‘Jurassic World: Fallen Kingdom’ Director J.A. Bayona Talks About Making ‘The Impossible’

The Impossible JA Bayona photo

Spanish film director Juan Antonio Bayona, or J.A. Bayona for short, made a name for himself in 2007 with the horror movie “The Orphanage.” It earned him the respect of his fellow Spaniard Guillermo Del Toro who helped produce the film, and it became a big box office hit worldwide. These days he is known for directing “Jurassic World: Fallen Kingdom” which is expected to be one of the biggest hits of the 2018 summer movie season.

Following “The Orphanage,” Bayona was offered a number of movies to direct including “The Twilight Saga: Eclipse,” but he was really interested in doing something far more challenging to take on. Bayona found the challenge he was looking for with “The Impossible,” a movie based on the true story of a family that survived the devastating 2004 Indian Ocean tsunami in Thailand. What Bayona accomplished showed him to have great skill in getting strong performances out of an incredibly gifted cast, and he staged a tsunami scene so horrific, it puts the one in Clint Eastwood’s “Hereafter” to utter shame. The movie proves to be a cinematic experience as brilliant as it is gut wrenching to watch, and you won’t be able to ignore Bayona’s talent after you have seen it.

Bayona was at the Los Angeles press conference for “The Impossible” which was held at the Four Seasons Hotel in Beverly Hills, California back in 2012, and I was fortunate enough to attend his roundtable interview. We all thanked him for making this film which we agreed was one of the very best of the year.

The Impossible movie poster

Question: This is a great movie. Did you realize the scope of it when you got involved? Did you realize how inspiring it would be to moviegoers in general?

J.A. Bayona: Well it was getting bigger and bigger as much as we were getting into it. The first impact we had when we heard Maria (Belon’s) story was very emotional, and we wanted to figure out where that emotion was coming from. Even though it is a tough story and we’re talking about a tragedy, the emotion was coming not from a dark place. It was something that was coming from the way these people gave to the other ones in the worst moment. So, I thought that was very powerful and it was a very beautiful idea of approaching that. But then you talk to Maria and you realize how much suffering there is still nowadays. They call it “survivor’s guilt” even though she doesn’t like to call it that. She will talk about survival suffering because she doesn’t feel guilty for anything she did, but it’s really that there is a lot of suffering. I thought that would be interesting to tell the story of this family going there and then going back home and not talking about a disaster in a compassionate way and where you only talk about whether you live or you die. There’s a lot of gray space in the middle. From the very first meeting that we had we agreed that this was not just the family story. It was the story of many people, but the whole ending talks about that; how do you go home to the real world when your real world disappears? I like to see the film tell the story about the end of innocence. They don’t feel the same anymore, they lose the sense of security and their life is not the same anymore.

Q: How big of a challenge was this movie for you?

JAB: Well of course there was a huge challenge in the technical aspects of the film, but for me that was exciting and I was not worried about that. The real challenge was how to portray the story of the people who were there and how to give the big picture of what went on there and being respectful of the time.

Q: How much the movie was real and how much what was done with CGI? The movie looks very real even though some of those effects were probably done digitally.

JAB: Well it had to be like that because the story was very simple in reality so it could look like a visual effects movie. It had to feel real all the time. We did a lot of things for real like practical shooting and practical effects, and we also used a lot of CGI for greeneries and digital composition. But the great thing is to always mix several techniques so there’s a moment where everything gets lost so the audience doesn’t know what they are watching.

Q: Was anything done to reduce the carbon footprint of the movie or in trying to conserve resources?

JAB: Everything these days is now very regulated, so you have to be very respectful. For example, in shooting the water sequences in Spain the waters had to be darkened with a coloring used for food because that water had to be sent back again to the sea. Everything had to be natural. The water had to be decidedly desalinated before it got sent back to the sea.

Q: Did you think about shooting the movie in another country other than Spain, or was it always your intention to shoot there?

JAB: We did it in Spain because we found this huge water tank which is the second biggest in the world I think. So it was the perfect place to shoot all of the water sequences and once we finished with that we went to Thailand and we shot in the same places the tsunami took place in.

Q: The sound design in this movie is incredible, especially in the opening sequence. The screen is black but you already feel like you’re underwater. Can you tell us more about the sound design for this movie?

