Clutch Frontman Neil Fallon Discusses “The Obelisk” and Virtual Shows.

Neil Fallon is the vocalist for the rock band Clutch. The group which has been churning out its own unique brand of riff heavy sludge rock since 1991 just release  a very special, limited edition 16 LP set titled “The Obelisk” As part of wave three of 2020’s Record Store Day . Media Mikes had the chance to talk to Neil recently about the collection, the bands label Weather Maker Music and, the group’s recent series of live stream concert events.

Adam Lawton: Can you tell us about the band’s latest release “The Obelisk”?

Neil Fallon: We had wanted to do something for Record Store Day and things kept getting shifted around and staggered due to the pandemic. What we did was put together a collection of all the full length vinyl releases that Weathermaker Music has put out. We are always getting asked about putting things out such as “Elephant Riders” but we do not own the masters to that stuff. Weathermaker Music is our label and we own all of that material so we can release it however we want. “The Obelisk” is a beast of a collector’s piece which weighs about 12lbs. There are twelve records each symbolized on the cover and that equates to about 16 or 18 discs.

AL: What is the bands process for selecting what will be released on a compilation like this?

NF: You can’t give it all away at once. We know there will be another Record Store Day event next year and we are unsure if we will have new material recorded by then. I think with the collectors mind set you want to make something special that is limited. The limited availability of a piece is what drives that collector to go out and get it. Yes you can go out and get the records individually but you are not going to get the box or some of the other stuff that is included. Some of the stuff included has been really hard to get such as the picture disk for “Earth Rocker”. It’s a hard needle to thread as you want to get this stuff out but you also want to make sure that you are keeping an eye on releasing new material as well.

AL: Has the band always been conscious of saving material for special releases like this?

NF: Every time we write a record we have this conversation. It used to be with a major label you would record 15 songs and only 10 or 12 would make the album. You then had the remaining tracks to use for B sides or whatever. For our last album “Book of Bad Decisions” we recorded 15 songs with the intention of putting 12 on the album and having three other versions of the album going to different areas of the world. We ended up not going that route and just included all 15 (Laughs).

AL: With vinyl making this resurge over the last few years is that something the band has always been in to or is that something that occurred more recently?

NF: I am not really a vinyl guy. I often just use Spotify to listen to my own music. I am very modern. Then again I do understand the appeal of vinyl. With the pandemic I know vinyl has even taken off more. When it comes to vinyl a label like ours tends to have to get at the back of line for pressing as we generally aren’t pressing 50 thousand copies at a time. I like the tangible qualities of vinyl when in this day and age so many things are non-tangible. I listen to so much music that having to constantly get up to flip and change records is just not something I think I have time for in the day.

AL: The band has also been releasing cover material under the “Weathermaker Series” moniker. Can you tell us a little bit about that group of songs and your plans going forward?

NF: We wanted to see what would happen if we started doing just digital releases. To test that out we started with some re-records and a bunch of cover songs. We weren’t sure if it would piss off our fans or behave different and we didn’t want gamble on it with new material. It’s hard to sell physical records and you have to be very accurate with how much you press. This was sort of a protective play. A lot of those old songs we can play a lot better and I hate to say it but, in between albums you have to stay engaged and let people know you are not dead(Laughs). We would just record a bunch of these and release them every six to eight weeks as a way to bridge the gap between albums. That would have worked had the pandemic not occurred. The plan for all of these is to be put together for a vinyl release and probably CD as well in the near future.

AL: Having been in the music industry since the 1990’s what has been the biggest change in the business to impact the band?

NF: File Sharing. You could wrap that in a bigger box and say the internet as a whole. We enjoyed the patronage of major labels all through the 90’s and our shows were numbering in the hundreds here in the states and a couple dozen overseas at this time. After people started illegally sharing music and getting the word out all of a sudden our shows became much, much bigger. Would we have liked to have been paid for every time someone listened to us? Sure! However those listens get parlayed into someone buying a ticket and then a t-shirt. People then become fans and maybe begin buying merchandise even when you are not on tour. It was a marathon and not a sprint but this was certainly a watershed moment for the band. It was word of mouth on a global scale.

AL: What can you tell us about the bands recent virtual concerts and are there any plans for more in the future?

