.” Then he adds, “And of course you can’t avoid to deal with the William (arc) in some way or another.”
Carter also has plans for many returning characters, but it all depends on their availability.
“I have ideas for everyone,” he explains at the site’s mention of the possibility of having Mitch Pileggi, Annabeth Gish, and Robert Patrick reprise their iconic roles. “Their availability is subject to their regular paying jobs. Of course, I’d like to bring everyone possible back, but it’s who’s going to fit into the story and who’s available.”
When queried about the writers and producers that could join his team, Carter confirms that Glen Morgan will be coming back in a productorial position. “We’ve lured Darin Morgan and Jim Wong, we’re very excited about that and we’re working on the rest.” He adds. Hopefully we can get a confirmation on Frank Spotnitz soon enough. Chris Carter also mentions that there will be a nice mix of mythology and stand alone episodes.
You can read the entire interview here.
The adaptation of Capcom’s “Dead Rising: Watchtower” is now available for streaming on Sony’s Crackle, and has been embedded below for your immediate viewing pleasure. Talk about it in the comments and tell us what you think!
Dead Rising: Watchtower is written by Tim Carter (Sleeping Dogs) and follows a group of survivors who find themselves in the middle of a zombie apocalypse after a government vaccine fails to stop the infection.
The film stars Rob Riggle (The Daily Show) as photojournalist Frank West, Jesse Metcalfe (John Tucker Must Die), Virginia Madsen (Sideways), Dennis Haysbert (Wreck it Ralph) and Meghan Ory (Vampire High).
On tap right now we have an exclusive clip from the latest film from Eric England, Roadside. Pull over, crank up the sound, and dig it! Look for the film on DVD and Digital HD April 14th.
Ace Marrero, Katie Stegeman, and Lionel D. Carson star.
Dan and Mindy Summers are on a road trip along a desolate mountain highway when Dan is forced to exit the SUV to remove a dead tree blocking their path. Before he can get back inside, he and Mindy find themselves held hostage on the side of the road, trapped in their car by a mysterious, unseen gunman. They must fight for their lives in a sadistic game of cat and mouse set against a backdrop of numbing cold, pitch darkness, and raw terror. Dripping with suspense until the very last frame, Roadside offers massive thrills and a unique concept reminiscent of the films of Hitchcock.
Happy Friday, kids! On tap right now we have an exclusive clip from Adam MacDonald’s Backcountry (review) to go with your morning cup of joe. Knock it back and enjoy!
Reminiscent of true-life survival stories like 127 Hours and gritty animal encounter thrillers like The Grey, Backcountry follows an urban couple who embark on a camping trip in the Canadian backcountry. When they enter a predatory bear’s territory, their trip turns into an horrific tale of tragedy, will, and survival.
Based on a true story, BACKCOUNTRY follows an urban couple who go camping in the Canadian wilderness – where unimaginable beauty sits alongside our most primal fears. Alex (Jeff Roop) is a seasoned outdoorsman while Jenn (Missy Peregrym), a corporate lawyer, is not. After much convincing, and against her better judgment, she agrees to let him take her deep into a Provincial Park to one of his favorite spots – the secluded Blackfoot Trail.
On their first night, deep in the forest, they have an unsettling encounter with Brad (Eric Balfour), a strange alpha male with eyes for Jenn who may or may not be following them. Alex’s desire to quickly reach Blackfoot Trail only intensifies. They push farther and farther into the woods, Alex stubbornly insisting that he remembers the way. After three days their path disappears; they are hopelessly lost. Without food or water, they struggle to find their way back, the harsh conditions bringing out the best and worst in them, pushing their already fragile relationship to the breaking point.
When they realize they have entered a bear’s territory, being lost suddenly becomes the least of their problems. Terror, horror, will, and survival become paramount.
For the last several days we’ve been bringing you images from the upcoming film Nightlight, directed by Scott Beck and Bryan Woods. Today we have the final bit of eye candy along with an exclusive clip.
Look for the film in theaters and On Demand on March 27, 2015, via Lionsgate.
Shelby Young, Chloe Bridges, Carter Jenkins, Mitch Hewer, and Taylor Murphy star.