JAB: One of the things that I soon realized is that the characters didn’t have time to stop and think about what was happening. Everything was so fast that we had to deal more with emotions and sensory details. I was intellectualizing the sequence a lot with the actors, but in the end in front of the camera everything had to be sensorial and about the emotions. Sound has a great role in the film, and I talked a lot with Maria about the sounds and she was telling me for example that the sounds of the wave reminded her of the engine of the plane. This is the moment where I had the idea of starting with the sound of the engine because the movie was already starting and finishing on a plane. The way the plane sounds at the beginning and at the end is completely different, and that sets the behavior of the characters of how they go to Thailand and how they came back from Thailand. The sound of the way was very interesting. It sounds wilder underwater than on the surface because that’s where the danger was with all the debris and all the things which were dangerous for the people who were in the water were underwater. Maria was telling the also about the bloody birds, and I said, “What do you mean by the bloody birds?” She told me, “Once the water receded and we were completely alone in the debris and the devastation I started listening to the birds singing like nothing had happened, and I hated them at that moment because nothing happened to them.” This gave me the idea of how nature goes back to normal and that puts the characters very close to reality at the time, so of course we played a lot with this sound and with the music. It’s very interesting to see how music plays a lot with things that the characters can find the words to explain. I remember the moment when Maria was being dragged by this old man, and she sent me a message that was four pages of all these things that she felt in that moment. And in that sequence you only have a man dragging a woman so I focused only on Naomi’s eyes and I put some small music in their going up slowly, and only with that Naomi’s performance and only with their eyes and seeing the connection between this woman and this man. Using some notes of music, I was able to try to create a thought provoking experience in the audience, and that deals a lot with the four pages that Maria sent me.

Q: When this project began it was intended to be a Spanish production with Spanish actors, but then it became this huge thing. When did you decide to make this change?

JAB: Well we wrote the script in Spanish and we soon realized that 80% of the dialogue was already in English because people had to talk in English to be understandable to each other. Also I didn’t want to put the accent on nationalities because I wanted to portray all the people on the same level. I wanted to portray all the people like people, no nationalities. So it felt natural to go to English-speaking actors because first of all to finance a movie like this you need important names, but most of all I never wanted to put an accent on nationalities. If you see the film, they never say where they are from. All the time they talk about going back home. I wanted them to be very universal like a wide canvas so you can project yourself in there.

“The Impossible” is now available to own and rent on DVD, Blu-ray and Digital, and “Jurassic Park: Fallen Kingdom” arrives in theaters on June 22, 2018.

 

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Matthew Modine Shares Stories About the Making of ‘Full Metal Jacket’

Full Metal Jacket Matthew Modine

While moderating a Q&A session with Leon Vitali and Tony Zierra about “Filmworker” at the Nuart Theatre in Los Angeles, actor Matthew Modine shared some stories about the making of Stanley Kubrick’s “Full Metal Jacket.” In the 1987 war film, Modine plays Private Joker, one of a dozen soldiers who endure Marine Corp basic training under the brutal and abrasive instruction of their drill instructor, Gunnery Sergeant Hartman (the late R. Lee Ermey). Following graduation, he heads to South Vietnam to work as a war correspondent for the Stars & Stripes newspaper, and it is there he witnesses the atrocities of war up close. The question is, how much of his humanity can hold onto in the face of death and destruction?

The stories of Kubrick’s behavior and work ethic have long since become legendary in regards to the methods he used to get an actor into a specific emotional state and the number of takes he puts his cast through. The first story Modine shared with us about Kubrick, however, proved to be a bit unexpected.

Stanley liked to carry a walkie talkie because he wanted to be a part of every aspect of the filmmaking,” Modine said. “Why shouldn’t he have a walkie talkie and know what the assistant directors were saying and what kind of movements were happening? We broke for lunch and the assistant director, Terry Needham, got a call from Stanley, and Stanley asked Terry to come over here. Terry said, ‘Okay, but where is here?’ He said, ‘I’m over here,’ and Terry said come out of the tent where we were having lunch. Terry didn’t want to say on the radio that he was stuck in the portapotty. He couldn’t get the door open. So that’s just a little window into a different part of Stanley that doesn’t appear in the documentary.”

During the Q&A, we learned how the crew on a Kubrick film was actually very small, and the one on “Full Metal Jacket” totaled about 15 people. Vitali even said there was only one electrician, and his job was simly operate the lights on a dimmer. Modine ended up adding a nice bit of trivia to this story.

The one electrician that we had working on the film, because of the union, he would come in and turn the lights on, and then Stanley would tell him to fuck off to his house because there was some wiring problem in his house,” Modine said. “He had to pay him for the day so he said go wire my house.”

Perhaps the most bizarre and hilarious story Modine shared with us was when he talked about Dorian Harewood who played Eightball, the soldier who experiences an especially brutal and bloody death which is captured in slow motion. The way this scene was shot, however, makes sense when Modine discussed what Harewood demanded from Kubrick.