NF: That was really a baptism by fire. Around the end of March, Early April when it became apparent that touring wasn’t going to be able to happen until the Fall at the very earliest. We had a bunch of festivals booked and like most bands a majority of our income comes from touring and merchandise sales. Yes, we own our own record label but you can only put out so many records and it’s not something you can do every night. There was a little bit of a panic mode as to what we could do but we knew we had the means and where with all to stream via You Tube so we started there. From that our booking agent got us connected with some people at Live From and we learned how to put things together. We didn’t go to a sound stage or use a bunch of cameras we just used Face Time and people seemed to enjoy the do it yourself approach we took. It is weird singing to a camera or laptop and I am very grateful that we had around 7 to 8 thousand people buy tickets. Once this all came together we were able to breathe a sigh of relief in knowing we could bridge the gap between then and whenever we are able to go back out on tour. It’s never going to be as satisfying as smelling an audience (laughs) but with the band all living within close proximity to one another we are able to do these as some bands have members all over which doesn’t allow something like this. As far as a third live stream that’s something we are in the process of scheduling right now.

AL: Going in to your third stream are there things you know ahead of time that you want to change or add that you weren’t able to do with the previous shows?

NF: I think the main thing is trying to make the sets different from one another.  I don’t think people would be too stoked about paying for the same set every time. Thankfully we have a pretty long discography. The last stream we let a fan choose the set which was a fun exercise. I think there is a sweet spot between the DIY and production value side of things as you want to make it better each time you do it but at the same time I think people like a certain amount of grit.

AL: What are the bands plans going into 2021 and where is the best place fans can go to keep up with everything related to the band?

NF: I think come January we have decided not to think about anything other than the next record, with the assumption we can go back out on tour. I’m not sure how sustainable streaming shows are for ones mental health (Laughs). It’s going to be a slow curve to get back to touring but then we can look back and be glad this is behind us. Fan’s can check out Clutch official on Instagram and Twitter. Those are usually our main outlets for showing people what’s going on. If people are looking for merchandise they can check out Clutchmerch.com.   

Ben Brainard talks about his sketch comedy series Welcome to the Table

Ben Brainard is a comedian with a natural ability to make any crowd laugh. Originally from Daytona Beach, and now living in Orlando, Ben has toured across the country. He’s also produced several shows for Army Reserve units. During quarantine, Ben found viral success producing “The Table,” a sketch comedy series about how the various states of the US are handling current events.

Media Mikes had a chance to chat with Ben about his sketch comedy and also his upcoming tour dates and secret upcoming project!!!

Clive Barker talks about Hulu’s Books of Blood, Candyman and Hellraiser

Clive Barker is an English playwright, novelist, film director, and visual artist. Barker came to prominence in the mid-1980s with a series of short stories, the Books of Blood, which established him as a leading horror writer. He has since written many novels and other works, and his fiction has been adapted into films, notably the Hellraiser and Candyman series.

On October 7th, 2020, Hulu is premiering the new horror anthology film, BOOKS OF BLOOD, which takes audiences on a journey into uncharted and forbidden territory through three uncanny tales tangled in space and time.

Media Mikes had a chance to chat with Clive about the new movie and how 2021 will be the year of Clive Barker with his upcoming books and the new Candyman film being released.

Musician J.D. King Discusses His New Album “Moon Gardens”

Musician, Songwriter, Producer and Artist J.D. King has just released a new album titled “Moon Gardens”. Painstakingly recorded over three years on reel to reel analog equipment the album showcases Kings multitude of talents while being backed by an impressive stable of musicians all acting as intricate pieces within this audiophiles dream. Media Mikes had the chance to speak with King recently about the creation of the album, his decision to use only analog equipment and his plans for performing this material live.

Adam Lawton: Can you give us some background on the work that went into “Moon Gardens”?

J.D. King: After I had come off of the Olms project I was doing with Pete Yorne I started really getting in to the use of analog equipment. I wanted to make a 60’s style record the way they did back then. I was studying how album like the Beatles “Revolver” was made and albums like that. We did all the recording via analog and mixed it on tape as I wanted everything to sound just as it would as if it were recorded in the 60’s. I was meditating around eight hours a day and during that time I came up with all these song concepts. I had a good amount of vintage gear to start but then I acquired some more and found a few engineers who could mix on tape in the style that I was going for. We mixed everything live so that was another challenge we were working with as someone basically had to be turning knobs as we were performing. On the song “The Wooden Man” there is a panning part where the engineer was working the panning effect while I was turning some other knobs. With this record I wanted everything to come from the best place it possibly could. Every ingredient had to be the very top. From the musicians, the gear and the performances themselves I wanted the best.