For years, the Covington forest has been shrouded in mystery with a dark past as a final destination for troubled youths. Undeterred by the news of a classmate who recently took his life in those woods, five teens journey into the forest for an evening of flashlight games and ghost stories. But their plans go awry when the friends awaken a demonic presence, an unseen evil that will seize upon their deepest fears—and plunge them into a nightmare of absolute terror.
Netflix, Redbox and other VOD outlets are killing entertainment, as it’s not about quality, but about quantity (units sold).
WWE Studios is already the worst at producing horror movies (Leprechaun: Origins is the latest fatality), and now they’re teaming with Gene Simmons of KISS to make one. Why? Not because Simmons is a horror expert, and not because WWE knows anything about the genre, but because with the wrestling audience and KISS fans they can sell a shit load of crappy movies.
Simmons, who is openly a money grubbing sellout, has formed Erebus Pictures with WWE Studios to finance and produce movies, says Variety.
The first production in a 3-picture deal (guaranteed to end after that) is Temple, written by Matt Savelloni.
“It follows a team of trained operatives who find themselves trapped inside an isolated military compound after its artificial intelligence is suddenly shut down — and then begin to experience strange and horrific phenomena.”
Again, this deal is about selling movies, not about art, which is why I guarantee these films are going to be trash. How confident am I? If I like Temple – and I’m an extremely honest guy who can admit when I’m wrong – I will print this article out, and take a video of me eating it. Literally, I’ll eat my words.
Even Simmons’ quote is weird, as it sounds as if he’s not even a horror fan*: “The horror genre continues to fascinate me as it proves to be endlessly thrilling and engaging for audiences.” So, the genre is fascinating because it’s thrilling and engaging for audiences, not Simmons. Why is he projecting outward? It’s a weird quote, if you ask me.
The kicker comes from Michael Luisi, president of WWE Studios, who swears this is a passion project.
“Horror films fall into a genre that thrives on genuine passion, and I believe this partnership truly capitalizes on that sentiment and supports our vision.”
Bloody readers may slam me in the comment section below, but I’ll be right. And if not, you can loop a video of me dipping this article in some salsa and forcing it down my throat.
*It should be noted that Simmons’ “Demon” persona was inspired by old horror comics, and he’s said he’s a fan of monsters movies and Godzilla in the past.
Given the showmanship of the WWE and the rock star ways of KISS’s Demon, Gene Simmons, we’ve got some news for you that’s guaranteed to bring on the chills! Read on for your first word about Erebus Pictures!
WWE Studios has announced a new partnership with media mogul Gene Simmons to launch label Erebus Pictures, which will finance and produce elevated horror movies. The new venture has locked a three-picture co-production deal starting with Temple, which was originally acquired and developed by WWE Studios.
Erebus Pictures, named after the Greek primordial deity representing the personification of darkness, will shop worldwide rights on all titles and will leverage WWE’s extensive platforms from weekly TV shows, including WWE’s flagship programs “Monday Night Raw” and “SmackDown,” digital, social media, and WWE Network to market its titles.
“The horror genre continues to fascinate me as it proves to be endlessly thrilling and engaging for audiences,” said the KISS icon, who has sold more than 100 million albums worldwide after nearly 41 years in rock ‘n roll and more than 8 seasons and 167 episodes on his own reality TV show. “I am so thrilled to be working with the masterminds from WWE Studios in launching Erebus Pictures.”
“Horror films fall into a genre that thrives on genuine passion, and I believe this partnership truly capitalizes on that sentiment and supports our vision,” said Michael Luisi, President of WWE Studios. “I am confident that Erebus will provide audiences with an unprecedented horror experience.”
Temple is written by Matt Savelloni (Exile To Babylon) and will follow a team of highly trained operatives who find themselves trapped inside an isolated military compound after its artificial intelligence is suddenly shut down. While investigating the source of the malfunction, the crew begins to experience strange and horrific phenomena as they attempt to uncover who or what killed the team previously stationed at the compound.
A director for Temple will be announced shortly with principal photography to take place this summer.
Erebus Pictures’ second feature will go into production later this year so expect lots more soon!
