With “Pan’s Labyrinth” having reached its 20th anniversary, many of its participants have come together to discuss what went into its making, and of how this particular Guillermo Del Toro masterpiece still holds up to this very day. Among those participants is the film’s director of photography, Guillermo Navarro, who ended up winning the Oscar for Best Cinematography for his wok here. He also served as director of photography on Quentin Tarantino’s “Jackie Brown,” Robert Rodriguez’s “Desperado,” “From Dusk till Dawn” and “Spy Kids,” and also Renny Harlin’s “The Long Kiss Goodnight.”
I was lucky enough to speak with Guillermo Navarro while he was doing press for “Pan’s Labyrinth,” and it was an illuminating conversation about what went on behind the scenes and of how much has changed since this film was released. He shot it on 35mm film and discussed how he manipulated the image by shooting day for night and underexposing the negatives. It was a great look at how filmmakers can manipulate the image on 35mm film and other film stocks, but Navarro also laments how the movie business rarely uses film anymore and prefers to have everything shot on digital. For him, it has taken a lot of the fun out of his job.
Navarro also talks about how difficult it was to make this film as they had very little money to work with, and that they worked with a largely unfamiliar Spanish crew as their usual crew of creatives were working on another project.
“Pan’s Labyrinth” has just been released in a beautiful new 4K restoration, and it is best experienced on the silver screen. I want to thank Guillermo Navarro for taking the time to talk with me. Please check out the interview below.
In addition, I have also included this video of Guillermo Navarro winning the Best Cinematography Oscar at the 79th Academy Awards.
On this week’s edition of OMG, has it been that long since this movie came out? Guillermo Del Toro’s “Pan’s Labyrinth” has now reached its 20th anniversary. While many motion pictures age like milk, which is to say not at all, this one has aged like a fine wine and remains as powerful and as visionary as ever. This is even more so with the film now being re-released in theatres in a stunning 4K restoration, and the filmmakers have also worked to present it in 3D as well. Seriously, this a motion picture one can never get sick of.
I had the honor and the privilege of talking to two of the stars of “Pan’s Labyrinth.” I talked with Ivana Baquero who plays Ofelia, a child whose journey into a fantastical underworld serves as an escape from the harsh reality she and her mother have been thrust into. In addition, I also talked with Doug Jones who portrays both the Faun and the Pale Man. Jones has played very unique characters in various Del Toro films, and this includes “Hellboy” and “The Shape of Water.”
Baquero was only 10 years old when she was cast as Ofelia in “Pan’s Labyrinth,” and she left everyone in tears at her audition. We talked about that as well as what she did to prepare for playing such a large role for a child actor. With Jones, we discussed which character in this film was the harder for him to play, and if he is still willing to portray strange monsters in future projects or if he would instead play those in human form.
“Pan’s Labyrinth” is being re-released in theatres on October 9, and I encourage to see it on the silver screen instead of just at home. Please check out the interview below.
WRITER’S NOTE: This article was originally written back in 2015.
The supernatural horror film “The Lazarus Effect” takes a cue from movies like “Frankenstein” and “Re-Animator” as it features a group of scientists who are intent on bringing the dead back to life. It stars Olivia Wilde and Mark Duplass as Zoe and Frank, a couple of medical professionals who have found a way to resurrect the deceased through the use of a serum they have named Lazarus. But during one experiment, Zoe suddenly gets electrocuted and dies, and Frank, in desperation, gives her the serum which successfully returns her to the land of the living. But in the process, Frank comes to discover that Zoe has developed some incredible abilities which makes him wonder if she brought something truly evil back from the dead with her.
One plot point in “The Lazarus Effect” concerns a nightmare Zoe keeps having where she is trapped in a burning house, and there is a door ahead of her which seems to have a raging fire waiting to burst out from behind it. Even more unsettling is that she also sees a pair of hands at the bottom of the door struggling to escape whatever fiery fate is coming their way. This nightmare gets a new meaning once Zoe is resurrected.
This nightmare reminding me of Joel Schumacher’s film “Flatliners” which starred Keifer Sutherland, Julia Roberts and Kevin Bacon as medical students who are very eager to discover what happens after you die. Each is made to die for a minute or two before they are resuscitated, and their afterlife proves to be a realm where they are tortured for the grievous and painful sins they committed in the past. Seeing that “The Lazarus Effect” kind of deals with the same thing, it made me wonder why these movies deal with the high psychic price to pay once we leave this mortal coil.
