• ,

    James Purefoy: “FOLLOWING” in Bloody Footsteps

    by: Abbie Bernstein on: 2013-02-13 21:58:23

    In person, actor James Purefoy seems like a charming, erudite
    fellow. So does his character Joe Carroll on THE FOLLOWING—at first. Carroll is
    a serial killer who escapes from prison in the first episode of the hit Fox
    thriller, only to be recaptured by Kevin Bacon’s character, ex-FBI agent Ryan
    Harding. Alas, Ryan discovers as the series goes on that Carroll has quite a
    few friends on the outside who are willing to die—and kill—for him in extremely
    gruesome fashion.

    While THE FOLLOWING (which airs Monday nights at 9/8 Central) was created by SCREAM originator Kevin
    Williamson, the show is notably far more serious than the film franchise—which
    seems to be fine with TV audiences, who have tuned in en masse for the episodes
    aired so far. Part of the fun, and the fear, is that anybody can be one of
    Carroll’s disciples, from an angelic-looking young nanny to a seemingly
    friendly security guard, and they can have been living in constructed
    identities for years.

    The Somerset, England-born Purefoy is no stranger to horror,
    having starred alongside Milla Jovovich in the original RESIDENT EVIL as her
    treacherous boyfriend, played the title role in SOLOMON KANE and appeared as
    Henry Clerval in the 2007 televersion of FRANKENSTEIN, but he’s never had a
    role quite like Carroll. He has played a very tricky and occasionally homicidal
    lawyer in the English miniseries INJUSTICE, but isn’t sure if that character
    would have followed Joe Carroll or not. “I suppose he might have. I don’t know.
    I think that character was very much his own man.”


    The actor helpfully explains the proper pronunciation of his
    last name—“Pure—like orange juice—foy”—and then gets down to the business of
    discussing how came to play a charismatic, persuasive college
    professor-turned-murderer. Wanting to work in the U.S. was “very much” part of
    the equation, Purefoy explains. “I was beginning to feel a bit lonely in
    London. A lot of my friends came over here and have been part of the great
    American golden age of television. I had been asked to do a number of pilots,
    and this one was sitting there, and I was offered it and Kevin and I had to go
    and sniff each other’s behinds like a couple of dogs in the park.”

    Working for a major U.S. network has gone pretty much as
    Purefoy expected—and of course, this isn’t his first American TV gig, as he
    reminds: “I’d had experience with it, because I did THE PHILANTHROPIST for NBC.
    So I’m very aware of the micromanagement you get with American executives. But
    I enjoy it, very much so. I take it very seriously. A lot of money is involved.”

    Obviously, he’s not going to let readers who have been
    following THE FOLLOWING in on the answers to the show’s mysteries at this early
    stage, but Purefoy says he’s aware of why Carroll is doing what he does. “I
    know what he wants. [He’ll do] anything he can to achieve his objectives—which
    are very simple in comparison [to his methods].” Purefoy does, however, a tip
    for people who want to figure out whether a character on the series is going to
    suffer an early demise. “There’s potentially seven years of [THE FOLLOWING]. So
    if you hear too much backstory on somebody, they’re going to die quite soon.
    Generally speaking, the people that you hear the least about are the ones who
    are going to stick around.”

    There are some similarities between his own profession and
    what Carroll does in terms of powers of persuasion, Purefoy notes. For example,
    “Talking to journalists. I’m trying to get you to write really lovely things
    about me and the show. Of course I’m trying to get you to do something.
    Manipulation is all part of our business, isn’t it?”

    The blood and viscera quotient on THE FOLLOWING is high,
    which attracted quite a bit of attention and controversy before and during its
    premiere. Purefoy won’t say whether he’s actually been grossed out by anything
    on the show, but allows, “There have been moments of panic, moments of scenes
    in which I’ve thought, ‘OK, Kevin wants us to do this, it’s all part of the
    story.’ Despite that, before ‘Action’ is said, I think, ‘I’ve got to do this
    now. But between “Action” and “Cut,” who knows what’s going to happen?’ If
    you’re really flying as an actor, you don’t know what’s going to happen in that
    space. It should just happen in the moment. There have been two or three scenes
    that I’ve had to steel myself for.”

