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

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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.

 

Exclusive Interview with Myroslav Slaboshpytskiy about ‘The Tribe’

The Tribe movie poster 2

The Tribe” is one of the most unique cinematic experiences you will ever come across. The movie is told completely through the use of sign language, and it contains no subtitles and no narration of any kind. While this might scare off the average moviegoer, those who dare to watch something outside of the usual Hollywood fare will be in for a movie like few others.

The movie follows a shy deaf teenager who has just arrived at a new boarding school where he is trying to fit in. Soon after he arrives, he is courted by a blond-haired student who turns out to be the leader of a gang which traffics in robbery and prostitution among other illegal activities, and he works his way up the criminal ladder with much success. However, when he falls for one of his female classmates, he finds himself in a dire situation which leaves with little hope of escaping out of it alive.

“The Tribe” was written and directed by Myroslav Slaboshpytskiy, and I got to talk with him on the day it was slated to be screened at Cinefamily in Los Angeles, California. We sat in the theater’s outside patio which Myroslav described as the last place in California where one could smoke.

Ben Kenber: This was a fantastic and very unique movie. How did the idea for “The Tribe” come about?

Miroslav Slaboshpytskiy: In my childhood I studied in the school which is the same school we used to shoot “The Tribe” in, and across the road we had the deaf boarding school. I saw how difficult communication was between the children without the support of sign language. They can directly change by appearance and emotion because the deaf people, when they use sign language, can communicate very emotionally always. It looked like a miracle to me and I really wanted to share this feeling with audiences, and of course it wouldn’t have happened unless I could understand sign language. Many years ago in film school, I thought it was a great idea to make an homage to silent movies, and much later I had the possibilities to shoot “The Tribe.” I once made a short movie about deaf people called “Deafness.” You can find it on YouTube, it is free, and then I had the possibilities to turn it into a feature film. It was a big challenge for me. I’m not sure if it really works, but finally it more or less works. I’m so happy about that.

BK: I think was great you were able to get away with making this movie without using subtitles or voice over or any kind of narration. Mel Gibson had wanted to show “The Passion of the Christ” without subtitles but was unable to. Was it hard to sell potential financiers on a movie like this without subtitles?

MS: In Europe, financing a movie is the same as it is in the Ukraine in that it’s a different system of financing. It works different. I think all European and Ukrainian films spend the money of taxpayers. You must pitch the film in film funds, and film funds support the films so it’s completely different than like in the United States system. When I prepared to shoot “The Tribe” I was a local star in Ukraine because I had made several short films. I had received the Silver Leopard at the Locarno Film Festival. So when I presented the project to the Ukrainian film fund, of course they supported the film. This film looks completely different from any other Ukrainian film, and people were a little bit nervous about what might happen but finally it happened. Considering the subtitles, I never considered this idea to use subtitles and words. We had already sold this film to 44 countries. That’s never happened with a Ukrainian film before. All the distributors signed a contract, and the contract had an article which tells them they have an obligation to prohibit the use of subtitles and narration. I hope nobody will watch “The Tribe” with subtitles, and after my death too (laughs).

BK: What I loved about the movie was that, even if you don’t understand the words being said, you do get the gist of what is going on. The ad line for The Tribe is that love and hate need no translation, and it perfectly describes the movie. Were you ever worried that people wouldn’t understand what was going on?

MS: Actually no. When I shot the short film, I tried to not shoot what I didn’t understand because, if I can’t explain why I’m shooting this film that way, then I am on the wrong track. The audience has a cinema memory, and before I started to do this film the viewers had to understand what I was going to do or else I would lose their attention.

BK: When it came to casting “The Tribe,” you decided to cast non-professional deaf actors in the roles. Was that your plan from the start, or did you ever consider using professional actors?

MS: I never considered the option of hiring professional actors because they can’t communicate in sign language. It’s the same like in American movies with accents. They cannot master the thinking of sign language. They must communicate very organically because, for the deaf people, sign language is an extension of their body and an extension of their being. So for this reason, I needed the deaf people.

BK: There are a number of scenes that you shot in “The Tribe” which last several minutes. What was it like working with the actors on those long scenes?

MS: We had a very long shooting period which was approximately half a year. Because we have an unprofessional cast, we can sign a contract that makes it look they’re at a real job like at an office. It’s much better because you have a rented car for you and a lot of people taking care of you and you’re the big star. Of course I’m joking, but we have this process of a lot of rehearsals. We had them from 7 to 10 days for one scene. When we felt that we were ready to shoot, we ordered this heavy film equipment and started to shoot within days and kept trying to get a better take. Then we started to rehearse the next scene and moving step by step towards the end of the film.

BK: Yana Novikova, who plays Anya, in particular is asked to do a lot of hard stuff in “The Tribe,” and she has a lot of great scenes. Her abortion scene is very well directed and acted. You can see the pain in that sequence very vividly. What was it like directing that particular sequence?

MS: The abortion scene, everybody is asking about it. People were fainting during the scene in Israel, in Moscow and in New York last week. How we shot the scene was completely non-dangerous. I am proud of the scene because it is a total illusion. It’s like when you go to the circus and David Copperfield cuts the woman into two parts. It’s the same. It’s a complete illusion. We had a lot of engineering, a lot of rehearsal and we prepared the scene very well. We visited with Yana to this hospital which had a woman doctor who consulted with us. She doesn’t only do abortions; she likes to deliver babies as well. She made them tour around the hospital through the birthing wing. We had a rubber woman’s body without foots and legs, only vagina, which medical students train on. They train on this rubber body, and this rubber body would scream if you did something wrong. It was very funny. And then this doctor sits closer to me and watched the monitor and screamed much higher than me if something went wrong. For this reason, we can do it very well, but again it’s a complete illusion. The woman who performs abortions told me the story, and I felt that I had to put in this movie because I’m not a big expert in abortions before this.