Dorian Harewood is a wonderful actor,” Modine said. “We were originally contracted for about six months I think, and the contracts were coming to an end. So they wanted to renegotiate the contracts, and it wasn’t a renegotiation. It was just a reupping to continue the contracts for a longer period of time, and Dorian came to Stanley and said, ‘I want to renegotiate. I want more money,” and Stanley couldn’t believe the audacity of this young guy. He’s like, ‘You’re working for Stanley Kubrick and you are asking me to pay you more money?’ And he (Harewood) said, ‘Well yeah, I have to go back to Los Angeles. I have a singing career, I have an acting career, there’s other jobs, and if you want me to stay here, you’re gonna have to pay for it.’ Stanley couldn’t believe it, and I remember him stumbling around for hours furious with that crazy look on his face, and then he turned and he said, ‘I’m gonna kill him!’ I really thought, oh fuck, Stanley’s gonna commit murder. He’s going to kill Dorian Harewood. I said, ‘What do you mean?’ He goes, ‘I’m going to kill him.’ Remember when Dorian gets shot all over the body? It was because however number of days were left upon Dorian Harewood’s contract, Stanley was going to put in all the bullet hits he could. It was really cold. You could see Stanley wearing that hat and two coats, and we were wearing Vietnam khakis. It was freezing cold and snowing in London, and we were dressed up for North Vietnam. He killed him for as many days left that he had on the contract, and he had five days left lying on the cold earth with bullet hits. He (Stanley) would say, ‘Nah, we have to do it again. Put more bullet hits on him.’ And they were full loads full of exploding blood and everything.”

It was great to hear Matthew Modine share his stories about “Full Metal Jacket” as it remains one of Kubrick’s most memorable films. Many critics have called it the best war film ever made, and it features images which are impossible to forget. The actor also left us with something he wanted to share with all the directors in the audience.

My favorite direction from a director ever was from Stanley Kubrick,” Modine said. “He would clear his throat and pull on his beard and say, ‘Matthew, you’re not going to do it that way, are you?’ It’s my favorite direction because it’s so specific.”

In 2005, Modine published “Full Metal Jacket Diary,” a collection of photographs he took and of diary entries of his experiences which he kept during filming. Please click here to get more information about it.

Full Metal Jacket movie poster

Leon Vitali Talks About Stanley Kubrick and ‘Filmworker’ at Nuart Theatre

Leon Vitali on set with Kubrick

Leon Vitali was the guest of honor at the Nuart Theatre on Friday, May 18, 2018 where the documentary “Filmworker” was being shown. Directed by Tony Zierra, it chronicles how Vitali went from being a successful British actor to becoming Stanley Kubrick’s personal assistant after starring in “Barry Lyndon,” and of the intense dedication he gave to the filmmaker’s work from “The Shining” to “Eyes Wide Shut.” Vitali was greeted with a much-deserved standing ovation as he made his way to the stage for a Q&A. Joining him were Zierra and actor Matthew Modine who played Joker in “Full Metal Jacket.”

Modine remarked about a scene which was cut out of “Filmworker” where he said “Stanley stood on Leon’s shoulders” and how much of a marriage Leon and Stanley’s working relationship was, and he described it as being “at times dysfunctional” and “lovely in a British way.” Zierra was actually working on another documentary about Kubrick called “SK13” when he met Vitali, and he said talking with Vitali was a must as it was well-known how he was one of Kubrick’s closest associates. Zierra managed to track him down in Culver City and met with him, and what resulted was this documentary which was filmed over three and a half years.

Tony Zierra photo

“This is the worst nightmare for a filmmaker that when you are really super independent you pick up another documentary and you can’t even finish one,” Zierra said. “I went back and told my producer and partner, Elizabeth Yoffe, this is the most amazing story and I have to do a documentary about this guy, but I’m not sure if I really want to take on another project. But then I remember she said to me you are going to regret it if you don’t do it, so I went back and I asked him, and he said no. And I realized that Leon is just not used to talking about himself. He can talk about Kubrick forever, so it was quite difficult.”

Zierra then remarked how he and Vitali eventually “broke the ice” when he volunteered to organize the heaps of notebooks and materials Vitali had kept over the years while working for Kubrick. As we see in “Filmworker,” Vitali has a huge collection which really does deserve an exhibit of its own.

Modine talked about the overall crew numbers on a Kubrick film and illustrated just how important Vitali was to the famed filmmaker. In the process, he revealed something very surprising as Kubrick’s movies have such an epic look about them to where it looked like hundreds, maybe even thousands, of people worked for him. But as life often teaches us, looks can be deceiving.

Full Metal Jacket Matthew Modine

“(People) imagine the enormity of Stanley Kubrick’s legend is that he was a filmmaker who must’ve had hundreds of people working for him, and it was quite the contrary,” Modine said. “Leon really did wear 100 different hats because when you went to work there was sometimes, when we were filming on the stage, maybe it felt like 15 people working on the film. What I feel is that Stanley Kubrick created an environment for himself to be able to keep production costs down to the minimum so that he could have the ability to work for an extended period of time to do as many takes as were necessary. But in fact, he was probably the most independent filmmaker I’ve ever worked with.”

“That’s absolutely true,” Vitali responded. “The crew on ‘Full Metal Jacket’ ended up looking like a well-crewed student film, you know? We had one electrician, that was it, because he shot so much of it in natural light. And any light he did have, it was a bank of lights like in the barracks for instance that just went up and down on a dimmer. So, he was always conscious about getting every single dollar on the screen. It was the most important thing to him.”

