Exclusive Interview with Adrian Favela about ‘Wrong Turn’

He received national attention for playing the starring role of Pepe in the award-winning film “Requiescat,” and he co-starred opposite Laurence Fishburne in the upcoming theatrical release of “Under the Stadium Lights.” And now, you catch Adrian Favela in the horror film “Wrong Turn” which is debuting on digital and physical media and serves as a reboot of the long-running franchise. In it he plays Luis, a member of the LGBT community who is vacationing with his friends in Virginia where they go hiking around the Appalachian Trail. But as the title implies, they go in the wrong direction and find themselves at the mercy of a community of villagers who are not the least bit happy to deal with outsiders.

I got to speak with Adrian over the phone while he was in Los Angeles, and we talked about how this “Wrong Turn” reboot proves to be a lot more grounded in reality than its predecessors ever were. We also talked about his character and the others are a bit different from others the horror genre typically has to offer.  

Ben Kenber: This “Wrong Turn” film was not at all what I expected. It feels a lot more grounded in reality, and the characters including yours are not your typical horror movie cliches. Your character of Luis Ortiz is part of the LGBT community and has a boyfriend, and this is something we do not always see in a film like this. How do you feel about that?

Adrian Favela: I think it’s really amazing. We don’t always get to see other LGBT characters represented in a non-stereotypical way. The way Alan B. McElroy wrote the script, he made the characters very normalized and I think that’s really special. I have tons and tons of fans reaching out saying how represented they felt, and I really truly feel special for that.

BK: I love the scene where the characters including yours are in the bar and this redneck-like character comes up to insult them. In the process, we come to discover how educated you and the others are.

AF: Yeah, I loved the idea behind it. Instead of the typical dumb kids in the woods doing dumb things, it was really smart everyday people in a terrible situation which I really appreciate.

BK: I expect most actors in horror films to overact or emote to a ridiculous extent. How did you and the filmmakers work at keeping your character so grounded?

AF: Originally what he (director Mike P. Nelson) did to make us all really blend into the characters is he made all of the cast hang out and become really good friends before we even started shooting, so that really grounded us in the space. So, when got to the points of huge emotions, we run into a big ravine scene with Gary and Luis, when you actually know the person next to you personally, it really opens you up to new emotions. It’s not like the fake emotions that you want to put on for show, but it is also your own personal emotions that you are able to attach to the character and magnify the extent of what Luis is going through. So, it was really cool and special. Mike also is huge on horror with heart, so he wanted us to dig within ourselves so it’s not just like, oh somebody died, let’s run away. It’s like, somebody died, let’s feel what happened.

BK: I read that when you auditioned for this film, you had to act in a blank space and pretend things were there when they were not. How did you go about doing that?

AF: Through the audition there was traps, there was the character Adam getting sucked into the hole by chains, and snakes, etc. It was one of the craziest auditions I had ever seen. So, the way I really approached it was I wanted just to take to my imagination. I really have to sell the idea these things are happening to me, but if you do it in a way which is too structured, you get lost and you’re trying to play something compared to seeing somebody living in this imaginary world. I think that’s what ultimately helped me book the role, just taking to my imagination and playing in the space.

BK: Were you at all familiar with the “Wrong Turn” franchise before you were cast in this reboot?

AF: The first one came out when I was around 10 (years old) and I remembered watching bits of it with my dad and just being absolutely horrified. It was burned into my mind. I don’t know if you’ve seen the first one where they are chopping up the person on the table. I was just remember being mind blown and horrified and had nightmares for months and months. So, when I got the audition I was like, oh my god, is that the movie which just horrified me my entire childhood? (Laughs.) It was like a full circle.

BK: This film was shot in the wilderness. What challenges did this present to you and the other actors?

AF: It was definitely really tough. I will say the terrain was really brutal. There are some real falls which made the final cut. We were out in the place called Hocking Hills. It is a state park, and it is full of caves and caverns. The trails were really, really thin, so we’re filming with tons and tons of crew and we’re just trying to act and not fall down the hill at the same time (laughs). The night shots, especially the outer foundation area, it was in the middle of the night and there were no lights. I remember being carted to set and you couldn’t see anything in front of you. It was just the headlights, and it was insane. It was brutal, but it really kept us in character for what these characters were actually going through.

BK: It really shows up onscreen. You really can’t fake that.

AF: Yeah (laughs).

BK: What I liked about the screenplay is how it does not reveal its secrets right away. When you first read it, did you get all the information you needed, or was it a situation where the filmmakers revealed things to you as production went on?

AF: The original script is a little bit different than the final cut of the film, but we still got the same idea. In the original script we found a reveal at the very end that a ton of time has passed and Jen has been in the Foundation for months. This is why she is so incredible at her kills and survival skills. I was very surprised at how they approached it. I think the approach that Michael did was absolutely perfect. It explains to the audience that there is a time lapse happening. It says right at the top that this is six weeks prior (to what we just saw in the prologue). That way we were just led in, and it all leads up to when Matthew Modine’s character finds Jen.

BK: Did you have a small role in Olivia Wilde’s “Booksmart?”

AF: Yeah, there was this casting for a bunch of party guys. The original script of “Booksmart” was supposed to be something along the lines of a female version of “Superbad.” It was a crazy (party) scene, and they ended up cutting all that out. It was definitely a bummer, but it was really cool to see everybody working and that kind of giant cast ensemble feeling and how to work in that space.

BK: “Booksmart” was one of my favorite movies of 2019, and it’s the kind of teen movie I like best as it takes the problems adolescents go through more seriously as opposed to joking about them endlessly.

AF:  Yeah, ”Booksmart” was incredible. When I saw the final cut of it, I was like wow, this movie is amazing.

BK: Did you get to work with Olivia Wilde at all?

AF: Yeah, just a bit. I met her. She was super, super kind and loving and sweet. You don’t always get that with directors, so it was really cool to see her giving her everything.

BK: How do you feel about the response this “Wrong Turn” has received thus far?

AF: Of course, we are going to get mixed reviews. Horror always has mixed reviews (laughs).

BK: Yes, I tend to moderate my expectations when I watch any movie these days. There have been many horror movie reboots over the years, but this is really one of the better ones.

AF: Oh, thank you!

BK: This film has the same screenwriter as the original “Wrong Turn” film, Alan B. McElroy, and this is the same man who wrote “Halloween 4: The Return of Michael Myers.” This is a guy who clearly knows how to put a fresh spin on a long running horror franchise.