BK: It’s a very touchy, taboo subject in America, and I found it very brave that you put it in the movie because a lot of filmmakers would’ve found excuses not to include an abortion scene in their movies most likely out of fear. But it is an important sequence because it shows you how hard it is for someone in the country to get an abortion.

MS: Yeah. In fact, it was very funny because when it was shown at the Dublin Film Festival, after the screening there was a beautiful Q&A session. Some woman asked me if someone abused me in my childhood. I said no but I’m very open to new experiences. An old man visited me outside of the cinema and shook my hand and said, “Thank you very much. It was a great sequence and a great scene and we have a lot of them here. It’s very brave that you showed it.”

BK: Was “The Tribe” shot on film or was it shot digitally?

MS: We shot it on an Alexa. It would’ve been impossible to shoot it on film with those very long takes because we would’ve gone bankrupt after two or three days. I always want to shoot on 35 mm film, but we don’t have the financing possibilities. But we have a copy of course on 35mm.

BK: Another shot that stood out to me was the one where we see children doing some sort of show for the parents, and once they clear out Sergey, the new kid at school, comes into the picture. It’s like the last moment of pure innocence to be found in this movie. What was your thinking when you were putting that particular scene together?

MS: In fact, it’s like a tradition. It’s the first day of school when everybody goes to school, and it’s like a celebration. It’s like a social ritual, and it still continues in the Soviet Union. In 2007 when I started my research for “The Tribe,” I witnessed this ritual at the boarding school and made a video for myself. I completely agree with you that this ritual looks completely different. It looks like something more or less cute. And then the scene rapidly changes and you see the dark side of the system.

I want to thank Miroslav Slaboshpytskiy for taking the time to talk with me. “The Tribe” is available to own and rent on DVD, Blu-ray and Digital.

William H. Macy Talks with Jason Reitman about ‘Boogie Nights’

Boogie Nights William H Macy photo

Jason Reitman proudly said he saw Paul Thomas Anderson’s “Boogie Nights” long before everyone in attendance at the New Beverly Cinema on February 21, 2010 had. This was the fourth movie he showed as part of his guest programming at the still standing Los Angeles revival movie theater. It was at a test screening shown at the Beverly Center where he first witnessed this movie which proved to be the breakthrough for Anderson whose previous cinematic effort was the acclaimed but little seen “Hard Eight.” With “Boogie Nights,” Reitman said he saw a filmmaker who knew how to handle all the elements while dealing with twenty characters.

Reitman’s special guest for this screening of “Boogie Nights” was William H. Macy who played Little Bill, the assistant director to Jack Horner (Burt Reynolds) who is married to a porn star (played by Nina Hartley) who sleeps with everyone but him. In many ways, Little Bill is the most empathetic character in this movie even though we keep waiting for him to stand up for himself.

Boogie Nights poster

Reitman, who had previously worked with Macy on “Thank You for Smoking,” first asked him how he came upon the script for “Boogie Nights:”

“I got the script through the normal channels,” Macy said. “I think I was still with CAA then, and the script was even more outrageous. I said, ‘Is this a porn film?’ There was actual shtüpping in it! Then I met with Paul and, the actors in the room will love this, I decided I wanted to do it and met with him at the Formosa Café, and it was about ten minutes in when I realized he was selling me. I wasn’t there to audition for him, he was trying to convince me to do it, and it was one of the great moments of my career.”

Reitman replied to this by saying, “I remember having a similar meeting when I was trying to get you to do ‘Thank You for Smoking,’”

 From there, Reitman talked about all the great long shots Anderson has used in his movies. Specifically, he talked about the one where Little Bill was at the New Year’s Eve party and found his wife once again sleeping with another guy. It’s a long tracking shot which goes from Little Bill looking for his wife, finding her, and then going back to his car to get a gun after which he goes back inside and shoots his wife and the other guy dead. Watching it years after “Boogie Nights” was first released, it is still amazing Anderson pulled such a shot off. Macy described how this scene was put together.

“Paul does a couple of his gazunga shots in this one and they are not as hard as you would think,” Macy said. “It took forever to set up, but then after three and a half to four hours of setting it up, the shot’s done. No coverage, no nothing and you move on. Four pages just bit the dust.”

Macy then talked about how much he loved Nina Hartley. The first time he met her was when he went into the makeup room, and she had her legs up on the counter and was shaving herself. At the end of the shoot, Hartley had started this series entitled “Nina Hartley’s Guide to Swinging” as well as one on anal intercourse. Macy then added, “In the end, she gave these films as wrap gifts! It was great to see (the reactions); anal intercourse? THANK YOU NINA!”

There was a number of actual adult film actors involved in the making of “Boogie Nights.” One of the girls who had a small scene in the movie came to Macy’s attention while he was having lunch one day with Anderson. She came down and sat between the two of them and asked Paul a career question, “Should I go legit or should I go anal?”

