Movie News - Captain America : Our First Look

Here is the final concept art of what the Captain will look like. For the most part I like it. It just looks a bit weird with out his wings, but on the whole I think it's excellent.
Roll on pics of what The Red Skull looks like!

Movie News - First pictures from Vampire

Twitch dropped in on the set of Shunji Iwai's Vampire, a thriller about a blood-craving school teacher who seeks out suicidal ladies to sate his appetite. It's offering actor Kevin Zegers something different to chew on. You might recall his turns in Wrong Turn and Dawn of the Dead. Below you'll find a first look at the "vampire" he plays. Read Twitch's full report, and check out another image from the film, right here.

DVD News - Clash of the Titans (2010)

Warner Home Video has announced DVD and Blu-ray releases of Clash of the Titans (2010) for the 27th July. The only extra material on the DVD release will be additional scenes. The Blu-ray release will include the additional scenes, along with an exclusive alternate ending, a Sam Worthington: An Action Hero for the Ages featurette, and a Maximum Movie Mode with enhanced scene breakdowns, enhanced VFX breakdowns, on-the-spot vignettes, and more.

Movie News - Tony Jaa is finished

At one point Tony Jaa was the most exciting martial arts star on the planet. Then he became a big weird joke. And now he's done. Twitchfilm is reporting that Tony Jaa has quit filmmaking and become a monk in Thailand.

This doesn't necessarily mean his career is at an end, though. Twitch points out that it's not uncommon in Thai culture to take some time to join a monastery, and Jaa could eventually leave the religious life and return to kicking ass in movies, but it's unlikely that this will happen any time soon.

Jaa's career has been on a downward spiral; after demanding directorial control on Ong Bak 2 he got it, and turned in a movie with good action but really shitty everything else. I haven't seen Ong Bak 3 but hear that it's terrible - according to Twitch it's essentially a failure in Thailand.

Movie News - Guillermo Del Toro Leaves The Hobbit

Sad, sad news. I think everyone was very excited to see what Del Toro would bring to the table. Lets hope Jackson picks up the reigns...
Anyway, here is the press release.

“In light of ongoing delays in the setting of a start date for filming “The Hobbit,” I am faced with the hardest decision of my life”, says Guillermo. “After nearly two years of living, breathing and designing a world as rich as Tolkien’s Middle Earth, I must, with great regret, take leave from helming these wonderful pictures. I remain grateful to Peter, Fran and Philippa Boyens, New Line and Warner Brothers and to all my crew in New Zealand. I’ve been privileged to work in one of the greatest countries on earth with some of the best people ever in our craft and my life will be forever changed. The blessings have been plenty, but the mounting pressures of conflicting schedules have overwhelmed the time slot originally allocated for the project. Both as a co-writer and as a director, I wlsh the production nothing but the very best of luck and I will be first in line to see the finished product. I remain an ally to it and its makers, present and future, and fully support a smooth transition to a new director”.

“We feel very sad to see Guillermo leave the Hobbit, but he has kept us fully in the loop and we understand how the protracted development time on these two films, due to reasons beyond anyone’s control – has compromised his commitment to other long term projects”, says Executive Producer Peter Jackson. “The bottom line is that Guillermo just didn’t feel he could commit six years to living in New Zealand, exclusively making these films, when his original commitment was for three years. Guillermo is one of the most remarkable creative spirits I’ve ever encountered and it has been a complete joy working with him. Guillermo’s strong vision is engrained into the scripts and designs of these two films, which are extremely fortunate to be blessed with his creative DNA”.

“Guillermo is co-writing the Hobbit screenplays with Philippa Boyens, Fran Walsh and myself, and happily our writing partnership will continue for several more months, until the scripts are fine tuned and polished” says Jackson. “New Line and Warner Bros will sit down with us this week, to ensure a smooth and uneventful transition, as we secure a new director for the Hobbit. We do not anticipate any delay or disruption to ongoing pre-production work”.

I'm sure it wont be long before we see a few names thrown around...

Movie News - Conan : The Unseen!

This pic of Conan is one of the most amazing pieces of make up and costume design I've seen for the character. This was a make up test done by Warner bros. a while ago. Yes this is an actual pic, not a painting. It makes me sad when I see the on set pics of Conan currently filming, a nice pretty and clean Conan. not a grizzled and scared Conan like this bad ass to the right here. How could this of been over looked when it came time to sign off on the look of Conan???
I'm sad now.

Movie News - Judge Dredd

We've known for a while that work on a new JUDGE DREDD movie was underway - we've even gotten a glimpse at purported concept art from the project (HERE). But there were some key pieces missing...that're now starting to fall into place.

Mike Fleming says The Powers That Be have successfully financed the film, which has also found a director. Presumably, all of this is coming about in anticipation of pimping the project at Cannes over the next week or two.

Andrew Macdonald’s DNA Films has made a deal with India-based Reliance Big Entertainment and IM Global to finance Judge Dredd, a 3D film that was scripted by Alex Garland, and will be directed by Pete Travis,

..says Deadline HERE.

Scripter Alex Garland wrote 28 DAYS LATER, SUNSHINE, and that HALO movie which never got made. Pete Travis directed VANTAGE POINT (with Dennis Quaid, Matthew Fox, Forrest Whitaker and Sigourney Weaver).

They're evidently going back to the comic source material (HERE) as opposed to cannibalizing Stallone's 1995 movie...

DVD Review - Let the Right One In (R4)

Vampire films have captured the hearts and minds of cinemagoers since the advent of the medium, sparked by Max Schrek's iconic turn in F.W Murnau's 1922 feature Nosferatu in the first film adaptation of Bram Stoker's archetypal horror novel "Dracula". Over the years, the face, flavour and tone of the Dracula story has changed through countless iterations, from Tod Browning's 1930 version starring Bela Lugosi, to Francis Ford Coppola's 1993 feature starring Gary Oldman, and including comic, modern and action versions - Dracula Dead and Loving It, Dracula 2000, and Van Helsing respectively - however the mass appeal has remained. Indeed, the wider vampire legend has been heartily embraced by the film and television community in general, firmly entrenching the genre staple into popular consciousness through popular TV programs (some witty like Buffy the Vampire Slayer, some paint-by-numbers like Moonlight, some racy and fresh like True Blood), male-oriented action features (the three Blade films, the Underworld trilogy, 30 Days of Night, Daybreakers), period dramas (Interview With The Vampire), teen fare (The Lost Boys, the Buffy the Vampire Slayer film), shlock-horrors (From Dusk Til Dawn) and derivative romances (the Twilight saga, of course), and cementing the vampire as a cultural phenomenon.