I got to ask the cast of “The Lazarus Effect” this during the film’s press conference held at the Four Seasons Hotel in Los Angeles, California. To first to provide an answer was Donald Glover who plays the lab assistant, Niko. Best known for playing Troy Barnes on the cult television comedy “Community,” Glover said that death remains the one thing we don’t know about.
Donald Glover: I feel like we kind of live right now in a time where humans feel like we know everything now especially when we just pick up the phones and happily answer and people feel like everything is done. It’s like, “We did it guys! We have internet.” It was cool talking to Olivia (Wilde) and Mark (Duplass) about how people are actually doing research, and I was reading articles about doctors actually bringing people back to life. There was a New York cab driver who was like dead for, I think like, a while (laughs). They just brought him back, and now they are doing studies on post-death and stuff like that. This is why I really like this film. It felt special because there’s realness and people really don’t even understand what we are after that (death). I think it’s scary because we just don’t know it especially when we’re being told all the time we know everything.
Duplass followed up on Glover’s response by saying it reminded him of something he read about movies like “The Lazarus Effect.” In the process, he also elaborated on how the approach to this resurrection movie differed from others like it.
Mark Duplass: When a movie examines this type of subject matter, usually it’s either in the future or everyone is wearing some sort of like leathery, shiny black suits, and it’s kind of like not human (laughs). So, we all loved this idea, and that’s part of the reason David (Gelb, the director) cast a lot of us because maybe we’re more on the naturalistic side of performances, that we’re just so normal looking and normal acting research students going through this very un-normal thing. It was just exciting.
Indeed, death is something many of us do not want to think about, but the question of what happens to us when we pass away continues to linger in our minds. “The Lazarus Effect” is not meant to give a definitive answer to that, but along with “Flatliners,” it makes you want to make peace with all the bad things you did in your life before it is too late.
“The Lazarus Effect” is available on physical media and streaming platforms.
WRITER’S NOTE: The following article is about a movie event I very much enjoyed attending back in 2015.
Members of the press and a few select horror fans were in for quite a treat when Universal Pictures, along with Think Jam, put together a special party in honor of the Blu-ray and DVD release for “Ouija,” one of 2014’s most popular horror movie releases. Guests were treated to a haunted scavenger hunt which had them walking up and down Hollywood Boulevard, and it was followed by a séance open-bar event held at Boardner’s by La Belle.
The séances were conducted by Robert Murch, a renowned Ouija expert and film consultant, and guests got to drink special cocktails with names like “Evil Elixir,” a combination of champagne and Absinthe (a favorite spirit liquor of mine). Also in attendance were “Ouija’s” director Stiles White, actress Bianca Santos who played Isabelle, and the CEO of Blumhouse Productions, Jason Blum.
I was lucky enough to be on the team which won the scavenger hunt, and my fellow teammates and I were given the sole opportunity to speak with Blum for a few minutes about “Ouija” and other films he is responsible for bringing to the screen. His company, Blumhouse Productions, has been behind some of the biggest horror franchises of the past few years which include “Paranormal Activity” and “The Purge,” and he was also a producer of Best Picture nominee “Whiplash.”
The Ouija board is often referred to as a talking board used in séances to communicate with spirits, and participants place their fingers on a planchette to spell out whatever the spirit is trying to say. Some see it as a harmless game of sorts, but others strongly fear that using Ouija boards can lead to demonic possession. I remember Ouija boards being used in a number of films like “The Exorcist” where Linda Blair tries to communicate with Captain Howdy, “Awakenings” in which the late Robin Williams utilizes one in an effort to make a connection with a seemingly comatose Robert De Niro, and one was used to frightening effect in “Paranormal Activity” when an invisible force sets it ablaze while nobody is home.
Since many of us were familiar with these boards in one way or another, I asked Blum if he wanted to show us something different about them that we have not seen previously in any other film. His response highlighted what he really tries to do with the movies he makes.
Jason Blum: Well, I’ve never seen anyone look through the planchette before. I think that’s a new thing, and I love that idea of looking through a glass into the world of ghosts. It’s hard to make an Ouija board dramatic, so we tried to figure out how to do that, and I think they did a pretty good job trying to make it feel original. But that’s what I always tell people when we are working on a movie; try and make it different. That’s very un-Hollywood.