Reitman went back to the long shot which ended when Little Bill puts the gun in his mouth and blows his brains out. What made this shot particularly dangerous was Macy had to wear a squib on the side of his head. With squibs, the crew doesn’t want you to move around at all for your own good, and Macy went into detail over why it was so dangerous.

“What was dangerous about it was they let me do it,” Macy said. “I found out since then that they no longer let actors use that kind of squib. It’s a little explosive device and it’s called a gore gun. So I had this little backpack with all this blood and brains that would come shooting out the back, and it was wired to the pistol so that when I fired the pistol, that’s what set off the ‘gore gun’ and that’s not allowed anymore. A stunt guy sets off the gore gun now, but there is a cut because we couldn’t figure out how to do the whole thing with a loaded gun and the gore pack. So there is a cut.”

The conversation then went to the tone of a movie and what a director actually does. It’s nowhere as simple as Burt Reynolds’ character of Jack Horner makes it look in “Boogie Nights.” Reitman took the time to explain what he thinks tone is.

“Tone is like this inexplicable thing that, if you ask what a director actually does, it’s not like setting up shots or telling actors what to do,” Reitman said. “Really, what a director does is set tone. It’s not about the words; it’s about the feeling that carries through the scenes, and P.T. A’s movies have a very specific tone to them.”

Reitman then asked Macy if this is something he feels on set or if it was something he didn’t realize until he saw the finished product. Macy said he wasn’t aware of how special “Boogie Nights” was until he saw the final cut, and he was understandably very impressed with it. This led him to talk about when he made “The Cooler” (the mention of it got a strong applause from the audience) which contains one of his very best performances.

“The director kept telling me, ‘Wait until you hear the score!’ To where I finally said, ‘Dude, if you think the music is going to save this then you’re in trouble!’ I was wrong, and when he put that lush score over the film it was a different sort of film, and he had that in his head the whole time,” Macy said.

Macy went on to say the tone of the set bleeds onto the film and the way you comport yourself, or how your first assistant director comports his or herself.

“To my mind, it’s always like going to war then making art,” Macy said. “You need a good general. I’ve been known to call in first time directors and I say to them, ‘If I catch you making art on my time, then we’re going to have trouble.’ You better know what you want because it’s more like going to war.”

One of the best moments of the evening came when Macy talked about the extras who were brought in when Anderson shot the scenes at the adult movie awards. They were all told to bring their best 70’s clothes and that they were working on a Burt Reynolds movie. Then there was that moment where actress Melora Waters is about to give an award to Mark Wahlberg, and it was worded a little differently than what we saw in the theatrical version.

“I’ve seen all his movies and I can’t wait to get his cock inside my pussy, MR. DIRK DIGGLER!”

Macy said the whole crowd just sat there in utter silence, completely unprepared for what they heard. It certainly wasn’t your average everyday Burt Reynolds movie.

All in all, it was another fun evening which provided an in depth look into one of the best movies of the 1990’s, and “Boogie Nights” made clear to the world Paul Thomas Anderson was a born filmmaker.

 

 

 

 

Exclusive Interview with Yana Novikova about ‘The Tribe’

The Tribe Yana photo

Yana Novikova is one of the stars of the critically acclaimed Ukrainian drama “The Tribe” which was written and directed by Myroslav Slaboshpytskiy. It opens up on a shy young boy named Sergey (Grigoriy Fesenko) who has just arrived at a boarding school for the deaf, and he soon finds himself being initiated into the school’s gang which deals heavily in robbery, bribery and prostitution. But just as he becomes like any other member, he falls in love with one of his female classmates, Anna (Yana Novikova), and this triggers a series of events which in turn leads to an unnerving and unforgettable conclusion.

The cast of “The Tribe” is made up of deaf, non-professional actors, and it contains no subtitles and no narration. Yana has one of the movie’s most challenging roles as her character works after school as a prostitute in order to save up money for a visa. She dives into her role fearlessly, and it’s a role which required a lot from her in terms of nudity and raw emotions. That’s not even to mention the scene where Anna gets an abortion, a subject which remains taboo in many societies.

It was a great pleasure for me to talk with Yana back in 2014 while she was in Los Angeles, and she was joined by two sign language interpreters who helped bring her beautifully long answers to light. For a first time actress, she gives an exceptionally brave performance.

The Tribe movie poster 1

Ben Kenber: How were you cast in “The Tribe?”