AF: I think the thing with “Wrong Turn” was it was moving in a single direction for so long. We had the standard of the flesh-eating cannibals and the classic tire pop as they are moving toward West Virginia. I think what Alan B. McElroy did was he flipped it on its head. Instead of giving you the same path, he flipped it in a new direction. At the end of the day, horror fans are really, really, really smart fans. They know everything. We pulled a lot of the flesh-eating cannibals and we traded it for food for thought which I think was really smart and an interesting move and something you don’t always see in horror. If you go into this film with an open mind and an open heart for something new and something fresh, I think you will find it in this film. But if you are looking for something along the lines of, I want to see a flesh-eating cannibal, you might not like it (laughs).

“Wrong Turn” will be available to own and rent on VOD, Digital, DVD and Blu-ray starting on February 23, 2021.

Rita Chiarelli Speaks About the Making of ‘Music From The Big House’

WRITER’S NOTE: This article is about a screening which took place on June 13, 2012.

Canadian blues artist Rita Chiarelli made a special appearance at the Aero Theatre in Santa Monica to talk about the documentary “Music From The Big House.” Directed by Bruce McDonald, it follows Chiarelli as she goes inside the Louisiana State Maximum Security Penitentiary to perform with inmates who share her love of music. Chiarelli’s appearance was part of her tour with the documentary which has her traveling to 60 cities in 70 days for post-screening Q&As and performing the blues, and she blew us away with what she had to say as well as her music.

Moderating the Q&A was Richard Matson of Matson Films, the company distributing “Music from the Big House” in the United States. His first question for Chiarelli was how she managed to persuade the prison to let her in, and she said she had to be “very charming.” She admitted to having many meetings with the warden and other prison officials in Louisiana and managed to gain their trust over time. Putting it very bluntly, she said, “They let me in… and they also let me out.”

One audience member asked why the documentary was shot in black and white, and Chiarelli said cinematographer Steve Cosens originally shot it in color. However, it was decided later on to take the color out as everyone thought this was really how the movie should be seen. The way Chiarelli says she saw it, black and white “carried the story more” and made it “truer to its meaning.”

Chiarelli also added how the whole documentary was shot in just two and a half days and that everything done “was a first take.” Everything we saw on screen was “totally how it went down.”

Another person asked why the prison had so many African-Americans and young men incarcerated there. Chiarelli responded that 80% of the population in Louisiana is black and added “whatever that speaks to, that’s what’s going on.” She also said the laws in Louisiana are “very strict” and that it is the only state in America which still operates on the Napoleonic Code which allows more in the way of judgment calls than anything else.

One thing I wondered about, as did others, was why the crimes these inmates convicted of and serving time for were listed at the end of the documentary. We don’t know exactly what they had done to be behind bars while watching, but we do get hints at times of what landed them there. Chiarelli stated this was done so we “wouldn’t judge them before meeting them.” She and McDonald wanted us to meet the inmates first, get so see them in their present state and show how their love of music elevated their souls, and then we got what she called the “nitty gritty” of their crimes.

Chiarelli said she found it hard to ask the inmates what they did as it felt “rude to ask.” Her hope was they would eventually “open up by choice” and they would trust her and the filmmakers to tell their story.

Chiarelli finished her evening at the Aero Theatre by performing some songs from “Music from the Big House” live, specifically “Rest My Bones” and “These Four Walls” which she wrote after the making of the documentary was completed. She certainly has a great set of pipes on her, and her passion for blues music is beyond measure. It is this same passion which is shared by the inmates onscreen, and it makes for one of the most exhilarating musical documentaries you could ever hope to see.

When Kenneth Branagh First Discovered William Shakespeare

Kenneth Branagh, the director of movies like “Thor” and “Jack Ryan: Shadow Recruit” is best known for bringing the works of William Shakespeare to the silver screen. With movies like “Henry V,” “Much Ado About Nothing” and “Hamlet,” he has succeeded in opening up the works of this famous playwright to new generations of actors and artists. Considering how passionate he is as an actor and filmmaker about Shakespeare’s comedies and tragedies, I always wondered what his first experiences of reading and performing them was like. He gleefully told us about his introduction to Shakespeare when he visited the Aero Theatre in Santa Monica back in 2011.

Born and raised in Belfast, Northern Ireland, Branagh said his family had no interest in Shakespeare, and that there were no books in the house. Then the family relocated to Reading, Berkshire where Branagh said he got bullied a lot. As a result, he withdrew into himself and became fascinated with literature, and he soon found himself developing a love for words. He even recalled buying his very first book, but his father didn’t understand why he was so excited and asked him, “What did you buy that for? Why not just go down to the public library?”

His first exposure to Shakespeare came in a class where everyone read from “The Merchant of Venice.” Branagh remembered being terrified to perform it out loud, and he also freely admitted that he “didn’t understand the language.” But regardless of his fear, he ended up surviving the experience and was soon bitten by the acting bug.

When he did a school production of “Romeo & Juliet,” Branagh recollected how the director played “You Are Everything,” a song sung by Marvin Gaye and Diana Ross. When the song was finished, the director told everyone, “The song was about sex, it’s a mating call. Now that you know what ‘Romeo & Juliet’ is about, open up your text and let’s read!”

Through all the yelling and screaming during the rehearsal, Branagh said the play was actually not hard to understand. It came down to this gang hating that gang, of two young people in love, etc. From there, the words of the Bard enthralled him like nothing else, and he has since made vastly entertaining movies which clearly reflect his infinite passion of Shakespeare’s literature.

Kenneth Branagh said that he would like to do more Shakespeare in the future. While he is a number of years off from playing “King Lear,” but I would love to see him adapt another Shakespeare play in the future like “Macbeth” or even “Twelfth Night.” He even portrayed Shakespeare in the 2018 film “All is True” which he also directed. We still have “Death on the Nile,” the sequel to his version of “Murder on the Orient Express” to look forward to, but hopefully he will tackle one of the Bard’s favorite texts sooner rather than later.

Exclusive Video Interview with Michele Ohayon About ‘Strip Down, Rise Up’

Pole dancing has long been associated with strip clubs, but it has since expanded from that realm to dance studios where it is taught as a form of aerobic exercise. Still, there is a strong stigma to this form of dancing as it most people refuse to see it as anything other than pornographic and debasing. But with the new documentary “Strip Down, Rise Up,” female instructors use pole dancing as a way to help women deal with traumas and body-image issues which have plagued people for far too long. Through sensual movement, the participants find themselves transforming to where they succeed in reclaiming their self-esteem and sexuality, and they find a power within themselves which can never be lost.

