When it comes to aliens taking over the universe, there may not be a more bumbling team than the ragtag scumdogs known as GWAR. Yes, they manage to cause untold amounts of carnage and destruction, but having a base of operations in Antarctica? A bit too cold for me and it’s definitely too remote to actually get anything of substance done. Also, they’ve been around for a few decades and they still haven’t taken over any country, principality, province… Hell, they haven’t captured a damn zip code.
But you know what they have? Tenacity and tons of it. It’s always exciting to see what theses monstrosities will do, even in the face of terrible adversity. That’s why they’re getting an honorable spot in our Twisted Music Video Of The Week series!
We’re going to showcase their video for “Gor Gor”, which introduced what I thought would be the ultimate weapon against the human race. Alas, Gor Gor hasn’t been able to do much more than eat the occasional GWAR lackey, but that doesn’t make him any less badass!
So, without further ado, face the terror that is Gor Gor!
Alice has had enough. She’s finally decided that she’s not going to put up with her abusive boyfriend Jack any longer, especially when her lover Dylan is just waiting, ever so patently, to whisk her away to a better life. She puts her foot down and hits the road, but first, she makes a pit stop to see her friends, Nathan and Lucy Webb. Just when she thinks that she’s finally on the path to freedom, she’s yanked back into her nightmare by the people she thought she could trust the most. Kill Me Three Times shows just how far people can go when they need the money badly enough.
Full of life and clearly in love with her craft, Alice Braga is a very mesmerizing and intelligent woman. When we chatted a few days ago about her upcoming film Kill Me Three Times, it felt more like two girls getting coffee than a formal interview. While we sat and giggled our way through the conversation, Alice talked about her instant chemistry with Luke Hemsworth, her love of stunt work, and the importance of taking on fast-paced action roles as a woman in Hollywood.
Kalyn Corrigan: How did you go about signing onto this film? What was the process like? Did your agent ask you to audition, did the director come and speak with you and say he’s seen your previous work and he loves you? What was that whole process like?
Alice Braga: Laurence Malkin, he was one of the producers, one of the American producers, he’s my agent’s brother, and actually I got attached to the project, it came to me like years ago. I can’t even remember how many, but I think like four years ago maybe? It was a long, long, time ago, and they actually had another director attached to it, and we spoke. I was curious about it, it wasn’t certain, but time went by and when they attached Kriv to direct, they called me and said “Look, we have this director, it’s going to happen”, and they started pulling together a bunch of different actors which was super interesting, and I was already ready, in a way, for the project. So it came through the producer, and then it came together with my desire to work with Kriv, I’ve seen Boxing Day and I loved it, and Red Dog so it was interesting how it came about. I think it was meant to be, in a way, because I was the first one to be attached. Before everyone else.
KC: Before anyone? So what was it that drew you to the script? Was it the director mainly that made you want to do this film?
AB: I mean I was curious about the story when they told me a long, long time ago. The script was super different. Well, not super different, but it had changes, and got better and better and better, but when Kriv got attached, and Simon and everybody pulling together, it just became interesting in the sense of not knowing whether it was going to be a drama or a comedy but a halfway through and Simon’s such a phenomenal actor that it was just interesting to see what he was going to bring, and I think he brings it.
KC: Yeah, definitely. So, since you were the first to be attached, what was it like when Luke Hemsworth came along? Was there instant chemistry? Was it something that grew over the course of filming?
AB: I did a chemistry reading with different actors and Luke was one of them, and actually, funny enough I have the same manager that Luke has. I knew Chris [Hemsworth] before because he was around L.A., and I met him a couple of years before meeting Luke, so I knew of him and all that, but it was great, he’s such a wonderful guy. I remember when reading, he was very honest and truthful in the scene that we were doing and I really liked his work, and right away, there was a connection. On set, we became good friends because he was far away from his family, I was far away from my family, even though his family is in Australia, so it just came up like very natural and I think through mutual respect toward how we were facing the characters, I think Luke was very honest with his feelings in the character and in the moment, very truthful. So it was great, it was wonderful to work with him.
KC: Do you think that had a positive effect on the film?
AB: I think so, definitely, I mean I hope so (laughs). People are starting to see it now, because I’ve only spoken to managers and actors and agents and producers so you never know. It’s nice to have other people’s point of view, but I think so, definitely, yeah.
KC: What was it like filming the action scenes? There’s a lot of crazy stunts. Did you do any of those yourself?
AB: I did almost everything. There’s a stunt girl that did some, like she did the rolling down the hill one and all that because I couldn’t do it, she did a lot actually, but some of them I wanted to do myself, especially because of camera-wise and all that. It’s fun to make, especially. Apart from that, you bring more reality to it. I love those things, like for me, it’s like Disneyland. I’m like, “Let’s do it!” It’s like a kid playing in the playground. So yeah, it was a challenge, physically you need to be ready for it and not hurt yourself, but of course, I know my boundaries. But it was a lot of fun. I hope people can notice it’s me, then it’s worth it to go through it.