Yana Novikova: During my time in Belarus, which was my hometown, I was going to college and was studying engineering, tailoring and was busy with my studies. There was an acting program nearby. I was not involved with that, but I was called by a friend of mine about the fact that in Kiev, Ukraine they had a college for the deaf. So the Ukrainian friend of mine was telling me about how they had acting classes and you could learn about dance and movement and things like that. My friend told me that there was an audition taking place in Kiev, Ukraine, and it was in two weeks. So, I had two weeks to prepare for this audition before I flew out to Kiev. To start my preparation of my rehearsal I had to tell my parents about the audition, and at first my mom said no, absolutely not. She was shocked this was my plan that I wanted to do. She said, “You don’t have friends out there in Kiev. Do you even know the city?” So mom was very concerned. “You can’t drop out of college, you know? You are working on getting your degree” at the college I was attending at Belarus. I had to strongly express to her that, even though I was involved in my studies at college, I really wanted to get into acting. My mom told me repeatedly no and I had to calm her down and convince her, so I changed my story a little bit and told my mom that I was going to be visiting friends in Kiev. So, I had to lie a little bit and I did everything secretive. But I made my preparations, I flew to Kiev and stayed with a group of deaf friends and there was a group of writers there. I didn’t know who the writer was, I didn’t know who the director was, but that director was looking at who had auditioned. He was just sort of incognito. We didn’t know that he was there and he was watching all this. I got completely involved and completely absorbed in rehearsing in preparing for the audition. They tell me that, after the audition, they were going to be selecting three people and I was like, “Three people? That’s it, out of this whole group of 10?” They said there’s just not enough scholarship money to audition for this program. There’s only enough scholarship money to accept three deaf people for this acting program. I was so upset when I wasn’t chosen. I cried and I asked them questions about why I wasn’t selected, “What were you looking for? Were you more concerned about my logistical issues about living so far away? Was that an issue; would I be able to pay for the dorm or not or things like that? What were the selections based on?” And they said, “Well you’re better off staying in Belarus and continuing on with your college and your studies.” And I said, “No, my heart is not in engineering. My heart is not in sewing and tailoring. I really want to get into acting.” So we went back and forth and back and forth, and they repeatedly told me no and that they were not selecting me. But the director, who was present, made time and came up to me and said “Well perhaps if you’re willing to fly to Kiev for the next production and try out for that audition, we have an audition for another project coming up called The Tribe.” So, I ultimately did that. I flew back to Kiev and auditioned. There were about 300 people who auditioned for the film, a long line of people all deaf. They took photographs of us as part of the audition process, they got our profiles and everything, they got information, and after the audition they told us to check the Internet to look and see if your name shows up on the list to see if you were selected. So, for about a week I kept my close eye on the casting list, and when I finally saw my name on that list and that I was chosen I was thrilled. During that process there was actually another very small film project that was going on that I was given a very, very small role in. It gave me an opportunity to do some rehearsal and do some practice in the role as a boy actually, a little rebellious boy character. So I had this real short, small role in this other project, so while I was filming and preparing for that, the director really took a hard look at me and evaluated me during that whole process, and then in September I was already chosen for my role in The Tribe. I was so happy. I completely dropped out of college and I told one of my professors and he was like, “Why are you quitting? You don’t like college? You don’t like what you’re doing?” And I said, “No. I’m actually an actress and I’m getting into acting.” And I let the professor know that I got a job and the professor was like, “Are you joking?” I said, “No I’m actually going to be acting in a film.” So, once I did that I went home and packed, and still my mom didn’t know at that time what had taken place and that I was chosen for this film. So I was in the middle of my packing process and mom came in and said, “What are you doing?” And I said, “Well I was chosen to be an actress in a film.” My mom said, “Are you joking? You dropped out of college and you are completely shifting your plan?” I said yeah and my mom obviously got very, very upset and told me no I don’t want you to do this. So I ignored what she told me and I flew to the Ukraine and started filming The Tribe, and I actually didn’t see my parents for the whole month of September. I did stay in contact with my parents, but I didn’t see them in person. Once the production was done, I found out that it was chosen to be shown at the Cannes Film Festival and won some awards and things like that. Finally, through that process and learning about that on the Internet, my parents finally started to believe in me and that’s when the nudity issue came up and that I had to be nude in the film. I said, “Well mom and dad, that’s part of the acting work and life.” So I was so happy that finally I was actually a real actress and that I was a real thing.”

BK: Speaking of the nudity, you were asked to do some things that are not easy for any actor to do. How did you manage to get comfortable with the actors and the crew during the scenes where you had to be nude?

YN: The very first scene, I was just nude from the top up when the boy pushed the new student into our dorm room. But the script actually said that I was just going to be wearing a small little bra type thing, so that was what I was expecting at first during the filming of the first scene. And the director said, “Well actually, do you mind… Let’s time out for a second. I think the scene would do better with nude from the top up without the bra.” So I was like whoa, really? That was really overwhelming. I was upset at that point. I considered myself an actress and I wanted to get into my role, but I wasn’t expecting that. The director and his wife, they talked me down and calmed me down and said this was part of acting, “You don’t need to feel uncomfortable. Just focus on the beauty of the film in its entirety.” They gave me some different films to watch and to help get myself more into my preparation and into the role to help give me some ideas, and there is one specific French film called “Blue is the Warmest Color.” That specific film I watched and it had a significant impact on me. That really, really got me to change my point of view. The director decided to tell me more about the film itself which also went to the Cannes Film Festival and explained the process it had gone through, and I was full of questions about it. So, after seeing and learning more about that movie, “Blue is the Warmest Color,” I started to ask Myroslav, “So is it possible that ‘The Tribe’ could be that successful? Could it make it to Cannes and have the same level of success that the French film for that?” At that point in the whole process I hadn’t been finally selected for that full role, so we were just in rehearsals in that part of the process. So then when it was suggested to me that I watch that other film and started asking Myroslav those questions, it was at that point in time that my point of view completely changed. I got completely into the role during the rehearsals and everything, and I decided at that point I was fine with going with Miroslav’s direction of going full nude, and I wanted to prove to him that I could do it and that I was capable and that the film could make it to Cannes. So, it was a change in my point of view and my focus. During the scene where Sergey and I had to practice nudity, what we did to rehearse for that part was that we got into the nudity slowly so day by day by day we would remove more and more clothing as we rehearsed that scene. So we did all the rehearsal and then the actual filming took place, and finally everything just came together. Everything just melded so we filmed, and little by little by little by little the clothes came off as part of the filming process of that scene, and after we had done that scene it was no problem for me. We just completely filmed the whole thing, and then the next scene was the sex scene where we were in the 69 position. Our characters really grew. We became closer with one another and love developed. Our characters started to love one another, and love requires so many different ingredients and all these small and different elements being in tune with one another and showing that connection to the camera. Both myself and Sergey, it was our very, very first experience doing that type of thing and we were able to connect, and the rest is history.