AL: What was it about the 60’s era of recording that captured your interest?

JDK: I am a huge record fan. Even before all this quarantine stuff I would sit with a stack of records and just listen to music all day. I would even listen to some stuff on reel to reel. I never got a good feeling from digitally recorded music. It is less biological to me. I enjoy hearing over tones in music which is something generally missing from digitally recorded music. Honestly I think engineering from those eras was so much better and the standards were much higher.

AL: Working with older equipment did you run into any issues?

JDK: Sometimes we would have gear go down and it wouldn’t just be a simple fix like going to the store and getting a new one. Some of the gear we were using was from as far back as the 1930’s. When a pre-amp or something would go down during the middle of a session we would have to stop and take the time to find someone who was skilled in working on that type of equipment. This did cause some challenges from time to time.

 AL: You worked on this album for three years. Did the writing process take up a majority of that time or was it more from the high level of production you were going for?

JDK: I would generally get my group of session’s guys together once a month to jam and record. The rest of the time I was learning and experimenting with the engineering process as well as writing. I was working basically non-stop. I was wearing a lot of different hats and just had to figure all that stuff out. I think for the most part the time between the two was pretty equal. There were a lot of new things with this record both musically and technically. I wanted to expand and try some new things.

AL: At what point in time did you decide that the record was completed?

JDK: I think right around when I had twelve or thirteen songs. I felt things were rounded out and was happy with what I had. I think when people listen this in an album format it is going to really click. I am an album rock fan and I think that’s was I was able to do with this.

AL: Being that you play quite a few instruments how did you decide which ones you would play and on which tracks?

JDK: I would put the bones of each track down first. From there we would start rehearsing it and bringing the track to life. While doing that I would hear these things that I wanted to add as did the guys I was playing with. Stuff tends to happen in the studio while you are working.

AL: Did you find your creative process changed at all over the course of this record?

JDK: Things stayed pretty much the same for me as they always have been. If you listen to my first record I had a pretty big hand in the production of that record even though it was my first one. Every band I was playing in I always had this ear towards production. Pete (Yorn) is the same way. I learned a lot from him. We tried to work very fast over the course of this record. I have to give to those guys in the sixties as they had to bring their A games. You didn’t want to miss a take as you were recording directly to tape which was expensive. We had a couple tape issues which caused us to have to scrap a couple really good takes. I learned my lesson from that.

AL: With the current pandemic changing a lot of the way things are being done what are your plans to help get this music out to the public given the traditional in-person/live element of music is indefinitely on hold?

JDK: I am kind of lucky in that I learned so much about performing in a studio during this record. It was something you had to do. Having a background in photography I know about lighting and all those things as well so production comes simple for me. Being essentially a one man production crew I can throw up a few cameras and lights and I am set to go. I did a lot of painting over the winter so I can throw those up in the background as well and showcase a lot of my different talents. You can see a lot of what I have going on through my Instagram @mrjdking

Iced Earth’s Jon Schaffer Discusses His New Book “Wicked Words and Epic Tales”

Photo Credit: Tim Tronckoe

Iced Earth founder, songwriter, guitarist and producer Jon Schaffer has announced the release of his first ever book, “Wicked Words and Epic Tales”.The book is the debut release from Schaffer and his new publishing company Wicked Tales, LLC and is the first of many original concepts planned for future release by Schaffer. Media Mikes had the chance to speak with Jon recently about the books creation, the accompanying music and his plans for future releases.

Adam Lawton: Can you tell us where the idea/opportunity to do this book came from?

Jon Schaffer: The idea for the book came to me around Christmas of 2019. I was at home with my family and I all of a sudden had this idea to do an anthology of all my lyrics. I have always been a big fan of comic and graphic novel art. It’s actually something I have been doing for years on the Iced Earth album covers. We have so much bad ass art that has been done for us over the years and have made contact with a lot of great artists that I thought I could commission a bunch of new material and put something together for the die-hard fans. I had never really seen anything like what I was thinking of doing but I know that if Steve Harris, Geezer Butler or Roger Waters put out something like this as a fan I jump on it. I ended up deciding to use Kickstarter to get things going because it allowed me to gauge the interest and figure out how many copies to make. After I decided I was going to add new art I thought it might be cool to do some spoken word audio tracks to go along with it. What ended up happening was I decided to create some new music as well. What we ended up with is this something in between an audio book and a soundtrack. I call it a narrative soundscape and that comes as a bonus with the book.