Not to discount the appeal of the mass market fare, along the way a few truly unique offerings were crafted outside the popular vampire molud. Films such as George A Romero's Martin, Kathryn Bigelow's Near Dark, Guillermo del Toro's Cronos and Park Chan-wook's Thirst presented a different take on the age-old story, and each reinvented the genre as a result. With all things vampire back in flavour thanks to the current pre-teen obsession cultivated by Stephenie Meyer's inane books, thankfully innovation is still inherent in the vampire universe as illustrated by Swedish feature and instant classic, Let The Right One In (Låt den rätte komma in). The latest and greatest in the alternative vamp school of cinema, presenting an adolescent story with adult sensibilities populated with a cast of unknowns (no Robert Pattinson in sight), Let The Right One In is a critically applauded, culturally relevant, cult-status film that deservedly ranks amongst the best in the genre.

Whilst gazing out his bedroom window into the snowy night sky, twelve-year-old Oskar (Kåre Hedebrant, in his first film role) witnesses the arrival of a young girl and a man he assumes is her father. The next day they meet in person in the playground adjoining their apartment complex, with Oskar hopeful of befriending Eli (Lina Leandersson, again a newcomer to the silver screen) to fill the void left by his oft-working yet over-protective mother, weekend-only father, and school peers who torment him for being different. Though it is immediately apparent that Eli is not like other girls - disturbingly pale and malnourished, with a dark glint in her eyes, a supernatural grace to her movements, and a tendency to appear only at night - Oskar is able to see past these strange traits through his generousity, innocence and sole-minded quest for companionship. Bonding over a shared puzzle (a Rubik's cube infact, one of the only details to belie the film's early 1980's setting) Oskar and Eli forge an unlikely friendship - but when Eli's natural thirst threatens to destroy their bond (and their suburban community) Oskar is forced to confront the nature of their connection, and the life and death consequences possible as a result.

Preceding the current Swedish pop culture phenomenon (the novel-to-film translations of Steig Larsson's crime trilogy The Girl With The Dragon Tattoo, The Girl Who Played With Fire and The Girl Who Kicked The Hornet's Nest) seasoned director Tomas Alfredson's translation of John Ajvide Lindqvist's best-selling novel of the same name is complex, engaging and rewarding. Perfectly capturing the isolation, melancholy and innate cultural specificity of the literary source material despite the small but significant variations in narrative and lack of background depth transposed to the screen (by Lindqvist himself), it is more quiet, hopeful and romantic than the book with less of a traditional horror bent, but retains an unmistakable vampire essence nonetheless. Further, the child characters inject a sense of humanity in what is, at the most basic level, a very human story of connecting and finding one's place in the world. As much a moral as an emotional journey, the juxtapositions of violence and nature, survival and love, and sacrifice and acceptance, are subtle but richly-layered, infusing the narrative with depths beyond the standard vampire fare. Similarly, the director's stylistic choice to favour vivid imagery over rapid-fire dialogue ensures a level of restraint, reflection and even beauty not normally associated with the content, creating a finished product akin to an artistic masterpiece.

With the Hollywood remake Let Me In scheduled for a cinematic release later in 2010, directed by Cloverfield helmer Matt Reeves and starring Chloe Moretz (Kick Ass, (500) Days of Summer) and Australian Kodi Smit-McPhee (The Road, Romulus, My Father) in the lead roles, time is running out to discover this original, haunting and insightful coming-of-age vampire film before it forever lurks in the shadow of the mainstream copy. Truly a vampire film like no other, Let The Right One In is genre-breaking, poetically-framed, disturbingly and surprisingly sweet horror, and completely essential viewing.

The FilmMasons Interview - Ian Westley

The FilmMasons: First off let me thank you Ian for taking the time out of your busy schedule to do this interview.

Ian Westley: Thanks for asking me!


TFM: You have had a huge stage career, before we touch upon some of them, for you, what was the highlight?

IW: I have had many highlights, but I guess the top of the list would be winning Best Actor, Best Director, Best Original Script and Best Production for the first play I wrote (and first play I directed) at the Central Queensland Drama Festival in 2008. This play has since been made into a short film which will be completed later this year.


TFM: Most people know Allo Allo from repeats on television. How does such a long running series translate to stage, does it play like a lost episode, or is it a condensed version of the series?

IW:  It was actually a stage version which was first produced in Britain in 1986 and has toured the world. The stage version manages to incorporate all of the key characters from the TV series usual story line of Rene trying to hide a knockwurst sausage containing the portrait of the fallen Madonna with the big boobies. We managed to stay pretty true to the characters and were lucky enough to have a Gordon Kaye look a like in the role of Rene. I played Lt Gruber who we “camped up” more than usual for this production.


TFM: How did you approach Are you normal, Mr. Norman?

IW: That was an interesting one as I was originally cast in the role of the Dentist and changed just before rehearsals began. In reality I try and avoid dentists at all costs, so getting into character for the role was not difficult! The part where Norman goes insane was helped by my fellow actors. They were so believable they made the transition from terror to insanity easy.


TFM: How the West was Warped was a musical, are you as comfortable on stage with singing as you are with drama and comedy?

IW: Luckily for me (and the audience) I only had one small solo with the music so loud they could not here my voice! No, I am not as comfortable singing in stage, but it was such a fun role I soon overcame my anxieties and enjoyed every second of it.


TFM: Revelations (A choice of faith), was that your first film? How did you make the move from stage to screen?

IW: Actually Revelations was my fourth film. The Oxford Scholar was first. I mate wanted to shoot an idea he had come up with years ago and we did the whole thing in a few hours. My second short film was A choice of DUTY. I was back stage, prior to a performance, one night and one of the other actors said he knew a bloke who was doing a short film for his uni degree and needed an ugly bald biker for a role and would I be interested. After thinking about it for a split second I agreed. After that it was a matter of networking with the people involved in the local industry.


TFM: The Sharkmen is an Australian independent film, what can you tell about your involvement in the production.

IW: I had heard about the production and contacted Jason Gibson (the writer, director and producer) to see if there was any way I could get involved. Jason then cast me in a short film called Prelude, which is a kind of back story to Sharkmen. Jason then called me a month or so later and asked me if I would play the role of Gary Kurtzmann, the crime boss.


TFM: What is a typical day on the set of Sharkmen like?

IW: Because the whole movie was produced on a small budget and over a very short time frame (fourteen days) we had a very tough schedule. A typical day for me was arriving on location at 6:00, straight into make up then shoot all day until we lost the light (around 18:30 in Queensland). They were tough days but very rewarding. However, for me the days didn’t end there. I was also rehearsing How the West was Warped and a Charity Christmas Pantomime at the same time. So as soon as I wrapped for the day I was off to one rehearsal or the other.


TFM: Just Like U is currently filming, another independent production. Do you think productions such as these are the life blood of Australian cinema?

IW: Most definitely. If it wasn’t for these independent productions we would not have an industry. Independent productions allow actors, directors, producers, writers, DoP’s etc to showcase their talents, and do what they love doing, for an audience that would otherwise never see or hear of them.


