With the second movie centered on VHS headed for theaters, a challenger has emerged in the form of HI-8, an omnibus fright flick with a number of shot-on-video veterans involved. Read on for their exclusive words.Read more »
Fearful Features,Movies/TV,News Michael Gingold
Movies/TV,News Fangoria Staff
by: Chris Alexander on: 2013-02-15 13:42:57
Eurohorror fiends hold director Michael Armstrong’s 1970
medieval torture opus MARK OF THE DEVIL in the highest of regards and
rightfully so. The atmospheric, lush capitalization on Michael Reeve’s
WITCHFINDER GENERAL not only boasts a magnificent cast in Herbert Lom, Reggie
Nalder and Udo Kier, but a sweeping score (by Michael Holm, also employed in
Jason Eisener’s HOBO WITH A SHOTGUN)
surprising emotional heft and wincing levels of grim violence. Yes, this is the
film that was marketed with a patron sensitive vomit bag….
Since that auspicious picture, Armstrong has dabbled freely
in the genre, writing MARK OF THE DEVIL II, Pete Walker’s HOUSE OF THE LONG
SHADOWS, writing and co-directing the undervalued SCREAMTIME and even doctoring
the script of Tobe Hooper’s LIFEFORCE. Now, forty years after his last stint
behind the lens Armstrong has finally been lured out of retirement by Paper
Dragon Productions to direct a new film, a UK creeper called ORPHANAGE.
“I agreed to be exhumed from retirement because I felt I
could trust Paper Dragon Productions to offer me the creative freedom I need to
realize a story I’ve wanted to bring to the screen for more than 30 years,”
Armstrong said. “I very much look
forward to working with them.”
Described as a sociological suspense shocker, a complete
veil of secrecy has now been thrown around the project as it heads into
immediate development. Written and directed by Michael Armstrong, ORPHANAGE will be
produced by Paul Horsfield and Jonathan Jones, with Neil Jackson and Kevin
James executive producing for Paper Dragon Productions.
Stay tuned to FANGORIA for more details as this projectRead more »
Fearful Features,Movies/TV,News Michael Gingold
With a title like that, you know you’re in for a bit of no-holds-barred horror, and we’ve got the goods on a creepy short that’s headed for the South by Southwest Film Festival, with a couple of exclusive stills and an eye-popping behind-the-scenes shot.Read more »
Movies/TV,News Michael Gingold
Highly anticipated genre films from Canada and the UK are poised to make their mark on the U.S., and Fango got the exclusive word on when to expect them.Read more »
Movies/TV,News Fangoria Staff
by: Samuel Zimmerman on: 2013-02-14 15:56:46
Prolific short horror filmmaker Drew Daywalt has lined up his next feature, the Larry Fessenden-produced supernatural THE HURTING MAN.
Set to lens this fall, THE HURTING MAN follows the story of a police officer who tragically finds his family murdered after a failed 911 call and now must work to save their souls from a demonic boogieman haunting his childhood home.
“I wrote this script and kept it close to my chest, because this one was written from my own worst terrors, both as a
parent of small children, and also tapping into my own childhood fears of a
hideously costumed boogieman,” says Daywalt. “This one’s going to scare the hell out of
everyone. I promise. I can say that because it really scares me, and I’m
letting my fear guide me on this one.”
LAST WINTER director Fessenden says, “There’s a certain kind of genuinely
terrifying old-school-campfire scare that Daywalt gets right in his Fear
Factory gems and I can’t wait to see him nail those chills in a long form
For more on the film, keep an eye on Fango and head over to its official Facebook.
Read more »
Fearful Features,Movies/TV,News Fangoria Staff
by: Chris Haberman on: 2013-02-14 15:36:16
Standing among long-forgotten brick kilns once used to
actually bake bricks in rural God’s country, on a cold, damp, schizophrenically
overcast and sunny day, is probably the best way to see the vision walking
confidently toward me. It doesn’t seem at first like Christina Lindberg, or her
character Candy in Todd Fischer’s new film CRY FOR REVENGE. It is Frigga,
a.k.a. Madeleine, the young woman we once ached for and so desperately wanted
to rescue…at least during the majority of 1972’s THEY CALL HER ONE EYE.
From this distance, I can’t see the details of her face—no
laugh lines, or any indication that this grindhouse icon has aged 40 years
since THEY CALL HER ONE EYE (a.k.a. THRILLER: A CRUEL PICTURE). The trenchcoat,
the bell-bottoms, the shotgun and the swagger are all there, which would be
enough to send the mildest of cult film fans reeling. But it’s the eyepatch
that breaks me out in goosebumps. Speaking of which, what led writer/director
Fischer to direct such a scene?
