David Mackenzie’s transfixing new UK prison drama, Starred Up, is now available on demand as well as in theatrical release in New York. The film made its initial NYC  premiere this past spring at the Tribeca Film Festival where I got a chance to speak with Mackenzie as well as the stars Jack O’Connell and Rupert Friend.

O’Connell stars as Eric Love, a 19 year-old inmate who has been deemed too dangerous to serve in a juvenile facility and has been “starred up” to the adult penitentiary. Friend plays a prison counselor who seeks to rehabilitate the inmates through non violent group therapy. The shooting of the film itself took place over four weeks in an actual prison which the filmmakers credited with helping to develop the film:

“You feel it,” said director David Mackenzie, “You feel the strength of those walls and the strength of the metal bars and the doors. It kind of pens you in a bit. It’s perfect for recreating the atmosphere you need for the movie. But you can definitely feel how oppressive that architecture is.”

Consequently, the actor’s substituted trailers for jail cells. “There was nothing else to be in” Rupert Friend described the setting, “and it’s freezing and the walls hadn’t been cleaned or painted since the last occupants so there’s kind of bodily secretions…don’t touch the walls. And the feeling of isolation and frankly, terror, was pretty powerful for everyone. And it does, it plays into the psychology of the thing. It really does.”

Jack O’Connell had a similar feeling “because we spent our downtime in cells too it meant I had the opportunity at any point to just imagine it. So our trailers were effectively cells. So if at any point I wanted to research or just be as Eric for a bit, I was in his setting.” Although he also went on to say the prison itself he didn’t find scary, “not when it’s not functioning. From what I can gather from the graffiti and the history of [the jail] itself, it’s had scarier days. Much scarier days than when we were there.”

The cast also had the fairly unique experience of shooting the film sequentially over the course of four weeks which encouraged an improvisational take on the story. O’Connell described this as “a total luxury. I mean I could turn up on set without knowing my lines and kind of just blag it, you know? Sort of story unfolding as we told it and if I ever get to repeat that same sort luxury I consider myself very privileged and I’m sure David Mackenzie, our director, shares those sentiments.” In fact Mackenzie shared on the red carpet that he hoped to repeat the experience on an AMC pilot he was readying to shoot at the time, “I’m asking them at the moment whether they’re prepared to let me do it in this method…we’ll see what happens. But actually because the pilot is set in a very limited number of locations so you don’t have to kind of do all the moving that would normally make it problematic. So if I’m lucky maybe I’ll get away with it.”

The improvisational atmosphere was most evident in the group therapy sessions overseen by Friend’s character Oliver, whom the writer Jonathan Asser based on his own experience with inmates. If there’s levity to be found in the film, it’s here and unsurprisingly Mackenzie described those shooting days as  “a joy” saying “because we shot the film sequentially–So you know, we’d have like four or five days and then we’d get a group scene and…there’s quite a big page count. So the schedule gave me like three hours rather than two hours, so it was like ‘Wow! A luxury here!’ and the way we shot it with those scenes was we had the text but we improvised at the head of the scene and we improvised at the tail of the scene. And we allowed the guys to kind of play with it. So we really felt like it wasn’t written. It had to feel like it was alive. And it was great what they did was you know a real joy.”

For Friend it got especially real in a fight scene, “We just kind of went for it. You know one of the scenes these guys, you know there’s a lot of fighting and we didn’t choreograph any of that…and I won’t say who it was, but I got punched so hard in the eye I wound up in the eye doctor.” Although for Friend, “the most interesting part” was remaining a nonviolent character amongst all the tension. “How is it that this one mild mannered, middle class guy was able to diffuse that tension and make it constructive? That’s what was fascinating” he said on the red carpet,  “Not just theoretically, but actually in the room when this lot are all going crazy.”

Director Mackenzie reinforced this sentiment on maintaining control in the violent group. “It was fascinating to watch how…you often see the escalation of things but the deescalation of things is never like a straight deflation. It’s like you know it’s jagged, jagged deescalation and that was really interesting. But it’s fun and also he’s building connections with these guys and I think that’s where the socialization I guess of Jack’s character is really at the fore.”

When specifically asked what O’Connell brought to the role of Eric, the director had nothing but praise for the up-and-coming actor. “What he really brought to it was a fearlessness and the kind of cojones to really go as far as he could with that character. Without holding anything back and that was what a director dreams of. And because we shot the film sequentially he only needed to worry about the scene he was in. He didn’t have to worry about where it fits in in the jigsaw puzzle…so he didn’t. He tried to kind of forget about the rest of the film apart from the scene he was in. And it was just about the immersion into that moment. And I think it’s great. I’m very happy with what he did.”

Jack himself credited his background for aiding him in bringing rougher characters like Eric to the screen, “I don’t want to offend people here, but I do find that you know your typical actor doesn’t necessarily have you know that sort of life experience, you know in scrapes and you know, I haven’t been in a drama school for a significant amount of my adult life. I was out and about trying to be an actor and also trying to survive I guess and have fun at the same time. So that kind of gave me a bit of a wealth of life experience and I think directors like David distinguish the difference between someone with experience in that field and an actor who’s trying to pretend. And so it certainly was to my advantage that the majority of actors you know aren’t working class individuals from Darby. I mean that meant approaching a role like this, I kind of know the difference between acting hard and perhaps being hard. You know, being intimidating. It’s a fine line but very decisive one way or the other.”

Despite it’s grim setting, when Mackenzie was asked what message he hoped the film conveyed, he responded “Somebody said something about a film that kind of suggests that everybody has a chance, a shot at redemption and the idea that you know, this character has obviously done very bad things but you know, he’s obviously come from circumstances…I think it’s about shining a little bit of humanity into the situation. There isn’t much.”

Starred Up is available on VOD and in limited NYC release. Jack O’Connell can next be seen starring in Angelina Jolie’s directorial debut “Unbroken”.

Kevin Riepl is the composer of horror films like “Silent Night”, “Contracted” and a segment from “The ABC’s of Death”. His latest film is the horror/thriller “Cabin Fever: Patient Zero” directed by Kaare Andrews (Altitude and The ABCs of Death) and staring Sean Astin (The Lord of the Rings Trilogy), Currie Graham (Pompeii, “NYPD Blue”), Ryan Donowho (Soldiers of Fortune), Mitch Ryan (“One Tree Hill”) and Jillian Murray (Bad Ass). Media Mikes had a chance to chat with Kevin about the score and working in the horror genre.

Mike Gencarelli: How did you get involved to score the film “Cabin Fever: Patient Zero”?
Kevin Riepl: I met the director, Kaare Andrews, when we worked together on his contribution to THE ABCs OF DEATH, “V for Vagitus”. When I heard he was selected to helm CABIN FEVER: PATIENT ZERO I was eager to have a chance to work with him again. Likewise for Kaare, so we submitted my reel to the producers and once they were on board, we were all set to go.

MG: Did you look back at the previous two films for any ideas?
KR: I refreshed myself a little bit with the first film’s score. As much as we wanted to create something new, we also wanted to carry over some of the ‘rawness’ of Nathan Barr’s score and incorporate a lot of scratching and dissonance in the string instruments.