The post WWE and Gene Simmons Launch Genre Label; First Film Project Announced – Temple appeared first on Dread Central.
The season finale of “The Walking Dead” is shambling our way, and ScreenFad is reporting that we’ll be getting our first look at the tentatively titled series spinoff, “Fear the Walking Dead,” this Sunday during “The Talking Dead.”
As always “The Talking Dead” will air immediately after “The Walking Dead,” and the night’s guests will include both showrunner Scott Gimple and Norman Reedus.
The new series will be set in Los Angeles and focused on new characters and storylines. The show’s first season will consist of six one-hour episodes and premiere on AMC in late summer. The show’s second season will air in 2016.
Robert Kirkman, Gale Anne Hurd, Greg Nicotero, and David Alpert from “The Walking Dead” are executive producers of the new series, which, like the original, is being produced by AMC Studios. Dave Erickson (“Marco Polo,” “Sons of Anarchy”), who co-created and co-wrote the pilot with Kirkman, is an executive producer and showrunner.
The series will star Cliff Curtis (“Missing,” “Gang Related”), Kim Dickens (Gone Girl, “Sons of Anarchy”), Frank Dillane (Harry Potter and the Half-Blood Prince), and Alycia Debnam Carey (Into the Storm).
The post First Look at The Walking Dead Companion Series THIS SUNDAY! appeared first on Dread Central.
We’ve all seen the trailer, and speculation has run rampant regarding just how Terminator Genisys will tie in to the other films in the franchise. Today some new clues have come.
From the SlashFilm website:
“Terminator Genisys was described as not a traditional remake or a continuation or a sequel, but more of a reimagining — kind of like JJ Abrams’ Star Trek. The film will allow moviegoers to experience the story we have already seen, but in a different way. The story features a divergent timeline that goes off [in] an entirely different direction, and taking [us] down a road we’ve never been on before. This is not a direct sequel; there is no straight line from A to B.”
Make of that what you will! In Terminator Genisys Arnold Schwarzenegger stars as the T-800, Emilia Clarke as Sarah Conner, Jai Courtney as Kyle Reese, Jason Clarke as John Conner, and Matt Smith as John Conner’s ally. Byung-hun Lee, Aaron V. Williamson, Dayo Okeniyi, and J.K. Simmons also star. Alan Taylor directs.
When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline. Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: To reset the future…
The post So How Does Terminator Genisys Relate to the Original Films? New Details! appeared first on Dread Central.
We have the first poster and image gallery for No Escape, an action thriller starring Owen Wilson, Lake Bell and Pierce Brosnan.
In theaters September 2, 2015, “The story centers on an American businessman (Wilson) as he and his family settle into their new home in Southeast Asia. Suddenly finding themselves in the middle of a violent political uprising (i.e., a coup), they must frantically look for a safe escape as rebels mercilessly attack the city.”
Devil, The Poughkeepsie Tapes and As Above/So Below‘s John Erick Dowdle directed the movie and co-wrote it with his brother, Drew Dowdle.
With HP Lovecraft’s Reanimator being resurrected by Dynamite Comic as a comic book series starting on April 8th, we can also announce that Dynamite’s Reanimator is one theme for the Box Of Dread April 2015.
Sign ups for Box of Dread April 2015 ends on April 9th at 12 midnight EST / 9pm PST.
You have 2 ways to subscription to Box of Dread:
Dr. Herbert West, The Reanimator, returns! Setting up shop in New Orleans, the brilliant Dr. West continues his life’s work: the revival of the dead by purely chemical means. To accomplish this task, he recruits Susan Greene, a young and wide-eyed pharmacologist fascinated by his macabre experiments. Initially unfazed by West’s unorthodox practices (including how he funds his research – by selling zombie brain fluid as a narcotic), Susan may regret her scientific curiosity as sinister forces – those aligned with Elder Gods and Haitian Voodoo – begin to align against the Reanimator!
Dynamite Entertainment proudly resurrects The Reanimator, H.P Lovecraft’s notorious mad scientist, in a fear-fraught four-issue miniseries! Take what you love best about the television shows “Breaking Bad” and “The Walking Dead,” throw in Cthulhu tentacle terror and backwater Louisianan superstition, and you have the all-new horror comic hit of 2015!