BK: Another big scene for your character is when she has the abortion, and it’s a very brave scene in the movie. Myroslav explained to me that it was all an illusion, but your acting and the nurse there made it seem very real. How did you go about preparing for that particular scene?

YN: Thank you for that complement on that scene. When I learned that the abortion scene was part of the film, I didn’t have a problem doing it. I knew that it was part of the movie, but the challenge for me was that I didn’t have any real life experience with an abortion. So I had to do my research. I checked on the Internet, I interviewed and spoken to other women who had been through that experience and I tried to incorporate all those different elements into myself and then actually put those into that very scene. The other girl who was active in the film, she and I were in the same boat. She had never had that personal experience, so she and I and a director went to an actual medical clinic where they do those types of things, and the doctor there shared with us everything we needed to know about the abortion process. So, when the filming began the very next morning, it was a very long day. There were many, many takes and many retakes. We had to start from the beginning of the scene, walk-in and take off my clothing and go through the emotional part of it; the crying and the whole thing. And then we had to cut many, many times. We had to stop. Filming that scene went from morning until night. We went through a lot of tissues. I went through a lot of tissues that day. I was completely exhausted. I had to really try my best to conserve my energy before filming and then film the scene, be completely exhausted and then try and find that energy again and film the emotional parts again. It was exhausting and at that time I was trying to connect with the character and going through that abortion experience, and as a woman I tried to really reflect what it was really like and really tried to show it accurately. The director really worked with me to really draw out my genuine emotions to reflect that character. The goal was so that the audience could connect with that character and really connect with what she was really going through, and that scene was very, very important. It had a big impact in the movie. It actually was showing the beauty of what that person was going through. That’s how I would describe it. It was very, very hard work, and it was something I wanted to share.

BK: Were you aware from the get-go that this movie was going to be shown without subtitles or any narration, and how did you feel about that?

YN: I definitely was aware of that fact and I thought it was cool. I liked it because, for myself, when I watch a film I don’t like to look at the action and then have to look down and read. It’s work to do that to watch a film. It’s almost impossible sometimes to get everything all at once. I thought it was cooler because then the audience could really focus on the actual character and all the different elements of the character and really get into that, and so I absolutely completely supported Myroslav in his position to make the film without subtitles.

BK: It’s great because, even if you don’t know sign language, you still get the gist of what’s going on in the movie from scene to scene.

YN: Yes, absolutely. You get the gist, you get the story, you get the emotion, you see the facial expressions and all of that is obvious. It’s impossible to not understand from the beginning to the very, very end. It’s a very colorful film. It’s easy to understand. Everything is right there and presented visually for you. It’s like a person kind of going through and really experiencing that life and gives them that idea of getting into that story.

BK: In the end this is not a movie about deaf people but about people trapped in a situation that does not offer them an easy escape, and that’s what’s great about it. It’s not about one kind of people because it’s really universal in its themes.

YN: Yes, it is universal, absolutely. It’s both. It incorporates the deaf world and there was no interpreting needed actually. You understand the concepts and it’s beautiful. There’s no interpretation of language and it applies to all walks of life and the emotional parts of it as well. It applies to everyone. The emotions are universal. Everyone feels the same emotions. It’s very explicit.

I want to thank Yana very much for taking the time to talk with me. “The Tribe” is now available to own and rent on DVD, Blu-ray and Digital. For those movie buffs who are very interested in having a unique cinematic experience, this is a must see.

 

Exclusive Interview with Dragan Bjelogrlic about ‘See You in Montevideo’

Dragan Bjelogrlic photo

See You in Montevideo” was the Serbian entry in the Best Foreign Language Film for the 87th Academy Awards, and it is a sequel to “Montevideo: Taste of a Dream.” It takes us back in time to the first World Cup which was held in Montevideo, Uruguay and follows the national soccer team of Yugoslavia. These players have never been outside of their home country before, and everyone else views them as outsiders to where many of their competitors treat them with utter disdain. However, they eventually win people over thanks to their youthful enthusiasm and their love of soccer. But as the games go on, we see how their love of soccer threatens to be crushed by corrupt forces beyond their control.

Both “Montevideo: Taste of a Dream” and “See You in Montevideo” were directed by the same director, Dragan Bjelogrlic. In addition to being a filmmaker, he is also an actor who is considered by many in his country to be a “Serbian Robert Redford” as he is typically cast in roles where he plays a charismatic criminal like Čika Kure in “The Wounds.”

Bjelogrlic was in Los Angeles for a screening of “See You in Montevideo” at the Landmark Theatres back in 2015, and I was lucky enough to spend a few minutes with him afterwards to talk about it.

See You in Montevideo poster

Ben Kenber: This was a wonderful movie. I have to apologize because I haven’t seen the first movie yet.