MG: What was your biggest challenge you faced with this film and was this score unique in any way from your previous scores?
KR: I think the main challenge on the film (even though it wasn’t really a big challenge) was coming up with and deciding on the palette for the score and what style would best support the story and its setting. I do believe this score is unique from any of my previous scores and that is because this film is different from previous films I’ve scored. Yes I’ve scored a decent amount of horror and thriller, but each of those has been artistically different from each other as well. A film’s story dictates the sound and style of the score. If you look back through my previous films many of the scores are quite different and unique to the film. That’s the ultimate goal – to give each film its own sound. Of course it is a collaborative effort with the director since it’s their vision, but I try to bring ideas to the table that will help their vision stand out and be that much more unique.

MG: You have worked in the horror genre before with projects like “The ABCs of Death” and “Silent Night”; what do you love about the genre itself?
KR: It’s usually dark, gritty and fantastical. Ever since I started music at a young age I’ve always wanted to explore the darker side of music, melody and sounds. As much as I love writing all styles of music, it seems that the horror genre lets me experiment a little more when writing scores. Being a creative person, how can I pass that up?

MG: “Contracted” was a sick film BTW; tell us about your process for this film?
KR: CONTRACTED, indeed, was sick and A LOT of fun to work on. Eric England is a young director and has so much to offer the film world. It was great to work with him on this film. At the very start, Eric knew he didn’t want traditional ‘horror’ music. So we approached the score with a synthetic, almost ethereal sound to help support the main character’s innocence and naiveté, until of course things start to go south. At that point I start to include more grit and experimental sounds and rhythms to help throw the viewer off balance so they can feel as much angst as the main character does as she goes through her changes.

MG: How is it going from scoring video games to TV or film? Which is more challenging?
KR: I don’t find it to be challenging. It’s all music. Yes, there are specifics and deadlines you need to be concerned about during the process of creating for each medium, but in the end it’s still about coming up with ideas and you’re still supporting story and visuals. The most important thing and it is sometimes a challenge, is scheduling…especially when you have a video game, a TV show AND a film on your plate.

MG: What else do you have in the cards coming up next?
KR: I just recently completed the action thriller THE NIGHT CREW directed by Christian Sesma. Hopefully I will have more news concerning the release of the film and an official soundtrack. Other than that, I am currently working on Ubisoft’s and Signal Studios’ TOY SOLDIERS: WAR CHEST video game as well as a small independent feature.

Virginia Madsen is known for her Academy Award nominated role in the film “Sideways”. Sci-Fi/Horror fans will know her from her roles in “Candyman”, “The Prophecy” and “Dune”. Her latest film is called “Jake Squared” and co-stars Elias Koteas and Mike Vogel.  The film will be released on August 15th in theaters in the U.S. and will also be available on VOD (iTunes, Hulu, Amazon, etc.) Media Mikes had a chance to chat with Virginia about the film and what she has planned next.

Mike Gencarelli: How did it come about for you to get a role in “Jake Squared”?
Virginia Madsen: The director Howard and I have known each other since the 80’s. Our kids went to school together and they are in college [laughs]. So it was irresistible since we were finally able to all work together and it was great.

MG: What did you enjoy most about working on the film?
VM: I loved the story of our longtime friendship. Elias is one of the greatest actors in the world. We’ve worked together before – this was a chance for us to move our real life on screen. More difficult than doing it where your screaming and crying. We were longtime friends who always had a little vibe but we’ve never kissed before [laughs]. Elias is like my brother but he’s also really sexy and a great guy. So we asked Howard if we could not rehearse and we wanted the camera we had to catch that kiss, which would actually be our first kiss in all these years. I have to tell you it was really good [laughs]. I was very silly and giggly, it was very silly right before we went. We were going in for the kiss and it was really hard not to laugh. It was really weird “you’re my friend – but you’re also very hot” so you know and it was like I was kind of like we kissed for a lot longer than we needed to.

MG: I really enjoyed this film and I agree Elias was amazing.
VM: So glad you got to experience it. I think it can appeal to a wide audience but it is a wonderful indie film that has something for everyone. I also love that it’s going to be available everywhere. There was a time that if u did a indie film and you didn’t get that big release, your movie would disappear. It might show up in an old Blockbuster. Now it’s a whole different world for independent movies. Our film can now be seen worldwide in online.

MG: I also liked how the film switch from narrative to documentary style.
VM: Yes, I really liked that because we’re just telling a story. That’s what we do we are story tellers, it was interesting to be able to speak directly to the audience and fill them in on whats going on. Really interesting device that he used, worked really well in the film.

MG: You have worked in many genres including drama, horror, sci-fi; which do you enjoy the most out of all those?
VM: Depends on the material, I like working on good films. But I do love the fantasy/horror/sci-fi genre because that’s like make believe – like when you dress up for Halloween. You feel like a little kid when your making a horror film and it’s really fun. It’s my passion, I’m so blessed to be able to have employment when most actors are out of work. Internet has been very big for me recently as well. Hats off to Kevin Spacey and Dana Brunetti on “House of Cards” since that changed everything and has opened the door for so much work. I am always very grateful for them.

MG: Going forward, anything to talk about?
VM: Well I have a film called “The Wilderness of Jane” and another film called “Walter”. They are both wonderful indie film that have both been sold. Where, when…I don’t know yet. These independent movies explore relationships more than mainstream movies do and are highly creative. Not that I wouldn’t want to be in the studio rom-com machine, I mean I love to make that kind of money, I love to be in a position where if u put me in a film you can get financing. All those guys have stacks and stacks of scripts and there’s just a handful of them. Amazing when someone like Howard writes like this film and can go out and get the money and due to that we get to all play in the sandbox. I am trying to finance things and it’s really hard because of where the films can go.

Briana Evigan got her big break in film with “Step Up 2: The Streets”. Since then she has appeared in films like “S. Darko”, “Sorority Row” and “The Devil’s Carnival”. She is returning to the “Step Up” series in the fifth film “Step Up: All In”. Media Mikes had a chance to chat with Briana about coming back and what we can expect from the film.

Mike Gencarelli: How did it come about for you to come back in “Step Up: All In”?
Briana Evigan: I got a call from Jennifer Gibgot and Adam Shankman and asked me if I wanted to come back for the fifth “Step Up”. They said they were bringing everyone back. The fans made it apparent who they wanted to see come back and I was one of them. They were still looking for a director at the time but we all had dinner, talked and I came on board. It was a pretty easy “Yes” for me being that “Step Up” started my career. I wanted to go back and get to be with everyone one more time.

MG: Did you ever think you would be coming back to this series?
BE: No, never. It is so funny. I never thought I would do it again.

MG: How has Andie West changed in this film?
BE: Andie is definitely sexier, my wardrobe alone. She is more in control. She knows what she wants and is much more focused. She is still this sweet and loving girl though that cares more about her friends and family that anything in the world. In this one, Shawn and I are butting heads but at the end of the day we really want the same thing throughout the movie. We teach each other a little bit about life and then we come together and there is love.