The director of “Strip Down, Rise Up” is Oscar-nominated filmmaker Michèle Ohayon, and her cameras capture a diverse group of women from various walks of life. Among them are Evelyn who has lost her husband and trying to deal with her grief, the successful businesswoman Patricia who is uncomfortable in her own skin, and the very brave Megan who was sexually abused and ended up testifying against her abuser. We also get to see instructors like Sheila Kelley, Amy Bond and Jenyne Butterfly whose methods differ from one another in fascinating ways.

Ohayon hails from North Africa, and she has said her films are largely about transformations. In addition to “Strip Down, Rise Up,” her work includes “Colors Straight Up” which is about at-risk youth in Los Angeles who turn their lives around through the performing arts, the hidden homeless women documentary “It Was a Wonderful Life” which had the privilege of being narrated by Jodie Foster, and the docu-comedy “Cowboy del Amor” about a cowboy who becomes a matchmaker. Her inspiration for “Strip Down, Rise Up” came about when she and her daughter attended a pole dancing class as a way to explore a new form of exercise.

I got to speak with Ohayon recently, and this marks my first ever video interview done via Zoom, so please bear with me as the video quality is a bit different from what we are all used to.

“Strip Down, Rise Up” debuts on Netflix on Friday, February 5, 2021. Please check out the interview above and be sure to check this documentary out when it drops.

Jason Reitman Talks With Luke Wilson About ‘Bottle Rocket’

WRITER’S NOTE: This article was written back in 2011.

Jason Reitman completed his guest programming at New Beverly Cinema with a screening of Wes Anderson’s directorial debut, “Bottle Rocket.” This film also marked the movie debuts of Luke and Owen Wilson, the latter who co-wrote the screenplay with Anderson. Before seeing this movie, Reitman admitted he was actually scared of becoming a filmmaker especially because he was the son of a famous one (Ivan Reitman). He did see all the great movies of the 1990’s like “Clerks,” “Slacker,” and he checked out all of Quentin Tarantino’s movies, but he said none of them had the same effect on him as “Bottle Rocket” did. For Reitman, this was the movie which made him want to direct films. And of discovering Anderson, he said, “This is the voice that I am going to follow forever.”

Joining Reitman for this special screening was actor Luke Wilson, and it was nice to see him take a break from all those AT&T Wireless commercials he has been doing endlessly. Ironically, the movie Reitman showed the same evening before it was “Breaking Away,” and Wilson said he is actually good friends with one of that movie’s stars, Dennis Quaid. Quaid was away in Hawaii so he was unable to attend the screening with fellow co-stars Dennis Christopher and Daniel Stern. This coincidence did, however, allow Wilson to talk about how Randy Quaid told Dennis he already made the family name and suggested he change his. Dennis ended up asking his brother, “How about McQuaid?”

Anyway, Luke told the audience Wes and Owen originally wanted to shoot “Bottle Rocket” guerilla style so they could shoot it cheaply as Richard Linklater had done the same thing with “Slacker.” However, they ended up meeting a producer who told them about the Sundance Film Festival and advised them to start off by making a short film they could take there. So they made the short and got it entered into Sundance, but nothing happened and they didn’t win anything for it. Despite that, they managed luckily to get hooked up with a producer named Polly Platt who had worked on such movies as “The Last Picture Show” and “Terms of Endearment” among others.

The project went on from there as Platt brought the Wilson brothers and Anderson to the attention of famed writer/producer/director James L. Brooks. Anderson ended up getting everyone to do a read thru of the script at some office in Texas during the summer. Turns out the air conditioning there wasn’t working all that well, and they were reading a screenplay which was two hundred pages long. Luke said he ended up sweating profusely throughout the whole read, and this made Owen glare at him as if to say, what the hell are you doing?

Luke also took some time to talk about Brooks who became one of the chief supporters of “Bottle Rocket,” and he described him as being very nice. However, he also said Brooks can immediately “cut to the truth and be painfully funny.” Of course, Brooks was going through problems of his own. While working on “Bottle Rocket,” he was also busy with his film musical “I’ll Do Anything” with Nick Nolte. For those who remember, it ended up getting released without any of the music as the movie tested poorly (and that’s being polite).

Reitman went on to talk about how he related to the voice of the film and how it had a “strange innocence” to it. Luke replied the film’s voice came from Anderson and Owen, but he said he never got the feeling he was working on anything special. Columbia Pictures, which distributed the movie, wanted to make “Bottle Rocket” but with different actors. When it was all shot and in the can, the studio didn’t like or knew what to make of it. Looking back, Luke said bluntly he was “stunned that the movie got made.”

When it finally came to making “Bottle Rocket” as a feature length film, Luke remarked Wes knew exactly how movies were made. He and Owen, on the other hand, did not. They didn’t understand certain jobs the crew on set had like the boom mike guy. Luke said he and Owen wondered out loud, “How can that guy just stand around like that?”

Also, Anderson did not want the actors to watch dallies of the day’s work, but this didn’t matter much because neither Owen nor Luke wanted to watch them anyway. Luke says he still doesn’t understand what compels actors to watch dallies as he feels it will likely mess you up in terms of how you go about developing your character.

The cast and crew also had the fortune of working with James Caan who had a bit role in “Bottle Rocket,” and Luke recalled he was going through a rough patch at the time, but that he did warm up to the rest of the cast during shooting. At one point Luke, Owen and Wes asked Caan what it was like working with the late Marlon Brando on “The Godfather.” To this Caan replied, “It’s like you guys working with me.”

“Bottle Rocket” did go through the rather unnecessary realm of test screenings. For a movie like this, it must have felt like a waste of time because this is not one which just sells itself to mainstream audiences, but the studio executives decreed that Anderson screen the movie for focus groups nonetheless. So, there was a test screening done in Santa Monica, and out of a crowd of 250 people, 75 walked out. The ones who stayed through the whole thing, as Luke remembered it, wrote nothing but shit about the movie. To date, it remains the one movie with the worst test screenings in the history of Columbia Pictures. Luke said he, Owen and Anderson were convinced they would never get to make another movie ever again.

Despite all that, “Bottle Rocket” did get discovered by audiences through cable, video and DVD. Luke says he still sees it on cable every once in a while, and Reitman remarked it became the “touchstone for those who want to make movies.” Martin Scorsese ended up naming it as one of the best movies of the 1990’s. Still, everyone involved with this little film had a hard time getting over it feeling like a failure. But when these guys got around to making the brilliant “Rushmore,” they found themselves re-energized and have since gone on to make one great movie after another.

