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Showing posts with label Horror. Show all posts
Showing posts with label Horror. Show all posts

Saturday, June 22, 2013

Script of the day - An American Werewolf in Paris

Oh what a disappointment we thought/screamed, as we watched the end credits roll. But, at one point in time it looked like it might have been quite awesome.
This is the original script before the original directors were removed and the script was fiddled with (boo hiss). So, here we are, for your enjoyment, An American Werewolf in Paris.

Tuesday, April 17, 2012

The Filmmason Interview - Sean Whalen



The filmmason: Sean, it’s a great pleasure to get to talk to you and thank you so much for taking the time to answer some questions today.

Sean Whalen:  No problem.  Thanks for thinking of me.

TF: With a career starting in 1990 as a fast food manager on an episode of the Ferris Bueller TV show, to shows such as, Grace Under Fire, Friends, Lois & Clark, La Femme Nikkita or even Nash Bridges. As an actor, how do you approach each new role and keep it unique?

SW: Well, being a character actor you do get to do all kinds of roles.  Luckily I had training in comedy and drama.  The truth is you can only come up with what you find interesting in the character as written.  It all starts with the script and then you bring yourself to each role.  I had coaches for the first several years of auditioning to teach me what  to look for in a script and help me avoid some of my personal bad habits.  Then after a while you grow more mature and hone your instincts and trust that they work for each role.  The uniqueness comes from the script and your life experiences.

TF: The first film I saw that you were a huge part of was, People Under The Stairs. Roach was an amazing character to watch, take us through a typical day on set for you?

SW: I would get to the set, change into my rags, then go straight to make up, where Michelle Buhler and Denise Dellavalle would do my make up and slowly and painstakingly put on my finger extensions.  Then Barabara Olvera, did my hair.  It was these three super cool women giving you attention for a couple hours… not bad!  Then I would wait in my dressing room until needed.  Then whatever I shot that day would be purely reactive as I had no lines due to my tongue being cut out.  I would pop in the prosthetic cut off tongue and go for it.  The prosthetic kept me from talking so I could react doing improv lines but you would never understand me due to the prosthetic.  We s was always calm, kind, and quiet.  Made my first feature film experience a blast.

TF: Moving from Wes Craven on to Tim Burton in Batman Returns, in the small but recognizable
role of the paperboy. Apart from Michael Gough, did you get to meet any of the other cast?  

SW: Unfortunately, no.  Minor players, but no scenes with the biggies.  Michael and I had a day where we flubbed our lines for an hour.  Tim was super cool and realized it was the writing… not us.  When he changed it, we were good.

TF: Sean, I feel I know you well enough now to let you in on a little secret. I really like Waterworld. You played a character called Bone, how was your experience on the set, was there as much gossip about the film on set as there was in the press? 

SW: Whenever you are on a set, you are isolated from media coverage and gossip.  You are there to do a job and you just do it.  It was a blast.  I got to bring my wife and we had a week vacation in Hawaii.  They had me do jetski training for a whole half a day.  Well it took me five minutes to learn it as I had done it before and then I had the rest of the day to jetski as wildly as I wanted.  Couldn’t ruin it because it was supposed to be post apocalyptic anyway! 

TF: 1996 brought us Twister with Helen Hunt and Bill Paxton. Did you get to see the finished film before the public, or did you see it for the first time with an audience? 

SW: Due to the special effects we saw it for the first time at the premiere.  It was so overwhelming.  There was four months of your life onscreen.  When it was over, I remember Helen and I leaning forward at the same time and we caught each other down the row.  She said, “Either that was the worst thing I have ever seen or the coolest.  I can’t tell yet.”  I responded, “That’s exactly how I feel.”  

TF: Your body of acting work is spread even across film and TV in almost every genre, in a perfect world what would be the project of a lifetime for you? 

SW: I think being on a television show with a great crew and cast doing comedy.  With a lot of improvisation as well.  There is nothing like a director yelling ,”Cut” and hearing the cast and crew bust out laughing because you were so funny.

FM: Of course you don’t just limit yourself to acting, you also write and direct,  do you find working with such a wide range of amazingly talented directors and writers has inspired you to pursue these areas?  

SW: Yes, and also the reality of the business.  It’s changing so much that to just be an actor these days is sometimes not enough.  I remember why I got into this business and that was for two reasons that had nothing to do with performing.  It was to meet new people and to do different projects.  I can fulfil that with all aspects of entertainment.  I’m now producing as well.  A good friend has told me for years I would be great at it… now I know what he means!  Lol

FM: Which role of yours stands out as the one you are most recognised for?  

SW: Roach, from PUTS and the AARON BURR milk commercial directed by Michael Bay.

FM: So what do your fans have to look forward to in future, where can we go to see more Sean?