MG: How was it getting back same cast including Alyson Stoner, Adam Sevani, Mari Koda and Luis Rosado?
BE: Getting back with the gang was just great. I love Mari Koda. She and I have gotten so close in the last few years. We spent every day together pretty much on or off set, which was awesome. I seriously think she is one of my favorite people in the world and you can quote me on that [laughs]. I love her. We are all like a awesome. It was just awesome.

MG: What was it like bringing the setting to Las Vegas?
BE: Oh that was fun. I have grown up in LA, so Vegas is a place that I have gone often for partying but now I was there filming actually on the Strip, so it was pretty cool. How many times have I been there? Yet there I was filming in a truck driving down the strip with all my friends, so that was just amazing.

MG: How does this film compare to “Step Up 2: The Streets” in terms of challenging dances?
BE: The cool thing about the dances in this one but we tried to come up with organic ways to do things. Instead of doing things in post-production and going overboard, we figured out ways for us to use things that weren’t too big and distracting but makes the dancing bigger than ever. I am dancing with fire. We have dancers coming out of the ground when we are dancing on sand. Guys are zip-lining. We have these huge fan machines, which you can’t see obviously, but they are blowing us. So we have all of the elements. The finale is very epic. Everyone dances their faces off and the choreography is just phenomenal.

MG: How does this film live up to the title of “All In”?
BE: Oh, it is totally all in [laughs]. That’s it!

MG: What else do you have in the cards upcoming?
BE: I just did a movie and in a role that was quite a leap for me. It was actually a role that I have been looking for for years and it landed right in front of me. I am playing an artist/photographer that is confused about her sexuality and trying to find love. The character has Huntington’s disease, which is very rare. It was quite the challenge and I prepped for the role for about 3 1/2 weeks. It is called “ToY” and Patrick Chapman directed it. Plus I also have “The Devil’s Carnival 2”, which I am working on right now actually. We will be in heaven this time and it is going to be awesome. Ms. Merrywood will be back!

Mari Koda is known for her role as Jenny Kido in the “Step Up” film series. She has been in every “Step Up” film since “Step Up 2: The Streets”. She is returning this week in the the fifth film in the series “Step Up: All In”. Media Mikes had a chance to chat with Mari about the film and her challenges during filming.

Mike Gencarelli: How did you get started with your background in dancing?
Mari Koda: I started listening to music before dancing. I just thought to myself, “Wow, I would love to do something with the music that I love”. So I started dancing and I just started moving. I do not think that I was even any good [laughs]. I never went to school or anything. I just went out there and starting dancing and that’s how I got I into it. You just catch the energy and go with it. I love it. After I started dancing, I wanted to know what the songs were actually about and after that I decided to learn English and move to New York. I love New York because it is so diverse and there are so many different kinds of people. I knew this is where I belong. In Japan, there are too many Japanese people [laughs].

MG: “Step Up All In” takes us to Las Vegas, what was that like going from the streets to the Sin City?
MK: It was just amazing. Just Wow! We came this far! We are in Las Vegas. There is a lot of surprise in this new film. Even working on the film, we were all impressed with what happens. I am just lucky to be in the film.

MG: How has Jenny Kido changed at all over the course of these four films?
MK: I have played Jenny in four films now. She has never had a love interest in the films. Does this girl never fall in love? Can I at least hold somebody’s hand? [laughs] In the movie, I quit my job and come to Vegas to support my friends but she never has a boyfriend. I told the producers about this and they asked me if they do a “Step Up 6”, who would I choose for a boyfriend? I told them “JT” and they asked “Who” and I said “JT…Justin Timberlake”. So I figured it can’t hurt to ask [laughs].

MG: This film brings back Briana Evigan and Ryan Guzman to lead roles along with others like Alyson Stoner; what do you enjoy most about the continuity of the cast in these films?
MK: We have grown up so much together. It is just so much fun to work together. We are laughing all the time. Rehearsals are just a blast and getting to catch up with everyone. With a normal movie series, there is usually a different cast but not with these films. Like with me and Moose, he and I are always coming back. So it is really great.

MG: When co-starring in “Step Up 2: The Streets”, did you ever think you would have been in three follow-up sequels for this franchise?
MK: No, not at all. I was surprised that there was even a “Step Up 2”. I had no idea what I was going to do in the movie. I knew I would be in it as either “Dancer 1” or “Dancer 2”. But I had no idea about my character and I was really excited. Everything I did in “Step Up 2” was all improv and I was just excited that I ended up staying in the movie. Jenny Kido stood out. I didn’t even know what would happen after that. I even went to the audition for “Step Up 3” and Jon Chu, the director, was like “What are you doing here? You are already in the film”. So that was so awesome!

MG: What was the most challenging aspect of this film compared to the others?
MK: Well I actually got hit by a car in this film for real. I was in the hospital for a while. It was very challenging for me. The doctors told me that I needed to stay in the hospital for at least two or three weeks and that I couldn’t do anything. I told them if they told the producers I’d punch them! [laughs]. So I carried around an ice pack with me wherever I went. Everyone was so supportive of me and I got a lot of positive energy. In the finale scene, I have this little solo and I struggled through it but I was able to nail it, which was great.

 

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Ashleigh Ball is known best for voicing both Applejack and Rainbow Dash in the TV series “My Little Pony: Friendship Is Magic”. She is also narrating and starring in the similar themed documentary “A Brony Tale”, which focuses on the male fan-base surrounding the TV series “My Little Pony: Friendship Is Magic”. Media Mikes had a chance to chat with Ashleigh about the documentary and the new season of “My Little Pony: Friendship Is Magic”

Mike Gencarelli: Being the voice of both voice Applejack and Rainbow Dash; give us your reaction on this enormous fandom surrounding “My Little Pony: Friendship Is Magic”?
Ashleigh Ball: It is something that I would have never anticipated. There is no way to prepare yourself for something like this. It is very cool to get recognition for doing voice work. It is also very cool that it is a totally unexpected group of people. So it is all weird and wonderful and I love it.

MG: How did you meet up with Brent Hodge to narrate and star in “A Brony Tale”?
AB: Brent and I have known each other for a while now going back to 2008/2009. We met through music. He used to work at CBC Radio 3 and did some interviews with my band Hey Ocean! and we got to know each other that way. We became close and he was always willing to help out with the band. So we were out to dinner one day and we had this discussion about Bronies. I told him he should come to BronyCon with me and start filming this because it would make a really cool documentary. So he agreed and followed me around and got a taste of the Brony life.

MG: Was BronyCon your first interactions with Bronies?
AB: My first interaction was actually caught on film. You can find it on YouTube. Brent also put the clip of me in the film as well. It was at a concert that I played in Vancouver. I was playing a show with my band and afterwards a group of guys came to the merchandise booth and asked me to sign their ponies. They were Bronies and they came all the way from Seattle. So that was the first time I met a Brony in person…and definitely not the last time!

MG: Do you think that this film will have an impact for these fans?
AB: Yeah. I think it is a great introduction into the world of Bronies. It explains who they are and what they stand for. It is way more of a community than the actual series. It is a good for someone who is not familiar with Bronies and think it is weird or perverted. It definitely clears up the whole Brony mystique.