Jason Reitman Talks With Dennis Christopher and Daniel Stern about ‘Breaking Away’

WRITER’S NOTE: This screening took place back in 2011.

Jason Reitman described the last double feature he presented as part of his guest programming at New Beverly Cinema by saying, “Whereas the last few movies I chose were sad in some respects, these two just make you feel good.” After dealing with the downfalls and missed opportunities which were major parts of “Shampoo” and “Boogie Nights,” he finished off his slate of favorites with “Breaking Away” and “Bottle Rocket.”

The first movie shown was “Breaking Away” which was directed by Peter Yates, the same man who made the Steve McQueen classic “Bullitt.” For years it has been considered one of the best sports movies ever made, and it’s also a movie where several young actors got their start together like in “Taps” or “Fast Times at Ridgemont High.” Among those actors were Dennis Quaid, Dennis Christopher and Daniel Stern. We even got to see a teenage Jackie Earle Haley in it, and he has since gone from career oblivion to critical acclaim for his performances in “Little Children” and “Watchmen.”

Reitman asked how many people in the audience were seeing this film for the first time, and many hands, including mine, immediately went up. To this he replied, “I am so jealous!”

On “Breaking Away,” Reitman described it as a movie you associate with watching with your father, and one which captures the lives of twenty somethings very well in the indecisions of where to go from high school; unsure of what to do with the rest of their lives. It’s also a great story about class wars in society; of those who have everything and those who never have enough. Upon looking for trivia about “Breaking Away,” Reitman found the film was originally two screenplays. One was called “The Cutters” which became the name of the people from the working-class environment, and the other one was about the bike race the characters train for.

Joining Reitman for this screening were Dennis Christopher who played the endlessly obsessive bike rider Dave Stoller, and Daniel Stern who played Cyril. Reitman usually had his guests hidden from sight before introducing them, but they were already in the theater giving autographs and posing for pictures which got posted on Facebook. Both Quaid and Stern also said they were so envious of those who were seeing this for the first time.

Reitman started off by asking them if they knew they were working on something very special. Stern was the first to reply:

That was my first movie,” Stern said. “I had never been in a movie before, and so I thought they were all like that. There is a wonderful simplicity to the movie, to the script, to the way the movie was made and the way it comes across. It does have a lot of depth to it too. I look back at it thinking, that was just an incredibly unique experience. I didn’t know what I was doing, I didn’t know where the camera was, and I didn’t know anything about that!”

Christopher, on the other hand, had worked in movies before with acclaimed directors like Robert Altman and Federico Fellini, so he knew a bit about being on big sets. The experience of making “Breaking Away” proved to be a bit different though.

“The thing that really made it special was because after that horrible first day of being a big Italian impersonator, because they made me all dark and I had my hair slicked back, black shirt, a tight waistline, etc. He was supposed to look like a ‘Saturday Night Fever’ guy,” Christopher said. “He (Yates) wanted him to be that kind of Italian. And I thought, why the fuck did they hire me? I looked like Lily Tomlin would when dressed up like men! That’s exactly what I looked like! I was waiting for them to glue hair on my chest!”

“I was so shaken, and the next day I came onto the set and I just burst into tears,” Christopher continued. “I told Peter that I just can’t do this and he said I KNOW, I KNOW! And we had a big talk with Steven (Tisch, who won an Oscar for his screenplay) and Peter, and then the character evolved; the way he looked and the way he was. So for me that was the special thing of collaborating with a director who cared about what you thought. So, for me I thought whoa, this is amazing!”

Reitman then spoke for those who had this on their minds after Christopher spoke:

“So what you’re saying is that Robert Altman really doesn’t care…”

This got a big laugh from the audience.

After making all the changes with Christopher’s character and making it more like him, they reshot everything and had to wait three weeks to see how it all looked. For those who have seen this movie, you have to agree this was one of the smartest choices Yates made. If Christopher was forced to do an Italian impersonation, it probably would have wrecked the movie.

Reitman also asked Christopher and Stern what kind of bike riding they did before production began. Christopher replied he did the “regular kind” and was never involved in any bike competitions like his character. Stern, on the other hand, said he was not a bike rider which turned out to be perfect for his character.

This led Stern to tell everyone he didn’t even audition for “Breaking Away.” He came into the office to read for Yates, and he was on a phone call nearby and saw him. Once he got off the phone, Yates handed Stern a script and was asked to be on set in a short time.

Unlike a lot of the big productions he had previously been involved in, Christopher said this film was almost completely the opposite of them. They had a very small crew working on it, and there was no overabundance of trailers parked on every street corner.

Barbara Barrie played Dave Stoller’s mother, Evelyn, and she got nominated for an Academy Award for Best Supporting Actress. However, it turns out she was a little peeved when she read the script and found there was no big scene for her. Christopher even recalled her telling Yates quite loudly, “WHERE IS MY BIG SCENE?!” So Barrie, Tisch and Yates worked together and did an improvisation which led to that wonderful moment where Evelyn talks about getting her passport and how she always keeps it handy.

People did not expect much from “Breaking Away” while it was being made, but it turned out to be a surprising success which won many awards, and it even spawned a prequel television series in which Haley and Barrie reprised their roles for. Of course, like many movies adapted to television, it lasted only one season. Stern called it “the little engine that could kind of movie,” and he even came to this screening wearing his white “Cutters” t-shirt. Christopher said this and “My Bodyguard” were the first movies for kids which were taken seriously by adults, and he and Stern said people’s overall reaction to it today is still quite powerful.

Christopher also told the audience about when he took his dad, whom he was estranged from at the time, to see “Breaking Away” when it was first released. After it was over, he said his dad came out of it “ruined” and looked quite frail. His dad could not believe how great the movie was, and when people outside the theater asked Christopher for his autograph, he got in line with the others. His dad even acted as his security chief in getting people in the line to move along.

The Q&A ended with both actors asking Reitman, “Is this a good print of the movie we’re showing tonight?”

“We’ll see,”Reitman replied.

Reitman said he had previously seen “Breaking Away” on VHS and laserdisc, but seeing it with an audience was something else. The nearly sold out crowd at New Beverly Cinema really got into the proceedings and cheered loudly throughout. You came out of the theater agreeing with Reitman that “Breaking Away” was as good as reputation has long since suggested.

Dave Bautista on Playing Brass Body in ‘The Man with the Iron Fists’

WRITER’S NOTE: This interview took place back in 2012.