“I was going through a divorce at the time, and a revenge
movie seemed like a good idea,” Fischer explains. “Instead of sitting around
depressed over the lengthy divorce process, I sunk myself into drive-in cinema
and grindhouse movies, and found the inspiration to write [CRY FOR REVENGE]. I
wanted to not just make a revenge movie, but a Christina Lindberg revenge
movie. I ended up finding a young actress who looks incredibly like young Christina,
and we were in business.”
That “young Christina” lookalike in CRY FOR REVENGE is
Stefanie Vuleta, who plays a younger version of Candy. Though he doesn’t reveal
the plot details of just how Candy comes to be as vicious as she eventually is,
Fischer is happy to discuss what it’s been like working with the legendary
Lindberg. “Well, my favorite story is when she accepted the part,” he says.
“There were two roles offered to her; one was a character who trains Candy to
become the vigilante. I thought that was a fitting ‘passing of the torch’ for
her. The other part was basically an older version of Candy. When she accepted
the latter role, it took several minutes for it to sink in that it meant she
would return to the eyepatch one more time.
“On set, she’s been more critical of herself than I am of
her,” he continues. “She is a perfectionist. I had to keep reminding her that
we were making a grindhouse [movie]; we didn’t have to be perfect. One thing
that most people will never know because of the content of her old movies is
that she is actually an incredible actress. I was literally floored by the
emotional intensity she can bring.”
details are coming soon here and in FANGORIA magazine about CRY—which features
a fight, as seen below, between Candy and over 30 luchadors (!)—and
Lindberg’s return to acting. Stay tuned! You can check out photographer Laura
Skinner’s website here.
Read more »
Movies/TV,News Fangoria Staff
by: Samuel Zimmerman on: 2013-02-14 13:29:53
The network behind THE WALKING DEAD keeps dealing in horror business, taking on a property much colder in climate and monstrous in nature.
Deadline is reporting that AMC, alongside Ridley Scott’s Scott Free production banner, will take on THE TERROR, an adaptation of award winning horror/sci-fi/fantasy author Dan Simmons’ fictional account of just what happened to the non-fictional Captain Sir John Franklin and his lost expedition to the uncharted portions of the Arctic Ocean’s Northwest Passage in 1845.
His fourth expedition to the arctic, renowned officer and explorer (and governor of Tasmania from 1836-43) Franklin, his team and their two ships, the HMS Erebus and the HMS Terror (of where the novel partly takes its title) were icebound and suffered from pneumonia and starvation, with some eventually resorting to cannibalism. Simmons’ novel, however, reimagines a mythological antagonist in the form of a monster called the Tuunbaq.
David Kajganich, who penned BLOOD CREEK and has recently been attached to a host of Stephen King-based screenplays, writing new versions of THE STAND, IT and PET SEMETARY, will script.Read more »
Fearful Features,Movies/TV,News Fangoria Staff
by: Vivienne Vaughn on: 2013-02-13 23:42:52
Horror film enthusiast and indie filmmaker Lindsay Denniberg
kicked off her feature career with the surreal, dreamlike VIDEO DIARY OF A LOST
GIRL (see our review).
The film centers on Louise (Priscilla McEver), a succubus named after the
eponymous silver screen legend Louise Brooks, and details the hardships that
come with being a descendant of the demonic Lilith herself. Fango chatted with
Denniberg about what occurred behind-the-scenes of the film to create the
on-screen visual madness.
FANGORIA: How was the experience of shooting your first
LINDSAY DENNIBERG: It was probably the most fun I’ve ever
had. Exhausting and overwhelming, but also the greatest opportunity to be
creative with friends; a lot of fun, but also totally scary. I’ve done so many
shorts with people I love, but working on something this big over such a long
period of time is a very different experience. You get closer with the people
you work with but it also tests your relationships. Luckily, we all survived
and had fun, watched a lot of horror movies and ate a lot of hummus. At the
best moments it was like one really long, weird, creatively satisfying
sleepover, or summer camp.
Sometimes it’s hard to keep the big picture in mind, you’re
putting a lot of little pieces together (like Frankenstein’s monster), and with
this project, there were so many layers, formats, materials, tenses – it wasn’t
easy. I think we just kept fun, honesty, spontaneity and a real love for what
we were working on in mind. The film holds together because we kept those ideas
in mind more than anything. Also, working on something so fragmented, in a
formal sense, makes it a little easier; you have more liberties when it comes
to variation from scene to scene. But ideals seemed to help unify it all with a
healthy dose of and goofing off and nudity.