It was very refreshing to hear Blum say this as many movie producers do not like to stray far from formulas, and horror films are typically governed by them to where it is very difficult to make one which stands out from the pack. Blum agrees there are a lot of repeats to be found in the realm of motion pictures, but he remains intent on doing things differently on the horror films he produces. He openly admits that he does not always succeed, but there is no doubt that he definitely tries.
“Ouija” is available to own and rent on physical media and streaming services.
On August 12, 2025, New Beverly Cinema presented a Larry Clark double feature of two of his films: “Bully” and “Another Day in Paradise.” Before “Bully” unfolded on the silver screen, actor and filmmaker Joel Michaely brought out a special guest: Daniel Franzese who played Derek Dzvirk. “Bully” was Daniel’s film debut, and it quickly earned him his SAG card. Daniel thanked Joel for being there and remarked how he killed Joel once in a horror movie entitled “Cruel World” where he shot him in the head.
Daniel said “Bully” was the first time he ever got to hold a screenplay in his hands, and he talked about meeting the casting director, Carmen Cuba, at his audition.
Daniel Fransese: She was like, “Do you wanna see who you are going to play?” I said okay, and she opened up the true crime novel (written by Jim Schutze), and I looked exactly like the guy. And I was just like, oh shit! I can actually get this! So, it was very scary and nerve wracking.”
Rumors are that the set of “Bully” was a crazy one, and being that this was Daniel’s first film as an actor, you can understand and appreciate his feelings at the time.
DF: I’m a pretty easy-going guy, and I am also a theatre guy and a standup comedian. I’m used to being around other people, and I am good at getting along with different personalities. But this movie was next level. we are getting ready to do fittings and start our first day of this movie, and Larry (Clark) is screaming because Brad (Renfro) was in jail for trying to steal a boat. He’s screaming, “This was three years of my life! This kid’s not going to ruin it!” He’s throwing papers and I was like, whoa! That was day one and you can just imagine how the stress level got worse from there.
From there, the discussion went to the late Brad Renfro who played Marty Puccio in “Bully.” Brad first gained worldwide attention at the age of 12 years old when he was cast as Marcus “Mark” Sway in Joel Schumacher’s cinematic adaptation of John Grisham’s “The Client.” Like many people on this planet, let alone actors, he died at far too young an age He was only 25 years old, when he passed away after a drug overdose. Daniel talked about working with Brad.
DF: Brad was great. I think he was like one of those golden retriever type people. Not evil, but dangerous. We were doing the table read for the first time, and Brad showed up wearing a white tank top completely soaked in lighter fluid. He came in saying, “I’M TRYING TO GET THE BARBECUE TO GO!” It was like, whoa! He was from Knoxville and had like that “Jackass” sensibility where you didn’t know what he could do, but I don’t think he ever had a mean bone. His intentions were always nice. If anything, he partied too much, and he once told me that at 12, he made hundreds of thousands of dollars to do “The Client,” and he was getting a lot of his drugs and stuff from family members as a kid. I don’t think he got a fair shot. If anything, the reason why I advocate for younger people in Hollywood or talked about my experiences on this movie which were crazy, I was never speaking from a victim place. I was speaking from a place of advocating for people like Brad who didn’t have anyone saying anything for them. I just think, we’re making art. It doesn’t have to be that crazy. We don’t have to be stealing boats or going nuts on sets to produce good material.
After “Bully,” Daniel went on to appear in many films, but he may still be best remembered for playing high school social outcast Damian in 2004’s “Mean Girls.” Like Joel and myself, I wondered what it was like going from an independent film to a studio movie where everybody is expected to be on their best behavior.
DF: I just don’t think the 2000s will be looked upon as a time where it was easy for people on movie sets. I really don’t. People always ask me all the time how to get their kid in Hollywood, and I say don’t. I waited until I was at least in my 20’s (before going to Hollywood), and that’s the only thing which might have saved me. A lot of our contemporaries are not around with us anymore or are in a crazy state. It was a rough time. I can’t say it was easier or better, but I think it’s better now.
Regardless of the crazy set, Daniel made it clear to the New Beverly audience what the experience of making “Bully” was like, and of how the filmmakers strived to capture the spirit of the true story it is based on.