KC: Were there any stunts that you wanted to do that the crew was like “no, it’s too dangerous, you can’t!”
AB: Rolling down the hill. (Laughs)
KC: Yeah, you wanted to do that? (Laughs)
AB: I mean, it looked fun. I was like, “Let’s roll!” But they wouldn’t let me do it. I mean, there was a lot of rocks, they would never let me do it, and I would never do it. I’m just saying that to be cool. I’m kidding. (Laughs)
KC: So did you go through a lot of training for your action scenes, or was it just something that you did on your own time?
AB: I always train myself and I’ve done a lot of action films, so it was something that was natural for me. I work out normally and all that, even though in Australia I was a bit lazy, because it was just so beautiful I would go to the beach with wine in my bag and that’s it. But normally, I’m kind of ready for it. I did a couple of action films that kind of like made me be ready for these type of things, but for this one, no, I think it was just something that I threw myself into it.
KC: Yeah I’ve noticed, looking at your film resume, that there’s a lot of action films and a lot of fast-paced thrillers, so was is it that brings you back, that draws you to this genre?
AB: I love making films no matter what, I come from independent films in Brazil, very indie, small drama films and since I came to the U.S., that door opened, like I did I Am Legend, then I did Predators, then I did Repo Men. There were some type of films that came in my direction and the doors opened for me to work on these types of projects, and I think, especially being a foreigner, those were the types of films that were open for a foreigner, and that was very interesting. I kind of like doing the auditions and getting the parts so I think it was a happy coincidence. I have so much fun and I love them so much, and it’s great, because I got the chance to work with great directors and actors that helped me to learn a lot about acting, but also about these types of projects, so it’s fun.
KC: It’s really cool that you’re willing to take on those roles.
AB: I love it. And it’s so funny because sometimes I get like very strong and powerful women, and I look at myself, and I’m like, I am like 5’2 or 5’3 (laughs), and I’m like really? Me with a gun? Like in Predators I’m a sniper and I remember when we were filming, I was like “Who is gonna believe this? Guys, come on. Look at this rifle. This is not believable.” And everyone, after the film was released, all the fans and everyone were like “Oh my god!” They believed it! I was like “Oh thank god they believed it.” Because I’m just like 5’3, very short, very tiny girl. It was fun, it was great. I love these types of films. I think physically and emotionally it’s always good when you have to change yourself and mutate yourself through a character.
KC: And that’s so great that you’re willing to do that, and the definition of roles for women in Hollywood is growing and expanding in definition. So, how important is it for you to take on these roles that would normally be reserved for a man in the past?
AB: I think it’s great! I think we’re in a moment that there are so many good female characters, and so many chances, especially like for Latins, to do so many different types of roles. I mean of course there’s Latins in films, but now, it’s not necessarily critical for the character to be Latin, it doesn’t need to be said that this person has to be Latin, a Latin person might just take the role. And I think for women, it’s a wonderful moment. I just did a pilot for a series called Queen of the South that is for USA Network, which we’re gonna figured out if it’s going to get picked up, but it’s a female character and she’s Latin and it’s a very strong character that survives through escaping from the drug dealers that try to kill her and all that, and her own journey starts. You can see nowadays how many strong female characters are coming up as heroes through T.V. and through movies, and I think it’s wonderful. There’s so many ways that you can tell a story with a female lead and it’s wonderful. I think we’re in a nice moment. I hope it keeps going.
KC: Definitely, keep it rolling. What more can you tell me about the show, Queen of the South?
AB: Not much, actually. (Laughs) I told you basically all that I could. No, but, it’s based on a book by this Spanish writer Arturo Pérez-Reverte. He’s a really good writer, and it’s a very famous book, it’s been out for a long time. They tried to make a film I think five or six years ago, and it just approved for the series, and that’s it. It’s about this Mexican girl that lives in Mexico and suddenly her life just spins around she goes through a journey of going through the drug dealing, cocaine world.
KC: When can we expect to see this?
AB: I don’t know, I mean, if it gets picked up, I think October, but we’re still not sure. They haven’t started the tests, you know, with pilots it’s like let it float through the universe and pray.
KC: So, I’m very curious, since you worked with Neill Blomkamp before on Elysium, and he attached to direct the new Alien movie, is there any chance that you might make an appearance in this film?
AB: I haven’t talked to him in a long time, so I have no idea. I would love it if I could be attached to it, I would love to work with him again but I don’t know. I don’t know anything, actually. I was filming when I heard that he was attached to it and I was super happy because I think that Neill is such a young, bright talent. I think he’s so unique, and what he brought with District 9, he was so amazing, and having a chance to work with him on Elysium was such an honor because you see a guy that was like, I think 32 on set? But he was so secure and so passionate and so sure of what he wanted that it was inspiring. When I heard that he was doing Alien, I was so happy. One, for him, because I know how much he loves it, and two, for the project because I think he’s gonna bring a lot to it.