FANG: How did you conceive the idea for VIDEO DIARY?
DENNIBERG: The film is very autobiographical. Granted, my
vagina unfortunately doesn’t suck the souls out of rapists or ooze bloody TV
static by the gallon every month, but the whole “I love you, but I’m afraid to
touch you” theme is definitely all me. I’ve always had a bunch of intimacy and
body issues, so I’ve learned to deal with that crap over the years by creating
personal films about body horror (David Cronenberg is more of a self-help guru
than a filmmaker for me). I originally got the idea of a girl needing to have
sex to live when I was a lonely, horny teenager, watching EDWARD SCISSORHANDS
over and over alone in my dark room (while eating a lot of pizza and Doritos).
EDWARD SCISSORHANDS has always been my favorite film and the one that inspired
me to become a filmmaker in the first place. Because of that, I promised myself
I would someday make a film as personal for me as that film was for Tim
Later on, I learned about Lilith (the Mother of all demons)
and started daydreaming about my own mythology that I could create as an origin
tale for this “girl” who needed sex to live. This girl was always me, and my
obsession for Louise Brooks in G.W. Pabst’s DIARY OF A LOST GIRL naturally drove
home the need to name my main character after her. This idea was many years in
the making, so as I grew up and changed, so did Louise’s story. I always knew I
wanted sex and death to be two sides of the same coin for Louise, as they are
really the only two subjects I am interested in. All the characters in the film
are based off of real people (or an amalgamation of many) in my life. If I were
an immortal succubus who worked at a video store, I would be Louise.
FANG: Can you talk about your writing process for the
DENNIBERG: I first started writing the screenplay in my
undergrad feature writing class at UCF, taught by Barry Sandler (who wrote Ken
Russell’s CRIMES OF PASSION). I wasn’t expecting it to go in the direction of a
comedy, but when it was read out loud, the corny dialog that naturally comes
out of me just guided it from there. I remember very clearly the first time I
talked about the idea to my good friend Chris Shields on our porch when we were
roommates in Florida. Chris has been my main collaborator for years and I
wouldn’t be the filmmaker I am today without him. He understood the story on a
level like no one else, and contributed things to this film that are too
numerous to even list. We would talk about the screenplay a lot, but eventually
it was put on the backburner when I moved to New York to intern at Troma (where
I was later hired as Lloyd Kaufman’s assistant).
The next year I got into grad school at the School of the
Art Institute of Chicago, and decided on the plane ride there that I would make
VIDEO DIARY for my thesis film. So as soon as I landed I called Chris and we
just picked up where we left off. We collaborated by phone and Skype for the
next year, both saturating our minds with ‘80s horror movies to get in the
right mood. Chris and I are both pathetically terrible romantics, and horror
and bad romance is what really draws us together. We love horror romantic
comedies in a deep way, but we’re also experimenters and fans of the
avant-garde. I decided to combine the two because that’s usually how I operate
as an artist: Collaging and mashing together all the things I love into one pot
and not holding anything back.
So as I wrote, Chris would read and tell me his thoughts,
and things would just evolve from there. He was great at helping me reign it
all in, because I usually have way too many ideas at once and he would keep me
focused. There’s so much of us both in the script: Our taste, our humor, our
friendship, our love of monster romance, and I think that is what makes it
unique. For those who know Chris, it is obvious that Charlie (Louise’s
love interest) is based off him, so of course it made the most sense to have
him play Charlie (I mean, who wouldn’t want to put the dark love child of Adam
Sandler and Lloyd Dobler in a movie?). So much of it was also written in the
middle of the night with him on the phone as he worked at Dunkin Donuts. It’s a
very haunted script.
FANG: What was the production of your film like? Do any
moments particularly stand out as being memorable?
DENNIBERG: The intro with Lilith and Adam was shot months
before everything else, and it kind of set the aesthetic for the rest of film.
Everything with Priscilla McEver (Louise) and Chris Shields (Charlie) was shot
over the course of a month at the School of the Art Institute of Chicago. I
flew them in from New York, and then we had maybe a day to rehearse and hang
out, then immediately started shooting. It was a very intense schedule. We all
did so much on the film; it’s kind of a blur. We took the bus everyday to
set, worked all day on the green screen stage, goofed off, and then took the
bus home, hung out and watched some horror movies, then passed out.