TFM: If you had to choose, would you pick the screen or the stage?

IW: This is a question that I get asked a lot. I love the stage because of the instant feedback from the audience and the thrill of walking out into the lights. However, the screen does give you a wider range to do things that can’t be done on stage and you have the opportunity to be seen by a far bigger audience. You also have the DVD that will be with you (good or bad) for ever. I guess, if I really had to make a choice it would be screen, as I really don’t feel I have put my best performance on film yet and I am striving for that point of perfection (that will probably never come!)


TFM: What is your biggest piece of advice you can give someone starting out in the industry?

IW: Have a dream, set your goals, but be realistic. There are thousands of very talented actors out there, all striving for the same dream. The thing that I have learned is to network. As the old saying goes, it’s not what you know, but who you know and in this industry that is so true! Also, be reliable and honest. It’s a small industry and people will soon get to hear if you bullshit people or are unreliable. If you say you will do something, do it!


TFM: Do you have any projects lined up you can tell us about?

IW: I have just finished Just Like U and a play called Apollo Pacific. Next up is a short film I have written called Stupid, which we start shooting in a few weeks. I am also talking to a few people about a couple of features, but nothing concrete right now.


TFM: Ian Westley, thank you so much for your time.

IW: My pleasure.

Movie News - Men In Black 3

Okay, it seems to official now, although it must be pointed its only currently MAN in black, I'm sure they will be able to wave enough cash in front of Mr. Jones to get him to suit up again though. read on for the official press release from Columbia.



COLUMBIA PICTURES ANNOUNCES “MEN IN BLACK III” IN 3D MAY 25, 2012 Walter F. Parkes and Laurie MacDonald Reprise as Producers; Barry Sonnenfeld Returns to Direct Third Installment of Hit Franchise Steven Spielberg to Executive Produce

CULVER CITY, Calif., May 7, 2010 – Columbia Pictures announced today that Men in Black III will be released in 3D on May 25, 2012. Walter F. Parkes and Laurie MacDonald are returning to produce and Barry Sonnenfeld, who directed the first two installments of the blockbuster franchise, will direct the film from a screenplay written by Etan Cohen, based on the comic book by Lowell Cunningham. Steven Spielberg is set to executive produce.

Deals are set for Will Smith, Sonnenfeld and the producing team to return to the blockbuster franchise with the intent to begin production by this fall and the studio is in advanced negotiations with Tommy Lee Jones to reprise his role as Agent Kay. Josh Brolin is also in talks to star as a young Agent Kay.

Commenting on the announcement, Jeff Blake, Chairman of Sony Pictures Worldwide Marketing and Distribution said, “Sony’s summer of 2012 will get off to a red hot start with an incredible new 3D adventure for the Men in Black. We couldn’t be more excited that the original filmmaking team responsible for the first two worldwide hits is reuniting for this third installment. We love where the story is taking Agents Jay and Kay and know this new chapter will deliver a fresh fun twist for fans of the franchise while also introducing the Men in Black to a whole new generation of moviegoers.”

The first two Men in Black films, which were released in 1997 and 2002, went on to become two of the most successful films in Columbia Pictures history, taking in more than $1 billion combined worldwide. The first film in the franchise won an Academy Award(r) for Best Makeup and was nominated for two other Oscars(r).

Movie News - Scream 4 Site Has Gone Live

Something new to add to your "favorites" list...

Ghostface has marked his territory on the web once again. If you head on over to Scream-4.com, you'll find the official site for, well, Wes Craven's Scream 4. There's not much to see, but you can sign up for updates.

The film opens on April 15, 2011.

Movie News - Captain America Casting

Hugo Weaving Confirmed as the Red Skull in Marvel Studios’ CAPTAIN AMERICA: THE FIRST AVENGER
 
Marvel Studios announced today that Hugo Weaving has been cast to star as Johann Schmidt aka the Red Skull in the studio’s highly anticipated movie CAPTAIN AMERICA: THE FIRST AVENGER opposite Chris Evans and Hayley Atwell. In the early comics, Johann Schmidt was drafted into loyal service of The Third Reich and renamed “The Red Skull”. The character will be updated for the feature adaptation. Joe Johnston will direct the film penned by Christopher Markus & Stephen McFeely.

Marvel Studios’ Kevin Feige will produce CAPTAIN AMERICA: THE FIRST AVENGER. Alan Fine, Stan Lee, David Maisel and Louis D’Esposito will executive produce. The film will be released in the US on July 22, 2011 and distributed by Paramount Pictures.

CAPTAIN AMERICA: THE FIRST AVENGER will focus on the early days of the Marvel Universe when Steve Rogers volunteers to participate in an experimental program that turns him into the Super Soldier known as Captain America.

Weaving was last seen in THE WOLFMAN and his voice is very recognizable as Megatron from TRANSFORMERS and TRANSFORMERS: REVENGE OF THE FALLEN as well as Noah the Elder from HAPPY FEET. His other film credits include starring in V FOR VENDETTA, THE MATRIX franchise, and THE LORD OF THE RINGS trilogy.

In addition to CAPTAIN AMERICA: THE FIRST AVENGER, Marvel Studios will release a slate of films based on the Marvel characters including the highly anticipated sequel, IRON MAN 2, starring Robert Downey Jr. and Gwyneth Paltrow on May 7, 2010, THOR on May 6, 2011, and Marvel Studios’ THE AVENGERS on May 4, 2012.

Weaving is represented by CAA, Shanahan Management and attorney David Weber.

DVD News - Rambo : Extended Edition

Title: Rambo (IMDb)
Starring: Sylvester Stallone
Released: 27th July 2010
SRP: Prices TBC

Further Details:
Lionsgate Home Entertainment has announced DVD and Blu-ray releases of Rambo - Extended Cut for the 27th July. The film will include 9 extra uncut minutes. Each release will also include a 60 minute production diary. I've attached package artwork for the Canadian release. The US artwork should be virtually identical, albeit without the French translation on the sticker!

Movie News - The Power of the Dark Crystal : Australian Made!

A large step forward in the likelihood of a sequel to the 1982 fantasy movie The Dark Crystal took place today with the announcement of The Speirig Brothers (Daybreakers, Undead) to direct The Power of the Dark Crystal. In addition, The Jim Henson Company is partnering with the Australian production company Onmilab Media on the making of the movie.

Also revealed was the intention to film the movie in stereoscopic 3D, the same 3D technique used for Avatar. As was the case with the first Dark Crystal, Henson will create the film's puppets and strange alien creatures. Brian Froud is returning to work as the conceptual designer of the sequel while Brian Henson, Lisa Henson and Jason Lust are producing for Henson.