Related Story: Dynamite’s Reanimator Variant Covers
Hurry, sign ups for April ends on April 9th at 12 midnight EST / 9pm PST.For even more pictures and videos, check out Box of Dread on Social Media!
The post Dynamite’s Reanimator Coming To Horror Subscription Box Of Dread April 2015 appeared first on Dread Central.
Bloody-Disgusting has exclusively learned that composer Frederik Wiedmann has been confirmed as the composer of the upcoming horror thriller Shut In. The film, which is in post-production, was directed by Adam Schindler and produced by Steven Schneider (Insidious, Paranormal Activity).
The film’s description from IMDb reads:
Anna [Beth Riesgraf] suffers from agoraphobia so crippling that when a trio of criminals break into her house, she cannot bring herself to flee. But what the intruders don’t realize is that agoraphobia is not her only psychosis.
Weidmann’s previous compositions include Return To House On Haunted Hill, Hostel III, Mirrors 2, and Hellraiser: Revelations, among others.
As uncomfortable as it eventually became watching a beloved series like Resident Evil stumble these past few years, there’s something to be said about its willingness to adapt. Unless there’s a massive dip in sales, it’s rare for a popular franchise like this to try something different. Capcom has had a worldwide presence for decades, so it’s easy to forget they’re still very much a Japanese institution, and with that comes a strict adherence to traditions.
This stubbornness can make inspiring change a deeply frustrating thing, but Resident Evil Revelations 2 is proof that it’s possible. We only need to be loud enough.
Revelations 2 continues the progress started by the ridiculously good Resident Evil remaster by inching the franchise even closer to its roots. Resident Evil is gradually re-adopting the concepts that were responsible for its early success as its publisher has begun the long process of realigning it with what fans of the genre want.
Horror is more popular now that it has been in some time, and you only need to look at its cyclical nature over the last two decades to realize there’s a solid chance the momentum it’s built up over the last few years won’t last much longer. That is, thankfully, a problem for our future selves to cry about, so let’s instead talk about Revelations 2.
Since its solid debut, we’ve enjoyed a weekly drip-feed of content that’s managed to build one of the more intriguing stories in the series’ history. The writing is more good than bad, and with it, Capcom has gone a long way in remedying a problem that’s lingered since 1996.
I had given up on expecting anything more than B-movie writing in Resident Evil. These low expectations made Revelations 2 taste all the sweeter, because it’s successful in ways that these games haven’t been in quite some time. It’s still far from perfect, but the more competent storytelling gives me hope that they’ll find a better hook for Resident Evil 7 than the series of explosions that made up the last three games.
Capcom’s decision to take the episodic approach with this had the potential to backfire. Had they been okay with only copying the formula Telltale made popular with their episodic games like The Walking Dead, even the most stunning of cliffhanger endings would not have been enough to carry interest from the first episode to the fourth.
The decision to release all four episodes a week apart kept this from becoming a problem, and it also made sure people with terrible memories, like me, were never given enough time to forget what happened in the last episode. This approach kept Resident Evil fresh in our minds until the next episode was ready to pick up where the last one left off. It was the video game equivalent of a TV mini-series, and it’s my hope that more developers of episodic titles will learn from this.
The renewed focus on several survival horror staples also made this a more effective horror game. Actual strategy is required whether you’re playing as Claire or the moderately more capable Barry.
This means conserving resources, and since that can only be achieved through the liberal use of each character’s partner — who comes with a nifty ability that lets them seek out and highlight precious hidden items — a feature that might not have been fully utilized otherwise becomes a real life-saver.
Resident Evil isn’t necessarily known for having a particularly competent AI, and Revelations 2 doesn’t even try to fix that. This might’ve been a serious issue, but it’s rarely more than a nuisance since the supporting cast are basically Genesis devices — the gadget that located hidden items in the first Revelations — who can also clumsily bludgeon some fools when the situation grows dire. Capcom essentially hid the bad AI by making them more useful to the player. It’s crude, but it works.