    Despite the splatter factor, much of the dread in Purefoy’s
    scenes is psychological. After all, Carroll isn’t as hands-on as some of his
    followers are. “No,” Purefoy agrees, “like a lot of arch manipulators, he gets
    other people to do his dirty work for him. And I learned that from Marc Antony
    [from William Shakespeare’s JULIUS CAESAR and ANTONY AND CLEOPATRA]. He was
    very good at getting other people to do his dirty work. I get a lot of
    journalists asking me about hand-to-hand fighting. I went,” Purefoy acts
    surprised at the suggestion, “ ‘Really?’ ”

    What Purefoy says he’d most like people to know about THE
    FOLLOWING is this: “I have a fear of what I call ‘ambient TV’—TV that washes
    through you. You could be doing anything [while it’s on], it doesn’t really
    matter. I like television that grabs you by the throat, pushes you up against
    the f**king wall and won’t let you go. That excites me. That’s the kind of TV I
    really enjoy watching. I’m sure you must watch loads of ambient TV. But you
    must also watch stuff where you say, ‘I need to see what happens next.’
    Dickens, Shakespeare, whatever—all of those great writers make you want to know
    what’s coming up. And that’s storytelling. Good storytelling is paramount. We
    as a culture love hearing new stories, and this is a good new story. I defy
    anybody to watch an episode in its entirety and not want to know what happens

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  • ,,

    Mondo does limited vinyl run of “POLTERGEIST” score

    by: Samuel Zimmerman on: 2013-02-13 18:10:50

    Fantastic music, wonderful art; expect its selling out to haunt you. 

    Expected on sale February 22 at a random time (announced via Twitter), the POLTERGEIST 2xLP set sees great work from Australian illustrators Sonny Day and Biddy Maroney (who together make up the collective We Buy Your Kids) and very obviously, wonderful work from Goldsmith (GREMLINS, THE OMEN, CHINATOWN).

    Mondo writes the soundtrack “formed a significant part of the 1982 film’s conceptual strength. Known for the intensity of his thematic exposition, Goldsmith designs the POLTERGEIST soundtrack to elaborately ground the film between the promise of suburban repose and the malevolent unknown. Beginning in innocence with a classic rendition of the “Star-Spangled Banner,” the soundtrack parallels the film’s intrusion of angry ghosts into the California home of the film’s protagonists with dreadful strings and eerie keys. Goldsmith then switches to airier strings and an ethereal flute to denote the family’s fumbling after their daughter, Carol Anne, is abducted. Utilizing frenzied horn blasts and a sudden lapse into atonalism, the composer ominously signifies the emergence of the Beast. Goldsmith, seemingly effortless, concludes the frantic drama of “Escape From Suburbia” in stark contrast with the sweet and child-like tones of “Carol Anne’s Theme,” elegantly illustrating the dignity and range that his orchestral scores for horror modeled within the genre.”

    Check out the frame-worthy set and follow Mondo on Twitter for more. 




    Read more »
  • ,,

    Thousand Oaks revels in Indie Horror “CineMayhem” this March

    by: Samuel Zimmerman on: 2013-02-13 16:38:04

    In conjunction with Dread Central’s Indie Horror Month, the first ever CineMayhem Festival gets underway this first weekend in March, celebrating all manner of uncompromising genre.

    Writer Heather Wixson, who you can find tirelessly toiling away at Dread, has founded CineMayhem as a way to celebrate the past, present and future of independent genre filmmaking. The fest will run March 2nd and 3rd at the Muvico Theaters in Thousand Oaks, California and is set to include insane-o anthology THE ABCs OF DEATH, Paul Davis’ much buzzed short film HIM INDOORS and the latest from HILLS RUN RED director Dave Parker. Here’s the rundown, via release:

    CineMayhem’s diverse line-up includes advance screenings of two highly anticipated genre projects including Magnet Releasing’s visceral horror anthology THE ABCs OF DEATH and Breaking Glass Pictures’ mind-bending drama K-11 directed by Jules Stewart (Crank: High Voltage, Mortal Kombat).

    CineMayhem is also thrilled to announce that it will be hosting the World Premieres of ROADSIDE directed by Eric England (Madison County) and the latest short film from Ryan Spindell (Kirksdale), THE ROOT OF THE PROBLEM, as well as the West Coast Premieres of two other short films- Paul Davis’ (Beware the Moon: Remembering An American Werewolf in London) HIM INDOORS and SPLIT THE CHECK by Patrick Rea (Nailbiter).

    Other feature films currently selected for the CineMayhem Film Fest include BREATH OF HATE by Sean Cain (Silent Night, Zombie Night), COLDWATER by Dave Parker (The Hills Run Red) and THE SLEEPER by Justin Russell. CineMayhem will also be screening several other award-winning short films including FAMILIAR by Richard Powell, KILLER KART by James Feeney and FOXES by Lorcan Finnegan as well as a few retro indie horror screenings to be announced soon.