Leon Vitali in Filmworker

Vitali did share stories about Kubrick which involved him calling Vitali a certain word which has a broader meaning in England and Scotland but a simpler one in America as many find it extremely offensive (hint: it begins wit a c and ends with a t), and he also talked about the pie fight scene which was taken out of “Dr. Strangeglove” because they just felt it would have been a terrible way to end the movie. In terms of filmmakers today who Vitali considers in Kubrick’s league, he said he really admires Paul Thomas Anderson, Guillermo Del Toro because he gets back to the fairy tale part of the storytelling, and Sean Baker who directed “The Florida Project.” In terms of his favorite Kubrick movie, he said if you put a gun to his head he would have to say it is “2001: A Space Odyssey.”

One of the most interesting moments of the evening, however, came when Modine asked Vitali what an artist is and what value art and movies have.

“Artist has become a word like love or hate, and it’s used so loosely I think” Vitali said. “To me, anyone can be an artist. In my vacation time from drama school, I used to work with a brick layer, and I eventually saw the way he worked with the bricks. He was an artist at what he did. I’ve seen car mechanics who find their way around because it’s all a process of elimination. I think an artist’s work is a process of elimination because the hardest thing to do is to get back to simplicity of whatever it is you are trying to tell or the story you are trying to tell, and how often things come in which seem like good ideas but they are big distractions. So, you are all the time working to get rid of the junk, however appealing it might seem at the time. Composers and musicians and actors or any of those, they are all artists because that’s what they do. It’s getting everything down to the simplest that you can make it to make the story resonate and have a point. That’s what I think anyway.”

Filmworker” is an absolute must see for Stanley Kubrick fans, and it is now playing at the Nuart Theatre in Los Angeles through May 24th.

Filmworker poster

Photos, poster and trailer courtesy of Kino Lorber.

William Zabka on Portraying a Non-Bully Character in ‘Where Hope Grows’

Where Hope Grows William Zabka

Ever since he played Johnny Lawrence in 1984’s “The Karate Kid,” actor William Zabka has forever burned himself into our collective memories as the quintessential school bully. From there he went on to play characters who were equally antagonistic in movies like “Back to School,” “Just One of the Guys” and “National Lampoon’s European Vacation” in which he does the unthinkable when he dumps Audrey Griswold as his girlfriend. All these movies serve to make you completely forget that Zabka started off his career acting in commercials which portrayed him as the all-American nice guy.

But the truth is there is more to Zabka than just playing the bully we all love to hate. Ever since “The Karate Kid,” he has gone on, unlike many of his co-stars, to earn a black belt in Tang Soo Do. On top of that, he speaks Czech fluently and is also an accomplished musician. Furthermore, he has gone on to become a noted filmmaker, and his short film “Most” earned numerous awards as well as an Academy Award nomination for Best Live Action Short Film.

All these years later, we catch up with Zabka in “Where Hope Grows,” a film written and directed by Chris Dowling, which has him playing Milton Malcolm. Milton looks like a successful businessman, but we come to see his life is falling apart very quickly. He descends into alcoholism with his best friend Calvin Campbell (Kristoffer Polaha), a former major league baseball player whose career was undone by panic attacks. But when Calvin finds a way to sobriety thanks to his newfound friendship with a simple-minded supermarket employee with Down syndrome who is known by his nickname of Produce (David DeSanctis), Milton ends up feeling more isolated than ever, and this sends his life into an even deeper downward spiral.

Looking at this, it becomes clear Zabka has a more complex role than any other actor in “Where Hope Grows,” and I told so during a roundtable interview held at the Four Seasons Hotel in Los Angeles, California. Unlike his most famous characters, Milton cannot be easily labeled as a good or bad guy in this movie. I asked him what the challenges were for him in playing such a complex character, and he liked that I found this to be the case with Milton.

Where Hope Grows movie poster

William Zabka: This character is very complex. He has it all or appears to have it all. He’s got a beautiful wife and kids but he’s in trouble at work, he’s in the bottle, neglecting his wife, there are all kinds of stuff going on. To live in the moment of that and to feel the pain of that… The one scene where I almost come off really brazen in the scene at the golf course, I was saying to Chris, “Give me another line.” We were banned from saying the “R” word on the set. It was like no “R” words and here I am delivering it. I said, “Can’t we just find something softer? Can we be ignorant but not so brazen?” Chris really wanted that contrast for the ending and payoff. That’s a vulnerable place to go as an actor because as an actor you want to be liked or at least relatable. I’m glad you said that you could see the complexities because he wasn’t a good guy and he wasn’t a bad guy. He was misinformed. Produce’s story is kind of a second story to him. He is struggling with his own stuff, and it’s later when they come face to face and this kid gives him a gift. So, hanging onto that was the key to allow me to go down to some of those darker places.