Puzzles and atmosphere also make their mostly triumphant return. The key word there is mostly, because while I did enjoy many of the puzzles, they’re a mixed bag until later into the season where they get more clever. The atmosphere is also considerably spookier than recent Resident Evil games, even though it suffers from a lack of inspiration. Or, maybe it’s too much inspiration that’s the problem, since Capcom’s idea of what’s scary seems to have been inspired by The Evil Within.
As important as the story is here, a considerable investment has been made to make sure players would have something to do between the release of new episodes. Ever since Resident Evil 4 first introduced the wave survival mode Mercenaries, Capcom hasn’t stopped improving on it. Clearing arenas of their monster hordes solo or with a friend has always been addictive, but some clever tweeks make its latest incarnation way more enjoyable.
The basics are still here, they’ve just been given an RPG twist. You choose your character and the load-out you’ll use to mow down copious amounts of ugly monster butts before choosing a mission. Each mission takes an environment from the campaign and populates it with familiar foes and a time limit. Once the time is up, the XP that’s rewarded following each monster massacre can be used to improve your character and their arsenal before you move on to conquer the next.
General skill and resourcefulness are as important as they ever were, and the inclusion of weapon mods and character skills will make sure players who aren’t particularly gifted at monster genocide still feel like they’re making progress. Getting rid of characters with predetermined load-outs to make room for the array of customization options also lets us form a more personal connection to the mode, and that feeling of actual visible progress is a great incentive to maintain interest.
Online co-op seems like a natural fit for all of this game, but that may be a feature Capcom is save for the totally hypothetical sequel. For now, the campaign is limited to couch co-op while the Raid mode is playable both locally and online. (Note: online co-op is currently only available on consoles. It won’t be an option on PC until the feature is added on March 31.)
As a first stab at experimenting with episodic delivery, this is a success. It does a lot of things right, and it’s just clever and refreshing enough for me to be willing to forgive its few frustrations. Capcom has the beginning of something special on their hands, and the sooner they realize it, the sooner we can start referring to this game as the first season of many.
The Final Word: Resident Evil Revelations 2 has a stereotypical understanding of what’s scary, but its surprisingly solid storytelling and a fantastically meaty Raid mode make this one a must-buy.
Superheaven has announced their upcoming album titled Ours Is Chrome due out May 4th on SideOneDummy Records. It will be the follow up to 2013′s Jar. Along with that the band has announced a North American tour with Diamond Youth and Rozwell Kid beginning May 15th in New York City. And finally to top it all off the band has also released a video for their first single off the album titled “I’ve Been Bored”.
Pre-order Ours Is Chrome here.
Surprisingly enough, Hotel Transylvania ended up being a lot of fun and was a perfect film with which to have your little ones cut their horror teeth early. Check out this new artwork for its sequel, Hotel Transylvania 2, and expect more soon!
Look for the film in theatres on September 25th from returning director Genndy Tartakovsky.
Everything seems to be changing for the better at Hotel Transylvania… Dracula’s rigid monster-only hotel policy has finally relaxed, opening up its doors to human guests. But behind closed coffins, Drac is worried that his adorable half-human, half-vampire grandson, Dennis, isn’t showing signs of being a vampire. So while Mavis is busy visiting her human in-laws with Johnny – and in for a major cultural shock of her own – “Vampa” Drac enlists his friends Frank, Murray, Wayne, and Griffin to put Dennis through a “monster-in-training” boot camp. But little do they know that Drac’s grumpy and very old, old, old school dad, Vlad, is about to pay a family visit to the hotel. And when Vlad finds out that his great-grandson is not a pure blood – and humans are now welcome at Hotel Transylvania – things are going to get batty!
The post Hotel Transylvania 2 – Drac’s Pack is Back in New Artwork appeared first on Dread Central.
In the upcoming darkly comedic thriller from Aussie director Kriv Stenders, Luke Hemsworth plays Dylan, a good guy caught in a bad situation. He falls for Alice, a sweet girl that lives in his small town, despite her being taken her sleazy, abusive boyfriend Jack. When Nathan starts to finally catch on to what’s happening, he orders a hit on his wife, leaving Dylan with no choice but to take up arms and avenge his love, leaving his naive self behind to become the kind of man that’s capable of taking lives. Full of interesting twists and turns, Kill Me Three Times is one of the most entertaining films in recent memory.