Bully (2001)
Directed by Larry Clark
Shown in foreground: Bijou Phillips
DF: On a positive note, though, this movie was awesome. It was so fun to make. Larry was cool, the people I was working with were all like people from Thrasher Magazine, it was just like bad ass people. They did shoot in the real locations; it was the real apartment complexes, and it was the real Pizza Hut (we shot in).
Daniel also made it clear how he was the only local hero for hire in Larry Clark’s “Bully.”
DF: They were scouting locations for the gay clubs, and I was just a young kid just figuring that stuff out and performing at the clubs with people I was in musical theatre with and stuff like that. They were like hey we’re making a movie, and I’m like I’m an actor! I had no idea it was going to turn into this. Carmen Cuba, she discovered a lot of people, and I give her all the credit for plucking me out of obscurity and putting me with these people.
An audience member told Daniel that he was from South Florida, and this led Daniel to talk about when he worked at The Gateway Theater in Fort Lauderdale as a kid. a year later, “Bully” premiered there. Daniel found his road from being an usher to a working actor to be honestly insane.
DF: I was there at the theater going, would you like the popcorn combo? I am a movie lover. I worked at Blockbuster (Video), I worked at movie theaters, that’s all I did. Until I was able to support myself as an actor, I was either an usher in theatre or worked at movie theaters. It (“Bully”) was shot in Fort Lauderdale and the whole crew got their premiere at the movie theater where I worked at. So, whoever served me popcorn today, keep writing your scripts.
Like many, Daniel Franzese considers New Beverly Cinema to be one of his favorite places in Los Angeles, and that it was extra special for him to see “Bully” being screened there on 35-millimeter film. To see films presented there in their original format, something often not available to movie buffs in most places, means a lot to him.
Michael Patrick Jann is best known for his work in comedy and as a cast member on MTV’s sketch comedy show “The State.” In 1999, he made his feature film directorial debut with “Drop Dead Gorgeous” which over the years has developed quite the cult following. With his second feature film as a director, “Organ Trail,” he got out of his comedy safety zone to enter the horror genre. Michael now returns to that genre again with his latest film, “Alma & The Wolf,” which stars Ethan Embry as a troubled police officer who investigates a mysterious wolf attack which happened to a high school classmate of his, Alma (played by Li Jun Li). The investigation becomes even more intense, however, when his son goes missing, and it puts him a collision course with an unbearable truth that can only stay hidden for so long.
I got to speak with Michael one-on-one recently about “Alma & The Wolf,” and we talked a lot about how comedy and horror deal with the various forms of suffering. Also, he discussed the challenges of filming on the Oregon Coast when the weather was really bad and cold, working with animals, and of working with his son, Lukas Jann, who plays Ethan Embry’s son here. In addition, this film also co-stars a classmate of mine from my University of California, Irvine school days, Beth Malone, who plays a rather nosy neighbor. It was great to talk with Michael about what Beth brought to her role and the movie, and it is always great to see her in anything and everything.
“Alma & The Wolf” is now available to rent and stream on select digital platforms. Please check out my interview with Michael down below, and I have also included a trailer for the film as well.
One of the many horror films coming to us in 2025 is arriving this week, and that’s “Alma & The Wolf.” Directed by Michael Patrick Jann, it stars Ethan Embry as Deputy Ren Accord, a very troubled man who has been thrust into a horrifying investigation he may not be fully prepared for. One day while driving on his usual route, he comes across Alma, played by Li Jun Li, who is walking alone in the rain while clutching to what is left of her dog. Alma tells Ren a wolf killed her dog and begs him to kill the wolf for her as an act of revenge. Wolves, however, are protected wildlife in the state of Oregon, so Ren tells Alma he cannot help her that way. But when his son goes missing in the Oregon coast, Ren comes to believe it may have everything to do with the wolf that killed Alma’s dog, and he becomes infinitely determined to find his son and kill the elusive wolf.
I was lucky enough to speak with Ethan Embry and Li Jun Li who are the main stars of “Alma & The Wolf” this past week. Ethan started off his career as a child actor, and he starred opposite Ed O’Neil in the John Hughes written and produced film “Dutch,” and he is best known for his roles in “A Far Off Place,” “Empire Records” and “That Thing You Do.” Li got her start as an actress in the theatre, and she later became known for her role as Iris Chang in the television series “Quantico.” In addition, she has received critical acclaim for her roles as Lady Fay Zhu in Damien Chazelle’s “Babylon” and Grace Chow in Ryan Coogler’s “Sinners.”