KC: Yeah, I think his style is gonna be great for that.
AB: Yes, I hope he hires me. Put it out there. (Laughs) I’m kidding.
KC: Are there any other upcoming projects that you’d like to discuss? I know you have By Way of Helena coming up.
AB: Yes, I did that last year with Liam Hemsworth, funny enough. I am all about the Hemsworth brothers. I love it. Liam is a sweetheart, we did that with Woody [Harrelson] as well. It’s a beautiful story, it’s a period piece so it was wonderful to get the chance to work with both of them, but especially, to do this project. But really, to see Liam in such a different role, I think people are going to be blown away by his performance. He’s a very beautiful, strong ranger and it’s a nice story. Very crazy. And Woody’s amazing.
Today, Dark Horse announce from Emerald City Comic Con a new creator-owned work from a concept by Joe Lansdale (Batman TAS) and written by Mark Miller for an October release date: Steam Man. It’s a crazy wild-west premise with some beautiful art by Piotr Kolwaski that blends multiple genres. The Old West (but not as we know it): Giant robots that run on steam power are created to take down invading Martians and armies of killer albino apes in an all-out brawl. The Steam Man, a giant metal man operated by a team of monster hunters, seems to have the town protected and the West under control, until a crazed and powerful vampire comes to town to bring forth the apocalypse.
Bloody-Disgusting got the chance to sit down with Joe and Mark to talk about this kitchen sink approach to writing horror, and what it’s like to bring more depth to the archetypes we all know and love.
Bloody-Disgusting: Joe, I’m sure there are a number of readers who either know you by now or know of the general path you’ve taken. Writer on Batman TAS to an accomplished novelist. Can you tell me a bit about how that road has taken you to The Steam Man? In what way is partnering with Dark Horse for “The Steam Man” a fulfillment of the new phase for you?
Joe Lansdale: This story is an older story. I’ve been doing comics for a long time. It’s been reprinted several times, and it was in a magazine called Steam Punk I never considered this story steam punk, I just wrote a story. I had no idea that’s what it was. But it was based on a lot of the dime novels that I’d read. In the early part of 20th century there was these dime novels. In those there were science fiction stories that were very steam oriented. People actually built a steam man, and that impressed people so much that writers began writing about the use of steam. There’s even a story where a villain is chasing Jesse James with steam driven horses. So all of that was there in my background, through all my research, and the things I’ve read. So one day I got the idea for this story and I thought, “Lets just see how outrageous we can make it.” Can we alternate universes, or collapsing universes? And let’s just take some known characters from fiction and see what we can throw together. Now we have the story adapted by Mark [Miller], for the world of comics.
BD: Your previous comics projects have been characterized by a love for the west. I get the feeling that “The Steam Man” is born out of some of the same interests, but what can you tell me about the series on the whole, and how does it deviate from what readers of your previous work might expect?
JL: Well if they thought some of the other stuff was weird that was just a warm up. This is a very strange story; in fact we had to restrain some of it to make it work the comic form. And it works beautifully. Not only is writing great, the art is great, and I think what they’re gonna look for and what they’re gonna see is something unique and something powerful. I think it works in the tradition I’ve already established a mixture of genres.
BD: Yeah I wanted ask you a little bit about your writing style, it’s often a kitchen sink approach, how do you tackle writing a project like this?
JL: Well I don’t think the voice is kitchen sink, but the ideas are. The earliest influences on me were comic books. Comic books always mixed things, they always had the kitchen sink approach. There would be mystery, science fiction, and morality lessons. It was everything mixed together. Batman used to use the fantasy idea of a time machine and go back to the old west to solve a crime. A lot of the characters at DC, and Marvel and a lot of the comics that came later use those devices and mixed those ideas naturally. So that impacted me greatly so as I moved into writing more fiction, and a cross hatch of literature, they went into a blender and when they came out they came out this natural mixture. I never sit down and think I’m going to mix western and science fiction; I just naturally gravitate toward that mixture. Even straight crime stories I write have a horrific feel.
BD: On the story side, this series is taking that manga idea of a giant monster-fighting robot to North America. How does a concept like that help push this story out from a sci-fi western on its own and into the world of crazy genre entertainment?
JL: This just naturally happens. I don’t plot; I don’t sit down and figure out what happens next. In fact I never know from day to day. My subconscious must. I go to bed at night. I get up in the morning and the story is there. I only work about 3 hours a day. I try to always end with a little juice left. So when I pick up where I left off I’ll sort my own problems out. Very rarely do I ever get stymied. It happens, but it doesn’t last long.
The idea comes from the steam man of the prairies. I took the concept and developed it in my way, but of the many influences manga didn’t play a part. All kinds of science fiction, like covers by Frank R Paul combined with the dime novel drawings of the steam man and the things that were written about using steam as our main power. Then of course other technology came along.
BD: The cover of the book is sharp and, I think, establishes an aesthetic for the series. What is the Wild West to you in general, and how does that idea bleed into the look and feel of “The Steam Man”?