A few days ago, I was lucky enough to sit down and have a talk with Luke Hemsworth about his latest project. In the interview, Luke talks about what it’s like working with Alice Braga, what it’s like to work with firearms, and his love of surfing.
Kalyn Corrigan: How did you come to join this film? Were you approached by the director, or did your agent ask you to audition? What was the process like?
Luke Hemsworth: Uh, both actually. I spoke to Kriv and had a great little Skype chat with Kriv about the project and what we thought about it and kinda fell in love with him. And it didn’t really work for a little while and then I came back to do some chemistry reads with Alice and I’ve never met Alice before, but my brothers both had so it was kind of uh, there was a familiarity there, which was really easy. The chemistry was great, it was very relaxed and it felt right.
KC: Did she join first or did you?
LH: She’d been attached right from the start, I think. Maybe a year or two, they were trying to get the project up and running. Actually, when we met again she said our chemistry felt you know good and a little bit better than the others, so that was nice.
KC: Was that chemistry instant, or was it something that grew over the course of filming?
LH: I think both. I think there’s an instant chemistry. I think there’s always like, like the psychology of dogs. When you meet someone, there’s an initial reaction and then as you get to know them, things change, things deepen, or they go the other way. You can always kind of tell in those first few moments whether or not you’re gonna get along, and we got along, and then we became great friends.
KC: What kind of affect do you think that had on the film?
LH: I think a huge effect. I think it just makes everything so much easier when you spend so much time together waiting and talking and going through things and helping each other with scenes, and it just creates an underlying tone which can otherwise not be there. It definitely helped me.
KC: What was your relationship like with the rest of your costars? I know you worked with Callan Mulvey previously.
LH: Yeah, great, I love Cal. We’re still good friends to this day, we actually went to his, well, I didn’t go, but the rest of my family went to his son’s play recently. I loved the cast, we had a great relationship with Simon, Sullivan I’m still friends with as well. And Bryan Brown, I kind of felt like he was a member of my family, like he was my uncle or something. There was instantly an affinity there, yeah, odd and awesome at the same time. You spend your life looking at these people, emulating them, and all of a sudden you’re talking to them, and performing with them, and it’s a wonderful honor.
KC: I know that for some of your more recent work, you worked in America and in the U.K. so how nice was it to go back to Australia, and work with an Australian director?
LH: Oh, it’s amazing, yeah I love it. There’s a level of ease that comes with working in Australia that can be missed working in other places. Yeah, it’s just, that place, I felt a really kind of close connection to that land. I took my surf board, and I was out on the surf. I spent a lot of time surfing and exploring the countryside.
KC: Do you spend a lot of time surfing?
LH: Yeah, yeah, we always have. Up in the little surfing community, mom and dad still have a place there, and it’s something that’s always been a huge part of my life. I think it’s the one thing that keeps me calm. It makes me a better person, surfing, I think. It’s a great outlet.
KC: Yeah, like kind of cathartic?
LH: It’s very, very cathartic. That one thing, if you find that one thing you can do and think about nothing else, then that’s the key.
KC: Yeah. So I guess it’s a little bit easier to do that in Australia than it would be here?
LH: Yes and no, there’s great surf here, it can be a little bit more fickle. You have to chase it a little bit more and dodge the crowds, but there’s wonderful surf here.
KC: Did you have much experience with guns before this film?
LH: Um, very very little. I did a project with Cal, the Bikie Wars: Brothers in Arms and that was the first time I handled a gun, I think, and it was a big pump action shotgun.
LH: Yeah, and the subject matter was very touchy, but I think there’s a part of me who as a kid, who, you know, you love movies and you see those slow-mo action shots with bullets spinning out and we got to do that and that was great. But there’s another part of me that’s kind of really fearful of guns and getting too comfortable with them as well. There’s something about holding a gun that makes you stand differently, you know? When you’ve got a gun in your hand, you stand differently.
KC: Yeah, and you used a pistol more in this one.