David Bautista has made a big name for himself during his time in World Wrestling Entertainment where he became a six-time world champion. Like many major athletes, he has since turned his attention to acting, and he gets one of his biggest roles in RZA’s “The Man with the Iron Fists” in which he plays Brass Body, one of the main antagonists and a mercenary who can turn his body into metal. This makes him almost completely invulnerable; much like Bautista seemed like whenever he was in the ring.

While at a press conference for “The Man with the Iron Fists” which took place at the House of Blues in Los Angeles, Bautista talked about what it was like making the movie. Co-starring alongside him was Cung Le who plays Bronze Lion and was also at one point a major kickboxing champion. Bautista was asked what it was like working with Le and if he had ever fought with him “in the cage.”

Dave Bautista: I never fought with him, but we actually trained a lot together in China (where the movie was made). I wish we had some scenes together. I’m determined in my life to do a movie with Cung Le just so I can get that fight scene with him just because he’s so dynamic and so intense. So, we never fought together but I picked up a lot of good things from him.

Bautista said he accepted the role of Brass Body without even reading the script and that the character originally only had one or two lines as it was more of a physical role. This soon changed once he was cast. The biggest challenge for him, however, was filming the fight scene between Brass Body and Blacksmith who is played by star and director RZA.

Dave Bautista: The fight scene itself took days and days and it was just a pain in the ass. It was cold, it was brutal, and RZA had those damn iron fists on and they were just killing my arms because he was hitting me. I had scratches and I was bleeding. We actually started the fight scene a few days after I arrived in China, and then we had to go back to it at the end and finish it because it was so drawn out. The two characters (the Blacksmith and Brass Body) were so strong and kind of invincible that we really didn’t know where to go with the fight scene. We really went without a plan and thought we could wing it and ad-lib and come up with stuff here and there, so that was really a challenge in itself.

One of Brass Body’s other big scenes comes when he viciously attacks one of the female characters, and Bautista said shooting it was “awkward.” He described himself as a “passive” person especially when it comes to women, and since this was essentially a “rape and murder scene,” it became very uncomfortable for him to do.

Dave Bautista: I kept coming out of character because my first instinct was to tell the actress, are you okay? But she actually made it a lot of fun for me because I had this little thong on and I was freezing because the set wasn’t heated. Even when I picked her up, I didn’t know where to touch her, so I picked her up and threw her over my shoulder and I’m trying not to grope her because I don’t want to make her uncomfortable. Then RZA stepped in and said ‘you gotta make it look more real. Grab her over her ass because it’ll help her out because it will cover some of her stuff up.

The actress Bautista was working with thanked him for doing her that favor.

In addition to wrestling, Bautista is also a skilled mixed martial arts fighter. The first martial art he learned was Kali which comes from the Philippines and emphasizes weapons-based fighting with sticks, knives and other weapons. When asked if he tried to influence his fighting style in this movie, Bautista replied he did to a certain extent but that it only went so far.

Dave Bautista: The stuff that we were doing just didn’t translate as well as we thought it would on film, so we had to switch it up a lot and bring Corey Yuen (the movie’s fight choreographer) in to help us through this. We wanted this to look like a traditional kung fu fight movie especially with the characters being so strong, but I did utilize a little bit of my Kali.

Those who have seen “The Man with the Iron Fists” can agree Bautista is perfectly cast as Brass Body as he truly comes off as a badass who cannot easily be defeated. When asked if he shares any similarities to his character and if he could offer advice to those of us who are not as athletically inclined as he is, Bautista’s response was actually quite surprising.

Dave Bautista: I never felt like I was invincible. Throughout my whole life I always felt like I was an underdog. It’s kind of hard to relate to a kung fu action hero. I was trying to stay in character to where he (Brass Body) would always feel invincible and how he would react when he realized he wasn’t invincible and started to break down. I tried to get that in my head and I tried to make it come out on film, but not being the best actor made it kind of a challenge for me. I wouldn’t be the best person to give advice on how to be invincible because I’ve never felt that way. Everything’s a challenge for me, but I’m a hard worker.

Before he concluded his time with us, Bautista was asked what his dream role is.

Dave Bautista: I hate to sound cliché but I’ve always wanted to do a vampire movie. Any kind of superhero stuff, that’s what I’m a fan of. I wouldn’t mind doing that, I just don’t see myself as a leading man type character. I like the drama; I just don’t know if I fit that type of role. But that’s the kind of stuff I like to watch though.

John Carpenter on ‘The Ward’ and the State of Movies

WRITER’S NOTE: This article was originally written in 2011.

In July, America will finally get to see John Carpenter’s first feature length film in 10 years, “The Ward.” After the critical and commercial disappointment that was “Ghosts of Mars,” Carpenter seemed determined to retire from filmmaking as he felt it was no longer fun for him. But after working on a couple of “Masters of Horror” episodes, he seemed rejuvenated and ready to take on another film of his choosing. While appearing at the Egyptian Theatre in Hollywood for a 25th anniversary screening of “Big Trouble in Little China,” Carpenter talked about the upcoming movie, and what he thinks about the state of movies today.

The famed director described “The Ward” as an “old school horror film” and a “psychological thriller.” It stars Amber Heard as Kristen, a young woman who is institutionalized in a psychiatric ward which turns out to be haunted by a ghost as mysterious as it is deadly. Carpenter said he was attracted to the project because it had a low budget which would give him creative control, limited locations, and a short schedule which he especially liked. With the schedule being short, Carpenter knew he could finish the film before any form of exhaustion did him in.

“The Ward” first premiered at the Toronto International Film Festival and has since opened in the United Kingdom. Word of mouth indicates the movie has received mixed reviews thus far, but his fans are thrilled he went back behind the camera once again. Carpenter feels that “The Ward,” in his own estimation, is “pretty good” and found some fanboys liked it while others felt it was not “gruesome enough.”

Audience members asked Carpenter’s opinion on the state of movies today which is swamped with endless remakes and a frightening lack of originality. He openly described most films which are out now as being “still bad,” said some were fair, and others were “really good.” In his view, the movie industry has not changed. The present cycle of movies will pass, he said, and he is looking to a “more positive future” and encouraged the audience to do the same.

John Carpenter said his career as a filmmaker has really been the result of luck, and he’s done many of the things he always wanted to do. While he still gets caught up in video games (he was a creative consultant on “F.E.A.R. 3”) or contemplates perhaps doing a music score for another director’s movie, it is great to see him behind the camera once again. And, if we’re lucky, he and Kurt Russell will get another chance to work together in the future, and that’s even if it’s not a sequel to “Big Trouble in Little China.”