    For much more, you can “like’ and follow the fest’s updates at the official Facebook

    Read more »
  • Fango gives away “COME AND GET ME” on DVD

    by: Bekah McKendry on: 2013-02-08 14:18:17

    Straight from the land down under, COME AND GET ME is
    arriving stateside February 12th and our friends over at Camp Motion
    Pictures have sent some copies for us to give away to some lucky FANGORIA fans.

    When four friends head to the city for a wild girls’ night
    out, an unexpected ride home turns into a night of murder and terror as they
    are stalked by three vicious serial killers through the dense Australian

    Want a copy? Send an email to rebekah@fangoria.com with “COME AND GET ME” in the subject line.

    Please include the following info:

    • Name

    • Mailing address

    • Email address

    • Phone number

    • Age

    Best of luck, and for more info on COME AND GET ME as well
    as other great titles, check out Camp Motion Pictures.


    Read more »
  • Exclusive: Robert Rodriguez’s “CURANDERO” unleashed at last

    by: on: 2013-02-07 19:36:09

    Actually, there were two Rodriguezes behind the supernatural
    thriller, which is finally set to see a long-awaited U.S. release.

    Fango got the exclusive word that Lionsgate Home
    Entertainment and Miramax will release CURANDERO: DAWN OF THE DEMON on DVD
    (with Ultraviolet digital copy) and video-on-demand March 12. Written by Robert
    Rodriguez, who also served as an executive producer with Elizabeth Avellan, the
    film was directed by Eduardo Rodriguez (no relation, and currently set to helm
    Sony Pictures’ direct-to-video FRIGHT NIGHT 2) and stars EL MARIACHI’s Carlos
    Gallardo in the title role. He’s a Mexican faith healer who is called upon to
    purify a police station, and winds up in conflict with a ruthless killer named
    Casteneda (Gabriel Pingarron). Originally completed way back in 2005 and screened
    at Screamfest that year, the film was orphaned when Miramax founders Harvey and
    Bob Weinstein split from then-parent company Disney. The DVD will present CURANDERO in 16×9-enhanced 1.78:1 widescreen, with English and Spanish Dolby
    Digital 5.1 audio; no special features are announced. Retail price is $26.98.


    Read more »
  • “V/H/S” director stages an “INTRUSION”

    by: Samuel Zimmerman on: 2013-02-07 18:45:39

    David Bruckner, who previously shined co-directing THE SIGNAL and one of the best segments of V/H/S, to tell a tale of a woman pursued.

    INTRUSION, from a script by L.D. Goffigan, sees “a young woman’s life begin to unravel shortly after moving to San Francisco, when she realizes she’s being pursued by a disturbed stalker. As the assaults and creepy incidents escalate she realizes that she has become the target of something far more sinister and horrifying.”

    It’ll be exciting to see what Bruckner will do here. Hopefully, he puts San Francisco, a popular destination in cinema history (BULLITT and VERTIGO, of course), to good use. 


    Read more »
  • Charles Band uncovers original Wizard Video VHS Packaging, To sell

    by: Samuel Zimmerman on: 2013-02-07 18:11:33

    As his appearance in the SXSW documentary on the VHS
    phenomenon (REWIND THIS!) draws near, Full Moon Pictures’ Charles Band has gone
    clamshell crazy, unearthing a warehouse worth of original Wizard Video
    oversized VHS packaging for cult and obscure horror flicks. Beginning next
    week is a nine-month sale of said boxes for (and duped copies of) titles like

    As the announcement tells it, over a span of 3-4 years,
    Wizard Video published eighty titles in the large-format boxes. Thirty-five years after the packaging’s
    popularity died out, Band and his excavation team uncovered the original big
    VHS boxes of thirty-six of these rare titles in mint condition, between two hundred
    to four hundred copies per title.

    I’ve bolded boxes, because in case of any confusion, the
    next piece of the release reads “Each box will be hand-numbered on the spine
    and autographed by Charles Band and will include an authentically duplicated
    VHS copy
    .” Further, and once again, “Beginning February 12th and for every
    month thereafter four of these 36 Wizard Video big box VHS cassettes will go on
    sale. They will contain the original program newly duplicated on VHS in a
    black clam shell which will be in the original box. Each original box will be
    numbered based on quantities found (IE x180 original boxes were found of RETURN
    OF THE ZOMBIES so therefore the numbers will start at 01/180, then 02/180 and
    all the way thru 180/180) and each box will be signed by Charles Band.”

