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    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.”

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    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
    next.”

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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. 

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    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


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    Eli Roth: Little Trouble in Big China

    Since the launch of his viral marketing campaign for THE LAST EXORCISM, which favored post-viewing tweets from horror fans over professional critical consensus, Eli Roth’s philosophy as a producer has championed the democratization of film spectatorship. That attention to a multiplicity of voices has informed the bulk of his moviemaking process as well, including his stint co-writing and producing RZA’s directorial debut THE MAN WITH THE IRON FISTS (out on theatrical-cut and unrated DVDs and Blu-ray/DVD combo from Universal Studios Home Entertainment today). Fango spoke with Roth about the ins and outs of that process during his work in China for RZA’s dream project, and the themes and cultural influences that pervade his filmography.

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