JL: The Wild West to me is the idea of having that mythological place you can go that is always expanding west. That Turner idea of always expanding west, its not only mythological, I think it’s a human need. I think especially us Americans I think we’ve always had this longing to expand. I know when you get past the physical expansion you have the interior expansion of the imagination. A lot of writers are having their own expansion mentally. Then there’s the idea that we’ll go to other planets. We’re always trying to go somewhere new either internally or externally, and this is just an extension of that. But mostly it’s to me a hot-wired interesting, at least I hope, story.
Mark Miller: The Wild West, to me, is a great vast landscape of mythological projection. It’s the metaphor people use when they talk about anything that’s unhinged or untamed. Much like “Hitler” is the go-to example of as bad a person can get, the idea of The Wild West as a time of lawlessness and mayhem can be applied to subjects as diverse as the internet to retail. There isn’t really anything else in our consciousness quite like it. And the book very much partakes of that notion; there isn’t anything like it. It’s completely unhinged. The source material, Joe’s original short story The Steam Man of the Prairie and the Dark Rider Get Down did that in spades. So my job was simply to lasso that spirit and adapt it for the illustrated page.
BD: This series is taking the obsession with steam and embodying it in a living weapon. How does steam power change the world of “The Steam Man” and what does it do for the your characters?
MM: Something happens early on in the story that I won’t give away. But it blows the doors off of reality as we know it. From there on out, everything in the world is different. It changes the fabric of our characters’ lives and that’s where we find them; after this event, their lives forever altered. So they harness this power and, with it, try to affect some change in the world and in their own lives.
BD: The Steam Man, obviously drives everything that happens in his series. What about its personality helps to give the comic its identity?
MM: Steam Man is the creation of his maker: Captain Beedle. It’s Beedle’s drive, industriousness, and tenacity that inform Steam Man’s personality. Beedle won’t back down. He’s on the trail of some very bad customers and that he refuses to lose sight of, sometimes against his better judgment. Steam Man goes headlong into battle, often to his own detriment, but he will never back down.
BD: The Steam Man is operated by a team of monster hunters, in what ways do you want to flesh out their archetypes to make them real people with stakes in this story?
MM: The story is rooted in classic literature. There are a lot of references people are going to recognize. There are some that will only be caught by a few. But Joe drew the characters from deep wells, so the flesh was already on them. These are men with unique voices, appearances, and backgrounds. Each has as story to tell. Maybe we’ll get to tell those stories eventually. But they’re all fascinating men who, were it not for the new world order, would not necessarily be drawn together the way that they were.
BD: A big part of establishing the unique feel comes from your collaborators. What does working with Piotr Kowalski do in terms of establishing the world of “The Steam Man?”
MM: Piotr is a dream collaborator. Here’s a guy with so much talent it’s insane. I worked with him before on the Nightbreed comic and fell in love with his style there. So when the chance to work together again came up, it was a no-brainer. I wrote the scripts and handed them in, and then started to get these notes from Piotr about logistics and dimensions and layout and just about everything a writer could ask for when being teamed with a visual artist such as Piotr. I’m not that detail-oritented of a guy, which can be a challenge in comics. And I can say with 100% confidence that the comic book is better for having Piotr attached. Any time he had an idea or made a suggestion, it was always an improvement on what I had done. Joe’s story was all there. I translated it for the comic page. And then Piotr went in and did his thing which blew all of us away. The book is unlike anything I’ve ever seen. I wish every collaboration was this much fun!
With David Robert Mitchell’s It Follows starting its wide release today, many of you are going to want to bookmark this article to revisit once you’ve seen it. Until then, it should be avoided as it contains major spoilers.
The finale to It Follows is both controversial and unconventional. In fact, it’s so bizarre that it has audiences taking sides.
For those of you who need an explanation as to why the protagonists in the film are so fucking stupid, here’s your answer. They’re kids.
Mitchell speaks to Vulture about the final sequence in which the kids surround a pool with electrical devices in hopes of electrocuting? the creature. It’s a really stupid plan, but Mitchell’s reasoning behind it is completely sound.
“It’s the stupidest plan ever! [Laughs.] It’s a kid-movie plan, it’s something that Scooby-Doo and the gang might think of, and that was sort of the point. What would you do if you were confronted by a monster and found yourself trapped within a nightmare? Ultimately, you have to resort to some way of fighting it that’s accessible to you in the physical world, and that’s not really going to cut it. We kind of avoid any kind of traditional setup for that sequence, because in more traditional horror films, there might be a clue that would lead them to figure out a way to destroy this monster. I intentionally avoided placing those. Instead, they do their best to accomplish something, and we witness its failure. It’s probably a very non-conventional way of approaching the third-act confrontation, but we thought it was a fun way to deal with it.
In my review I speak to the fact that Mitchell’s It Follows furthers the genre. And this is exactly what I meant by that. The movie is completely refreshing in every aspect, including the bizarre, buzz-worthy finale that will end in serious theater-lobby discussions.