    Whether $50 for a vintage VHS case and a newly duped
    cassette is worth it is up to you, the collector. I suspect many will
    appreciate and cherish the history and décor of such, but it’s best to be as clear as
    possible here. You can see Band’s history of Wizard Video and his outlining of the plan below. 

    ZOMBIES and DEMONIAC up for grabs. In the weeks and months to come after, you’ll
    PARASITE all available. You can find the entire list of films and dates at
    Wizard Video Collection


    Read more »
  • “CORALINE” and “PARANORMAN” producers open “THE BOXTROLLS”

    by: on: 2013-02-07 16:40:12

    The team behind the standout 3D stop-motion dark fantasy films
    PARANORMAN (currently in the running for a Best Animated Feature Oscar) and
    CORALINE have announced their latest production—which has some SHAUN OF THE
    DEAD talent involved. Read on for the details and the first piece of art.

    Fango got the news that Focus Features and LAIKA are
    reuniting on THE BOXTROLLS, a 3D stop-motion/CGI hybrid movie that recently
    began production, based on Alan Snow’s best-selling novel HERE BE MONSTERS and
    targeted for October 17, 2014 release. The story is set in Cheesebridge, a
    Victorian-era village preoccupied with wealth, class—and stinky cheeses. A
    local legend has it that creatures called the Boxtrolls dwell beneath the
    streets, rising from the sewers at night to stead children and cheeses, though
    in fact they are friendly beings who have raised a human boy, Eggs (voiced by
    Isaac Hempstead-Wright) since he was a baby. When the Boxtrolls are threatened
    by villainous pest exterminator Archibald Snatcher (Ben Kingsley), Eggs must
    team with rich girl Winnie (Elle Fanning) to make peace between the two worlds.

    The voice cast also includes Toni Collette, Jared Harris,
    Richard Ayoade, Tracy Morgan and SHAUN OF THE DEAD’s Simon Pegg and Nick Frost.
    OPEN SEASON’s Anthony Stacchi and CORALINE & PARANORMAN story artist Graham
    Annable are directing, with David Ichioka and LAIKA president/CEO Travis Knight
    producing. “THE BOXTROLLS is a visually dazzling mash-up of gripping detective
    story, absurdist comedy and steampunk adventure with a surprisingly wholesome
    heart,” Knight says. “It’s Dickens by way of Monty Python. Tony and Graham have
    crafted a strange and beautiful world replete with fantastical creatures,
    good-for-nothing reprobates, madcap antics and rip-roaring feats of derring-do.
    But at its core, like all LAIKA films, THE BOXTROLLS is a moving and human
    story with timelessness and powerful emotional resonance. We’re thrilled to
    partner with Focus Features and Universal to bring this remarkable story to
    family audiences around the world.”


    Read more »
  • Actress Christa Campbell talks “SPIDERS 3D”

    by: Bekah McKendry on: 2013-02-07 16:00:44

    Last week, FANGORIA hosted a Los Angeles screening of
    SPIDERS 3D (opening in theaters this Friday), and we caught up with star
    Christa Campbell, who gave us the scoop on filming with giant arachnids.

    Campbell plays Rachel, a health department worker who teams
    with her estranged husband, MTA official Jason (Patrick Muldoon) to stop a giant
    spider invasion of New York, in the Tibor Takacs-directed film. It’s the latest
    in a string of genre roles for the actress, also including the 2001 MANIACS
    movies, DRIVE ANGRY and the remakes of DAY OF THE DEAD and THE WICKER MAN. She
    was also an executive producer on this year’s TEXAS CHAINSAW 3D.

    FANGORIA: How did you become involved with SPIDERS?

    CHRISTA CAMPBELL: Tibor and I have worked together on a few
    other films [among them MANSQUITO and KRAKEN: TENTACLES OF THE DEEP], and when
    SPIDERS was being talked about, he asked me if I would play Rachel. I read the
    script and loved it, so I was immediately in.


    FANG: Do you have a fear of spiders in real life?

    CAMPBELL: Yes, yes, yes! I said to myself when I first came
    on SPIDERS, “OK, you’re doing a spider movie—get over it already.” But then,
    thankfully, I learned that the spiders were going to be CG, so I was
    immediately relieved.