"Power of the Dark Crystal is an exciting and ambitious undertaking and, having worked on previous projects with the top-notch talent and crews that Australia offers, we know we have assembled the right team to deliver the sequel to one of the most enduringly popular titles in the Henson library," said Lisa Henson, CEO of The Jim Henson Company. "Peter Spierig and Michael Spierig are sure to create a film that will continue the legacy of the original and exceed the expectations of our loyal fans."

Originally announced four years ago and with Gennedy Tartakovsky (Star Wars: The Clone Wars) to direct, the premise of the sequel doesn't appear to have changed its shape much. The follow-up takes place hundreds of years after the events of The Dark Crystal on the planet Thra. A dark age has once again fallen on the world. A young woman who is made of fire teams with a male Gelfing outcast to take a piece of the Crystal and bring it to the center of Thra where it will reignite the dimming sun that exists at the center of the world.

"Power of the Dark Crystal will showcase the depth of talent Australia has to offer up on the international stage," said Omnilab CEO Christopher Mapp. "The Jim Henson Company has consistently delivered an amazing range of entertainment over generations and is an iconic creative studio that we are proud to have partner with us."

R.I.P - Lynn Redgrave : 1943-2010

The following statement has been released by the family.

Our beloved mother Lynn Rachel passed away peacefully after a seven-year journey with breast cancer. She lived, loved and worked harder than ever before. The endless memories she created as a mother, grandmother, writer, actor and friend will sustain us for the rest of our lives. Our entire family asks for privacy through this difficult time.

Redgrave worked steadily in theater and film throughout her brilliant career, and turned in so many indelible performances that it's impossible to name one as her defining moment.

Redgrave's vivacious willingness to work brought her into some interesting projects. I'll never forget watching her as Xaviera Hollander in THE HAPPY HOOKER at a woefully inappropriate age; even though the film was quite awful (while failing to deliver on the smutty promise of the material), Redgrave somehow managed to emerge from the debacle cheerfully unscathed. This was one of her gifts: though she appeared in a number of terrible films, she was never terrible in them.

Movie News - Thor Revealed

Here it is: the first photo of Chris Hemsworth playing Marvel's god of thunder, the mighty Thor.

Yahoo was given the exclusive and ran the photo early this morning. My first impression of Hemsworth and his costume is good: he looks somewhat -- but not completely -- in line with what a blonde-haired Norse godling should look like. As for the costume, it seems to be fairly faithful to the look that Thor sports in the Marvel comics.

I'm certain that a better image will come out, one showing Hemsworth looking at the camera, wearing his armored cap with its signature tiny white wings and gripping the handle of his magical hammer, Mjolnir.

Movie News - The First Look at Gargamel

I never thought this would happen, but, clearly, it has. At least he looks like him.... I guess. Something things just don't work live action.

Movie News - R.I.P Rambo

Stallone has been developing "Rambo 5: The Savage Hunt" for several months based on the novel "Hunter" by James Byron Huggins which he acquired a decade ago.

Now, he tells Empire that "I think Rambo's pretty well done. I don't think there will be any more. I'm about 99% sure... We're already working on an [Expendables] sequel."

'Hunt' would've proved a controversial entry as it revolved around a military project to develop savage super-soldiers and Rambo being called in to track and capture one who has escaped.

The FilmMasons Interview - Ozzie Devrish

The FilmMasons: You have a career that could have very easily gone two ways, looking back at what you have done, and are going to do, do you ever wish you hadn’t been injured and you had continued your AFL career?

Ozzie Devrish: At the time I was very young and confident, and really passionate about the game ... I had scouts following my every move and putting together offers so I always assumed I was going to have a great career in AFL and never considered anything else. Naturally, when the injury put a halt to everything I was heart-broken, but things happen for a reason and now I have a career that I love every bit as much as I loved AFL. I never look back on what could have been – I prefer to look forward to what could be.


TFM: How did your first acting job come about?

OD: I was working in security at the time and was approached to join an agency. The first role the agency gave me turned out to be the type of role new actors dream of! I was initially just an extra for the FF Chameleon 3 Dark Angel. Whilst on set they liked my look and I was upgraded from a crowd of 60 to a select crowd of 25 for close up's - then the Director spotted me in that crowd and upgraded me to IBI Smuggler. I didn’t even realise what that meant initially! It was only later that I learned I had gone from part of a crowd to a 1 ½ day shooting scene with the main cast, a gunshot wound, interrogations, and the camera right in my face. From that point on I was hooked!


TFM: On screen you play a hard arse, a tough guy and usually a bad guy. Do you think the bad guys in movies are the most fun to play?

OD: Definitely! Even the A list actors of Hollywood love the chance to play a bad guy - John Travolta in "From Paris with Love" and Cate Blanchett in “Robin Hood” have both said recently how much they enjoy stepping outside the bounds and getting to play tough roles. Shooting guns, car chases, action scenes, fighting with all types of weapons and getting to do some great stunts ... and get paid for it? It’s every guy’s dream! I thrive on it!


TFM: The Condemned is one of my guilty pleasures, you had a small un-credited part in the film, what was your typical day like on the set?

OD: It was a great experience, and it didn’t seem like work- my typical day was getting to play a great role and getting to talk to amazing people! There were some hard core guys there, especially the guys from WWE, but they were really helpful and were more than happy to pass on their experience and knowledge. Nathan Jones was great to work with – my scene was filmed in Boggo Road prison and he was telling me how ironic it was for him to be in a fighting scene in the same prison yard where he used to fight for survival during his time. He never thought he’d be back there getting paid to fight!


TFM: How did you find your recurring role on the television show ‘The Strip’ to day to day life on a film set?

OD: In terms of professionalism and respect shown, television was pretty much the same as any big production. TV works much faster because time is such a crucial factor. There isn’t much time to stand around. In film more time is spent on props, lighting and different angles so there is more time waiting for the set up to be right, locations can vary significantly from one shot to the next so there can be a lot of travel involved and of course everything is so much bigger. For example I was a featured pirate in PJ Hogan’s Peter Pan. The ship there took the up the entire studio at Warner Brothers and had intricate details that TV shows just don’t have time to consider - even bolt heads on the ship had a printed stamp logo on them!


TFM: How do you approach a characters personality even if you have very little dialogue?

OD: A character is much more than the words he or she speaks and dialogue is only a part of the whole picture. If the eyes and the body language don’t tell the right story the character will look wooden and unbelievable. You have to stay in the role and believe in it – I have seen actors for example who are looking around the minute they think the camera isn’t on them – it really diminishes the quality of the scene, and the quality of their acting when they step back into the scene. When I get a script I dissect my character so I know everything about him – what he is thinking, feeling, how he reacts, why he reacts, and then I am that man from the moment filming starts until the moment the Director makes it a wrap.


TFM: What’s your current opinion of how the Australian film industry is performing, I know of quite a few friends that haven’t worked in months, if not years.