After two weeks of shooting the green screen and sound stage
scenes, we filmed the rest at my apartment (where Priscilla and Chris were
staying too). I had a very small and intimate cast and crew of wonderful
friends that graciously worked for free out of the kindness of their hearts. We
were shooting pretty much 24/7 for the whole month of July, so it was hot as
hell and kind of gross with all the blood and FX stuff (very much a summer camp
The most memorable moment of the production would have to be
a prank my producer, AD and green screen cinematographer played on the rest of
us. I would often say jokingly that if anyone was uncomfortable with being
naked in front of the camera that the entire crew would just get naked too. So
when some of us got back from a smoke break, all three of them were naked
pretending to shoot a scene without us! There’s nothing more inspiring then
seeing a naked woman behind the camera or holding a boom. I would say that
moment is a perfect example of the kind of fun attitude we all brought to the
FANG: Can you talk a bit about creating the visuals of VIDEO
DIARY? How much was practical, versus done in post-production?
DENNIBERG: The film is half green screen sets and half
regular world sets. The choice to have a scene in green screen really just came
down to trying to take advantage of the fact that we had no budget. I don’t
believe in having a big budget to make a movie. I think it’s so much more
exhilarating to make something beautiful out of trash then it is to dump a
$1,000.00 on a stupid jib shot that no one cares about (let the record show
that THE PLAYER is excluded from this statement). Sorry for the money
philosophy rant, but I think budget has so much to do with the integrity of how
a film is made these days. Anyway, I created miniatures for any scene that was
green screened, which was usually constructed out of poster board, paint,
trash, broken CDs, Barbie dolls, animal print, glitter, Christmas lights, TVs
and duct tape. The sets were usually built around a TV so that whatever I put
on the screen would show through as the moon in a night backdrop, or window in
an interior. Honestly, the entire film was a big experiment because it was the
first time I ever used green screen. I did all the post-production effects
myself, and would usually spend eight hours a day editing for the next year,
just trying new things out as I went and keeping what worked. The intense color
palette was the Dario Argento and Mario Bava color scheme screaming to get out
of my brain. My cinematographer Casey Puccini (who also plays Michael, Louise’s
manager and best friend) is really great at capturing that kind of light and
mood. We talked a lot about how I wanted it to look like an ‘80s new wave giallo
on VHS. The flashback scenes in the 1920s are shot on VHS, and I wanted to go
for the look of an Elvira set, or PLAN 9 FROM OUTER SPACE. I pretty much felt
like I was in an Ed Wood RPG the entire time.
FANG: What prompted
you to choose to go with the unique aesthetic of the film?
DENNIBERG: I wanted VIDEO DIARY to look like that horror
movie I never found (but knew existed) in the haunted video store that’s been
my life. Since I was a kid I was obsessed with going to the video store just so
I could look at the VHS covers in the horror section. I wasn’t allowed to watch
any of the “scary movies,” so ironically my fantasy of what the horror movie might look like inside the box always ended up being scarier and more surreal then
the movie itself.
The German Expressionist/’80s VHS cover aesthetic just feels
the most welcoming and instinctual to me. I also think certain media I saw as a
kid had a weird imprint on my aesthetic sensibilities, like PEE WEE’S PLAYHOUSE
and the BEETLEJUICE cartoons. My lead actress Priscilla McEver is actually one
of the biggest Pee Wee Herman and Lydia Deetz fans I’ve ever met, so her
playing Louise was just meant to be. She also was a child of late ‘80s
imprinting, and because of that our friendship and collaboration has a very
sci-fi, X FILES twist to it (I know that she knows where the bodies are buried
in the Winona Ryder wasteland of our youth).
When Chris first arrived on one of the sets, he said it felt
like he had just stumbled into my brain. I feel like my set design is my
primary way of directing a film for the actors and crew. I think I’m good at
choosing the right, talented people to interpret my characters, and giving them
a surreal world to exist in. I’m just lucky that these talented people happen
to be my good friends.
FANG: Can you talk a bit about the music in the film?
DENNIBERG: Friends’ bands and some other folks I met through
Danny Gallegos, the first AD and the main punk in the movie. He introduced me
to Bestial Mouths, whose music is all over the film. I saw them play and asked
if I could use their stuff and they said sure. Danny’s band Cemetery contributed
a great song “Stateward,” and all the songs Chris sings are his originals from
his one man punk project, Mr. Transylvania. Other stuff came from people
and bands Chris and I knew from playing music and performing in Florida, like
Outmode, Father Finger, and Counters. The song played in the intro ‘Shadow’s
Connected to the Light’ is actually the only song written specifically for the
movie by my friend Matthew Donovan, who also goes by Teaadora. Teaadora also
plays Adam in the Garden of Eden. The film’s aesthetic and music are very much
one homemade, collage-y, intense, and colorful makeshift.
FANG: You’re obviously a genre fan yourself. Can you name
some of the inspirations for your film?
