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).
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.
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.
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.
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.
Last we heard about Monsters: Dark Continent an April release date was announced. Now we’ve got the specifics: on April 17th the massive-looking sequel for Garth Edwards’ feature debut Monsters will be unleashed.
This time Tom Green (UK show Misfits) will be directing, with Edwards acting as executive producer. From what we’ve seen in the trailer, the tone of Dark Continent looks really interesting, with a tale of soldiers taking on giant monsters in the Middle East. It’s going to be a tough act to juggle but so far it looks pretty awesome.
“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.“
Hollywood is all about the franchise, and tapping into our inner child. While most remakes or sequels to films form our beloved childhood, they’ve also started desperate attempts at turning just about anything into a movie.
Remember Battleship? Or how about Ouija?
The latter is more important here as Terror Trove shares a series of art that imagine childhood board games as horror movie posters. It’s a spectacular concept…
All Artwork by Alec Pezzano, Zack Smith and Michelle Massimilla
One of my absolute favorite bands from the past several years is the Norwegian prog rock/metal group Leprous. Their 2011 album Bilateral absolutely blew me away and the follow up, Coal, is an album I still listen to very often. That’s why I’m extremely excited that the band is hard at work on a new album called The Congregation.
The band today released the artwork and track listing for the album and I’m now even more excited. While Bilateral had a very colorful and playful cover, which matched the almost joyous manner of the music, Coal had a more stark cover, using only black and white, which reflected the more mature and serious tone of the album. Now, The Congregation takes things one step further with an album cover that is gruesome yet fascinating, showing some sort of desiccated, almost mummified creature that is entirely unexplainable. It was designed by French artist Nihil.
The band simply states:
The artwork represents the album’s dark theme very well by showing deformation and disturbance.
Leprous recorded all instruments for the album in Sweden’s Fascination Street / Ghostward Studios with David Castillo (Katatonia, Opeth) and the vocals together with Heidi Solberg Tveitan & Vegard Tveitan at Mnemosyne Studios in Norway. Just like the preceding albums Bilateral and Coal, The Congregation was mixed by Jens Bogren at Fascination Street Studios (Symphony X, Kreator).
1. The Price
2. Third Law
4. The Flood
6. Within My Fence
Indie developer Cowardly Creations has gifted us with another deliciously old school trailer for their retro survival horror game Uncanny Valley. The game is scheduled to arrive next month for PC, you can even pre-order it now, if you like.
For the unfamiliar, Uncanny Valley is very much a love letter to the survival horror games of old. It follows Tom, a security guard working the graveyard shift at a mysterious facility. In an effort to better understand the place he’s been stationed to protect, Tom decides to start exploring.
Then, things get spooky.
The Drac Pack is back, on this new poster!
Sony Pictures Animation shared this new one-sheet for Hotel Transylvania 2, which will introduce Oscar-, Tony-, Grammy- and Emmy-winning writer, director, performer, composer and producer Mel Brooks in the sequel to the 2012 worldwide hit. You can also revisit the first teaser trailer here.
I quite enjoyed the first film, which I saw at TIFF back in 2012.
“Dracula, Mavis, Jonathan and all of their monster friends are back in the brand new comedy adventure: when the old-old-old-fashioned vampire Vlad arrives at the hotel for an impromptu family get-together, Hotel Transylvania is in for a comic collision of supernatural old-school and modern day cool.”
Hotel Transylvania 2 is slated for a September 25, 2015 release, and is being directed by Genndy Tartakovsky, produced by Michelle Murdocca, executive-produced by Sandler, Allen Covert, and Ben Waisbren, and written by Robert Smigel.
The fifth season of The Walking Dead” comes to an end Sunday, and AMC is going to force you to watch “Talking Dead” in order to catch the premiere of the spinoff’s promo.
On the heels of news that AMC has picked up two seasons of “The Walking Dead” companion series, AMC will share the first ever look at the pilot presentation of the tentatively titled “Fear The Walking Dead” during “Talking Dead” this coming Sunday at 10:30pm EST.
In the series, Kim Dickens stars as Miranda and Cliff Curtis as Sean.
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. The show’s 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).
Photo Credit: Justin Lubin/AMC
Capcom has finally released the content that came with the Resident Evil 5 “Gold Edition” on Steam as a part of the newly available Untold Stories bundle. For just one easy payment of $14.99, you can get both of the game’s story expansions — Lost in Nightmares and Desperate Escape — as well as The Mercenaries Reunion and some new costumes. You’ll also get the terrible idea that was its competitive Versus mode!
I didn’t love Desperate Escape, but Lost in Nightmares is a lot of fun, especially if you play it on the hardest difficulty, which effectively removes the radar. I only recommend you try that if you have a friend to play it with, because you’ll definitely want to be able to hear your friend scream when she gets grabbed by one of those anchor monsters. Good times.
Because alliteration is the shit, Steam is holding a Sega Super Sale that seriously slashes the prices of some games, including a single spooky scary… something — alright, you get it. Alien: Isolation is just $12.49 on Steam (reg. $49.99), its season pass is $14.99 (reg. $29.99), and they’ll remain that way until the sale ends on March 30.
Like what you just read? I haven’t even mentioned the other games that are also on sale this weekend. And I won’t, because that’d ruin the surprise. What surprise? This surprise.
Casting Henry Rollins as a weary, indifferent cannibal is as inspiring as it gets. If you’ve seen Rollins in any of his acting roles (Devil’s Tomb, Sons of Anarchy, hell, even Kroll Show), you’ll know he emits a menacing air every time. He’s aware of his legendary persona and isn’t afraid to have fun with it. Even in Heat, where he shared screen time with De Niro, Rollins effortlessly dominates a scene by just standing there and doing nothing at all.
In Jason Krawczyk’s He Never Died, Rollins’ intimidating persona is cleverly utilized to subvert expectations. He plays Jack, a somber loner whose disdain for the human race is palpable one. His past is only hinted at, as we gradually learn that he’s caused some seriously horrible shit back in the day and at this point would just rather avoid human contact altogether. The catch is he’s an immortal cannibal who needs to consume flesh/blood to survive. Begrudgingly, he feeds on black-market blood packs and as circumstances call, fresh human flesh as well.
Man, I’ve only been on the planet 32 years and I go out of my way to avoid human contact. Imagine being here for centuries? It’s no wonder Jack only leaves his apartment to hit up a diner or play bingo. This part fits Rollins and his dead-stare very, very well.
When a woman from his past resurfaces, Jack’s reclusive life is upheaved in spades. Turns out he has a teenage daughter named Andrea (Jordan Todosey) who’s as outgoing and excitable as he is withdrawn and misanthropic. This little angel could add some much-needed energy to his life, if he’d only let his guard down.
This family drama is balanced with the horror elements very well and Krawczyk’ displays an assured stance as a director. The problem is that the film has an overall feel of vagueness that allows the film to simply drift until its end. The film flirts with providing Jack with a mythology, but by the third or fourth time he is shot or tortured, it’s tough to feel sympathy. The concept is a very compelling one and the casting of Rollins is downright perfect, but He Never Died unfortunately suffers from an aimless vibe that leads to a terribly anticlimactic finish. Although there are some wicked interesting things going on in the film, it never feels cohesive or particularly gripping. Krawczyk is an assured director, there’s no doubt of that. If only He Never Died had a stronger story he would’ve had a better display for his filmmaking talents.