OD: The film industry is very much neglected by the Australian Government. There are no real incentives for overseas film-makers to film here, despite the fact that it brings huge dollars into all sectors of the economy. Even a series like The Strip created 6 million in revenue and significantly boosted income for local businesses. The only thing holding the Australian Film Industry together at all is the small group of independent film-makers who will take the risk and go ahead in spite of the lack of support, rather than because of it. Ironically, Australian Film Distributors also neglect the market so when there is a great independent film made it inevitable ends up being sold overseas first and we are the last to see it. It really needs a shake-up.


TFM: ‘The Dark Lurking’ looks amazing, how many days were you shooting that for?

OD: The Dark Lurking had a small budget, so had to be filmed in blocks of 2 or 3 weeks over a 2 year time frame. The total filming time would have been around 10 days.


TFM: Can you run us through a typical day on the sets of ‘The Dark Lurking’?

OD: Everyone had to be ready for costume and make-up by around 6am each morning. Fortunately I was the only character that didn't have blood on me, so make-up wasn’t as time consuming as it was for some of the other actors so I’d spend the time getting a feel for the set and for whatever scenes were scheduled for shooting that day. After that was the Director’s briefing, a cold read of the day’s scenes with the actors, and then reading my script and getting into character whilst waiting for my call. Once make-up was done and everyone was comfortable with the upcoming scene then the fun began, crawling through tunnels, and battling creatures! By the time we got out of costume again it was usually a 10 to 12 hour day.


TFM: Currently in post-production is the new Chronicles of Narnia film, how did you feel the first time you walked on set?

OD: The Narnia set just took my breath away. It was very much the same ‘alternate world’ feeling as Peter Pan - if you were blind folded and put in the middle of the set you would feel like you were in a different place at a different time. Everything was so professional and so realistic – truckloads of dirt were brought in to give it the medieval feel and even the tiniest details were thought of. I can’t say much more about it at this point without breaking confidentiality, but it is going to be a really impressive movie. If you ever want to be on a natural high, a set like Narnia & other big productions is the place to be.


TFM: Maybe its unfair to compare, but what was your experience on the Narnia set like compared with something like The Dark Lurking?

OD: Obviously Narnia had a much bigger budget than The Dark Lurking, so they could have a level of efficiency that is just not possible on a small independent production. Narnia had approx 800 people involved, from all nations, and everything was expected to be the highest level of professionalism – set, make-up, costumes, lighting, continuity...nothing was overlooked. There was a buzz in the air at all times and I loved every minute of it. The Dark Lurking had around 20 - 30 people involved, many doing more than one job, and just couldn’t afford to bring in people with the same level of expertise. I guess it can best be compared to dinner with the family versus dinner at Versace’s – you wouldn’t miss dinner with the family for the world, but occasionally you are going to have to cover the hole in the top of the cake with extra icing - you know dinner at Versace’s is going to be perfect and the ultimate culinary experience. Both have a place.
 

TFM: Can you let us in on what is next for you?

OD: I have just finished the feature film "Loyalty"   http://www.youtube.com/watch?v=UCEnY8roHa8 and have a cameo in “Just Like U” which is currently filming. There is also a film in Canada under discussion, and another in the United States that is taking longer than first envisioned to get going, but I will be able to announce details once contracts are signed (both have US A list actors, so I am very excited about those) so things are happening, albeit slowly.


TFM: What would be your best tip for someone wanting to get a foot in the door for acting?

OD: Persistence & belief are the key words ! Get a good acting coach – I was very fortunate to start my acting career under the guidance of the legendary John Dommett, who was a great inspiration and a brilliant teacher. A good acting coach will not only teach you how to act, but will also teach you the other skills it takes to make it to the top – John not only taught me a tonne of invaluable acting skills but he also taught me the other skills necessary to be successful, like networking, finding a good agent but also seeking your own work, and how to set small achievable goals that get you from where you are to where you want to be.



TFM: Ozzie Devrish, thank you so much for your time

OD: My pleasure thank you

Movie News - Commando is Being Remade

20th Century Fox has hired David Ayer to write and direct a remake of the 1985 Arnold Schwarzenegger-starrer Commando. Erwin Stoff and John Davis will produce.

Ayer is a former Navy soldier who wrote Training Day and moved into directing with Harsh Times and Street Kings.

Deadline New York says Ayer "will put his own real-world spin on this original premise: a retired elite special forces operative sees his daughter kidnapped and is told she'll die unless he gets on a plane and kills the rival of a nasty exiled dictator. In the original, Schwarzenegger jumped off the plane before takeoff, and killed everyone involved in the kidnap plot."

Ayer's version of the character "will be less brawny, but more skilled in covert tactics and weaponry."

DVD Review - Mutants (R2)

If your jaded eyes cannot bear any further onslaught of virus-ravaged, rage-infected, turbo-charged zombies, and if you believe that the 28 Days Later-fashioned super-sprinting plague-ridden nasties are boring, de rigueur staples of modern horror, then you’ll probably run faster from new French horror movie Mutants than if you were the first meal of the day for the starving undead themselves.

Yet to cast it off as just another amphetamine-fuelled flesh-ripper would be a mistake, as there is much to cherish in David Morlet’s challenging movie, which is particularly impressive given that it constitutes a directorial debut (in terms of a full-length feature, at least; Morlet had already cut his teeth on a couple of horror ‘shorts’). As with many of the successful modern French horror films, proceedings adopt surprising depth with a refreshing and analytical approach to what initially seems to be well-trodden territory. Don’t be put off by the outwardly familiar theme and the somewhat misleading cover imagery; the resultant product represents a live dissection of the anatomy of love, loyalty, and the miserable dynamics of human suffering.

Morlet cements the foundations of the impending ordeal from the off, presenting a disturbing and exhilarating opening sequence against the beautiful but cold and isolated backdrop of the sprawling, snowy forest. Already, we are trapped within an agonising dichotomy; we have the dazzling white, innocent beauty of nature as our canvas, yet the bloody carnage of the virus, and the filthy, dilapidated buildings are splattered crudely across the surface. Before long, this is mirrored in the unfolding human tragedy; Sonia, our paramedic protagonist, is a rare subject of immunity from the terrifying virus that has decimated the population within three months, and her love for partner Marco is loyal and pure. Yet with cruel and unrelenting attrition, the virus slowly dismantles his body, spirit, and mind, inflicting a cruel and unthinkable torment for both parties.

In some respects, one of the greatest assets of the movie – its comprehensive analysis of love and suffering – places it in danger of losing its substantial engagement with the viewer. The overall delivery plays out like a movie of two halves, with the climatic and frenzied second half existing in stark contrast to the slow-burning build-up of the first. It’s a testament to its quality that this inconsistent pace doesn’t impact too heavily on the entire piece, but the line Morlet treads carries substantial risk and may frustrate some.