After you’ve seen the movie, what are your thoughts about the “Scooby-Doo gang’s” failed plan? Does this add a sense a realism to the movie or take you completely out of it?
“The Walking Dead” creator Robert Kirkman took to Twitter to confirm our previous scoop that the spinoff series to his acclaimed comic adaptation will in fact be titled “Fear The Walking Dead”!
AMC ordered two seasons of a spin-off series to be executive produced by Robert Kirkman, Gale Anne Hurd, Greg Nicotero and David Alpert.
AMC president Charles Collier has stated that the series will explore “what was going on in other parts of the zombie apocalypse, and what it looked like as the world really did ‘turn.’”
“Fear The Walking Dead” 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. Its second season will air in 2016.
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).
You can get your first sneak peak at the series during this Sunday’s “Talking Dead”, which airs after the Season 5 finale of “The Walking Dead”.
IT'S OFFICIAL! The walking dead companion show on AMC is called FEAR THE WALKING DEAD! Expect more news very soon! #FearTheWalkingDead
— Robert Kirkman (@RobertKirkman) March 27, 2015
Casting for the Texas Chain Saw Massacre prequel is revving up.
We exclusively broke the news back on Halloween that Julien Maury and Alexandre Bustillo, the duo behind the slasher masterpiece Inside (À l’intérieur), as well as Livide and the forthcoming Among the Living, will be helming Leatherface for Millienum and Lionsgate.
Now, we have received exclusive word that the great Stephen Dorff (Immortals, Blade, Judgment Night) is in talks to play ‘Texas Ranger Hal Hartman’ in the prequel to Tobe Hooper’s 1974 The Texas Chain Saw Massacre.
Dorff’s character is described to us as a lean, mean Texas Ranger who has a vendetta against the teen boy who grows up to become Leatherface.
We also learned that the TCM prequel is presented as a mystery of sorts about three teenage psychopaths, one of whom grows up to be Leatherface. Sam Strike was cast as ‘Jackson’, with James Bloor starring as ‘Ike’, a budding young maniac of his. There’s still a third to be cast, and only one will eventually become Leatherface.
Also, we at Bloody Disgusting exclusively reported that Angela Bettis was cast as Mother Sawyer in the film that begins shooting on May 18th.
Leatherface is being produced by Christa Campbell and Lati Grobman, alongside Carl Mazzocone after they successfully resurrected the franchise with the 2013 Texas Chainsaw 3D. Les Weldon is also a producer on the project, which is being executive produced by Millennium’s Avi Lerner, Trevor Short, Boaz Davidson, John Thompson, Mark Gill and Beth Bruckner O’Brien.
Mass Hysteria Art: ‘Night of the Living Dead’, ‘Dawn of the Dead’, ‘Carrie’, ‘Thriller’, and ‘The Descent’!
Gallery1988′s latest show takes on “Mass Hysteria”, and has resulted in a series of horror pieces from 100% Soft (Truck Torrence).
100% Soft, who is one of many to partake in the new themed gallery, included his favorite crowd scenes from pop culture – movies, tv, music, etc.
Check out his absolutely remarkable prints inspired by Night of the Living Dead, Dawn of the Dead, Carrie, Thriller, and The Descent.
All of these prints are still available on Gallery1988′s website.
All prints courtesy of 100% Soft.
When a film or television series goes to casting, they often use a fake name to cloak the production from eagle-eyed reporters like myself. With that said, the casting call for MTV’s Scream remake series isn’t cloaking anything, so maybe it’s actually going by the title “Hush”?
Thanks to Bloody reader Curtis Lord for a link to Project Casting, which states that MTV’s series is holding open casting in New Orleans under the pseudonym “Hush”.
“Hush” aka, Scream TV series, is looking for actors, models, and talent to play high school students, teachers and police. Filming will take place in Baton Rouge and will start in April through July.
Lord makes the observation that “Scream Queens” is set to premiere around the same time, and that maybe MTV is trying to avoid consumer confusion? We’ll update you when we know something firm.
The new MTV series centers around a a YouTube video going viral that soon leads to problems for the teenagers of Lakewood and serves as the catalyst for a murder that opens up a window to the town’s troubled past.
Starring Willa Fitzgerald, Taylor-Klaus, Bobby Campo, Connor Weil and Joel Gretsch, it’s said that the slasher TV series is for the social media generation.
Since its inception, we’ve all been trying to understand what Terminator Genisys is, exactly. Is it a remake, a reboot, a retread, a prequel or a sequel?
According to the film’s producers, who spoke with /Film on set in New Orleans during filming, it’s none of the above.
“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 an entirely different direction, and taking is down a road we’ve never been on before. This is not a direct sequel, there is no straight line from A to B.”
Typically, I scoff at such a notion, but with time travel and the way the Terminator films are presented, this makes a lot of sense to me. Had Arnold Schwarzenegger not reprised his role I would have found myself being way more skeptical.
In other news, here’s a brand new TV Spot that shows a ton of Arnie, in various incarnations.