AL: Is this all new musical content?

JS: No. These songs have been written over the course of my career specifically with Iced Earth. I think the oldest song is “Angels Holocaust” which was written around 1991. With the exception of the song “Wolf” all the material is based off of the original compositions. What I did was instead of the album being this loud, ripping heavy metal work I took verses and choruses and turned them into string and keyboard pieces. I did play some guitar but not that much and we programmed in some theatrical drum loops to give things dynamic. For the spoken pieces I really tried to get into character and make things dark an eerie or very emotional depending on what each piece called for.

AL: Will a reader/listener be able to put the music on and have it match up with the book chapters?

JS: It’s broken up a little differently. The book has over 250 pages. The lyrical content alone is well over 100 songs and features lyrics from more than just Iced Earth. The music portion is 15 tracks picked from just my Iced Earth works. If a reader wants to match things up they will just have to go to the index and find the page number for each song to make that happen.

AL: How did you go about selecting the artists who have work featured in the book?

JS: Some of those guys like Todd McFarlane and Greg Capullo I have worked with in the past on Iced Earth album art so I knew them. All of the artists who I have worked with through all my projects and career are credited. I worked with an additional 15 new artists specifically for this book. I just started reaching out to people. I reached out to Jim Balent on Instagram and he came on board I then reached out to Jonboy Myers and he was interested. Richard Ortiz did four pieces of art which are killer homage pieces. Roy Young who was in charge of the layout of the book is a guy I met when I was working with Todd McFarland in 1994. Roy has been very instrumental in this. There is tons of great stuff in this book.

AL: We the artists given free reign or did you have specific pieces you wanted each person to do?

JS: I went to each of them with a specific plan. From there the artists will generally take that idea and run with it. If it ends up being something I am not happy with we make edits and changes until it’s where I want it to be. Each artist put their own unique spin on “Set” who is kind of Iced Earth’s mascot. They all had their own interpretation of the character which is something I really loved. You could tell it was Set but the Set character does not have one specific look or logo like Batman or one of those other superheroes. Everyone added their own style which made this part a lot of fun.

AL: The book features two different covers. Does each of the books feature something different that the other does not aside from the alternate cover art?

JS: The books will all be the same on the inside. There are actually four covers in all. Two main covers were done and then did two nude variations of Jim Balent’s cover. Those covers are limited to 100 and 150 copies. The slip case for each book is the same but inside is where you will find all the virgin art aside from the spine which has to include an identifiable marker denoting what the work is. I had a chance recently to see some of the test and it looks amazing! It’s all printed on nice heavy paper with lots of colors. Even the text pages are predominately color.

AL: “Wicked Words and Epic Tales” is the first book to be released via Wicked Tales LLC which you own. Can we be expecting more books from you in the future?

JS: This was my first step in to learning how to self publish. There will be more books however they will not be lyric books. Going forward the timing will depend on what happens with the music business as it relates to what is going on in the world right now. My band is international and I am not sure when or if we will be able to travel freely again. With the members being spread out and living in various places putting together or planning an Iced Earth tour production just can’t happen right now. My plan since 1997 when I first created the “Something Wicked” universe was to always end up being in comics and graphic novels once I retired the band. It’s a killer story with a lot of potential to dive in to so that’s always been my plan. This book was a test and something I started before the world went in to lock down. When that I happened I just continued to work. There will be more things coming out however I don’t have a specific date as it will be after Iced Earth retired. I am getting close to that time but I still want to do one or two more records before that day comes.

AL: If someone did not pre-order the book via Kickstarter will fans still be able to get a copy?

JS: We will have some extra copies available through the Iced Earth merch store. We are in negotiations with Plastic Head who handles our merchandise in Europe about our options. Shipping an item this heavy is quite pricey so we are trying to figure out a way to get to more than just the United States where a majority of the sales have occurred. We hope to have that figured out very soon. In the future we may release a digital and/or trade paperback. There also could be a second printing if the demand is there.