It was a real honor to be in the presence of Zabka whose performance in “The Karate Kid” remains forever burned into my memory. But while many remember him best for playing such a hateful bully, there’s certainly much more to him than we realize.

Where Hope Grows” is now available to own and rent on DVD, Blu-ray and Digital. And of course, you can see him on the YouTube Red series “Cobra Kai” as Johnny Lawrence.

 

Former ‘Dr. Who’ Actor David Tennant on Portraying a Psychopath in ‘Bad Samaritan’

Bad Samaritan David Tennant

We know him best for playing the Tenth Doctor on the never-ending BBC television series “Dr. Who,” and for playing the sociopathic Kilgrave on Netflix’s “Jessica Jones.” Now in “Bad Samaritan,” David Tennant plays Cale Erendreich, a far more psychotic character than any he has played in recent years. When we first lay eyes on Cale, he is incredibly rude to a pair of valets at a local Italian restaurant. When he hands the keys to his Maserati over to them, he makes it clear his car is not be messed with or smoked in, and this leads the valets to invade his house and rob him, but they soon discover Cale has a woman chained up in his office. From there, we learn just how screwed up on an individual Cale is as this particular victim clearly is not his first, and he even tells her at one point, “You have earned the next stage in your evolution.”

Watching Tennant in “Bad Samaritan” reminded me of Ben Kingsley’s performance as Don Logan in “Sexy Beast.” As Don Logan, Kingsley gave us a character who truly was the anti-Gandhi and, in the process, he gave us one of the greatest and most fearsome villains the world of cinema has ever seen. In an interview, Kingsley talked about how he played the wound of the character as this was the thing which gave Don Logan the most ferocity. Hearing him say this remains fascinating to me to this very day as it gave me a stronger idea of how to play a villain in a movie or a play.

When Tennant appeared at the “Bad Samaritan” press day at the London Hotel in West Hollywood, I got to ask him what he felt Cale’s deepest wound was. His answer showed just how much research he did on this character and of how complex Cale is.

David Tennant: Well Cale certainly doesn’t know. A lack of self-awareness is probably right up there. Obviously, there is a lot of damage in his background and a lot of it, I’m sure, goes back to his parents and upbringing. Doesn’t it always? I think he’s a broken human being who doesn’t realize he is. He’s fatally damaged and believes he’s the only one who isn’t, so I suppose it’s that. It’s the gap between where he really sits in society and where he believes he sits in society I guess.

It is never enough to play a villainous character who revels in being so evil as it does nothing but make such an antagonist so one-dimensional and infinitely boring. Thank goodness we have actors like Tennant who are eager to explore the dark side of humanity to where they can give audiences a villain who is never easily forgotten.

Be sure to check out “Bad Samaritan” which is now playing in theaters everywhere.
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Click here to check out my interview with Dean Devlin, the director of “Bad Samaritan.”

 

Exclusive Video Interview: Dean Devlin Talks About the Making of ‘Bad Samaritan’

Bad Samaritan

With Roland Emmerich, he helped bring “Independence Day,” “Godzilla” and “The Patriot” to the silver screen. In 2017, he struck out on his own and made his directorial debut with the disaster film “Geostorm.” Now filmmaker Dean Devlin follows that up with his sophomore directorial effort, a horror thriller named “Bad Samaritan” which was written by Brandon Boyce (“Apt Pupil”) and stars former “Dr. Who” actor David Tennant, Robert Sheehan and Carlito Olivero. Whereas “Geostorm” was a big budget Hollywood blockbuster, “Bad Samaritan” sees Devlin taking the independent film route to create his most intimate motion picture yet.

We get introduced to Sean Falco (Sheehan), an aspiring photographer who works as a valet with longtime friend Derek Sandoval (Olivero) at a local Italian restaurant. What his employers do not know, however, is Sean and Derek have more on their minds than parking cars. Once customers give them their keys, they drive out to their homes to burglarize them, and among the items they abscond with is a diamond ring which Sean gives to his girlfriend, Riley (Jacqueline Byers). But one night, when Sean breaks into the home of an especially rude customer, Cale Erendreich (Tennant), he discovers a woman chained to a chair. From there, it becomes a cat and mouse game as Sean tries to find a way to save her without getting arrested as a thief in the process.

I was lucky enough to speak with Devlin at the London Hotel in Los Angeles, California where he was doing press for “Bad Samaritan.” Devlin talked about how making this movie reminded him of why he got into filmmaking in the first place, the twisted psychology of Tennant’s character, what made him especially interested in working with Boyce, and of the advantages he had in shooting the film in Portland, Oregon.

Please check out the interview below and be sure to catch “Bad Samaritan” which arrives in theaters on May 4th.