Dragan Bjelogrlic: Oh no, no. I prefer people who have not watched the first movie because my whole idea was to make a totally independent second movie and totally independent story which is the global story. When we decided to make two movies about the same subject, I organized all of that and I said to my producer, “What do you think? Maybe I’ll make the first movie and then get something else to make the second movie.” But after the success of the first movie he said, “No, no! You must! Just forget about the first movie and try to make something else.” So I like spectators who didn’t watch the first movie (laughs). No really! And you’re right, (if you have) watched the first movie you will feel more comfortable.

BK: That’s a good point because this movie does feel like it stands on its own. I also found it fascinating how the movie chronicles the love of the sport and how it gets corrupted by greed and politics towards the end. How did you go about researching all this project?

DB: I read a lot of articles and a lot of books which were made about soccer. It’s the most popular sport. And there were a lot of journalists that wrote about it, and people didn’t read it back then. There were some people who were aware of what things were going on. There was the enthusiastic period where they were pioneers, and the people who created it first were very enthusiastic and it was good. The first World Cup was very good, but when 100,000 people come it’s some big plan. Okay let’s make some compromise, but it’s really very sad. We are witnesses now.

BK: Regarding the actors who played the soccer players, did you want real soccer players cast or were you just comfortable casting actors whether they had soccer experience or not?

DB: They are actors. At the beginning some of them were students and some of them were actors, but I try to combine actors and athletes. Thanks to God, we Serbs are good at both (laughs). We had a lot to choose from so it was not a difficult choice. That’s something which was not such a big problem. The only problem was the bind. Like somebody said, “Oh people in Uruguay, they will not like this.” It was a problem for me, but they find this fact that the policeman gave back the ball and somebody covered that. I said aha, this could be a subject. Who knows in which kind of sports football will be developed? That’s something which was my idea.

BK: In the process of turning this true story into a movie, did you have to take any dramatic license with the facts at any time?

DB: No. We just followed the facts and we tried to be precise with all facts especially with the match between Yugoslavia and Uruguay. What has happened? Who got the first goal? Who was the referee who canceled the first goal? It’s all the facts you can find in articles. There is my concession that the facts are facts.

BK: What’s up next for you?

DB: I don’t know. I have a lot of opportunities. My main job is as an actor, that’s my main profession. I like to act a little. This may be comfortable for me, but it’s not necessary for me to direct. If I find something which I feel (strongly about), I will direct.

Big thanks to Dragan Bjelogrlic for taking the time to talk with me. “See You in Montevideo” is now available to own and rent on DVD, Blu-ray and Digital.

Exclusive Interview with Toby Regbo about ‘U Want Me 2 Kill Him?’

Toby Regbo in U Want Me 2 Kill Him

In “U Want Me 2 Kill Him?,” Toby Regbo gets one of his biggest and most memorable roles yet. The movie is based on a true story which was chronicled in Vanity Fair about a 16-year old schoolboy who gets arrested for attempted murder. His explanation was he was working under orders from an MI5 agent, but the truth of the matter ends up revealing something far more shocking.

Regbo plays John, a lonely boy who gets picked on at school and is later befriended by one of the most popular students there, Mark (Jamie Blackley). The friendship comes about because John’s sister Rachel (Jaime Winstone), whom Mark has developed an online relationship with, asked him to look out for John. But when Rachel is found murdered, both John and Mark in their devastation vow revenge against the person who took her life. What happens from there is not worth giving away, but it resulted in one of England’s most shocking crimes and showed us all how much of a threat the internet can be.

I got to speak with Regbo over the phone about his role back in 2013. During our conversation we talked about how his role reminded him of his years as a teenager, how much time he spends on the internet, the challenges of playing a character based on a real life person, and he even gave me an update on “Maleficent” which he was cast in.

U Want Me 2 Kill Him poster

Ben Kenber: Were you aware of the Vanity Fair article or the true-life story this film was based on before you got the script for it?

Toby Regbo: Not before I got the script. I read originally for Mark, the other character that Jamie Blackley ended up playing which is a good thing the roles ended up that way. But no, I didn’t know anything about it until I auditioned for it, and then once I got close to getting the part then I started looking further into it. I read the article and I also had some information that wasn’t in the article. I met the journalist who wrote the Vanity Fair Article (Judy Bachrach). In fact, she came to the set. But once you know the story, you want to know as much as possible about the case. It’s so mental that this happened.

BK: What appealed to you most about the role you ended up playing in the film?

TR: It’s hard to talk about the film without giving too much away.

BK: Yes, that’s true.

TR: I guess the interesting thing for me was trying to play the scenes in the movie without giving any tells to the ending. That was the key for me, trying to create something that was believable enough that you don’t see it coming I guess, at least for not a long way away.

BK: Yes, that must have been tricky because you read the script and wonder how you can keep from revealing everything. That must have been a challenge for everybody involved.

TR: We did a lot of rehearsals which is great. It’s the most rehearsal I’ve ever done before starting a film. Andrew Douglas, the director, and his wife Lenore sort of coached us (me and Jamie) through the movie. We did three or four weeks of rehearsals beforehand and working everything out. It was about just trying to keep them real, trying to find out exactly what motivated them. We did a whole bunch of work with sort of character objectives. We used this book called Ivana Chubbuck’s “The Power of the Actor” and we worked out what motivated our characters.

BK: Do you prefer to do a lot of rehearsal before you shoot a movie or does it depend on what movie you’re working on?