DENNIBERG: Oh god, here we go: Chris and I are such
video-holics, it’s sick. When we lived together we devoured at least three a
day. Fassbinder and MORGAN STEWART’S COMING HOME, Andrzej Zulawski and Stephen
Sayadian. It was a constant high brow/low brow roller coaster. I think that’s
largely where the film comes from. I’m a huge fan of Albert Pyun, and because
of VIDEO DIARY, I actually have become friends with him since our films showed
at the Pollygrind Film Festival together. He helped get me out to the festival
since I’m still poor as ever, and it really is a dream come true when a
filmmaker you admire actually likes your work! RADIOACTIVE DREAMS is such a big
MY DEMON LOVER and ROCKULA were the biggest influences for
the tone and humor of VIDEO DIARY. My great affection for romantic horror
comedies of the 80s and 90s is their sleazy innocence that just makes me swoon.
Chris Shields is manic for MANNEQUIN and MANNEQUIN 2, so that shines through in
the script as well. People have told me on more than one occasion that VIDEO
DIARY feels like an experimental John Hughes film, and I can’t deny that THE
BREAKFAST CLUB and WEIRD SCIENCE had some kind of wonderful effect on forming
my cinematic identity. To me there is nothing more romantic then making out in
a graveyard, or watching a horror movie while eating pizza, or just plan
‘getting the shit scared out of me’. Now, in one last quick breath: Lloyd
Kaufman, Woody Allen, Catherine Breillat, Tony Oursler, Clive Barker, Frank
Henenlotter, Agnes Varda, Derek Jarmen, Jodorowsky, LIQUID SKY, Argento, Bava,
Maya Deren, John Waters, NADJA, Jean Rollin, Paul Naschy, George Kuchar, George
Romero, Nick Zedd, Jerry Lewis, ROCKY, Buster Keaton, Roger Corman, Hammer
Films, David Lynch, Guy Maddin, HEATHERS, CLUELESS and last but certainly not
least, Tim Burton.
FANG: What project(s) are you working on currently? Do you
foresee doing more horror in the future?
DENNIBERG: Chris and I are working on another feature! It’s
a horror anthology very much in the style of VIDEO DIARY, only this time we
want to push the insanity of the visuals even further. It’s about a haunted
video store in the middle of a graveyard, which sets the stage for five horror
tales, all romanticizing the act of watching a horror film in their own unique
way. I will direct two, Chris will direct two, and the fifth one will be a
collaboration of both of us. The tales of terror will consist of a cyberpunk
Medusa, werewolf women, sex cannibal lovers, a Dr. Frankenstein celebrity video
mortician, and a gender-bending haunted nerd frat house. My main influences for
this one are HOLY MOUNTAIN, BOXER’S OMEN and Ancient Greek mythology, whereas
Chris’s are more in the realm of George Romero, Pier Paolo Pasolini and Stephen
King. There are many different body parts we are using for this next video
creature we that we like to call making a movie.
I’ve also developed a new way of experimenting with
different looks and moods by working with video installation and performance.
Right now I am a part of a noise performance group called Viral Swan with my
friends Caleb Yono and Cassandra Jackson (which I sometimes say feels a lot
like abstract post-apocalyptic LARPing). Many of the psychedelic sequences in
VIDEO DIARY were remnants from previous projects and performances in the same
FANG: Anything else you want to share?
DENNIBERG: I guess I would just like to share the crazy
irony in general I’m feeling right now. FANGORIA has always been one of my
favorite horror magazines since I was a teenager, and the first boy I ever had
a crush on is the one who introduced to me to it. It’s so bizarre for me to
experience the horror and romance involved in just doing this interview in the
first place, it is very surreal for me. My friend Casey yesterday told me that
he remembers me talking about dreaming about getting interviewed by FANGORIA
someday when we were in pre-production for VIDEO DIARY. We laughed thinking it
would be crazy if that ever happened. And yes, this is totally crazy that this
is happening, and it is awesome!
For much more on VIDEO DIARY OF A LOST GIRL, visit the film’s Facebook.Read more »
Movies/TV,News Fangoria Staff
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
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 THERead more »
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
Books/Art/Culture,Movies/TV,News Fangoria Staff
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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Fearful Features,Movies/TV,News Olivia Saperstein
It’s an ample year for dread at South by Southwest 2013. New Artists Alliance will be presenting two new genre features at this year’s festival next month: Behold MILO and CHEAP THRILLS, both hinging on a horror motif, yet smothered in humor and a defiant absurdity.Read more »
Fango Local,Movies/TV,News Fangoria Staff
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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