Much of my talk with Ethan and Li Li, as she likes to be called, was about acting and their choices. With “Alma & The Wolf,” they were involved in a cinematic production which had a very short production schedule, and I was curious how the speed of it affected their performances overall. Being an actor myself, I found their answers to be deeply informative and fascinating.
“Alma & The Wolf” will be dropped on streaming services starting on June 20, 2025. Please check out the interview below, and I have included a trailer for the film as well.
There is always a wealth of original content being dropped on Netflix from one month to the next, and one of the latest additions to its streaming service is a miniseries called “The Residence” which I watched all the way through in just one day. A murder comedy mystery created by Paul Williams Davies, based on Kate Andersen Brower’s novel “The Residence: Inside the Private World of the White House” and produced by Shondaland, the amazing television empire overseen by Shonda Rhimes, it tells the tale of the White House Chief Usher, A.B. Winter (Giancarlo Esposito), who ius found murdered in one of America’s most secured locations, the White House. Into the crime scene comes Cordelia Cupp (Uzo Aduba), a consultant with the Metropolitan Police Department and an avid birdwatcher, who is determined to find the culprit responsible. The problem is, there dozens upon dozens of suspects to consider, be it those with quite the public presence or the staff who works behind the scenes. Suffice to say, it proves to be one very long night for everyone involved.
Among those suspects is engineer Bruce Geller, an engineer who succeeds in getting the water pressure in the United States President’s shower just right after far too many tries. Bruce is played by Mel Rodriguez, a native of the Little Havana neighborhood in Miami, Florida, and a graduate of SUNY Purchase (State University of New York Purchase) which has produced unforgettable actors like him, Melissa Leo, Edie Falco, Wesley Snipes, and Ving Rhames among so many others. Mel’s most memorable appearances include playing Nurse Patsy de la Serda on the HBO comedy “Getting On,” Ernie Gomes on the Showtime drama “On Becoming a God in Central Florida,” Marco Pasternak on “Better Call Saul,” and Chief Medical Examiner Dr. Hugo Ramirez on “CSI: Vegas.” Suffice to say, he is a character actor who continues to find work in an industry which is notoriously hard to break into, and more power to him.
I was lucky enough to interview Mel about his role of Bruce Geller in “The Residence,” and it was a lot of fun talking to him about this Netflix miniseries and about other things. Those things included what he learned as a student at SUNY Purchase, why the scripts for this show were among the best he had ever read, and his memories of the late Andre Braugher who was originally cast as A.B. Winter before he unexpectedly passed away.
“The Residence” is now streaming on Netflix, and it is highly recommended by The Ultimate Rabbit as it is highly entertaining and wonderfully intricate. Please check out our interview with Mel Rodriguez down below.
I was lucky enough to attend an anniversary screening of Alexander Payne’s “Sideways” at Laemmle’s Monica Film Center in Santa Monica, California. I remember and watching and loving this film back when it was released back in 2004, and now it has reached its twentieth anniversary which just scares the hell out of me. This screening was followed by a Q&A with some of the film’s participants as well as the authors of the recently released book “Sideways Uncorked,” Kirk Honeycutt and Mira Advani Honeycutt.
But make no mistake, the real star of the evening was Virginia Madsen whom everyone who loves “Sideways” was truly thrilled to see. She portrayed Maya, the divorced waitress who captures the attention of the ambitious but very depressed Miles (Paul Giamatti), a writer who just might be about to publish his novel for the world to see. Madsen deservedly earned an Oscar nomination for Best Supporting Actress for her unforgettable performance here. Cate Blanchett ended up winning it that year for her work in “The Aviator,” but there is no forgetting what Madsen did, especially after Maya’s speech about her love of wine.
Before “Sideways,” Madsen was best known for her work in movies like “Candyman,” “Electric Dreams,” “The Prophecy” and “The Rainmaker.” Around the time it came to audition for this now classic film, Madsen openly admitted her career was not doing well and that the odds were against her in playing Maya.
Virginia Madsen: There was talk about getting someone who had a bigger name, but I got the audition and I was working with a coach, so I was really, really ready. They weren’t giving us the whole script though, and then I said, well, can I just have a couple of more scenes, and they just sounded like me.
In addition, she was very familiar with the Santa Inez valley and the other areas which “Sideways” takes place in as she considers them her weekend getaway. Also, this film marked the first time Payne made a film outside of Omaha, Nebraska.