TR: It just depends on the whole vibe. I do like rehearsals, but at the same time the best stuff that ever happens is stuff that you don’t plan for. You can do things to death, but you just got to get out and do it for real. I’m doing this TV show and we’ve been shooting for like ten months now, and I’ve never shot that long before. It’s like a different process. You shoot like 8 pages a day, you get scripts like a couple of days beforehand, there’s not much preparation time and you just got to sort of go with it. It’s great training as an actor.

BK: I agree. The chemistry you have with Jamie Blackley onscreen is terrific and you two come across as very down to earth and really good friends. This makes the eventual unraveling of their friendship all the more painful to witness. How did you two develop that chemistry?

TR: It came to us naturally. Jamie is one of the easiest people to get along with that I ever met in my life. And also at the same time, when we started filming we both had fallen in love with girls at the same time, so we had that camaraderie on set. We were always talking about how long we should wait until we say I love you to a girl, so we both had that commonality. It worked out for Jamie, it worked out for me.

BK: Before you made this movie, did you spend a lot of time on the internet and in chat rooms?

TR: I’ve never been in a chat room before. There was a time where we used to go on MSN Hotmail a lot when I was like 14 which was a fucking nightmare. More than anything else, the social media revolution has helped kids talk shit about each other at an exponential rate. It’s been a lot of fun on there talking about who kissed who and what boy did what, and that was a great fucking waste of time for a couple of years. I’ve sort of grown away from it now. I thought I go and do a lot of other things than just waste all this time online.

BK: Were you able to do a lot of research on the person your character was based on? We find out at the end of the movie that a lot of information can’t be revealed due to certain laws in England.

TR: Yes, and I think that’s for the best. The character that I play, I based it on the script which was based on the Vanity Fair article. But I felt very distant from whoever this unknown boy, now a man, is. I don’t know the name, I don’t know who he is, I have no connection with him at all and I think that’s the way that it should be. On Demand on my TV earlier today I saw the trailer for the “Diana” movie. The story is about Diana and how the press ruined her life and how they like ended it. However you want to look at it, it was this terrible event that happened and now she’s dead, but they’ve made a fucking movie about it. I mean the hypocrisy of like saying oh look how terrible it is that the media ruined her life, and then they’ve made a movie about it. That doesn’t seem to make any sense. But I did feel a responsibility playing someone who is real. Although they did a very terrible thing, they shouldn’t have to have this film on their shoulders for the rest of their lives. It based on a true story, but there is this creative license in it.

BK: It’s interesting because with certain movies that are based on true stories, many actors feel the need to learn as much as they can about the real person they are playing to the point where they fall into the trap of impersonating them. I guess knowing less about the person your character was based on was probably more freeing for you because you weren’t shackled to that.

TR: Yeah, I mean I think for some actors they love that. They really want to get inside the heads of the real person, but I find it very, very strange to try sort of mesh this other person over the top of you especially when it comes to your voice and like doing an accent and that sort of thing. I think its dangerous territory where it can become an impersonation. I would always approach playing a real person with extreme trepidation, but in this case I felt like I was playing the character that was written on the page rather than this actual boy who is out there in the real world.

BK: I imagine you’re not far from the age of the character you play in this film. Did playing this role bring back any memories of being a teenager for you?

TR: I was 19 when we filmed it and I’m 22 now. Bringing back memories of a teenager would’ve only been one year. To be honest, being a teenager is fucking shit most of the time. Kids are really, really horrible, and I totally understand escapism that both of these boys are sort of trying to pursue through the power of the mundane inanity being a teenager growing up in the suburbs trying to have the “mad life” as Mark would put it.

BK: I see that you were cast in Disney’s “Maleficent” as the young Stefan. Can you tell us anything about that movie?

TR: Well I can tell you that I’m not in it (laughs). I worked two weeks on that and there was some studio nonsense. Basically they wanted the character that I was playing to be younger, much younger. We were doing this prologue to the film and they wanted 10 rather than 16, but they waited two weeks into filming before making that decision. I’m still glad that I got to be on that set. I’ve never done anything like that before, and I hope that it turns out well. It’s amazing what they are doing there, and I never been in something with such a big budget. Just the level of detail… There were these chests on the set, these like fairy chests or whatever, and you open them and they are like filled with all these intricate gilded swords and beautiful linens and stuff. The level of detail was amazing. I’m sad I’m not a part of it.

I want to thank Toby Regbo for taking the time to talk with me. “U Want Me 2 Kill Him?” is now available to own and rent on DVD, Blu-ray and Digital.

Exclusive Interview with Leslie Zemeckis about ‘Bound by Flesh’

Leslie Zemeckis headshot

With her documentary “Bound by Flesh,” Leslie Zemeckis has reopened a part of history many have either forgotten about or never knew about. It focuses on Daisy and Violet Hilton, conjoined twins who became stars in sideshows and were generally viewed as freaks of nature. Throughout their lives they were subjected to abuse by their handlers and kept out of public view in fear of losing their monetary value. But when they finally got their freedom, life became even worse for them as they didn’t know how to deal with the ways of show business, and they eventually lost everything and entered a life of poverty.

What’s great about Zemeckis’ documentary is how it forces you to look at the Hilton sisters as human beings as opposed to oddities to be gawked at. I got to talk with Zemeckis over the phone about “Bound by Flesh,” how she first became aware of Daisy and Violet, and of the research she did.