If the pacing can sometimes be questioned, it’s difficult to query the technical delivery of this accomplished production. Lighting is thoughtful; when Sonia treats Marco in the blanketed darkness of the hospital we see a glowing shard of light emanating from the machine gun she is using as a light source, and the result is clearly one of gentle, warm tenderness; yet surrounding the light strand is thick, solid blackness, and the unerring manner in which this envelopes the pair represents their predicament with unequivocal bleakness.

The composition and framing is also executed with considerable thought and precision. As Sonia endures the agony of witnessing Marco’s protracted deterioration, the camera slowly and accurately zooms towards a small round window in a closed door, and as Sonia walks across, she is framed within the circular glass. Our helpless position as a viewer behind the window echoes her own sense of despair, helplessness, and futility, as she watches the cruel demise of her loved one.

The score swings from murky, throbbing, B-movie intensity through to the beautifully clean and intricate guitar and piano sections, and provides an elegant aural backdrop. Effects are supremely well handled, and work in tandem with the measured lighting to provide an increasingly tense climax. Restraint is key, as we initially glimpse stunning flashes of mutant images in the darkness, particularly in the mind of the bitten. The transformation of human to mutant is especially gruelling and effective, and the increasing hordes of the infected are represented with impressive aplomb.

Ignore the well-worn subgenre categorisation and regulation cover art; Mutants is a deeply human and moving document of love, loyalty, and human suffering. The two-speed story construction lends itself to some strange plot pacing, which has a partially diluting effect on the overall impact, but this story has sufficient depth to largely transcend the limitations of the structure, and still manages to crank up the pace to unleash a devastating climax. When it comes to challenging, emotionally-charged, and stylishly-executed nerve-slicing shockers, the French prove yet again that they really are a hard act to follow.

This could have been just another amphetamine-fuelled zombie flick, but David Morlet instead opts for an impressive mutation of the subgenre by introducing a love story, and an in-depth analysis of the dynamics of human suffering. The contrasting frenzied explosion of blood-soaked carnage in the second half of the film results in a strange sense of pace, and the paucity of extras is a real disappointment, but this superb picture represents an intriguing addition to the subgenre that is all the more impressive given the debutant status of our French director.

Movie News - Clash of the Titans : Clash Harder

According to the site, Deadline, Clash 2 would bring back Sam Worthington as Perseus as well as most of the Greek gods, demi-gods and mortals that survived the first picture. Greg Berlanti (Green Lantern) has been hired to write the sequel screenplay, and while director Louis Leterrier isn't interested in a second go-around with mythology, he'll get an executive producer credit on the new movie. As they did with the remake, Legendary Pictures will produce Clash of the Titans 2. Warners wants to get this one ready for filming before James Cameron orders Worthington to go all Na'vi again for Avatar 2.

TV News - Legend of the Seeker

“Legend of the Seeker” has been cancelled after two seasons, according to sources speaking to Entertainment Weekly's Michael Ausiello.

The syndicated series is produced by ABC Studios, which also recently axed its syndicated “At The Movies.”

Based on the Terry Goodkind novels, it was overseen by the same Sam Raimi-led production company behind the “Hercules” and “Xena” syndicated series.

Find all of all of Entertainment Weekly’s story on the matter here.

The FilmMasons Interview - Jac Charlton

First off, thank you Jac for agreeing to this interview.

The FilmMasons: As a set dresser on Ghost Ship, what would your typical day be?

Jac Charlton: On Ghost ship my direct Boss was Bev Dunn Head of Set decoration, usually i would check in with Bev and see what sets needed to be dressed that day, that may of included lagging of the ships pipes 50's style with fake asbestos lagging, painting and putting them into the set, or dressing the Ballroom or Kitchen with dressings that the set buyers had previously bought. All the floors you see in Ghost ship, i laid with linoleum or carpet. All the wires and cabling that run from switches and through roofs, all the small stuff you see.
Pretty much everything you see in that film i had a hand in dressing, from down into the ships laundry to the ships bridge and beyond, On Ghost ship there was a lot of ageing down on Ghost Ship, from the pristine liner in the beginning to the rusting hulk as the story progresses. Some days and nights i even spent in the ocean wrangling flotsam, jetsam and luggage that needed to be in the scene. Somedays i would even cross over an lend the scenic's a hand painting or ageing. Bev Dunn and Grace Walker, production designer were wonderful to work for. There was never a dull moment on Ghost ship a hell of a lot of fun.


TFM: House of wax was a fantastic movie, you were a set dresser again on this movie, how different is one film from another?

JC: Different movies have completely different "feels" when you are working on them. From the personalities with the crews to the way the sets are dressed, lit and presented. Even though both of these shows are horror they are chalk and cheese in terms of their look. This can be attributed to the genius of the Production Designer and Art Directors. Grace Walker was the Production Designer on Ghost ship and House of wax, yet he and the team gave those movies their own stamp and identity. My role on House of wax was slightly different to Ghost ship, even though i helped dress the sets in both movies, on the House of Wax i was the "on set dresser" which means during shooting i was the one responsible for the look of the set that the camera sees. On set dressers also move items as necessary to make room for the filming equipment. During the shoot, the prop department works with an on-set dresser to ensure that the props and furnishing are in the proper location for the script and to maintain continuity, as scenes are often shot out of order.


TFM: What single piece of work are you most proud of?

JC: Wow, i think thats a toss up between Daybreakers and The Pacific, for completely different reasons.
Daybreakers, because when i got into the film industry 15 yrs ago my goal was to do make Vampire teeth for a really cool Vampire feature film. Daybreakers provided much more than this. Daybreakers allowed me to have a huge creative input to what the Vampires aesthetics were, it allowed me to have my own dept, with my Brother Robert and friend and talented technician Renata Loren. I am proud of Daybreakers because we also pushed our skills as Dental Technicians. Daybreakers was also great because the crew was mainly Queenslanders, crew that i have worked with many times over the years, and proud to have made it here in Queensland. Its a great feeling when you achieve a life goal. I cannot wait to see the film.
I am also proud of the 10 months of Prosthetic work i did for Jason Baird and The JMB FX team on Steven Spielbergs Mini series The Pacific. These were long days sometimes 16, 17hr days, 5, 6 days a week, the amount of Blood, Guts, wounds and dead bodies we produced for that show was staggering. I was pretty much front and centre on set, in the make up/ prosthetic firing line every day. I am so proud to be a significant part of this awesome project.


TFM: With your work on Sea Patrol, do you find television different to film?

JC: Working on a feature film usually means more money in the production budget which should in theory should mean a better product on screen. Hmmmm, sometimes.
Tv can be fast paced which can mean a different kind of creative improvisation to that of a Film production. All in all its pretty much the same formula. And that usually means , "do anything to get the job done."


TFM: Everyone has a skeleton in there closet, can you mention any jobs you would rather forget, or would like to leave off the resume?