    FANG: Can you tell us a little about where the SPIDERS was

    CAMPBELL: It was shot in Bulgaria at Nu Boyana Film Studios,
    which is like three times the size of Paramount, just to give you an idea. We
    used the New York set there, which was like four city blocks inside a massive
    studio. It was a fantastic location.

    FANG: What was it like shooting in 3D?

    CAMPBELL: You know, people always ask if it’s different to
    work with 3D, and I really think that for the actors, there isn’t much of a
    difference. Maybe for the DP there is, but for the actors, it’s pretty much all
    the same. The biggest challenge was doing my own stunts, but I loved every
    minute of it.

    FANG: What was it like dealing with the
    nonexistent digital creatures?

    CAMPBELL: It’s actually pretty easy; they tell you where
    your eyeline is and how big the spider is and all that, so it’s just like
    playing when you’re a kid. But now, you’re just delivering off-camera lines to
    something that isn’t actually there, which can be interesting.

    FANG: You’ve worked with Tibor Takacs on a number of
    projects now. Can you discuss why you work so well together?

    CAMPBELL: Tibor and I have a great shorthand; he knows how
    to shoot me, and knows he can ask me to jump off a building, crash a car or
    dive into below-zero waters, and I will always do it. I love to push myself and
    to be pushed, and working with Tibor on SPIDERS was great as always.

    FANG: What are you upcoming projects? 

    CAMPBELL: I have STRAIGHT A’s coming out in March, which I
    executive-produced and stars Ryan Phillippe, Luke Wilson and Anna Paquin; I
    have a role in it as well. And I’m in THE ICEMAN, which is coming out in May and
    stars Michael Shannon, Winona Ryder, Chris Evans and James Franco.

    Read more »
  • South By Shorts: Stop Motion Teddy Bear Massacre & more

    by: Samuel Zimmerman on: 2013-02-07 15:49:21

    “Not enough people watch short films!” is cried often and
    loud. They’re an invaluable part of the festival experience, but many are also
    directly accessible, which can make them an invaluable part of your day at
    home. Presented here is the SXSW Midnight Shorts lineup, some with trailers,
    and many in full!

    A stunningly gory stop-motion rampage by a maniacal Teddy
    Bear, the dangers of dancing, perils of babysitting, body horror and a whole
    lot of head explosions compose what should be a rousing journey for you and SXSW audiences. Those with asterisks (*) are full length. Enjoy!

    • The Apocalypse*

    Director: Andrew Zuchero

    Four uninspired friends try to come up with a terrific idea
    of how to spend their Saturday afternoon. The Apocalypse.



    Director: Hugo Vargas-Zesati

    A man disturbed by a dream awakens to realize his
    unconscious has called his self-awareness into question. When confronting
    himself, misfortune brings the temporal world into perspective.

    • Cats

    Director: Michael Reich

    A master groomer explains the sensual methods of dog
    grooming to his young and beautiful apprentice. Her mind begins to wander into
    a profane dream that melds the grossness of dog bathing with voyeuristic and
    domineering sexuality.

    • Child Eater (USA/Iceland)

    Director: Erlingur Thoroddsen

    A simple night of babysitting takes a horrifying turn when
    Helen realizes the boogeyman really is in little Lucas’ closet.


    • Dance Till You Drop*

    Directors: Eric M. Levy, Juan Cardarelli

    She thought the house was safe, but under the right
    circumstances, anything can be dangerous. Even a dance montage.


    • Follow

    Director: Owen Egerton

    Follow is a dark thriller centered on a young couple’s
    dangerous bedroom games.

    • Hell No

    Director: Joe Nicolosi

    Hell No is a new type of terror, a reality-based horror film
    that pits real smart people in terrifying horror situations…

    • Play House

    Director: Brandon LaGanke

    Harold’s crumbling family is bound only by his unconditional
    love for them.

    • Root

    Director: Caleb Johnson

    A young woman has an affair that leaves a hideous mark. Her
    attempts to remove it only make it worse.


    • Two Fingers – ‘Vengeance Rhythm’ (UK)*

    Director: Chris Ullens

    This is the story of a very angry teddy bear.


    • Under the Lion Crotch (Hong Kong)*

    Director: Wong Ping

    Daily life living in Hong Kong.