MG: How did the film get support from Morgan Spurlock?
AB: Yeah, it was pretty crazy. Brent worked for a company in San Francisco and was at a Super Bowl party and Morgan was there. They told them about he was doing a documentary about Bronies. Morgan loved the idea, watched the film and called the next day and wanted to be involved. He is really excited about the film and the subject matter. I got to meet him in NY and he is a very cool guy.

MG: Season four of “My Little Pony: Friendship Is Magic” just ended but I am sure that fans are looking forward to season five already; any news from that?
AB: Yeah, we are in the process right now of recording season five. It is great. I can’t tell much about the episodes, but it is going to be very great. Lots of cool music and plot twist. Yeah, it is going to be great. It has such great writing and it is a wonderful show to be a part of.

You might know Jason Momoa from his amazing role of Khal Drogo in the first season of “Game of Thrones” and for playing the lead role in the 2011 remake of “Conan the Barbarian”. He is also rumored to be playing Aquaman in DC Comics’ upcoming films like “Batman v Superman: Dawn of Justice” and “Justice League”. Media Mikes had a chance to chat with Jason about his latest film “Road to Paloma” and what we can expect.

Mike Gencarelli: “Road to Paloma” is your first film as director, writer, and producer and you also star in the lead role; how was it wearing all these hats?
Jason Momoa: It was one of my greatest achievements. It was also one of the funniest things that I have done. I work on so many sets where there are just tons of people. We did this film with a very small crew and a bunch of my best friends. We went out bought all the equipment and just did it. I just wanted to show the world my vision. The acting wasn’t really a stretch for me but putting the movie together was the main challenge for me. I loved doing it on this very small level. It was almost like doing theater. We would rehearse and rehearse and once we had the right light, we were ready to go. Stanley Kubrick once said you can spend 10 years writing a script and then you have to shoot it in 10 days. I just wouldn’t want to do that. I would rather take less money and have the freedom.

MG: This is a road movie, so let’s talk about the journey as an actor/filmmaker that you took with this film?
JM: It was crazy. I just want to go back to acting…I will be in my trailer [laughs]. No but, it is like having a child, really. We called it the never ending movie. It has taken up 3 1/2 years from start to finish but most movies do. It was still an amazing experience for me.

MG:I was hoping to see you all set up with full war paint…
JM: You will see it! You see a glimpse in the trailer. We chose not to put it in the film. The scene really grabs you and puts you in the edge of your seat. But the pacing didn’t work well in the film. It will be out on the Blu-ray release though, so at least you can see it.

MG:How was it getting to work with your wife Lisa Bonet?
JM: It was great and also very hard. It is scary because these are characters you are playing and you don’t want to give too much of your personal life but at the same time you want it to be real. She killed it though and I was a wreck [laughs]. She is amazing.

MG:How did you get involved with WWE Studios?
JM: They have a huge fan base and they thought there fan would really dig this. It is a beautiful film and really has something to say. I think that is why Michael Luisi and WWE got behind it because it has a lot of heart. It has a little bit of everything action, love, passion, fighting and I like that a lot.

MG:What else do you have in the cards coming up next?
JM: I am working on the passion project of my life. Right now, it is called “Enemy in the Valley”. It is a true story, based in the 1890’s taking place in Kauai. Back in the day, when someone got leprosy, they would just drop them on an island and leave them. There wasn’t proper law. So this is his story about how he defends himself and his family and became a hero in Hawaii. It is a drama period piece. To me it is like “The Last of the Mohicans” meets “The Proposition”. It is definitely my “Braveheart” for my people. It is a dream role for me and I will be directing also. So I can’t wait to get started.

 

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Chazz Palmenteri is known best for his roles in films like “The Usual Suspects”, “A Bronx Tale”, “Bullets Over Broadway”, in which he received an Oscar nomination. Chazz brought his one-man play “A Bronx Tale” back to Broadway in 2007 and since then he has been continuing to tour each year with this show. Media Mikes had a chance to chat with him about the show and what he has planned next.

Mike Gencarelli: “A Bronx Tale” hit Broadway in 2007 and hasn’t stopped since; tell us about your journey you are taking with this one-man show?
Chazz Palmenteri: I originally did this back in 1989 and I brought it back to Broadway in 2007 since there was a whole generation of people that didn’t get to see it. It was just going to be Broadway for six months and that’s it. It was such a huge success, they wanted to do a National Tour and I thought I would finish in Vegas. So I did it again in Las Vegas in 2009 after the tour and then it became show of the year and they just keep calling me back. Now I do the like two or three dates a month traveling it around. I want to keep doing it. I can’t stop because people keep wanting to see it.

MG: The show is a real physical workout; how do you prepare for it each night?
CP: I just stay in really good shape. I work out a lot. I am on the treadmill a lot. I watch my weight. I just take care of myself and that is the only way that you can prepare for this. You really just have to be in really great physical condition.

MG: How long do you see yourself touring with this show?
CP: I still am doing plenty of film and TV but I am going this in between gigs. I love doing it. I don’t know, I will continue to do it until I can’t physically or people don’t want to see it.

MG: Ever considered filming it and releasing it on Blu-ray/DVD?
CP: I have thought about that but I haven’t decided what I wanted to do with the show yet. But we will see.

MG: What else you got in the cards next?
CP: I do have a big film that I wanted to talk about. I will be in London this month shooting, “The Kray Brothers” with Tom Hardy. I am really looking forward to that.

Here are the rest of the upcoming show dates for the tour of “A Bronx Tale”:

July 12th – Atlantic City – The Golden Nugget
Oct 4th – Buffalo NY – Kleinhans Music Hall
Oct 10th & 11th – Huntington LI – The Paramount Theater
Oct 17th – Morristown NJ – Mayo Performing Arts Center

Jacob Johnston has been working at Marvel Studios with their Visual Development team on films like “Thor”, “Thor: The Dark World”, “Captain America: The Winter Soldier”, “Guardians of the Galaxy” and currently on “The Avengers: Age of Ultron”. Aside from working on superhero movies, Jacob is also a writer and director. He is currently trying to get his short films made “Kadence” via Kickstarter. Media Mikes had a chance to chat with Jacob about the short film, what we can expect and how can you help get this film made.

Click here to become a backer for “Kadence” on Kickstarter! At the time of posting, there is only 23 hours left! So don’t miss out!

Mike Gencarelli: Give us some background on how “Kadence”, came to be that you wrote and directed?
Jacob Johnston: It all started when I was driving to a friend’s birthday party last spring. It was just a visual of a young boy lying helpless in his room with a voodoo doll within arms reach – but it all felt so far away – something we saw by the pinning look in his eye. Following that: Kadence was a project that took me about 3 months to even form into words. For the most part, it started as a series of visuals – highlighting certain story elements – but finding a unique and compelling through line was something I didn’t want to force. As I began writing the script out, it evolved from a more supernatural based story into a more character-driven drama with horror elements. Which, to be honest, was far more interesting to me. I wanted a project that brought back the terrifying elements of visceral human interaction and unraveling – evocative of movies like The Haunting [1963], Silence of the Lambs and Let the Right One In.