LH: Yeah, even so, it’s tucked into your back pocket.
KC: How was that different from using a big shotgun?
LH: I don’t know. I mean, it doesn’t differ that much other than what you’re holding. There’s still a sense of danger, you know it’s a real weapon that can fire real bullets and you’ve got to have the respect and the fear, as well.
KC: Did you do a lot of training?
LH: We do a lot on set, you know. We don’t have to hit cans off of a fence, you know? (Laughs) It’s more about how to hold a gun, and how to point it, so you know. You’re never really pointing it at someone’s face. There’s camera tricks.
KC: Were there any films that you spoke of earlier that you saw when you were a kid that you took notes from?
LH: On how to hold guns? (Laughs)
KC: Yeah, to get that attitude down, for inspiration for your character?
LH: No, I think it just comes from when the gun comes out, there’s something in you that changes. That’s what comes through. There’s no part where I’m practicing in the mirror how cool I look this way. It was more about making it real and believable. He was a character who hadn’t had that much to do with weapons which was a great surprise for the film because he’s the one who gets to kill people.
KC: It’s more of like, a naive take?
LH: Exactly, yeah yeah. He’s kind of thrown into this situation which then snowballs out of control, and also, there’s a great kind of juxtaposition between him being a nice, caring simple guy and then being someone who’s able to kill people.
KC: So how did you prepare for this character?
LH: I mean, I prepared the same way I always prepare. It comes back to me, and how truthful I can be in the moment and I don’t ever go to the lengths of going to be a mechanic. Well, actually, I’ve been a mechanic, my first job was in a gas station changing tires and pumping gas. It was one of the last places, where we lived, that actually had people that would pump your gas for you and it was a small town, it wasn’t the beach but it was little town, everyone knew each other, the guys who were coming in, you knew, the motorcycle, not to touch, so you use those things. I used those feelings. But it’s more about being kind of present and focused at the time. There’s definitely work that goes into it but this was so close to my life and experience that it was kind of easy.
KC: Those are great skills to have.
LH: Yeah, yeah. And I think it’s part of being an actor, the more life skills you have, the better and easier it is to cross those boundaries.
KC: So, if you say that you’re going for a more truthful performance, then would you say that acting to you is more about stripping away than adding on?
LH: Yes, well, both. I’d say both. You add on and add on and add on, and then let it all fall away, and then hopefully there’s something left which is what’s…well, I don’t want to say right. I don’t think there’s ever a “right”, there’s good choices and bad choices but yeah, hopefully what comes through is me, there are parts of that that are so inherently me, and those are the bits that are confronting, crossing lines and boundaries. You know, am I capable of shooting someone? What would I be like if something like this happened? Those are questions that you don’t get to ask, which is the attractive part. You get to do things and say things that you never thought you would.
KC: Yeah, but perhaps you see a little bit of yourself in these characters?
LH: I think you have to, yeah. You don’t ever look at it from the third person point of view. You’ve gotta be in there, bringing you, otherwise you’re just copying something I guess.
KC: It’s not as authentic?
LH: Yeah, I guess sometimes. (Laughs)
KC: So, you were saying that you grew up in a little town in Australia. So what was that like?
LH: Amazing. We started out our childhood in a very remote Northern territory, which is right up at the top of Australia. In an aboriginal territory where we were one of two white families, and I mean, it’s great. Chris and I have had the experience of racism and living with people who are very poor, very little services, very little infrastructure out there, so it gives you kind of a unique view.
KC: Would you say that it helps keep you grounded?
LH: Yeah, sure. You know what? Yeah. I think we’re all pretty grounded. I don’t think we ever change, I mean, the nature of your relationship kind of changes, but we keep each other pretty grounded. I mean, we do normal things as well. Like I said, surfing is such a love of ours, surfing and motorcycles.
KC: Is that something that you do with your brothers?
LH: Yeah, yeah. We always have. We’ve always done a lot of surfing, dad and the boys.
KC: What was it like growing up in a house full of actors? Was it something that you inspired them, or they inspired you, because neither of your parents acted, right?