Exclusive Interview with Dominik Garcia-Lorido about ‘Wild Card’

WRITER’S NOTE: This interview was conducted back in 2015.

Dominik Garcia-Lorido is an actress on the rise. So far, she has turned in memorable performances in movies like “The Lost City” and “City Island” which had her co-starring with her father, Andy Garcia. On television she co-starred on the Starz television series “Magic City” (sense a trend here?) as Mercedes Lazaro, a housekeeper training to become a stewardess for Pan Am Airlines. Now she co-stars opposite Jason Statham in “Wild Card” which was directed by Simon West and written by the great William Goldman who adapted it from his novel “Heat.” It is also a remake of the 1986 film “Heat” which starred Burt Reynolds and is better known for the behind-the-scenes troubles which resulted in six directors coming and going from the production.

Garcia-Lorido plays Holly, a young woman living in Las Vegas who gets brutally assaulted and calls on her friend Nick Wild (Statham), a lethal bodyguard with a gambling problem, to help her get revenge on those who did her wrong. I got to speak with Garcia-Lorido on the phone while she was doing press for “Wild Card,” and she helped fill me in on the kind of character Holly is. In addition, she also discussed how she approaches each character she plays and described what it was like being a student at UCLA’s School of Theatre, Film and Television.

Ben Kenber: Could you tell me more about your character of Holly? We only get to know so much about her in the movie.

Dominik Garcia-Lorido: The backstory for her was just that she was a teenage runaway who came to Vegas. Nick always knew her and he says it in the movie. I think it’s still in the movie, when he says, “When I first met you, you are this kid with braces” and all that stuff. I think she’s like the love of his life and they just couldn’t make it work, but he’s still very close to her. She’s an escort in Vegas and does very well for herself, and she seen a lot and has grown up really fast and can really take care of herself. This isn’t the first time she’s probably been disrespected on the job, but to this extent was really the first time that she’s been this disrespected.

BK: I definitely get the sense that she’s grown up a lot faster than anyone should have to.

DGL: Exactly. I just never thought she was this young girl. When we went to shoot my first scene where he (Nick Wild) comes in and sees me, we shot at that location at this big house, we see that she lives a good life. She lives very well and does very well for herself. She’s not this broken down hooker doing drugs. She’s got her shit together and this is her job.

BK: Holly does get very disrespected in some scenes which I’m sure were not the least bit easy to shoot. What was it like shooting those scenes?

DGL: You know, those kinds of scenes are those kinds of scenes. Whether it’s a love scene about two people in love or whether it’s like this, they are so choreographed. That’s just like the perfect word for it; they are so choreographed. Milo (Ventimiglia) was such a nice guy and I felt really comfortable with him and he made me feel very comfortable. I felt very safe doing those scenes, but yeah that’s sort of how they are. We shot so much more than what you see of this flashback scene. And then being hauled into the hospital and on a gurney there were a couple of actors that were medics around me, but one was a real nurse and I was asking her questions before we shot in between takes about how would my breathing really be. That’s really scary. That’s a lot of acting you have to do when you’re shooting really fast. You have to show pain and that’s where you do the most acting. I was just asking her; how would I be breathing if I just experienced trauma? How would I be speaking? Would I be crying? She was very helpful with that. So that’s like always a little hard to do. You want to get that right.

BK: “Wild Card” was based on the novel “Heat” by William Goldman, which in turn was adapted into the movie “Heat” back in 1986 which starred Burt Reynolds. Were you aware of that movie before you started making this one?

DGL: Well, I wasn’t aware before I read the script, but then I knew it was a remake when I got it. But I never watched it.

BK: Did you ever get the chance to talk to William Goldman?

DGL: I never did. I don’t know if any of the actors really did unless Jason did. I don’t think any of us really have that opportunity.

BK: The making of “Heat” was said to be a very messy affair.

DGL: Yeah, that’s what I heard.

BK: I imagine the making of this movie went a lot more smoothly.

DGL: This wasn’t messy at all. I think there were a lot of difficulties with the director on the first film. I think Burt Reynolds punched him or something, I don’t know. We were really taken care of with Simon (West) and the producers. It was smooth sailing.

BK: Did you base Holly on any people you knew, and what were your influences on the role?

DGL: I didn’t base her on anyone I knew. I tried to personalize it in some way I can. With anything I play, I try to be as honest as I can. I wear my heart on my face more than Holly, but Holly wasn’t that to me. Her vulnerability is like creeping through the cracks, and she has poker face. She has to.

BK: Absolutely, she can’t let everybody see what’s going on inside her.

DGL: she still fresh from the night before, I think was important to me to show that a little bit because Nick needs to see the pain in this.

BK: I saw that you attended the UCLA School of Theatre, Film and Television. What did you learn there that really helped you the most as an actress?

DGL: UCLA was such a strenuous program. We did so much. In our first year we were constantly working. Every weekend we were seeing a play and writing a paper on some aspect of the play whether it was the lighting, the production design, the costumes, the acting or whatever. During the week we had so much work. UCLA just taught me to be a hard worker, number one. It really just has you focusing on the craft and all aspects of it. I never had done that much work before. I cruised through high school before that. So I think that’s just the training because acting is a lot of work. I had a good acting teacher there that I continued to work with for a little bit when I left named Marilyn Fox. I’ve seen her act and she’s the kind of actress you want to be. She’s so grounded and so honest. She’s just always brought that out of me. I learned a lot and I grew a lot there.

Thank you to Dominik Garcia-Lorido for taking the time to talk with me. “Wild Card” is now available to own and rent on DVD, Blu-ray and Digital.

Exclusive Interview with April Mullen on Her Film ‘Wander’

Even though we are still in the grips of the coronavirus pandemic, there are still new movies arriving to us in theaters (those which are open anyway) and/or to our own television screens thanks to On Demand and various digital platforms. One such movie is “Wander,” a thriller starring Aaron Eckhart (“The Dark Knight”) as Arthur Bretnik, a private investigator who live in a rusty old trailer out in the middle of nowhere. We soon learn he is still grieving the loss of his daughter who was killed in a horrific car accident which left his wife completely catatonic. The perpetrators of this accident were never found, and he remains determined to find them.