MG: Give us the one minute pitch on the story?
JJ: Still reeling from the loss of his mother, a damaging and complex relationship with his father, and a relentless battle with his own inner demons, Kadin’s [17] grip on reality is loosening by the day. Amid this struggle comes an enigmatic and brazen new neighbor, Marissa [19], who, along with the promise of a budding new friendship gives Kadin an ancient voodoo doll. Her reassurance is seductive and the promise of a brighter future leads Kadin to make a sinister choice. [laughs] Was that a minute!?
MG: Well, I am sold man! For sure!

MG: Tell us about your Kickstarter campaign or your goals?
JJ: The Kickstarter campaign was launched for a couple of reasons: to help raise crucial funds for the production budget and for building an audience. We have brought on a lot of industry professionals to help bring this story to life, most of which who are donating their time for little or no pay – however, the cost of permits, locations and equipment adds up incredibly fast. More than raising additional budget money, we launched the campaign to create a community long before the movie was even finished. The horror community is huge and very tied together – we wanted to network with them and get those who we could reach as excited about the project as we were. Kickstarter really granted us the opportunity to do more than raise money, it really is a wonderful platform.

MG: You recruiting any of your co-workers at Marvel to assist with the film?

Production keyframe by Anthony Francisco

JJ: I work with a number of extremely talented artists who were graciously willing to use their nights and weekends to illustrate the crazy visuals in my head so the rest of the world could see. Jackson Sze, Anthony Francisco and Andy Park have been working as professional illustrators in this industry for quite some time and definitely brought both a legitimacy to the project and look to the film that went above and beyond what I ever envisioned in the beginning of the process.

MG: After the film is completed; what are you plans to distribute?
JJ: Ha. Let’s have that conversation after the film is done! Just want to focus my attention on telling the best possible story for now!

MG: “Kadence” is a short film; any chance to develop into feature?
JJ: Another good question and one that many people have asked. It’s hard to say. I think there is definitely a potential for a feature. However, I never wanted to see the project that way – for fear that I may compromise the story I was trying to tell in the short.

I’m sure it sounded easy for Joseph Russo. Cast in his first major feature film role, the actor portrays a name familiar to movie fans all over the world: Joe Pesci. That’s right, long before he was asking how funny we thought he was (and winning an Oscar to boot), Joe Pesci was a New Jersey boy who dreamed of being a singer (he actually released an album in 1968, “Little Joe Sure Can Sing,” billed as “Joe Ritchie.”

Joey Russo has worked a lot since his debut in 2010, appearing in such television shows as “Bones,” “How I Met Your Mother” and “Parks and Recreation.” He even has a little “Jersey” on his resume’, starring in 2012’s television film “Jersey Shore Shark Attack.” This week he opens in “Jersey Boys,” director Clint Eastwood’s film version of the Tony-award winning Broadway hit. While promoting the film Russo sat down with me and talked about…..

Mike Smith: How did you get involved in “Jersey Boys?”
Joseph Russo: I got a phone call from my manager saying they were looking for an actor to play a young Joe Pesci. I went in and read for the casting director. Then I started to hear that I was on Clint’s short list…then I was on top of his short list….then I was his choice….and I found out a few weeks later that the part was actually mine.

MS: Did you know before you went in to read for the part that Joe Pesci had a musical background?
JR: Once I got the audition I did some research because I had no clue how he was attached to this story. Once I got word that I was seriously being considered for the role I really took the opportunity to piece together a time-line of his life from then until now to really understand how he was a part of that group.

MS: Playing a real-life person, especially someone as well known as Joe Pesci….did you have to reign in your performance at all so that you weren’t doing a caricature? I did notice in one scene you ask “Funny how?” about something and then in another you do a “ok, ok, ok” riff.
JR: I’m so glad you picked up on that. My main thing was that I didn’t want to make him a caricature. That was my goal when I went in to audition. Should I change my voice or not? I didn’t see the Broadway musical because I wanted to create something that was totally my own. I wanted to make him a real guy and at the same time earn the right to play a character like Joe Pesci. What I wanted to do was sprinkle a little Pesci-isms in each of my scenes. Show a little “Casino.” Show a little “Goodfellas.” Show a little Leo Getz (the “Lethal Weapon” series). I wanted to find a way to portray Joe Pesci from age 16 to 26. Because really, the first time the public saw him in “Raging Bull” he was close to 40. So I came up with the idea that everything Joe Pesci has done as an actor in his later life was drawn from something that was inside him when he was younger. Maybe at one time he did say “ok, ok, ok.” Maybe he did ask “I’m funny how.” I wanted to pay homage to a real guy. That was my main focus…paying homage.

MS: Once you got the role were you able to seek Joe Pesci out and maybe get some insight into his life and experiences back then?
JR: Once I got the role I immediately tried to get in touch with him. Unfortunately I wasn’t able to. My next avenue was to call up Tommy Devito. (NOTE: Devito was one of the founding members of the Four Seasons and, according to “Jersey Boys,” now works for Joe Pesci. Ironically, Tommy Devito is also the name of the character that Pesci plays in “Goodfellas”). I talked to Tommy and he gave me a lot of insight into how Joe was back then. He was a clown, always joking around and making everybody laugh. I also worked hand in hand with my acting coach and mentor, Jocelyn Jones, and she really, really helped walk my way through finding out who this guy was in this time period….what was going on in society during this time period…and coming up with my own guy based on that. It was really great. Jocelyn was phenomenal in helping to walk me through that.

MS: Did Clint give you a lot of lee-way with your performance?
JR: Yes, that was the great thing about it. I really didn’t know what to expect. I felt that I had won the right to do this role. I had done all of the prep work. The hours and hours of research, prep work and rehearsal. I knew I had won this right but then again, when I showed up on set, I was a little nervous because I didn’t know if he would let me play it as I wanted to play it. And he did. More so, really. He really let me take the role and make it my own. Even the day when I said “Funny, how?” I just threw that in there. We were rehearsing the scene and I thought how great it would be if Clint started laughing because we came up with that. We were shooting the master shot for the scene and I said “Funny how?” and the script supervisor said “I don’t see where that is in the script.” The camera operator told him “you’re not gonna find it in the script.” We all look at Clint and he smiles and says, “that’s genius!” He let us know we could run with our performances. If he felt something wasn’t right he would tell us. It was a great collaboration on set. It was nice to have that freedom.

Photo Credit: Marnie Volpe

Born in Italy, Lou Volpe moved to America with his family when he was still a young boy. He made his feature film debut in 1987 and has worked frequently in both film and television since then. An accomplished filmmaker in his own right, Volpe has written and directed two feature films: “Divorced White Male” and “Every Secret Thing.” This week he will be seen as Anthony Castelluccio, the father of singer Frankie Valli, in Clint Eastwood’s film version of the Tony-award winning Broadway hit “Jersey Boys.” While promoting the film Mr. Volpe took the time to talk with me about his role in the film, his work and sharing a joke with his director.