SW: Well, I am starting to go out on the convention circuit, so I’ll get to meet them finally in person.  Also, I am writing, producing and starring in some video shorts that I post every month and I have a couple of features that I am doing the same.  Currently I am in the film THE FP which just got released in the states and am shooting two films this month.  WET AND RECKLESS a comedy with Lucas Till (X Men First Class) and SMALL TIME with Chris Malone (LAW AND ORDER: SVU) and directed by Joes Surnow, creator of the TV show 24.

FM: Sean, I think I’ve stolen enough of your time today, I really appreciate the time you have spent  with us today, your fans and I can’t wait to see where you pop up next.

SW: Hey, I’m flattered you wanted the interview..  Sometimes I still feel like the little dorky kid from Maryland or the suburban father and husband, so when someone thinks of me, it’s flattering.  Keep your eyes peeled.  I will be doing some more cool stuff in the future.  Thanks and have a great day.

Monday, April 16, 2012

The Filmmason - Films I Love - The Night Flier


In this series of videos I will be talking about the films that I love, across all genres and ages. You might see some films on here that you hate or love as well, feel free to let me know either way!

Wednesday, April 11, 2012

Nightbreed - The Cabal Cut


Now this one snuck up on me. I had heard rumblings in the past, but thought it would never come about, but it looks like a lot of Nightbreed fans are going to be very happy.

Sadly everything isn't perfect, the missing footage that was thought to be tucked away safely, is either tucked away VERY safely, or is now lost forever. But video tapes exist of a cut that is around an hour longer then what we have seen so far.

Barker is promising a fully restored Blu-ray and DVD release, no doubt packed full of goodies, BUT how good are these VHS elements? Even if they were pristine, its still VHS.

Anyway, while we ponder that little problem (hopefully we will get the original cut as well restored and released with it), when Barker means fully restored, he really means it, as you can see by the video above, he has gotten his old friend Doug to come in and re-dub his lines, I didn't even know his lines were re-dubbed at the last minute by another actor, listening to the new vocals, it almost sounds wrong, even though its right, if that makes sense.

Anyway, more info as we get it...

What Could Have Been - The Munsters


I find this sort of stuff fascinating, here is 15 minutes of the un-aired pilot for The Munsters. Apart from it being in colour you will notice that apart from Grandpa and Herman, it has a completely different cast.

The feel of the show seems a touch darker, and the addition of colour adds so much more to the production, I'm not sure if it was a budget decision to change to B&W, but its strange to change the look of the show so dramatically for the second pilot.

And you have to wonder why they got as far as shooting a pilot before they realised that half the cast wouldn't work, even going so far as to change the name to Herman's wife to the now more familiar 'Lilly'.

Whatever the reasons for the changes, what we ended up getting turned into an iconic show which is about to get a new and more serious reboot very soon, but it's always fun to think about what could have been.

Tuesday, April 10, 2012

ZombOObies!


I'm speechless, I can't put into words just how much I love how fucked up j-horror is. Here id the official blurb, like you need someone to tell you to watch this!

“While conducting experiments to create “the perfect boobs” a group of doctors are transformed into Evil Mutant Creatures with an unstoppable hunger for BOOBS! See our hot action women fight to keep their perfect breasts out of the evil doctors’ mutant hands!!!”

Monday, April 9, 2012

Interviews!


Yes, you read correctly, as I get back into the Filmmason blogging frame of mind I plan to start interviewing people again, if you skip back a bit in the blog history, you will find a nice selection of interviews from people such as scream queen Brinke Stevens to SPX wizz Howard Berger.

I have put out the word and so far two has responded, one is an editor of a current magazine I'm sure most of you have read at some stage of your lives, the other is a FX legend on the large and small screen. Keep your eyes peeled! Post your guesses below.....

*UPDATE* Three more people have agreed to interviews, one is an actor with a ton of genre work under his belt.

One is a world class SFX artist and the third is a director and I can guarantee at least one of his films will be in your top ten films ever. Hohoho, it feels like Christmas.

Tuesday, June 1, 2010

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.

Friday, May 7, 2010

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.

Wednesday, April 28, 2010

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.

Monday, April 26, 2010

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.

Saturday, April 24, 2010

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.

Thursday, April 22, 2010

Movie News - The Crow

I'm getting the sense that the latest version of The Crow is dragging its feet. But director Stephen Norrington appears hopeful, he says the project is now seeking locations.

Michigan is a contender, particularly Detroit - where the Brandon Lee-starring first entry took place (filming occurred in North Carolina and L.A., if you recall). "Part of the new story is set in Detroit and we've been discussing the logistics of shooting on location," Norrington says.

Montreal is also being considered.

Norrington adds script tinkering is taking place, and so is the usual budget and casting talk. Nothing final, however.