    {vimeo} 33518886{/vimeo}

    Read more »
  • Jeffrey Combs talks “WOULD YOU RATHER”

    by: Vivienne Vaughn on: 2013-02-07 15:23:53

    Cult-movie maven Jeffrey Combs enters genre territory once
    more in David Guy Levy’s psychological horror-thriller, WOULD YOU RATHER.
    Opening in select theaters and available on-demand tomorrow from IFC films, and
    screening for free in New York tonight (see details here),
    the film casts Combs as Shepard Lambrick, a calculating, sadistic aristocrat
    who puts a sinister, unique spin on the eponymous popular party game.

    Fango got some exclusive words with Combs about WOULD YOU
    RATHER, which co-stars PROM NIGHT’s Brittany Snow, C.H.U.D.’s John Heard and
    SMASH CUT’s Sasha Grey.

    FANGORIA: How did you come to be a part of WOULD YOU RATHER?

    JEFFREY COMBS: WOULD YOU RATHER came out of the woodwork in
    a way, although through a fortuitous route. One of my oldest and best friends
    I’ve known since high school, his son’s best friend happened to be one of the
    associate producers for [the movie] as it was getting put together. They were
    looking for someone to play Shepard Lambrick, and he
    brought up my name. I had a meeting with the director, David Guy Levy, and we
    were off to the races.


    FANG: What were your initial thoughts when you read the

    COMBS: I thought it was really finely crafted: Taut,
    motivated, nothing that didn’t progress one point to another. I really don’t
    like unjustified jumps in plot, and found it this be an intense and linear
    narrative with many interesting characters. And little did I know that it would
    be cast so well! I’m not speaking for myself, but the rest of the cast is just
    terrific. Everybody manifests their character to the fullest and brought their
    A game to the film. It was a labor of love for all of us.

    FANG: How was it working with your co-stars? The film has a
    very diverse cast.

    COMBS: Since the ’70s, I’ve admired [Heard’s] work and think
    he’s one of our best, so I was thrilled to be in a movie with him. I didn’t
    know anyone else, but I quickly grew to appreciate everybody’s abilities. When
    you cast a movie, it’s like putting together a band, and there were no weak
    players here. My favorite part [of shooting] was the camaraderie and joy of
    working with these great actors. And David did a great job directing us; he
    couldn’t have been better.

    Brittany is such a terrific actress with incredible
    validity, honesty and heart. She is the heart and soul of this movie, whereas I
    have no heart or soul! She is the absolute flip side of [Lambrick]. You have to
    have somebody you really, really care about in a movie, and she personified
    that so perfectly. Anytime you watch a movie like this, you ask, “What would I
    do in this situation?” And I think everybody can relate to her quiet hysteria
    as she realizes what a bad situation she’s in.

    FANG: How would you describe Lambrick, and what are your
    thoughts on him?

    COMBS: He is a sadistic son of a bitch, but he doesn’t see
    himself that way. The power he wields is something that he has inherited—he
    doesn’t know any better. He is just one in a long line of Lambricks who have
    passed this along. He’s doing it to his son, his father did it to him and his
    grandfather did it to his father, and so on and so on. It’s a pervasive
    sickness. The Lambricks lack any empathy for other people; they’ve been so
    privileged for so long that they just don’t know any better. They’ve been
    taught this from the cradle. It’s just the way it is. This is amusing to them. They
    don’t see people as people; they are just our playthings, our toys. It’s
    sociopathic. These people don’t care. They have everything, and they’re so
    bored and empty inside that it takes this much for them to feel anything.

    There’s a strange sort of ethic about it, too. Lambrick says
    at the end, “We keep our word. We follow through; you win, therefore we
    fulfilled our contract.” In his mind, it’s a business thing. They have
    integrity and follow through. It’s a clever examination of the dichotomy we’ve
    been dealing with in our own society. It’s an exaggerated parable of the 99
    percent vs. the .001 percent.

    FANG: What were your thoughts after you first saw the film?

    COMBS: It was even more than I expected. This movie is shot
    in such a way that it’s almost voyeuristic, and it plays for the eye really
    well. It has a real pedigree to it. It has class, despite its really disturbing
    theme; it’s shot beautifully.

    FANG: Was the role of Lambrick something you felt challenged

    COMBS: Oh, definitely. The hardest part was to resist the
    temptation to find a justification for his actions, because I think it’s far
    more chilling and disturbing that there is none, and I believe that was the
    intent of the script: You’ll never know. And when you think of true evil in the
    world, either from an individual or an institution, you never know. You’re
    powerless to ever understand why it is they do what they do, and that makes the
    film even more powerful. It’s pretty delicious theatricality. If, at the end,
    the audience is really disturbed by my character, then I did my job.

    Read more »
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