Mike Smith: How did you come to be cast in “Jersey Boys.”
Lou Volpe: I auditioned (laughs). Me and several other guys. A few weeks later my agent called me and told me I had the part.

MS: Wow! That’s an easy story!
LV: (laughs) It’s not usually like that. But when I go to audition I try to do the best that I can do and this time I did all right.

MS: Were you able to speak at all with Frankie Valli about his father? Maybe try to pick up some little quirks or qualities of his?
LV: No. Unfortunately Frankie wasn’t on set during the time I did my scenes. I did do my own research…I looked into some of Frankie’s biographies and found out the kind of man his father was…what he did for a living (he was a barber)…that kind of stuff.

MS: You’re also a filmmaker. How does Clint run his set in comparison to yourself or other directors you’ve worked for?
LV: Clint was great. He’s really a very nice guy and really easy to work with….work for. He pretty much lets you do your own thing. He may give you a few suggestions but mostly he lets you do your own thing. He’s very easy to work with. Most of the time he doesn’t even call “action.” He just says, “OK, go ahead.” We had fun. When I was on the set, because he knew I spoke Italian and he had, of course, done many films with Sergio Leone’, instead of calling “action” he would call “Actione’” in Italian. Of course then he’d crack up…then I’d crack up. He’s really a nice, funny guy.

MS: As I mentioned earlier, you’re also a filmmaker…you’ve written and directed a couple of feature films yourself. Do you have anything coming up?
LV: I’ve just written a pilot that is getting some interest. And I’ve just auditioned for a film…it’s the lead role…that I hope will come through

A throwback to ‘80s slasher films like Friday the 13^th, Blood Widow tells of a couple, Hugh and Laurie, who after buying a nice house in the country throw a party for their friends. During the wild night a few friends decide to explore the abandoned and decaying boarding school next door, only to wake an emotionally broken killer: The Blood Widow. We speak to one of the film’s stars, Kelly Kilgore.

We asked for you, of the cast, because you have such an interesting, albeit brief, arc in the film. How fun was it playing this role?
I had a blast with Harmony! Playing a supporting character actually allows you a lot of freedom to have fun and make interesting choices, and Jeremy was extremely receptive to his actors’ ideas. Having an innocent character like Harmony in a slasher film is rare, and I loved the way it worked out. After shooting was over, the Arcani guys presented me with Mister Buddha (Harmony’s teddy bear) as a keepsake; he may or may not be sitting on a bookshelf in my living room right now.

I see you do a lot of theatre, and other more – for lack of a better word – ‘thespy’ work. Was doing Blood Widow a chance to let your hair done and do something totally unexpected?
It was. Although Blood Widow is a very scary film, Harmony herself is light and funny. That sort of subtle comedy was a new challenge for me, and I enjoyed it immensely. It was also my first feature, and I learned a lot about how a film set works. It’s quite different than theatre. I made a lot of friends within the cast and crew; Emily and I hang out all the time, I see Jose a lot, and I randomly ran into Derek and Phil the other night at a bar.

What do you find more rewarding – stage work or film work? I imagine they’re both totally different types of experiences.
Theatre and film are hugely different, and I love them both. In my life, at least, they compliment one another, each strengthening skills that improve my work in the other medium. Theatre, especially classical theatre, gives you a solid grounding in technique. Doing the same show night after night really strengthens core acting skills and the ability to perform under all conditions. Film, on the other hand, keeps you honest–you can’t cheat in a closeup! I’m extremely lucky to be doing both.

Are there moments, when working on a horror film like this, that you’ve got to try and prevent yourself from bursting into laughter or accidentally smiling. The ridiculousness of the genre would take great discipline I imagine?
Working on any project, there are moments of hilarity that you have to breathe through and try not to laugh. But that’s what makes it fun! If everyone was actually terrified the whole time, no one would want to make horror films. Harmony was especially funny because she’s extremely spacey. I recall shooting one scene with Jose where I examined his camera … I did my level best to make him laugh, and we both cracked up after “cut” was called every time.

As terrifying as she is, the Blood Widow character is also somewhat of a sad character. What do you think?
I totally agree, and I think that is one thing that Ian and Chad did brilliantly with the script, making Blood Widow stand out in the genre. Even though you don’t want to be anywhere near the Blood Widow, you can understand how she came to be the way she is. You even feel a little sorry for her. I like to think that she and Harmony could have been friends.

For those that enjoy your work in the film, where else can they see you?
If you fancy a trip to Massachusetts, I’ll be playing Lady Percy and Doll Tearsheet in Henry IV, Parts I & II at Shakespeare & Company in August. I’ve also got a couple of other film projects airing this summer: The Aegeans comes out June 16 (of Ulysses fame), and the pilot for Spaceship Florida should be online sometime in mid-July. Links to everything at actor.kellykilgore.com.

Blood Widow hits DVD June 3rd

What is the first thing you think of when you hear the name John Schneider? People my age usually say “The Dukes of Hazzard.” Others remark on his country music career. Still others remember his as Pa Kent on “Smallville.” Well, as of today, you can add successful writer/director to your list.

Born in New York state 54 years ago, Schneider rocketed to stardom when he co-starred opposite Tom Wopat as Bo Duke on television’s “Dukes of Hazzard.” His star burned brighter with the release of his first album, “It’s Now or Never.” The title track hit #4 on the country charts and became the first of his ten Top-10 hits, including four that hit #1. But even fans of his music, as I was, were amazed when he took to the Broadway stage as Baron Felix Von Galgern in the Tony award winning musical “Grand Hotel.” I’ve been very fortunate to have seen many great performers in great shows, from Jerry Orbach in “42nd Street” to Michael Crawford in “The Phantom of the Opera” and I would put Schneider’s performance in “Grand Hotel” in my top 5 of greatest stage performances. Schneider’s old “Hazzards” partner, Tom Wopat, has also found success in musical theatre. May I be the first to suggest here a revival of “Guys and Dolls” starring the both of them!

Schneider’s latest project puts him behind the scenes. As writer/director of the new horror/comedy “Smothered” he puts another successful feather in his cap. Schneider took time out from promoting his latest film to not only answer some questions but to help me win a three decade old bet!

Mike Smith: What was your inspiration in creating the story?
John Schneider: Years ago a friend of mine said that he was sick and tired of all the movies where the big titted co-eds got killed by the sickos in the masks. He thought someone should make one where the guys ins the masks got killed by the big titted co-ed. I thought that was a cute idea but couldn’t see what device could possibly cause a group of “sickos in masks” to go on a camping trip together. That all changed in Dusseldorf when I realized I could get a Winnebago full of icons to go just about anywhere with me for a grand apiece because the show was not making them any money.

MS: You’ve pulled double duty on feature films before (“Collier and Company”) but this is your first foray into horror. What was it about that genre’ that intrigued you?
JS: I like movies that make me feel. By feel I mean scare me, make me jump, cry, shiver and anticipate stuff coming down the pike both good and bad. Horror movies are the best at manipulating these emotions because of the personal nature of what’s happening to the people and where it’s happening. Everyone has been in a dark basement… attic or..in a campground before… right?