In theaters July 1, 2015, “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…”
Terminator Genisys is directed by Alan Taylor (Thor: Dark World) and is produced by David Ellison and Dana Goldberg of Skydance Productions. The screenplay is by Laeta Kalorgridis (Avatar) & Patrick Lussier (Drive Angry). The film also stars J. K. Simmons, Dayo Okeniyi, Matt Smith, Courtney B. Vance and Byung-Hun Lee.
Warner Bros. is delivering the action from their post-apocalyptic thriller Mad Max: Fury Road right to your living room. Check out this new TV Spot that’s littered in explosions. They aren’t playing around with the Mad Max sequel, in theaters May 15, 2015.
Mad Max: Fury Road stars Charlize Theron (Prometheus) as Imperator Furiosa, and includes Tom Hardy, Nicholas Hoult (X-Men: Days of Future Past), Rosie Huntington-Whiteley (Transformers: Dark of the Moon), Zoë Kravitz (Divergent) and Josh Helman (Jack Reacher).
“Mad Max: Fury Road is the fourth film of George Miller‘s Road Warrior/Mad Max franchise co-written and directed by Miller. The post-apocalyptic action film is set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most everyone is crazed fighting for the necessities of life.
Within this world of fire and blood exist two rebels on the run who just might be able to restore order… There’s Max (Hardy), a man of action and a man of few words, who seeks peace of mind following the loss of his wife and child in the aftermath of the chaos.
And… Furiosa (Theron), a woman of action and a woman who believes her path to survival may be achieved if she can make it across the desert back to her childhood homeland.”
He’s killed zombies, declared his right as a human to be a screw up, and lifted the veil on a town’s secret society Bad Boys II style, but in his latest flick, Simon Pegg is just out for blood. He goes by Charlie Wolfe, which suits him, since he spends most of his time hunting, although his prey is usually walking around on two legs. As a hit man, Charlie’s line of work isn’t the cleanest to begin with, so when Jack, a bar owner with a bad temper, tells Charlie that he wants to use his services to get rid of his cheating wife, Charlie hesitates, but only for a moment. When he’s offered enough money, he agrees, and before he knows it, Charlie’s got in a web of thieves, murders, adulterers and scammers. Charlie might have walked into Eagle’s Nest as the baddest man in town, but he’ll leave with his tail between his legs before it’s over.
I caught up with Simon Pegg a few days ago, and we chatted briefly about his time as an assassin on the set of Kill Me Three Times. In the interview, we discuss what it’s like to play a villain, the legacy and cult following of Shaun of the Dead, and his collaborative process with screenwriter Doug Jung on the upcoming Star Trek 3.
Kalyn Corrigan: How did you go about joining this project? What was the process like?
Simon Pegg: Well, I got the script sent to me and I’d had a really sort of busy year in terms of travel. I’d been all over the world, and I’d spent a long time away from home, and it was the end of the year and I didn’t really want to go away again. Particularly, not to the other side of the world because it just felt like too much and I was planning on sort of just being with my family for the rest of the year. But, I read it, and it was a great script, and it felt like something I really wanted to do, a character that I wanted to play, so I said, “I’d like to do this, but can you shoot me out in two weeks?” Because that was sort of like not saying no, because I didn’t want to say no. And they said okay! So I started talking to Kriv on the phone and email just sort of getting Charlie’s sort of look and stuff, and I went out and did all of my stuff in one specific block, which I am eternally grateful for, because it meant that they had to shoot the beginning and the end of the movie in the same week, but it meant that I could do it. Sometimes when a script comes along, it’s hard to say no if it seems that fun.
KC: I know that you’re usually known for playing sweet and endearing nice guys in your films, so how much fun was it to play the villain?
SP: Oh it was great! I liked the fact that the movie asks you to sort of side with the most evil character, in a way. It’s like Charlie is the audience’s way into Eagle’s Nest and all of the other characters are sort of seen through his eyes. It was an interesting proposition to have the bad guy be the audience’s POV. I just really liked the idea of playing such an amoral bastard. He’s fun, even though he’s horrible.
KC: Yeah, by the end of the film I would definitely say that he’s probably the most morally sound character.
SP: Probably, yeah. (Laughs) At least he has principles. They’re warped and dreadful principles, but at least he sticks to them.
KC: Definitely. So, what was your relationship like with your costars?
SP: Oh we had a great time. It was one of those where we all hit the ground running. We all sort of arrived at the same time, and we were staying at a casino in Perth and all hanging out with each other. I really, immediately bonded with Sullivan Stapleton and Alice and Teresa. It’s fortunate when you get an ensemble group if you all gel because it just makes things a lot easier and a lot happier, you know? I think I’m a big believer in a happy set, meaning better work. And also having Bryan Brown, Bryan, who’s a bit of a legend. Not just an Aussie legend, but F/X, F/X2, Cocktail, to work with an elder statesman was great, and have him be nice, as well. You can kind of forgive older actors for being a bit jaded and sort of a bit unfriendly, but he was so lovely, which was nice. It was fortunate. That’s stage one, always, is “are we going to get on?” I think being away from home, we were all staying in Perth, all staying in the same hotel. Me and Sully and Luke used to go work out together, so you know, bonding. Bonding on the weights machines.