JC: I put everything on my resume, each job has very different hurdles to get over, and the people that may be hiring you, i feel should see the big picture in what you have done up to that point. Im sure there are things i should leave off and things that are not CV kosher, but i don't want to forget anything i've done, while some of it might not be considered note worthy, i am happy with pretty much every thing i've done.


TFM: Who gave you your first break in the business?

JC: Gillian Butler a set dresser pushed me forward into working within art depts along with a Production Designer called Michael Ralph. They also pushed me headlong into standby props and making props, We did a lot of American movie's of the week back in the 1990's.
Jason Baird from JMB FX Studio here on the Gold Coast gave me my first break in Prosthetics, and i have been working with Jason for the last 15 years. His company does amazing prosthetics.


TFM: For H2O: Just add water, how much prosthetic work needed to be done each day?

JC: To give you some background to the mermaid tails JMB FX have built in a long line of tails for various movies over the last few years. It has been a massive research and development program of testing and retesting of materials and designs. These tails are hundereds maybe thousands of hours of work. Most of the tails JMB FX have made have over 5,000 individual scales hand punched and detailed,. It takes about 8 to 10 weeks to build , its very labour intensive.
With H20 over the years the on set work with the tails has become pretty streamline, and while filming can be as simple as transporting the tails, and putting the girls in and out of the tails, as required. if something goes wrong with the tails then you have to know how to fix them or the crew may be standing around for hours or even loose day shooting, so while on set with the tails i am constantly doing minor repairs to keep the tail looking pristine, always on the look out for potential problems.


TFM: You designed the teeth for the vampires in Daybreakers, can you run us through the process?

JC: I met with the Directors Michael and Peter Spierig, Producer Chris Brown and Steven Boyle (creatures designer and supervisor ) and Kym Sainsbury (makeup department head) about 8 months previous to Shooting, we discussed how they wanted to portray the Vampires, and Subsiders, I offered up ideas on Vampire Aesthetics, Dental Techniques etc and what we would bring to the table in regards too our expertise to get the job done. From my point of view i wanted to try and keep the look as anatomically correct to what i think Vampire should be, Michael, Peter and Steven were also keen to see this happen and also wanted the Vampires to have a Human element so we can empathise and relate with them, this meant putting the Vampire Fangs onto the lateral incisors, rather like Lost Boys Vampires instead of the typical Canine style Vampire teeth. Steven Boyle had concepts of how the Subsiders ( Vampires that feed on themselves) would look, we obviously put our own design into it, making the teeth that were not fangs, rotten and decayed and effects that gave some of them oral deformities.
Michael, Peter and Steven would make regular trips to our effects studio to view the progress of the work, they were very interested in the whole dental process, but pretty much i think they had faith in what we were doing and left us to our own devices. The directors had a lot on their plate with a very tight pre production and shooting schedule. I would keep in close contact with Steven Boyle creatures designer and supervisor and Kym Sainsbury makeup department head and their feedback was invaluable.


TFM: We all love the extras on DVD's, do you think all these making of's ruin the illusion of movie magic, or are a great insight for the fans?

JC: I like to see the extras on the DVD's, i think it gives a great insight to how hard the film technicians really do work, i am a big fan of passing the knowledge on. And i think DVD extras is a great start for those who want a little more for their entertainment dollar or those that are interested in taking the next step into the industry.


TFM: What is the best piece of advice you can give to up and comers?

JC: I think its as simple as do what you love and be persistent.


TFM: Where do you see yourself in 10 years?

JC: I would like to see myself acting, in a film with a script i have written or at very least breaking new ground in whatever i put my mind too, as long as i don't settle for being mediocre or boring i will be a happy man, maybe i should take some of my own advice from the last question.


TFM: Do you have any projects on the boil that you can let us in on?

JC: My brother Robert is writing a road trip horror script at the moment that we might shoot one or two scenes for just for fun, I have one or two scripts in my head i might like to have a crack at writing, the studios look as though they will be busy this year, fingers crossed that i can get on something that keeps the grey matter active and that pays the bills.

Jac Charlton thank you so much for your time.

DVD News - Hamlet

Title: Hamlet (IMDb)
Starring: Kenneth Branagh
Released: 17th August 2010
SRP: $34.99

Further Details:
Warner Home Video has announced a Blu-ray release of Hamlet for the 17th August. “Hamlet has the kind of power, energy and excitement that movies can truly exploit,” actor/director Kenneth Branagh says. In this first full-text film of William Shakespeare’s play – shot on 65mm film and exhibited in Panavision Super 70, power surges through every scene. The timeless tale of murder, corruption and revenge is reset in a lavish 19th-century world, using sprawling Blenheim Palace as Elsinore and staging mich of the action in mirrored, gold-filled interiors. A landmark cast (Julie Christie, Kate Winslet, Billy Crystal, Robin Williams, Charlton Heston and more), the excitement of the Bard’s words and an energetic filmmaking style lift the story from its often shadowy ambience to fully-lit pageantry and rage.

The Blu-ray will retail  around $34.99. Extras will include an introduction by Director/Star Kenneth Branagh, a commentary by Kenneth Branagh and Shakespeare Scholar Russell Jackson, a To Be on Camera: A History with Hamlet featurette, a 1996 Cannes Film Festival Promo, and a Shakespeare Movies Trailer Gallery. We've attached our first look at the official package artwork.

Movie News - Spider-Woman

As the story goes on the UK's MTV website, High School Musical star Vanessa Hudgens is supposedly keen on starring in her own Marvel superhero movie: Spider-Woman. Believe it or not, it's not such a crazy idea after all.
While this is the first that anyone's heard of a potential Spider-Woman movie, there are three items which are conductive toward making as assumption that Hudgens may have had a meeting with someone at Disney about the idea:

• Five days ago CHUD's Devin Faraci broke the story that Marvel Studios is "currently taking meetings with writers and directors to work on small scale movies based on some of their third tier characters. The movies would cost in the range of 20 to 40 million dollars (very small when we're talking studio films) and would allow them to take risks with less obvious characters and with interesting talent." That lines up with MTV's UK report, doesn't it?
• Hudgens, as it doesn't need pointing out, was made a star by Disney through her HSM appearances. Taking a meeting with a Disney creative executive that she knows about playing one of the company's newly acquired Marvel characters isn't that big a stretch to imagine.
• There's also Coming Attraction's report from last year to consider about Marvel allegedly interested in giving their female superheroes more of the cinematic spotlight.

MTV says little else about its source except that the supposed take on Spider-Woman is "comedic" and in the movie the character is "strong and sexy but in this case hilarious."
In the Marvel comics Spider-Woman isn't used for comedic effect but it's not outside the realm of possibility either for the superhero maker to go this route. A recent retake on the She-Hulk character was played up for comedic sensibilities.
I guess we will just have to wait and see....