MS: What is YOUR favorite horror film?
JS: There was a film in the early 70’s with Don Stroud called “The House By The Lake.” I haven’t seen it since I was a kid but remember it scaring the shit out of me. It made me feel very uncomfortable. I’d love to see it again but can’t find it on a list anywhere.

MS: You work consistently in both film and television. Do you have a preference?
JS: I prefer film because there is more time to get it done right. In film you shoot a script. In television you shoot a schedule.

MS: This year marks the 35th Anniversary of “The Dukes of Hazzard.” Are there any “reunion” plans in the works…not necessarily a television show but a convention appearance or two?
JS: Cathy Bach had a wonderful party at her house that many cast and crew attended. It was private and a blast. I think that was the best way to celebrate. When we do “events” non of the cast ever gets to hang out. After 35 years I believe it’s our turn.

MS: What else do you have coming up soon?
JS: We start shooting the 2nd film at the studio here soon. It’s called “Anderson Bench” and it is a very twisted love story.

MS: Finally, you can win me five dollars (or lose it) from a bet I made about 30 years ago. Can you put to rest the rumor that you have a brief role in the 1979 film “Hardcore,” starring George C. Scott. I say that, even though the young man resembles you, that it isn’t. Have you had this question before?
JS: Never. And nope… wasn’t me. William Katt maybe? Go collect your $5. (NOTE: The Internet Movie Data Base says the actor’s name is Will Walker, who appeared in a few things in the late 70s, with his work in “Hardcore” being his last performance. Time for me to get my money!)

Kevin Kliesch is a composer that recently earned his first Emmy nomination for his work on the hit Disney Junior series “Sofia The First”. He has worked as a composer and orchestrator on over 100 feature films spanning the past seventeen years, including “Frozen”, “The Hangover” and “Tangled”. He also received his first Annie Award nomination for his work on the “Thundercats” series in 2012. Media Mikes had a chance to chat with Kevin about his work both composing and orchestrating.

Mike Gencarelli: Tell us how you got started composing for the Disney Junior series “Sofia the First”?
Kevin Kliesch: I had worked as an orchestrator on “Tangled” in 2010 and became friends with the film’s editor. After hearing my mockups and orchestrations from Alan Menken’s score, he happened to recommend me to the head of music at the Disney Channel since they were looking for a composer to score their new series “Sofia the First.” I met with the Sofia team and they liked my background, so I got the job.

MG: Congrats on your first Emmy nomination for your work on the show; what do you enjoy most about composing for this show?
KK: Thanks! The best thing about writing for Sofia is that I get to write the traditional Disney-style music that we all grew up with. The producers wanted to stay away from typical cartoon music and instead draw on the lush sound of past Disney films, which I am honored to have been a part of, having worked as an orchestrator on “Enchanted,” “The Muppets” and “Tangled.”

MG: How is it going from a show like “Sofia the First” to working with DC Comics’ animated movies like “Superman: Unbound” and “Justice League: War”?
KK: The two are musically about as far apart as you can get! I really enjoy scoring the DC films because it gives me a chance to write in a completely different genre than the Disney style. I’ve always been a fan of action scores, so it’s great to be able to call up a different palette of sounds and get my superhero vibe going.

MG: “Frozen” and Tangled” are two of my favorite newer Disney films; tell us about your involvement with these films?
KK: I was the orchestrator on both of those films. On “Tangled,” I worked with the legendary Alan Menken on bringing his score to life. He would send me complete piano sketches and I would have to take those and make complete orchestra scores from those sketches. I also had to do computer mockups of all of the music so the directors and producers could hear what the score was going to sound like before we went to record it with a live orchestra. On “Frozen,” I didn’t have to do any of the mockups since the composer Christophe Beck did his own mockups, but I did wind up orchestrating about two thirds of the score from his sketches.

MG: Switching roles from orchestrator to composer; what do you enjoy most and why?
KK: As an orchestrator, I get to work on someone else’s vision of how the score should support the film’s narrative. As a composer, I get to create that vision myself – which is eminently enjoyable. Being able to translate emotion into music is both very challenging and rewarding.

MG: How does it differ doing a score for a film than it does for a television series?
KK: There’s not much difference in terms of how I approach the story. Both genres require that the music support the drama and the characters; I always strive to give emotional weight to what’s happening on screen. There’s also not much difference in the time I have to do each project. While a DC film might have 70 minutes of music, I’m usually given a few weeks to complete it. On my television series, I usually wind up writing 20 minutes per episode, and I get anywhere from 7-14 days to do that. Both genres require that I write about 3 minutes a day to reach my deadline.

MG: I have a two year old daughter, who loves “Sofia the First”; with you also having a young daughter, does it only making working on a show like this 100% better?
KK: Absolutely! My 6-year-old comes into my studio every day and asks me what episode I’m working on. Sometimes I’ll play the whole episode for her, which she loves because she gets to watch it before anyone else! I also really enjoy watching the episodes with her when they air on tv.

MG: Being a fan of the series; I have to ask was it a daunting task to redo the theme song for the reboot series of “Thundercats”?
KK: It was daunting only for the fact that the producers wanted to compress the 2-minute original theme song down into 10 seconds, so I had to figure out how not to make the die-hard fans angry!

MG: What else do you have in the cards for the rest of 2014 and onwards?
KK: “Sofia the First” has been renewed for a third season, so that will keep me busy well into 2015. I’ve also been approached to orchestrate a new ABC/Disney television series called “Galavant” which will have original songs written by Alan Menken and an original score by Christopher Lennertz. So I’m super-excited to be working with the Disney team again!

At the age of sixteen Charles Jason Baldwin was arrested, put on trial, and convicted for the killing of three eight-year-old boys in West Memphis, Arkansas. The killings were viewed as ritualistic and Satanic. The only evidence against Jason Baldwin was his long hair, black heavy-metal t-shirts, and his friendship with Damien Echols. In 1994, he pled innocent, yet was convicted and sentenced to life in prison. In August of 2011, after eighteen years and seventy-eight days of incarceration, in what is known as the Alford Plea, Jason pled guilty to the crime: and was released from prison. Jason Baldwin is one of The West Memphis Three.

B.C. Allen: It’s been two-and-a-half years since you were released from prison; do you feel fully acclimated to current-day society at this point?
Jason Baldwin: I don’t know if anyone ever gets fully acclimated to current-day society or not. With that being said, I am putting my life together, with a wonderful woman of my dreams. I recently married the love of my life, Holly. We’re building a life together. We have two kittens and a bunny, who act as our babies. I mean, life… life is wonderful. Everywhere we go people are just so gracious and caring, and warm and helpful. It’s been a wonderful experience.

BCA: When were you two married?
JB: We were married in December. I proposed to her in Toronto at AIDWYC, which is the Association in Defence of the Wrongly Convicted. AIDWYC is an organization Rubin “Hurricane” Carter – who just passed – started twenty years ago. Anyway, I had been carrying this ring in my backpack for maybe eight or nine months… like I’m carrying a baby. [laughs] I wanted to get her dad’s permission before I asked her. Long story short, she said “Yes”, and we are having an amazing life now.