Exclusive Video Interview with Scott Beck and Bryan Woods about ‘Nightlight’

Before they co-wrote the screenplay for “A Quiet Place” along with John Krasinski, filmmakers Bryan Woods and Scott Beck spent some time in the found footage genre with “Nightlight.”  This movie takes place in Covington forest, a place believed to be haunted as many troubled youths have gone there and committed suicide. This, however, doesn’t stop a group of five teenagers from venturing out there for an evening of flashlight games and blood curdling ghost stories. But of course, it doesn’t take long for the fun to come to a screeching halt as they end up awakening a demonic presence, an unseen evil wastes no time in preying upon their deepest fears. From there, the five friends struggle to help each other to escape the forest before they are forever plunged into the most terrifying of nightmares.

From the outset, “Nightlight” looks to be your typical found footage horror movie a la “The Blair Witch Project,” but there is one thing which helps set it apart. It is one of the recent films in this genre which deals seriously with issues teens go through. We come to discover how these kids lost a friend of theirs named Ethan to suicide, and he ended up taking his life in the same forest they are spending the night in. While trying to evade the demonic force hunting them down, they also try to make peace with Ethan’s death and of the part they feel they played in it. While a lot of horror movies are filled with dumb teenage characters, these ones in “Nightlight” feel relatable, and their problems may end up reminding you of what you felt like at their age.

I got to speak with Woods and Beck back in 2015 while they were in Los Angeles to promote “Nightlight,” and it turns out they have known each other since the sixth grade. Their early years of making movies with action figures has gotten them to where they can confidently helm their own feature films, and their careers would soon hit an even bigger peak with “A Quiet Place.” They were full of details on the making of “Nightlight” such as how they found the forest featured prominently in this movie, how they wanted to make this particular found footage stand out from so many others like it, and why they decided to cast unknown actors. In addition, they also had some interesting stories to tell about animal wranglers and the importance of sound design in a horror movie.

Please check out the interview above. “Nightlight” is now available to own and rent on DVD, Blu-ray and Digital.

Nightlight movie poster

Roddy Piper Discusses the Fight Scene in ‘They Live’

They Live Roddy and Keith

While at New Beverly Cinema for a screening of “They Live” on June 10, 2012, Roddy Piper spent some time talking about how he, director John Carpenter and co-star Keith David staged the alley fight in the movie. At five and a half minutes, it remains one of the longest fight scenes in cinema history.

Piper said that while Carpenter asked him many questions in preparation for “They Live,” the director also made him watch “The Quiet Man” which starred John Wayne and Maureen O’Hara. Aside from its beautiful photography of the Irish countryside, the movie also had one of the longest fight scenes ever filmed. Carpenter was determined to make an even longer fight scene, and to that, Piper said, “Okey dokey.”

Another reason Carpenter asked him so many questions, Piper said, was because “he was trying to figure out whom to put with me.” Keith David ended up being his co-star, and Piper described him as a “220-pound dancer” and of how “he is like Mike Tyson and doesn’t know it.” He also went on to describe David as a “great and wonderful man” and that he “kept laughing at all my mistakes.”

Piper did have a hand in choreographing the fight, and much of the rehearsal between him and David took place in Carpenter’s backyard. He taught David how to throw and take a punch, but knowing how punches on camera can appear faked, Piper eventually told him:

“Listen Keith, just hit me. From here and down (pointing to below his neck and above his waist) just hit me and go as far as you can.”

Piper said David had no problem doing that.

In filming the fight, Piper said he and David worked on three sections of it, and that they took it as far as they could. The day after that, they worked on the close ups for the scene. Rumor has it that it took three weeks of rehearsal to get the choreography of the fight just right. The audience was shocked however to hear that, even with the fight lasting almost six minutes, five minutes were actually taken out of it.

“They Live” also inspired a parody on “South Park” in which Timmy and Jimmy duke it out in a shot-for-shot remake of Piper and David’s fight. Upon learning this particular “South Park” episode featured “little crippled kids” fighting, Piper said he felt so bad about it and refused to watch it for about ten years. What changed his attitude regarding the episode was when he was at an autograph convention a few years ago:

“There was a beautiful little kid in a wheelchair that came up and told me about it, and he was laughing his ass off! Then I watched it and, oh baby Jesus put the hat on, one got hit in the crouch and another with a wheelchair! So you know if he likes it then I like it too! I just didn’t want to offend him.”

Piper did talk about how “They Live” is on the verge of being remade, and this did not please any fans in the sold-out audience at New Beverly Cinema. Apparently the remake will not have a fight scene in it. While some were disappointed to hear this, it’s probably just as well. After watching Piper and David pummel each other with such raw power, it seems impossible to top what they did today.

They Live movie poster

Roddy Piper Revisits John Carpenter’s ‘They Live’ at New Beverly Cinema

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It was a huge shock to hear of the sudden passing of “Rowdy” Roddy Piper who died on July 31, 2015 from a heart attack at the age of 61. Many of us remember him from his wrestling days with the World Wrestling Federation (WWF, now WWE) where he battled Hulk Hogan and Mr. T in the ring, and for also making Cyndi Lauper’s life (in her music videos anyway) a living hell.