To find out more about “Wicked Words and Epic Tales” click here                  

Tommy Chong talks about new Cheech & Chong dispensary and video game “Bud Farm”

Iconic actor, best-selling author, Grammy Award-winning comedian, activist and America’s sweetheart of Cannabis Tommy Chong is legendary for his invaluable contribution to American counter-culture as part of the iconic comedy duo Cheech & Chong, and with a name synonymous with cannabis, has entered into dispensary license with Five Point Holdings Inc. and partnered with Cheech Marin to develop a five state dispensary chain. Media Mikes had a chance to chat about the dispensaries with Tommy as well as his new video game “Bud Farm”.

Ross Hull reflects on his role in “Are You Afraid of the Dark?” & his work as a Meteorologist

Ross Hull is known best for the role of Gary, aka the leader of the Midnight Society, from the TV series “Are You Afraid of the Dark?”.

Ross is also currently a Meteorologist for Global News in Canada.

Media Mikes had a chance to chat “Are You Afraid of the Dark?” with Ross and also his work as a Meteorologist.

Interview with Oscar/BAFTA nominated filmmaker Agnieszka Holland

I first met Oscar and BAFTA nominated filmmaker Agnieszka Holland several years ago when I had the honor of introducing her amazing 1990 film “Europa, Europa.”  In my introduction I noted that, when I first saw it I was a theatre manager and watched it at 430 in the morning.  I then commented that I loved the film so much that I threaded up the projector and watched it again.  She told me later in the evening that I had given her one of the best compliments she had ever received. She also very graciously signed my “Europa, Europa” DVD.  Her latest film, “Mr. Jones,” tells the story of a Welsh journalist who broke the news in the western media of the famine in the Soviet Union in the early 1930s and is currently available via Video-on Demand.  “Europa, Europa” recently received a beautiful CRITERION Blu-ray/DVD release.  While awaiting start on her next project, Ms. Holland took the time to speak with me about “Mr. Jones.”

 Mike Smith:  What drew you to direct “Mr. Jones?”

Agnieszka Holland:  The script was sent to me by a first-time screenwriter and when I read the script what struck me first was how personal it sounded as well as how relevant it was.  A story about the manipulation of the media – the propaganda – fake news and the consequences of it and how they are relevant to our time.  I realized at the time that the work of Stalin was virtually unknown to the masses and that what he allowed was unjust and wrong. And I knew the story had to be told.  At the beginning, Mr. Jones is curious and bright and a businessman. He wants to discover some new things but what he finds are things that other people don’t see; this incredible tragedy happening to the entire population.  He becomes the messenger that speaks for them.

MS:  Were you familiar with Gareth Jones’s story before you were sent the script?

AH:  Not really. It was only after I agreed to make the film and met with members of his family that I found out they were hearing the story for the first time. It was one of his grand-nephews that discovered the documents that center around the story. After his death his actions had been forgotten. He is best known in Ukraine where he is considered a national hero. Once I read the script I knew this young man’s work had to be brought to the light again

MS:  “Europa, Europa” turns 30 this year. Do people still approach you and tell you the impact the film had on them?

AH:  Yes, the film doesn’t seem to age. They’ve either seen it on television or they have purchased the new CRITERION Blu-ray/DVD.  I hadn’t seen the film myself in quite a while and I recently introduced it at a film festival and I was surprised at how well it stood the test of time

MS:  You work a lot in both film and television.  As a director do you have a favorite medium?

AH:  Television is easier because as a director you don’t have to be totally involved.   You are just helping to tell the story. On a film the director is responsible for everything. On television you have several layers of responsibility from the show runner on down, and rarely does a director do the entire series. I will share my vision but it’s not entirely my own work so things go a lot smoother and entirely faster.

MS:  What is your next project?

AH:  I just finished a film called “Charlatan,”  a Czech film that recently premiered at the Berlin Film Festival. It was supposed to open in European theaters in March but because of the Covid lockdown it will probably be released in the fall. It was well received in Berlin so I hope the people like it. I’m now preparing to shoot a television series for Apple TV which will be filmed in Paris but we are waiting to see when we can begin filming, again due to the current situation. Right now it would be impossible but we are continue to prepare it so will be ready when we are allowed to start.

Stacey Nelkin talks about Halloween III: Season of the Witch, Blade Runner and Yellowbeard

Stacey Nelkin is known best for her role of Ellie Grimbridge in “Halloween III: Season of the Witch”. She was also cast in “Blade Runner” as the the infamous “Sixth Replicant” but ended up being cut.

Media Mikes had a chance to chat with Stacey about Halloween III as well as her work with the Monty Python gang in “Yellowbeard” and working with Tony Danza and Danny DeVito and the orangutans in “Going Ape”.