Movie News - Fragment

Australian horror is about to get another exciting entry and over the next few weeks we are going to be covering this film in depth.

Director Andrew Miles and producer Kelvin Crumplin have brought us something that is going to set the Australian horror scene on fire.

The film centers around a bizarre series of events that leads a man to believe he has the power to resurrect the dead. After a visit to the doctor he is told they are hallucinations caused by a brain tumor that is slowly killing him. When it appears he has unleashed something dark the man starts to fear not just for his sanity, but his life.

DVD News - The Lovely Bones Blu-ray Glitch

We had a reader report of a glitch in The Lovely Bones Blu-ray release. It would seem the first disc failed to load past the Paramount Logo on a Sony BDP-S350. The reader was interested to know if anyone else was having a problem with this disc.
Looking into it, it seems The Lonely Bones problem can be fixed via the latest firmware upgrade for the Sony machine, so if you are having problems upgrade your firmware!

The FilmMasons Interview - Brinke Stevens

The FilmMasons: First off, let me thank you Brinke for taking the time out of your busy schedule to do this interview.

TFM: You have had a huge career in film, but it could have taken a very different turn in the beginning. How did you go from a master’s degree in marine biology to something like Slumber Party Massacre?

Brinke Stevens: In the late-1970s, I was kicked out of graduate school (with a Master's
degree) for doing unauthorized communication experiments with dolphins... forbidden research at that time. I then married my college sweetheart, artist Dave Stevens ("The Rocketeer") and moved to Hollywood in 1980. While I was looking for a science job, I fell into doing "extra"-work in movies to pay the bills. Quickly, I landed a major role in Roger Corman's "Slumber Party Massacre" (1981). When I sat in a movie theater and watched myself on the big screen, I realized that I actually could act! I continued to pursue movie jobs, until my science aspirations eventually faded into the past.


TFM: You have many feathers in your cap, a writer, a producer and of course an actor; do you have plans to direct next?

BS: I accidentally became the assistant-director on a movie called "First Loves" in the mid-1980s. Originally, I was hired by the Italian director to rewrite his script. Later, I helped him to audition the actors by reading scenes with them -- and sometimes offering my own suggestions to better their performance.The director, Antonio, was so impressed that he invited me to their shoot in Salt Lake City, Utah. He lacked a certain confidence in his ability to speak English, and thus to clearly communicate with the cast and crew. In Utah, Antonio would take me aside to explain what he wanted, and then I'd step on-set to block, rehearse, and ultimately "direct" the scenes. Unfortunately, after five weeks of shooting, I came in one morning to find the stage-doors locked -- they'd run out of money, and everyone was sent home. I'm not sure if it was ever completed and released. (Monique Parent starred it it, by the way.)
It was a great experience for me, and gave me a good taste of how to direct a movie. So far, the offers just haven't come in -- but I'd love to do it again someday.


TFM: The term ‘Scream Queen’ was a crown you and a few of your friends wore for many years. Which actress would you say could wear the crown now, if any?

BS: I'm a huge fan of two younger actresses, Debbie Rochon and Tiffany Shepis. Debbie is wonderful in everything she does, and she's such a delightful, intelligent, spiritual woman. Tiffany's highly-charged emotional performance blew me away in her recent Rolfe Kanefsky film "Nightmare Man". She's a gifted natural actress, as well as a fun-loving person. I also like Suzi Lorraine, another sweet and talented gal, though I've only worked with her once and haven't yet seen many of her films.


TFM: You've had a few small roles in films like Naked Gun, Three Amigos, and This Is Spinal Tap, but most of your work has been in horror. Is that something you have always been attracted to, or is that just the way the cards fell?

BS: After I arrived in Hollywood in 1980, I started out doing "extra"-work on major films. Inevitably, I would be singled out for a bigger walk-on part, such as in Brian De Palma's "Body Double". When the video-boom hit in the mid-'80s, a lot of my filmmaker friends started churning out low-budget horror movies -- and they hired me for leading roles. I quickly became known for my horror films, and then I got so much B-movie work that there simply wasn't time to pursue any "mainstream" movie jobs. In a sense, I think it was just my fate and destiny to become a "cult"-celebrity. I always say, "My career chose me, I didn't choose it."


TFM: My favorite film of yours is Sorority Babes in the Slimeball Bowl-O-Rama with Linnea Quigley & Michelle Bauer. It looks like it was a fun shoot. Can you take us through a typical day on the set?

BS: We shot on-location at a bowling alley near San Diego, CA. Since it remained open for business during the day, we had to begin shooting at 9pm (when they closed) and work all night till 9 am. As such, we felt like real-life vampires, sleeping all day and eating "breakfast" about 5pm! For that reason, it was difficult. But it was truly a lot of fun, too. I shared a hotel room with Michelle Bauer, and really enjoyed working with Linnea and Robin Stille on-set.


TFM: What’s your opinion of where horror is now as opposed to the hey days of the 80’s?

BS: The 1980s were more known for horror-comedies than now. In my opinion, the films I did then were more innocent and fun-loving. Later, horror got much gorier and even went into the "torture-porn" realm.


TFM: Will we ever see a re-teaming of you and your fellow scream queens, Linnea & Michelle in the future?

BS: Recently, the three of us were guests at "Monsterpalooza" convention in Burbank CA (April 2010). It was so much fun to be together again! Michelle and I pored over old "Femme Fatales" magazines that she was selling, and reminisced about those glorious days back in the 1980s. Michelle is mostly "retired" now, though Linnea and I continue to work a lot in films. A couple of years ago, we co-starred in "It Came From Trafalgar" in Indianapolis, which I hope will be released soon.


TFM: Filming 4 to 5 films a year must leave you with very little time for friends and family; what do you do to relax?

BS: My local LA friends are my cherished support-group, so I visit with all my pals when I'm home for any length of time. I love to cook gourmet meals and watch DVDs with friends. I'm also an avid hiker and enjoy exploring the scenic canyons around Los Angeles. I'm a pretty good sketch-artist and dearly want to take up oil painting eventually; I just acquired an easel and some canvases, so I'm well on my way. I think painting for a few hours every day would be incredibly relaxing.


TFM: If you had the choice, what role would you kill to do, or to have done?

BS: It's no secret that I'm a big fan of Christopher Walken. He's an amazingly talented dancer, as well. I'd be so happy to work with him on a horror film, and maybe do a dance with him too!


TFM: The Coffin is in pre-production at the moment and sounds fantastic. What can you tell us about it, and when will it be out?

BS: I wish I could tell you more, but it's been in pre-production for quite a while now. I suspect they're having trouble raising all the financing. I'd play a gypsy, and it is indeed a fun, creepy script. With any luck, we'll shoot it soon in Florida.


TFM: Brinke Stevens, thank you so much for your time.