But for me, I’m always going to remember him best for his performance in John Carpenter’s “They Live” in which he played a nameless drifter who discovers that the earth has been taken over by aliens disguised as rich people. While he may have seemed an unusual choice for a movie role, Carpenter said he cast Piper because he had life written all over his face, and that’s a quality that not enough people in Hollywood pay attention to these days.

The following is an article I wrote after I attended a special screening of one of Carpenter’s best movies.

They Live movie poster

Former wrestler and actor Roddy Piper visited New Beverly Cinema on June 10, 2012 to talk about his role in John Carpenter’s “They Live.” Once the film ended, Piper made his way to the front and leapt onstage and yelled out for all to hear:

“I HAVE COME HERE TO CHEW BUBBLE GUM AND KICK ASS!!! AND I AM ALL OUT OF BUBBLE GUM!!!”

This screening was put together by the horror convention Days of The Dead, and moderating the Q&A was Brian W. Collins from the website Horror Movie a Day. During the time he spent with the audience, Piper looked so incredibly happy to be there.

When Brian asked him how he got cast in “They Live,” Piper said he was doing Wrestlemania III and got asked out to dinner by Carpenter afterwards. Piper had, as he said, “been on the road since he was 15 years old,” and he admitted to the audience he “had no idea of who John Carpenter was.” But once he realized he was a movie director offering him the lead role in a motion picture, Piper was eager to work with him.

In talking about filming the destruction of the shantytown, Piper pointed out how many people in that scene were actually homeless and not your average Hollywood extras. He also said the filmmakers had to pay two gangs off so that, when they left at night, the trailers would still be there in the morning. Piper said he also knew the president of each gang, and that really helped.

Then there was the discussion about the “bubble gum” line which Brian heard was improvised by Piper. Piper confirmed it was his idea and jokingly described it as “lame,” and it came about when Carpenter told him just before the cameras started rolling:

“Roddy, you know you’re going into a bank, you got bullets on, you got a shotgun, you got sunglasses. You gotta say something because you’re not robbing it. Action!”

Piper said the line, and then Carpenter yelled cut and immediately said, “Lunch!”

One audience member asked Piper if he did his own stunts in “They Live,” and he admitted he did all of them except for when Meg Foster pushes him out the window. Piper, however, also said if it was the last shot of the movie, then they would’ve let him do it. Speaking of Foster, he confessed he did indeed trip out over her eyes because they are so beautiful. Looking back, he marveled at how she brings you right in with those eyes.

We never do learn Piper’s character’s real name, and he is called Nada in the end credits which in Spanish means nothing. In describing Nada, Piper said, “You don’t know where he came from, you don’t know why he’s doing what he’s doing, you don’t know why he’s wearing a wedding ring. You know nothing about him.” Carpenter told him the thought behind this was if you don’t know anything about him, it makes him more intriguing to where you want to watch more.

Piper ended the evening by speaking profoundly about his role:

“Nada is you, he is every one of you, not blue collar or white collar. He’s you and that’s why you know nothing about him because it depends on if it’s you, then that’s what’s about him. He’s supposed to represent everybody, not just America, but everybody in the world. And that’s kind of why you as an audience fill in the nothing with whatever ethics and morals you’re fighting for at the time.”

Upon hearing of Piper’s death, Carpenter said he was “devastated to hear the news of my friend Roddy Piper’s passing today. He was a great wrestler, a masterful entertainer and a good friend.”

RIP “Rowdy” Roddy Piper.

Exclusive Interview with Sophie Curtis about ‘Innocence’

Innocence movie poster

She has played supporting roles in “The English Teacher,” “At Any Price” and “Arbitrage,” but now Sophie Curtis finally gets her first leading role in the horror film “Innocence.” Based on the book of the same name by Jane Mendelsohn, Curtis plays Beckett Warner, a young woman who has just moved with her father to New York City after the tragic death of her mother. Once there she is enrolled in a super elite Manhattan prep school where she makes the acquaintance of the school’s nurse Pamela Hamilton (Kelly Reilly) who helps her settle in to her new environment. But as Pamela begins to insinuate herself into Beckett’s life even more, Beckett comes to discover that the school harbors a deep, dark secret that may end up claiming her life.

It was a lot of fun talking with Curtis back in 2014 on the phone as she was about to start college at UC Berkeley. We talked about how she got cast in “Innocence,” how the movie “Bram Stoker’s Dracula” was a big inspiration for her in playing Beckett, and of what it was like working with established actors like Kelly Reilly and Linus Roache.

 

Ben Kenber: Congratulations on this being your first lead role in a movie.

Sophie Curtis: Thank you. I’m very excited.

BK: You’re welcome. This is one of the few horror movies I’ve seen recently where a teenager having sex can actually save their life instead of end it because it’s usually the other way around (Sophie laughs). How do you feel about that?