Virgina Madsen: I lived about an hour from there. I didn’t ever go wine tasting. I just went there to sort of be a hippie and climb trees and have this beautiful sense of serenity, so I knew what I felt like when I was in the valley. So, I just went to play myself.
And we can all agree that Madsen’s greatest scene in “Sideways” was when she talks to Miles about her love of wine as it seduces us every bit as much as it seduces Miles. As a result, this made her meeting with Paul Giamatti all the more agonizing.
Virginia Madsen: I loved the part where I talked about wine in that scene with Paul, so I just got this one chance in the room with him. So, I said I just love this screenplay, I love this role, and I love when she talks about the life of wine. I went into the monologue, which you were not supposed to do for the audition. He went, “would you like to do the monologue?” I said, “Yes, sure.” I was so prepared. The tone in the writing changes in that scene. And when it was over, we just looked at the casting director and he said, “You know, we should have everyone do that monologue!” He (Giamatti) wanted me, but it took a while to hear a yes. I knew who Paul was as an actor, and I knew we would have chemistry. I am never wrong about that.
Then there came the time when Madsen met up with Payne about “Sideways,” and he offered her the role of Maya at the Chateau Marmont, something any actor or actress loves to be given the role of a lifetime at. But this also resulted in something actors might be reluctant to agree to.
Virginia Madsen: We met at the Chateau Marmont, and he said, “I want to ask you, would you do me the honor of playing Maya in my film ‘Sideways?’ And I was like, “Oh, well.” And he said, “I have one request though, are you willing to do this movie without makeup?” And I said, “Well Alexander, I’m not wearing makeup now, and that’s what I mostly do.” I did that in three films before that, and the greatest thing about that is you don’t have to get up quite so early. The only request I made back to him was, as long as I can wear mascara and some lip gloss on the date because, if a woman goes on a date, she’s just gonna do a little something, and he agreed to that. It seems to be nowadays more than ever this effort to make people look real, and they kind of look like hell, and that’s also distracting.
After all these years, “Sideways” has lost none of its power to entertain, be it in comedic or dramatic ways. Some films are quickly undone by time, but this one never will as everyone can relate to it and its characters in various ways. And when it comes to Madsen’s performance, she will make you fall in love with Maya every single time.
Actor and filmmaker Edward Burns comes from a family of cops, and he always relishes the opportunity to play one in a movie. In “Alex Cross,” he got to portray Detective Tommy Kane who is partner and childhood friend to Dr. Cross (played here by Tyler Perry), and the boyfriend of Detective Monica Ashe (Rachel Nichols). While at the movie’s press conference which took place at the Four Seasons Hotel in Beverly Hills back in 2012, he talked about what drew him to the role.
Burns said he was aware of James Patterson’s Alex Cross books and that he had read a few of them. The character he plays, however, is not actually in any of Patterson’s books and was an original creation for this movie. He ended up getting a call from the movie’s director, Rob Cohen, who was determined to make this particular Cross film more of an action picture than a police procedural.
Edward Burns: Rob told me that he wanted to develop this new character opposite Alex that’s sort of a best friend. He said we’ll be working on this script up until we shoot and that he’d love to have some input from me. Anytime a filmmaker says they want you to collaborate with them that gets an actor excited, so I jumped in.
When it came to establishing the relationship between Tommy and Alex, Burns said there are two scenes in the movie that give viewers insight as to when these two met and how their relationship has evolved over the years.
Edward Burns: The thinking was we became friends as kids, and when we were little, I was a little more of the protector of him. When we got older, bigger and smarter, he then became the guy that looked after me. That’s what the tone of the relationship is between these characters in the film, and in our last scene together in the car we reminisce about how our roles have changed over time.
For Burns the one fun thing about playing cops in movies is that there’s always that period of when you have to do tactical police training.
Edward Burns:We had a great time working with the guys from the Detroit SWAT team and police department, and that’s always a lot of fun. It’s amazing because you always have to keep relearning that stuff (sweeping a room and proper weapons procedure).
Some actors hate being typecast as cops, but Edward Burns appears to be happy to play as many of them as he can. We look forward to him playing as many more cops in the future, and we applaud him on his continued dedication to the realm of independent film.
“Alex Cross” is now available to own and rent on physical media and digital.
WRITER’S NOTE: This interview took place back in 2012 and may contain outdated information.