Ralph Bakshi talks about his sketchbook, Lord of the Rings & working with Brad Pitt on Cool World

Ralph Bakshi is the man responsible for films like Fritz the Cat, Coonskin, American Pop, Heavy Traffic, The Lord of the Rings (’78), Wizards, and Cool World.

Media Mikes had a chance to chat about drawing with Ralph as well as how he got the rights to make the animated Lord of the Rings movie in 1978 to working with a young Brad Pitt on Cool World.

Titus Paar talks creating an animatronic bear in “Fear of the Woods”

Titus Paar is the director of the new upcoming survival horror film “Fear of the Woods”s starring Vernon Wells (“Commando”, “The Road Warrior”). The film just released it’s trailer to the world and has been taking over the internet since doing so.

Here is the official synopsis for the film is “Alaska 1993, A snowstorm has trapped the small mountain town. Now it’s up to a group of rebellious teenagers to save their town that don’t believe in monsters.’

The film boasts a fully animatronic bear with no CGI and looks absolutely killer (see the trailer below). Media Mikes had a chance to ask Titus a few questions about the film and also his work with Steven Seagal.

What made you want to make a killer bear movie with “Fear of the Woods”?

When I was around 6 years old I saw the anime Silver Fang for the first time, it blew me away and that bear was the coolest monster I had ever seen (And still is)As I started making movies around 15 the dream began of one day making a live action movie called Fear of the Woods and capture the essence of the Bear in Silver Fang but with a new story.And now here we are, 30 years older making that kids dream come true.  

Tell us about the decision to use an animatronic bear and no CGI for the film?

My style of directing is to mix something old and familiar with something new that I made up. I just make movie I want to see but doesn’t exist, from a fan of film standpoint.This is a retro creature movie and I wanted to pay tribute to the guys that did it all in camera.And once I found out that we had an amazing creature work shop in Sweden called fixas.se it was nothing to think twice about.With movies like Jaws, you see its fake but you don´t care because it was there for real, that shark existed and moved like that and ate the actors. Same with our movie, we had that animatronic bear in arctic temperatures, with the maker of the creature, inside the bear operating him from inside so he could walk and run, while another guy controlled the head, mouth, eyes, smoke machine. So much fun and man but so much hard work.

I have a feeling this was a difficult shoot; Can you tell us a little about the production? 

This film truly was a struggle to make in every way. The sun went up at 9 and pitch-black at 3 so we didn’t have lunch breaks or any break really. There was two meter snow so you couldn’t walk without falling and sinking down to you belly and you know I got 74 year old Hollywood star Vernon Wells coming in. And he is supposed to be running in this with a 20 kilo coat on him, being chased by an animatronic bear in tracking shots and VFX setups… So yeah everything was hard. It´s just hard being outside in that kind of cold and we where shooting up on a mountain.But the team is used to work in these conditions and my DP Marcus Möller is one of the beat nature DPs there is so he was a big life savior. Big Camera rig, running with snow shoes all days because the director wanted to have long sweeping takes 🙂 But hey it was worth it, it looks amazing.

Insane shoot for sure. Think we all lost a bit of weight falling around in that snow, digging out the snowmobile while battling the clock. I hate filming in studios, this was a true adventure and it shows in the film. Below is the location and the film is by Marcis Möller:

Tell us about the tagline “Jaws meets Strangers Things and Silver Fang”? 

Its not the tagline but I want my influences to show. This is a combination of these things mashed together in my imagination where I just take stuff that makes my blood pump and the only read thread is me liking it really. Jaws, Jurassic park and yeah the way Spielberg makes creature movies, where the film around the creature is so interesting that the film works even if you take out the creature. Stranger Things for the homage to a time period, we are in the 90s in my movie. But it’s our version of the 90s like Stranger Things is using the 80s but making it their own universe. Silver fang is the horror in snow and the idea to bring Akakabouto to life.

How did you get “Mad Max 2″/”Commando” star Vernon Wells to appear in the film? 

Vernon and I have been friends for like 10 years. Tried to make a few movies before but movies fall apart all the time, it’s a miracle when they get made.Managed to make one together before, he has a fun part in my crazy Seagal movie Perfect Weapon. Love the guy. Grew up watching him in Mad Max and wanted to look like him (I still sport the Wez mohawke) He is a great actor and I mean he is movie history, I hope he gets to make bigger films again after this, he’ll win some awards for this role, some of his best work ever. 