SC: I felt like it was empowering. I think it’s good for kids to see both sides, and I really enjoyed playing a character who wants to overcome all the things that are thrown at her. My experience and my courage for it to be my first film, because I was very nervous about that while I was filming, I think that kind of adds to the veneer throughout the film and I hope people pick up on that one while they’re watching it.

BK: How did you get cast in “Innocence?”

SC: I went through the normal audition process, and then Hilary Brougher, the director, had it down to me and I think two other girls, and she met with all of us separately through lunch. We weren’t really auditioned or reading lines. We were just talking about our perspective of who Beckett is and what she’s struggling with and what that means to us. I think we really connected on our views of Beckett and I think we had an understanding. Hillary is awesome. She actually wrote my college recommendation for me so we were very close on set, and I think that we had an immediate connection and that probably helped with me in getting the role for Beckett. She helped me a lot in getting this character.

BK: Kelly Reilly plays a very enigmatic character, and I loved watching how she was able to say things without speaking a word. You look into her eyes and you know she is trouble. What was it like rehearsing with her? Did she surprise you when it came to certain scenes in the movie?

SC: Yes. It’s really funny because she’s actually super, super sweet when she’s not playing a bloodsucking witch and she gives a very raw performance. I think that really helped me with my character because her and Linus Roache who played my dad are very established actors and it was my first leading role, and I think they knew that everybody has to start somewhere so they were very accepting of that and just helped me to do the best that I could do with my performance.

BK: How long of a schedule did you all have to make “Innocence” in?

SC: I think it took us a month and a half, and we were filming really, really long days. Going in at four or five a.m. and finishing once it was dark out was really intense for me, but it was one of the best summers of my life so I’m absolutely grateful for that.

BK: You said “Bram Stoker’s Dracula” was a big inspiration for you in playing Beckett. What was it specifically about that movie that inspired you so deeply?

SC: I think it’s just the idea of going back to the source of horror. I think that “Dracula” and films like “Frankenstein” are films that have been drawn from so much to create today’s horror films and today’s horror novels. It’s kind of like the grandfather of horror and I think it’s the idea of supernatural love story with a normal girl, Winona Ryder who is one of my favorite actresses, just being trapped in a hyper reality and being misunderstood. I liked the simplicity of it and I like seeing how it’s transformed throughout in trying to create new movies like “Innocence.” That was the inspiration for Beckett.

BK: Are there any movies out right now that you feel are as good as “Bram Stoker’s Dracula?”

SC: Honestly, I really like old horror movies. To me, “Innocence” is not as much of a horror movie. It’s just more of a thriller and a coming-of-age story.

BK: What’s great about Beckett is that she is one of the more down to earth teenagers that we’ve seen in movies recently. Did you add a lot to this character that wasn’t in the script, or did you mostly stick to the script?

SC: She is really down to earth and I think she just has a very innocent demeanor. Hilary had adapted the script from the book as written by Jane Mendelsohn, and Jane was a producer on the film so she was very involved with how she wanted her story to be portrayed in the movie. I think Hilary kind of changed it from the book and she really involved me in that she starts off solemn and at other time she’s very happy. I kind of gave her my opinions on the script and how I felt Beckett should be represented after reading it and studying the character and just having an insight of being a teenager and how I felt Beckett should come off. So I think I did help or least I hoped I helped. I think I tried to make Beckett as much as my own character because she’s just a really awesome character and I had a really fun time playing her. She definitely taught me a lot while I was filming.

BK: Your character goes through a wide range of emotions throughout this movie. What was it like juggling all those different emotions while playing this role?

SC: It was really intense, but I think that me being nervous and excited and scared and happy and all of those things in real life as Sophie for being my first film and just being in this really intense working environment that I wasn’t used to. I think that really added to Beckett’s character and it helped me. I was going through similar emotions to what she was going through just in different circumstances, so you just try to draw from that and apply it to her situation.

BK: I understand that you are now starting college at UC Berkeley. How is that going for you?

SC: I’m here right now in my dorm, so if you hear other people it’s just my roommates. I’m in a triple so it’s really very crowded.

BK: What do you have planned next other than school?

SC: I’m just seeing what happens with “Innocence” right now. It’s just a really exciting time so I’m just reviewing a few possibilities, and there’s some really great opportunities. I just have to figure out which ones are the right ones for me. You have to be really, really dedicated to the project you take on because it’s really long hours and you have to really invest yourself in the character and become the character. It’s hard to wake up every single day and play somebody for hours on end that you don’t enjoy playing. I loved playing Beckett and I’d love to play her again if there’s a possibility of doing an “Innocence 2.”

BK: Well thank you for your time Sophie and good luck at school. It will definitely be a fun time for you for sure.

SC: Thank you, I’m very excited and happy to be here. It’s far from home so it’s been a little bit of an adjustment, but I like it a lot.

Innocence” is now available to own and rent on DVD, Blu-ray and Digital.