One day, he is met by a woman who pays him to look into the death of her daughter who also looks to have been killed in a car accident, but the mother is not convinced this was the case. In the process, he uncovers a conspiracy which links to other cases of people killed in a similar fashion as well as to his daughter’s death, and he becomes infinitely determined to uncover it for all to see. But with his troubled past and a history of mental illness, one has to wonder if Arthur is really seeing the truth out there, or if his mind is playing tricks on him. “Wander” also stars Tommy Lee Jones, Heather Graham and Katheryn Winnick.

Directing “Wander” is April Mullen, a highly creative Anishinaabe Algonquin (Indigenous) filmmaker who is known for her passion, her bold visuals, and an ambitious shooting style which is truly amazing. With “Dead Before Dawn 3D,” she became the first woman and the youngest person to direct a live action stereoscopic 3D feature film, and it was awarded the Perron Award for its technological achievement. Her other directorial efforts include the erotic romantic drama “Below Her Mouth” which she filmed with an all-female production crew, and the action thriller “88” which stars Katharine Isabelle and Christopher Lloyd.

I was lucky enough to get a chance to talk with April Mullen about “Wander” recently, and in her director’s statement, she described the film as being a journey towards a truth unseen by most, and one hard to face. In addition, she also sees it as a critique of sanctioned government surveillance which has led to the displacement of many indigenous people through no fault of their own. We talked about this and more in our interview below.

April Mullen: Are you the marathoner runner himself, or did somebody else run a marathon?

Ben Kenber: (Laughs) I am indeed the marathon runner. I have run the full Los Angeles Marathon (26.2 miles) eight years in a row.

AM: Awesome! I just had to ask. I just looked at the (website) byline (“Cinematic Musings from a Movie Lover and Marathon Runner”) and I loved it. I looked at your website and I was like, this is wicked!

BK: I did not run the LA Marathon this year, but I am hoping to come back to it once this coronavirus pandemic has finally ended.

AM: You better because it pumps me up.

BK: Thank you. “Wander” really held my attention to the very end. This is always tricky to pull off especially with one like this which deliberately messes with your mind. When were you first introduced to the screenplay by Tim Doiron?

AM: Tim Doiron and I go way back. We started working and making independent films together 20 years ago. We come together and we’re like, what do we want to make next? That’s a very messy and exciting day. Five years ago, we wanted to create something with a main character who was really dealing with grief, loss, mental health issues and a huge amount of paranoia when it comes to conspiracies and government surveillance and anxiety, and of how to over come that. And then we thought, how are we going to bring that truth and that character to a world that’s commercial and viable for the entertainment industry (laughs). The backdrop was the conspiracy, the podcast, the chip technology, border control and my inner side of the truth; that indigenous women, 2Spirited warriors, BIPOC and displaced people have always been a continual target and victim of governmental subjugation and violent practices. (We went about) exposing that in a tight narrative through the eyes of one single character which is an unreliable narrator like Arthur. So, all of those themes became our mixing pot and then the rest is history, but it wasn’t as easy or smooth as we originally thought. We were like, this movie is going to be very straight forward, but of course it is so much more complex than we had hoped. But hey, we made a movie and that’s what it’s about (laughs).

“Wander” film by Wango Films

BK: Exactly. Aaron Eckhart is terrific here. He has to run a gamut of being in a state of grief, but he is also a bit crazy as well. Did you and Aaron had to measure out crazy and grief-stricken he had to look throughout shooting?

AM: We had an unbelievable working relationship. We were attached at the hip. We could communicate through our eyes and even our physicality on set. I was never far away. I was maybe three feet away from him. He was on set every day, every second and in every frame of the movie. He brought 150% and was beyond dedicated. I think this role was so different and far removed from anything else he has ever played. When he read the script, he completely resonated with Arthur. Aaron himself is totally into conspiracies, podcasts and the dark web. He always said, if you’re not paranoid, you should be. We were riffing on conspiracies and chem trails. It was unbelievable how much material resonated with him. He came from a really strong place of truth, and then Tim’s experience with mental health issues also rang from a place of truth. So, my job was just to make all of those things come together and make Aaron feel really comfortable to take major leaps and capture that lightning in a bottle that he has. We went off script and we went off locations. Sometimes it would just be him and I. He would be in a car and I would be operating the camera. We were able to do that because the film was so small, but I knew Aaron Eckhart if that makes sense.

BK: “Wander” is kind of a mind-bending movie in the same the way movies like “Jacob’s Ladder,” “Memento” and “The Sixth Sense” were.

AM: Very much. It’s very much like a current version of “Jacob’s Ladder.” I feel like it is the 2020 version of “Jacob’s Ladder” (laughs). At least, I hope it is. We really hope it is.

BK: You have said “Wander” was created in honor of all Indigenous, black and other people who are targeted and have been displaced through border control on stolen land. Do you this is what helps to set the film apart from others of its kind like “Jacob’s Ladder?”

AM: I’m not sure. I hope so. In the statement (at the film’s beginning), there is so much truth to that. We did a lot of research with MK-Ultra and who were the victims of that and of who did the government use to test different technologies on people, and it was mortifying. In our history, what we have done to people made a huge impact on us, and we had to say something at the beginning of the film because it’s not just a fictional world although we both wish it was different. This is the world that has happened in the past and we didn’t want to ignore it, but we didn’t want to heavy-hand it either. But we just thought it was so important to recognize the truth of what has happened, and it is terrifying to think we are constantly being tested and watched. Chip technology is right around the corner (laughs). Five years ago, it felt a little bit further away, but today… What we assumed five years ago, “Wander” is way more current than we ever dreamt it would be.

BK: In the film’s opening statement, it says “Wander” was filmed on the homelands of the Pueblo Navajo and Apache peoples. What effect would you say this had on the entire production?

AM: It had a huge effect. Our very first day, we opened with a ceremony recognizing the land with an indigenous family and clan from New Mexico, very close to Carrizozo, and that set the tone of what we were about to embark on. And as a creative person, and I’m also Anishinaabe Algonquin, I just thought that to start off with the recognition of the land that is not our own and that’s where we began, I really hoped to allow for truth, vulnerability and a humbling of everyone to know our goal as a creative group of being a silent warrior; shedding a light on these subject matters whatever they might be. This one in particular was Arthur’s journey, but at the end of the day we are all creating something that we hope makes an impact and propels change. Whether you’re a grip or costumes, I just thought coming together as a group and really allowing that to begin on the right foot was important, and then every day afterwards was the same. And then on a personal note, I don’t know if you noticed, but the music throughout the film was really specific and really original and different I think than any normal psychological thriller. That was a very strong intention to collaborate with an indigenous artist out of Canada whose name is Jeremy Dutcher, and I really wanted to put indigenous language in the film to bring medicine and healing through the Ancestors’ songs on the harsh reality of what our past and our history was. Just hearing that and feeling that, whether we understand it or not, I think our spirits are ideally healing through song and language, and that was a personal goal as well in making the film.