KC: So, in both Kill Me Three Times and Hot Fuzz, you seem pretty sure handed with a gun. So, did you undergo a lot of training, or is this something that you’ve been doing for a long time?
SP: I mean, we don’t really have any access to that kind of fire power at home in the U.K., but obviously when you do a film, even a comedy like Hot Fuzz, you’re trained with a weapon. So, I did a day’s training with a weapon for Kill Me Three Times. I had to look like I knew what I was doing so, with the big range rifle and even the smaller guns you got to look like you know how to use them. So, I had a fun day just firing those off, but if you gave me one now I wouldn’t know what to do with it. (Laughs)
KC: Or so you say.
SP: Yeah. (Laughs)
KC: Looking back at the legacy of Shaun of the Dead, what does it mean to you to have such a strong cult following over the last ten years, and especially the reception in America, which has been extremely positive?
SP: Yeah, it’s lovely. I mean you do each job and you never really know what will come off of each job. You can speculate and have faith in it, but you never really know if it’s gonna be a hit or a miss or what. I think Shaun of the Dead was a handy calling card for us, it was our first movie, so for it to be embraced like it was here has meant for huge opportunities which has been great, so I’ll always have a deep affection for that movie. And I think, what we were talking about, you know in the U.K. we grow up watching a lot of American culture, you know, a lot of American television. The U.K. television buys up American T.V. so, and obviously cinema, we watch a lot of. So, for us, we were speaking a language that I think the American audiences understood. It the zombie movie, which is an American tradition, we just sort of put it through the skewer of the British point of view, and I think that’s why it kind of hit, is because people got it. It didn’t feel foreign to the American audience. It felt familiar. So, to build up a cult following has been handy, to say the least.
KC: Are you and Edgar Wright working on a new trilogy perhaps?
SP: He’s emailing me today, saying “When can we talk? Can we meet?” And I’m like, “Yeah, but I’ve got a lot of stuff to do.” Uh, absolutely. I don’t know about a trilogy. I mean, Shaun of the Dead, we never knew that it would evolve into three movies, but when we made Hot Fuzz, we realized that we were able to to sort of like do variations on a theme, and then wrap it up quite neatly into a three movie series. The next film that we do won’t have to be banned by any of the rules that the Cornetto films were. They had to be set in the U.K., in a contemporary setting. The ones that follow, whether they are in a group or single, they won’t have to do that. It’s our oyster, kind of. I hope.
KC: With shows like The X-Files and Twin Peaks making a big return to television, do you think that there might be a chance that Spaced might jump on the bandwagon and come back to life?
SP: Yeah, that’s very exciting. Um, I don’t know. I think it would be very hard to get Edgar back to television now. Although, having said that, television is a far more cinematic thing than it used to be. Television series now are more like long form films, and the kind of actors that television attracts, you know, it seems to be where a lot of serious acting is happening. But to get Edgar back into a sitcom would be very difficult. Because, when you watch Spaced, you can see that he was always going to be a film director, and now he’s in the world that he was aiming at. And we couldn’t make Spaced without Edgar. I don’t know if it would be worth doing anyway, because it was about a very specific time in our lives, and we were speaking to a specific generation of people. I’m forty-five now, you know, Tim was like twenty-seven, so I don’t know if I could ever go back. It would have to be something for like, crusty millennials it would have to be as kind of relevant for old people.
KC: Well you don’t look a day over thirty.
SP: Bless your heart.
KC: So, you’re attached to write the upcoming Star Trek 3 film. Congratulations, that’s such an honor.
SP: Yeah, it is, thank you.
KC: So I was wondering, since you and Doug Jung are writing the script together, what’s the collaborative process with him like?
SP: Doug and I met for the first time a few weeks ago in London, and we kind of hit it off, fortunately, he’s a cool guy. We’re also working with a team of Bad Robot, with Lindsey Weber and Bryan Burk, who are friends we both know, and Justin Lin, obviously, who’s directing. It’s not an ideal way to work, to be, sort of like “okay, we need to make this film in four months, write it”. You have to kind of make it backwards. The production wants stuff. They’re like, “So what are we building? What are we designing?” We’re kind of having to come up with ideas and give them to production before we’re even sure that they’re the right ideas. But so far, it’s working out alright. Necessity is the mother of invention, and we’re in a very necessity type situation at the moment. I’m hoping to get to Bad Robot while I’m here and put in a few hours over there, and then Doug will come over to the U.K. next week and we’ll keep plugging away at it.
KC: Yeah, I was going to ask, do you spend a lot of time together? Or is it mainly on the phone, or on Skype?