LH: No. And we’re still growing up now. I don’t think there was ever a point where I’m like ‘Wow, it’s so weird to be growing up in a family full of actors.’ It was just something that we did, and it was something that….it’s always Chris and me. It was a normal childhood, it was normal happy, playful childhood that’s the only way I can kind of describe it. It wasn’t a place where we were out of our minds performing at home or anything like that, we were just kids playing, a lot of the time.
KC: Okay, so really quick, let’s discuss your upcoming projects. You have Infini?
KC: What’s this film about?
LH: This is about a rescue team. We’re an elite rescue squad that go to a distant mining station to rescue a soldier and all hell breaks loose on that mining station, and it’s so cool.
KC: That sounds really exciting.
LH: It’s epic. Shane Abbess who directed Gabriel, he directed that and he’s a madman. He’s one of the best, craziest ways of working and he kind of changed me in a lot of ways, I think, that film,
KC: How so?
LH: It just made me question the way I was going about things and a much deeper involvement than in before projects.
KC: Do you have a release date set yet? Or, when can we expect to see this?
LH: Yeah, it’s like May 6th, I think? It’s all dropping on May 6th. That, and I’m doing Westworld as well, which is HBO’s new show. It’s based on the old Yul Brynner film by Michael Chrichton and it’s about cowboys who are robots. It’s a theme park and you can go and pay your money to draw weapons on robots, and the robots start to awaken. It’s awesome.
KC: I look forward to both of those.
Los Angeles area fans of The Exorcist have a real treat heading their way in April as Ten Thirty One Productions has announced a second special movie night on the 17th after its inaugural event (a Friday the 13th screening on March 13th) SOLD OUT in just six days. Read on for the details!
From the Press Release:
The creators of the Great Horror Campout announced today a second outdoor movie night for their fans with a screening of The Exorcist on April 17th in Griffith Park. None other than the Great Horror Campout’s Camp Headmaster will host the upcoming event.
The Great Horror Campout, which debuted in 2013 as a 12-hour overnight immersive horror camping adventure, is bringing interactive filmmaking to its fans for a second time in 2015. The first Friday the 13th screening was widely received at their first Griffith Park movie night, selling out in 6 days.
“Horror isn’t a seasonal experience,” said Melissa Carbone, CEO of Ten Thirty One Productions. “We want to pull people’s brains out of that seasonal cage because there is nothing more exhilarating than the adrenaline rush that comes from this genre. Let’s feel that all year round, and let’s take the action off the screens and bring it into people’s personal space a little more than an average movie. Nobody can do that better than the Great Horror Campout’s Camp Headmaster.”
Moviegoers can expect pre-movie festivities, prizes, character interaction, and much more. Guests are encouraged to pack picnic baskets and blankets and to come early to get into the spirit of being scared. Additionally, Hellmasters (the elite campers who have won the coveted title at a past Great Horror Campout) will receive a special “Buy One Get One” discount and also receive reserved seating when they arrive on-site wearing their Hellmaster Sash. Tickets are on sale for $15 per person.
Ten Thirty One’s Great Horror Campout is due to return to Los Angeles on June 5-6, 2015. The company is offering a $10 ticket discount to the upcoming production if you purchase your GHC ticket on or before April 17th using the PROMO CODE: Exorcist. Get tickets now at www.greathorrorcampout.com.
Please note: We are expecting to sell out very quickly so advance ticket purchase is highly recommended. Seating is general admission and first-come/first-served. Blankets or low ground chairs are suggested as a courtesy to other guests. Masks, face paint, and prop weapons are prohibited for all guests safety. Film and pre-show content may not be suitable for all ages.
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We learned recently that Monsters: Dark Continent would be premiering on April 17th via Radius-TWC. Today we have the first official bit of artwork, and it’s pretty damned nifty! Check it out!
Tom Green takes the helm of Monsters: Dark Continent while the original film’s director, Gareth Edwards, assumes the role of executive producer along with Scoot McNairy.
Ten years on from the events of Monsters, and the Infected Zones have spread worldwide. Two soldiers embark on a life-altering mission through the dark heart of monster territory in the deserts of the Middle East. By the time they reach their goal, they will have been forced to confront the fear that the true monsters on the planet may not be alien after all.
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