Bound By Flesh documentary poster

Ben Kenber: This is a fascinating documentary. I didn’t know about the Hilton sisters at all, and they suffered through quite a miserable existence. “Bound by Flesh” deals with them as “freaks,” but it also deals with them as human beings which I really liked. What they go through is not unusual for people who don’t know the ways of show business.

Leslie Zemeckis: Good, I like that.

BK: How did you first find out about the Hilton sisters?

LZ: When I was doing my first documentary, “Behind the Burly Q” about burlesque I had read someplace that they were in burlesque briefly, so that kind of intrigued me and I put a little bit about them in the first film. Then I read Dean Jensen’s biography about them (“The Lives and Loves of Daisy and Violet Hilton: A True Story of Conjoined Twins”), and just over time, while I was editing my other film, I kind of became obsessed by their story. But also taking into context of the time they lived and what the carnival was and what circus life and sideshows were, we don’t have that today. There’s really almost no animals even left in the circus, so we’re kind of bringing to light and exploring what that world was that they lived in.

BK: In regards to the historical footage that you were able to include in this documentary, how did you go about researching this subject?

LZ: Every which way I could. I did the research myself so that I’m familiar with the names and dates, and I knew that they were, in their day, photographed a lot. They were interviewed and they had done a lot of newsreels, so I actually went to a news real company in New York and I sorted through their files, and because I knew the names that they were involved with, I found some footage that hasn’t been seen since the 30’s. It probably never would’ve (been discovered) because it doesn’t have their names on that little 3 x 5 index card. I found that within 10 minutes of searching.

BK: On the surface and outside the fact that they were conjoined twins, Daisy and Violet really looked like normal people and very innocent in a sense.

LZ: Well they were. It was a double-edged sword by them being so protected and kept away from other people that they were innocent. But then when they were out on their own they didn’t have the skills to deal with people or their career or money really, and that’s why they were taken so badly advantage of.

BK: You find yourself rooting for the twins to get freedom from their handlers, but once they do get their freedom they are thrust into a world they don’t have any control over. They are not prepared for it at all.

LZ: Yeah, it was a little bit of a curse maybe to get their freedom.

BK: I got a big kick out of the logos because they look like they came out of a schlocky B-movie from the 50’s. Who designed the logos?

LZ: Well it was my idea because they were in B-movies like “Chained for Life” and their story, when you talk about it, is so headline; kept in chains and held captive and all that. So I wanted to add an element of that for fun, but there really is a deep story behind it and my editor Evan Finn designed all that because he’s brilliant.

BK: Regarding the sound clips, were they created for this documentary or was it a combination of archival footage and actors redoing them?

LZ: It was actors redoing them, but that was their (the twins’) words. In both “Behind the Burly Q” and then this, I wanted the sisters to tell the story. I want people to tell their story instead of me imposing on it for the audience, so I used their words. I didn’t write those words. Those were what the sisters said.

BK: It definitely felt like their words. Who were the most fun or most informative to talk to when it comes to your interview subjects?

LZ: Well I just thought it was a little amusing that I had James Taylor and Phillip Morris (laughs). We would just laugh about it. I mean where else are you going to find “characters” like this? But they were all very charismatic, knew their history and I loved and loved talking to them and they loved it too. They loved that era, they loved the sideshow and they love the circus.

BK: Was there anything that you wanted to include in this documentary that you were not able to for one reason or another?

LZ: No. I would’ve liked to of had more footage of them, but I am super happy with what I found. I wanted people to see their movement. I don’t believe there’s any footage of them performing live in vaudeville, but I was really pleased with what I did find.

BK: The Hilton sisters did appear in “Freaks” which is now considered a classic, but when it first came out it was treated as very controversial and off-putting. It’s interesting to see how people initially reacted to the movie when it was first released.

LZ: It’s a disturbing movie, but what’s funny is that the twins actually aren’t in it as much as you would think. But the film has value; it’s in the National Archives. It’s just a world that is no longer.

BK: Are there still any sideshows still performing today?

LZ: Not really. There’s so little “born freaks,” but to me I equate it, and it’s not PC of course to go stare at people, with watching reality TV. Everybody sits in their home and it’s okay to watch the Kardashians comment on their physicality, and I think we still have a form of the sideshow. It’s just changed to reality TV. All forms of entertainment just change. They stay but they change. We just now do it from our home.

BK: There’s something to be said for the twins living as long as they did because the lifespan of conjoined twins is not good.

LZ: Right and they were generally very healthy throughout their lives.

BK: The choice of music was interesting because some of it goes outside of the times the Hilton sisters went through. How did you go about choosing the music, or did you just leave that to your composer (Oliver Schnee)?

LZ: No, I don’t leave anything to anybody (laughs). It’s too much of my baby. I certainly didn’t compose it. He (Oliver Schnee) was brilliant, but I didn’t want it to feel like you’re just watching this period piece that has nothing to do with today. It’s still hip, they were hip, and I wanted the music to reflect that.

BK: Going back to the voice cues, those were done by Lea Thompson and Nancy Allen. How did you manage to get them involved in this documentary?

LZ: Well I knew them so I was familiar with their voices, and they both have a similar quality with each other which I felt would work with the sisters. They also have a very light, optimistic voice. I was so lucky to get them. They were similar enough that I thought they sounded like sisters.

 

A big thank you to Leslie for taking the time to talk with me about “Bound by Flesh” which opens us up to a part of history that has been forgotten for far too long. It is now available to own and rent on DVD, Blu-ray and Digital.