BK: The opening shot of “Wander” is brilliantly shot in how the camera comes up to the scene of a car accident and then pulls away from it to suddenly go up into a crane shot. How did you pull this off?

AM: You are the first person to mention this, and I have to say I loved that you did because no one has! That shot was so, so ambitious. There was only four of us. It was a (camera) operator who I have worked with on three films on the Steadicam who was rigged on the back of one of our production vans. My father was driving backwards (laughs) along a deserted road which we had full safety on each side which then came to a stop. The camera operator came up to and circled that space that you saw. He designed, which we brought from Canada to Carrizozo, a walk on/off platform which I am obsessed with. It’s used in the film a dozen times. He was able to take the Steadicam and do a walk on crane shot. It’s independent film so we have to do these things. He at the end walks backward onto a platform after which a crane lifts him up. He’s actually standing on the crane that he made a platform for, and it is all in one shot. I wanted it to be at sunrise so our window was very small. We practiced about three runs to get the timing of the lines of the road correct, and I really wanted it to be shot in one shot and not digitally faked. We shot it four times and then we got it on the second take. I’m really proud of that because it is an amazing achievement for a small crew with a small budget and being innovative together out in Carrizozo, New Mexico. We had very little resources. We built that shot with a hammer and screws (laughs).

BK: I imagine the budget on this production was very tight.

AM: Super tight. Too tight.

BK: How much time to shoot “Wander” in?

AM: 20 days, but our below the line budget was very puny because we had these incredible stars in the film, which is okay because that’s what we need for people to be able to see the film. But it really tightens the clasps on everything else. It was puny, very puny (laughs).

BK: Speaking of the cast, you have a great set of actors on display here. In addition to Aaron Eckhart, you also have Tommy Lee Jones, Heather Graham and Katheryn Winnick among others. How much direction did you have to give these actors, or did you simply leave them to their own talents?

AM: As a director I am very, very hands on, so I am always within arm’s length of them and am trying to challenge them and steer them in new directions. I think Aaron, Tommy, Heather and Kathryn are all playing roles that they are not stereotypically cast for. Heather Graham was the grounded best friend and the tether to reality for Arthur. She was not a romantic love interest. She was the voice of reason for the audience. That is something very challenging and new for her, coming up with ways in making sure she was really grounded. She loved it, I loved it and we were both up for the challenge. Tommy Lee, he doesn’t usually doesn’t get to play an eccentric, fun loving (at least on the surface), Hawaiian shirt wearing, whatever goes kind of guy. It is very different for him. There were a lot of questions and bod language and how to say certain things. We were always, always communicating and it was unbelievable work because it was such a small set and a small cast in a lot of ways. There was a lot of one on one time which was fortunate and really wonderful.

BK: Katheryn Winnick’s character always stands out in an interesting way in this film, and this is especially apparent in the first shot. Was that by your design or Katheryn’s?

AM: It was written in the script, but we also worked on the script months before she got to Carrizozo. I love that she comes prepared. We were revamping and reworking the script to cater to her and her strengths, and what she thought was more intelligent or higher stakes for her character which was fantastic. That was really unique how she brought that as a performer. When she got there, she was unbelievable. She came onto set, it was her first day, and it was the shot where she has to jump out of a window and Aaron catches her and they start running, and it is the intro where she takes off her mask. As she was coming out of the trailer, I was like, Katheryn, we have 20 minutes, the sun is setting, it’s a one-take wonder because it has to happen at magic hour. Once again, trying to way too ambitious for what I have (laughs). So I said, Kathryn, I have your stunt double here, but then I would have to cut for the lines. What do you feel? And she was like, “I’m down, I’m ready, let’s get dirty!” As big and as Hollywood as she is, she was ready to get dirty and gritty for the role because that role is undone in a lot of ways because her character carries with her a lot of weight. She is manipulating all of the puzzle pieces which is pretty cool to find out at the end. She was just such a team player and she didn’t even practice. She was like, let’s do it. I was like, are you sure about the window? Are you sure you’re gonna go through it? Are you okay? She says, “done. I’m ready.” We did it twice, she nailed it twice, Aaron caught her twice doing somersaults out of a window, both of them did their own stunts and it was unreal (laughs), and that was day one on set! They trusted each other, they trusted us, they trusted me and it was an awesome moment of just jumping off a platform and creating magic together. It was awesome.

BK: That’s one hell of a first day.

AM: Can you believe that? I know! Unbelievable.

BK: The look of this film is fantastic. How much of it is due to you, and how much of it is the result of your cinematographers, Gavin Smith and Russ De Jong?

AM: It was a huge collaboration from the beginning. Tim Doiron, the producing partner and I landed in New Mexico six months prior to shooting. We lived in Carrizozo, that little town, in those tiny motels for four months. We were isolated from reality just like Arthur which was super inspiring, and Gavin and I were coming up with that beautiful projection and trying to be innovative with the small budget and small locations we had and really branching out to try and make the film feel much bigger than what it was. I’m obsessed with every detail, every moment and every little piece of color, light, production value and design that you see onscreen. Every little detail, I wish I could say it happened by accident and that we sneezed and there it was, but it is meticulously planned (laughs). I hope it feels real. I just wanted it to feel like real life, but it was definitely very much planned including the times of day when we shot. I really wanted to take advantage of those gorgeous landscape shots and the sun setting shots. That required teamwork with the DP and also out first assistant director and our production designer, my sister Faye Mullen, and me and everybody coming together to really try and achieve what we needed to on a tight timeframe. But the look was heavily established beforehand. I started taking pictures and photographs the minute we started writing. Five years ago, I was collecting a look book for “Wander” that I brought to the DPs who I have worked with before on several projects so we had a shorthand. We just wanted to make it our best work, so we challenged each other every day than we ever made it before which is a good thing.

BK: That lightning bolt in one shot, that was real?

AM: Oh yeah it was. Nothing is effects except for the little chip. Everything is real. Every sunset, every lightning bolt, all of that is just real and I’m so proud of that.

BK: Thank you for your time April.

AM: Thank you for supporting “Wander.” Have a great day and keep running!

“Wander” will be released in theaters (whichever ones are open), On Demand and on Digital starting December 4, 2020. Please be sure to check out the trailer below. Poster and photos courtesy of Saban Films.