SP: If I’m writing collaboratively, I want to be in the room with that person, because there’s just no substitute for it. I’ve had, before, when we started, this sort of creative meetings. I was on a conference call to Bad Robot, trying to get in to the conversation and not really being able to because I wasn’t in the room, you know. We will have to do a little bit of long distance stuff, because that’s just the way it is, but hopefully, as much as we can, we’ll be together in the room.
KC: Is it like, you write a couple of pages, and then he writes a couple of pages –
SP: We haven’t gotten that far yet. At the moment we’re fleshing out the outline. We’ve arrived at a story, and started to fill in the sort of detail, but until we get more specific, then we’ll be like, “you write that scene, I’ll write this scene”. It remains to be seen exactly how we’ll do it. It’s a learning process.
KC: So what is your process like Doug like vs. your writing process with Edgar Wright?
SP: Well with Edgar, we usually have a lot more time, for starters. It’s not like the sands of time are running out as they are with Star Trek. They want Star Trek out in 2016 because it’s the fiftieth anniversary, so, we are going into production in the summer no matter what. With Edgar, we’ll sit and talk, we’ll go away for the weekend together and just come up with ideas, and then we’ll sit and maybe just watch movies, just to get ourselves in the mood. And we live, or we did live close, now he lives here, but we usually get into an office together. We’ll put the script onto a big screen, and one of us will type and keep pace, and we swap and alternate, always in the same room, though.
KC: Always in the same room?
SP: Yeah, yeah. Because otherwise, if you’re doing stuff on your own, it’ll invariably change, because the collaborative process is compromise and meeting of minds. You might write a scene on your own and then give it to the other one and then they’ll change it, and then they send it back to you, and then you have to change it again, but if you’re in the same room together, that cuts out a lot of leg work.
KC: Has your process changed over the course of time?
SP: It’s evolved, I think. When I look back at Shaun of the Dead, it’s not changed that much, we’re just better at it, I think. We’re just technically better at the whole process.
KC: Yeah, you have it down to a T now.
SP: (Laughs) Yeah, we’ve written a few, so we kind of know how to do it, kind of thing. We’re not feeling our way as much as we did in the first place.
KC: Is there anything you can tell me about Star Trek 3?
SP: God no.
KC: Doesn’t hurt to try.
SP: (Laughs) There’s not much I know about it, to be honest. No, absolutely. And you know, J.J., as a producer of this film and a director of the others, has always instilled in us the importance of protecting the audience from themselves. You know, people kind of, even people who don’t want spoilers will kind of crave knowledge about things because they just want to know something going in. I think the best way to watch any film is to go in blind. In a way, trailers are detrimental to the experience of watching film. Something J.J. gets criticized for is that all he’s doing is trying to protect the experience of the audience, so they go in and they’re genuinely surprised by it. So you’ll hear nothing from me.
KC: So, what about your other upcoming projects? I read that you’re going to be in a film called Man Up.
SP: Yes, Man Up. It’s gonna be at Tribeca Film Festival, it’s out in the U.K. on May 29th. I did that with Lake Bell who is an American actress who does a very convincing British accent in the movie, she plays a Brit in the movie. She’s an amazing actress. That’s coming out.
KC: What’s that about?
SP: It’s an unashamedly traditional romantic comedy. It’s written by a writer called Tess Morris who wrote the script on Spec for Big Talk Productions who made Shaun of the Dead and Hot Fuzz, because she likes the production company. It was just a really, really fun romantic comedy that didn’t kind of apologize for what it was. In fact, it embraced what it was and as such is more honest, I think, and more enjoyable than any recent attempts at the genre where they’ve tried to undercut it or be subversive. The fact is, we know the journey of the romantic comedy, it’s the root we go to watch it for, it’s to see how they get to the end. And it was just a really appealing idea and it’s about a woman who accidentally, or purposely deceives a guy into thinking that she’s his blind date, because she is mistaken for his blind date she just thinks, “Oh, fuck it. I’m just gonna go along with it.” So they end up having this crazy night together and then the truth is out, and then, you know, love blossoms.
KC: That’s great. So, what can you tell me about Mission: Impossible 5?
SP: That we finished it.
KC: You did? Wow! (Laughs)
SP: We did, like two weeks ago, we wrapped, and the trailer just broke online, which is really exciting.
KC: It looks fantastic.
SP: Yeah, I think it’s gonna be great, I’m really excited about it. It was a real fun shoot. You know, I’ve played Benji three times now, and it’s really nice to keep coming back to him and seeing how he changes, because he’s gone on his own little journey through the last three movies, from being a schlub in the lab, to being a full on agent, and he’s still the same guy essentially. He’s still the guy who knows how to work the technical stuff, but you know, his experiences have informed his as well, so he’s not the sort of newbie that he was in Ghost Protocol. He’s been out there a little bit. He’s more of a bit more hardened, which is kind of cool to say.
KC: Yeah, a bit more of an action star.
SP: Yeah, he’s not as much of an ingenue, it doesn’t mean that he’s changed in any way.
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.