I read he also did all of his own stunts at the age of 74? 

Yeah that man doesn’t complain. I asked him if I was going to bring in a stunt double and MZ stunts was ready to bring in a guy (I mean I did a Seagal film and Seagal has a stunt double for walking and he is 12 years younger than Vernon) He just looked at me and said. I’ll be alright as long as I can use my wheelchair… What do you think? I´m a fucking 80s action star I do all my own stunts. Well what can I say, he did almost kill Arnold (Schwarzenegger) and Mel (Gibson)…

Now that the trailer has been tearing up the internet; when can horror fans expect the release of this film? 

We are still in post on the film but we will do some festivals first. Want to win some awards for this and we will. So when the world opens up there are a lot of horror festivals around Halloween that will showcase it. But we also want to compete in mainstream festivals with this one, it has something fresh and people really dig it. Makes me so happy. You never know when you make these little more out-there movies if anyone else but you will like them.So it makes you very happy when they do. I have seen both sides, I won so many awards and gotten 5 star reviews many times but also been bashed like hell online and in reviews. So it’s nice to be praised for sure.

Your previous film “The Perfect Weapon”, starring Steven Seagal, was recently #1 on Netflix; what was it like working with Seagal? 

Seagal is a hard man to work with. But I knew that walking in to make that movie so I was prepared for it.It was fun doing a 80-90s B-action tribute with him, Vernon Wells and Richard Tyson from Kindergarten Cop. It was never clear in the marketing like I wanted that the movie is an ironic tribute to the B-action genre, so it was bashed for being too B. But that was the point to make the ultimate B movie. It did very well financially, was released worldwide by SONY even went theatrical in Japan and Dubai.The film brought me to Hollywood so I´m grateful to Seagal for taking a chance on me, but I would not do another Seagal movie. Working with much better and bigger talent now on my upcoming movies, you´ll see soon.I´ll say this doe, I like that Seagal is just like you expect him to be, he is larger than life, it’s not an act he puts on, I get bored easily but I was never bored hanging around with Seagal. I got so many good Seagal stories but I only tell them to people that buy me a drink.

Hey thank you Media Mikes for caring about my little crazy movie, means the world to me and the team that made it.Hope you get to see it in a festival or a platform later this year. Looking forward to hear your thoughts.

George McGrath talks about his work on Pee-Wee’s Playhouse and writing the movie Big Top Pee-Wee

George McGrath is known for voicing the characters Cowntess / Fish / Globey / Flower / Pterri in “Pee-Wee’s Playhouse”. He is also the writer of various episodes of the show including the theme song.

George also wrote the film “Big Top Pee-Wee” and was a writer on the HBO series “Tracy Takes On”. Media Mikes had a chance to chat about “Pee-Wee’s Playhouse” and his work on the show.

Jodie Resther talks about “Are You Afraid of the Dark?” & PBS Kids series “Arthur”

Jodie Resther is known best for her role of Kiki in “Are You Afraid of the Dark?”. She is also the voice of Francine Alice Frensky in the PBS Kids series “Arthur” for over 20 years.

Media Mikes had a chance to chat with Jodie about “Are You Afraid of the Dark” and her voice over work in “Arthur”.

Eric Bauza talks voicing Bugs Bunny on Looney Tunes Shorts & working on Ducktales & Muppet Babies

Eric Bauza is the current voice of Bugs Bunny in Looney Tunes Shorts. He also voices Daffy Duck / Marvin the Martian / Tweety Pie for the show.

Eric also voices Fozzie in Muppet Babies, Master Frown in Unikitty!, Splinter in “Rise of the Teenage Mutant Ninja Turtles and various voices in Ducktales.

Media Mikes had a chance to chat with Eric to discuss taking on these iconic roles and talking about voicing his dream role.

Billy Bryan talks about playing Stay Puft Marshmallow Man in Ghostbusters, Dune and Army of Darkness

Billy Bryan is the man who created the Stay Puft Marshmallow Man suit for Ghostbusters as well as the man inside. He is also one of the puppeteers for Chucky in Child’s Play and also played the Pit Bitch in Army of Darkness.

Media Mikes had a chance to chat with Billy about his role in Ghostbusters as well as Dune, Child’s Play, Army of Darkness, Men in Black and meeting Dave Grohl for his work on Tenacious D in the Pick of Destiny.

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