BCA: In an alternate world, had you not entered the Alford Plea, where do you think you’d be with the case at this point?
JB: Well, you hope the courts would do what they are supposed to do… and follow the evidence and follow the procedures as they’re set down. The procedures are in place to free innocent people. The evidence was there to free us, but… since I’ve been free I’ve had some college and I had a logic professor who’s also a computer programmer, and he told me “Law is like computer programming. Law is for people and society like computer programming is for computers. But where the difference is, is that the computer has to follow that programming, and it’s going to do whatever the programming says. Whereas people are different; they don’t always do as the law has prescribed. Even though I had every hope and the law was supposed to be on my side to help me be free… I don’t know if they’d have succeeded in murdering Damien or not. And even then, the State didn’t give us the opportunity to save our names, like they should have, and thrown the case out, and opened it up. No matter how long it takes to find whoever really committed the crime. It was a hard position… a horrible position… to be put in, but ultimately, I couldn’t make the decision for Damien. He’s facing death for something he didn’t do. I couldn’t make the decision to stay for him. No one knows what it would be. But the good thing is now there’s still hope, because they didn’t execute Damien. He’s free now, Jessie’s free, I’m free. Even though we still have this Alford Plea hanging over us, there’s still hope. Even though the State officially says the case isn’t open, there’s no statute of limitations on murder. So when we do find who committed this crime – and we will – it’s a matter of time, because we’re not giving up. I believe, I hope, they’ll overturn everything now. I believe they will. And in the meantime I’ll just live my life like I have always lived it. Just do the best I can, and enjoy it. And try and carry myself with a little bit of grace and dignity, and treat everybody the same, and just love this short, precious time we all have here.

BCA: Obviously, to Arkansas the case is closed, officially. But I presume there is still an investigation going on?
JB: My attorney is still working diligently. Doing everything he can as an attorney with private investigators and stuff like that. But he’s not a State’s attorney, he doesn’t have subpoena power and things like that; so there are things he can’t do. We’re doing what we can. The State can do more and they should do more. I like to think that everybody would respect people, or a position, who would admit a mistake and try to correct that mistake and move forward, rather than just to say that there has been no mistake, and just try and hide. The big thing to do is admit that a mistake was made in convicting Damien, Jessie, and myself; and go ahead and move forward and try to find who really did this. That’s the only way that society or any of us are going to be able to heal completely.

BCA: There is almost a weird irony to me, that during your 1994 trial you only spoke three words, you said, “Because I’m innocent.” And now twenty years later you seem to be one of the most vocal of the three of you. Can you say anything about that?
JB: I could have been vocal then too, but everyone, you know… you’re in court and the Judge tells you that you can’t say anything, you can’t have an emotional outburst. No matter what you hear. No matter what type of lies are being said, or you won’t even be able to be permitted to be there at your own trial. So you sit there and you hear all these things, and you try to put the bravest face on that you can, and you hear all of these horrible things. Then you tell your attorneys and everyone who would listen where you were, the people you came into contact with, in full faith. In full faith, that your mom, my uncle, my brothers, my next door neighbor Ms. Littleton, my high school art teacher, the lady who ran the county jail; all these people who could testify for me are going to be given that opportunity, as well as myself. And then, to do everything I am told to do, and come to the trial’s conclusion and never be given those opportunities and to only be able to say, “Because I’m innocent,” it was hard. Never had a chance. Never had a chance. But no one was able to see that aspect.

BCA: I went back and read “Devil’s Knot” again recently – after having viewed the film – and I always catch something new when I read it. I noticed this time through that Dan Stidham, Jessie Misskelley Jr.’s lawyer, was only twenty seven when he took on this case. I mean, that’s what, ten years younger than you are now. Could you imagine taking that on at such a young age; or even now, knowing what you know about the law?
JB: I couldn’t.
BCA: Do you feel that your defense attorney Paul Ford did a decent job, when looking back on it all these years later?
JB: There are so many factors that played against him. I wish he would have let me testify; I wish he would have let all of my alibi witnesses testify, but even if I would have, or everybody would have, we wouldn’t have been able to combat the jury foreman who was convinced he was going to convince the rest of the jurors that we were guilty no matter what was offered, or not offered, in court. So we were up against things like that. Literally, we never had a chance. Never had a chance. From the minute the fingers were pointed at us, we never stood a chance. And that’s the saddest part of it. And that’s because, I think, it was an honest mistake that they lost the evidence from Bojangles, that was collected that night. From that point on we lost evidence… I don’t know that it would have led anywhere, but to me, a guy coming out of the very bayou that the boys would be found in the next day… Come out of there during the time that they are missing… that’s very suspicious. If that person didn’t have anything to do with it, they possibly were a witness. That evidence was very crucial and important, and it’s lost.

BCA: You believe that it was an honest mistake? That wasn’t something deceptive on Bryn Ridge’s or someone else’s part?
JB: Yea.
BCA: That’s your personal belief?
JB: Yea. I always try and give people what was supposed to have been given to me at my trial, and that’s the benefit of a doubt. I just think it was an honest mistake.

BCA: From your interviews, and the hours of footage in the documentaries, you get the gist that you are a relatively positive person – which I have always admired about you – and you’ve always had a positive outlook on everything. That’s interesting to know that you think it was a legitimate mistake.
JB: Thank you.
BCA: With this narrative version of “Devil’s Knot”, this dramatized version of the story, what do you think it will bring to light that Berlinger & Sinofsky “Paradise Lost” Trilogy of films, or Amy Berg’s “West of Memphis” didn’t show? What do you think the appeal is going to be?
JB: I think we’re making a mistake if we try to pit them against each other, or compare them, in that sense. What we should do is look at it like this; there are a lot more people out there who watch movies and don’t view documentaries or read true-crime novels. So this is going to reach a broad base, and hopefully the people who hear of the case for the first time through the film will go back and watch the documentaries, as well, “Paradise Lost” one through three, and “West of Memphis”; read Mara’s book, “Devil’s Knot”, and Damien’s memoirs, do everything. Ultimately, it’s saying this, it’s saying, to whoever did this, if they’re still alive out there – wherever they are hiding – if they’re out there, they’re paying attention. It’s saying to them that even though the State of Arkansas says the case is closed, it says to them, we are not giving up. There is no statute of limitation on murder: the people are not giving up. We all know that Damien, Jessie and I are innocent, we all know someone did this, and we are all looking. No matter how long it’s going to take. And ultimately, the best part… for Pam Hicks, it shows her that no one is giving up; her son is not going to be forgotten. I know the hardest part for her was that Alford Plea, because the State was kind of saying to her, $60 million for wrongful imprisonment money is more important than your son; more important than knowing what happened to your son. And that’s wrong. For us, making this film was sort of a way to give that hope back to her. I witnessed that on set. Meeting all the actors and everybody that worked on set. Everyone I came across there would say that when you get a script and you get a job, you do your best at it, because that’s just what you do. But they said there was something different about this script and this story, because everybody just cared about it; and cared about the people they were representing and the people touched by the case. And to see Reese Witherspoon, who everybody loves, aside from the serious nature of this case; but to see her take Pam in her arms, and hug her and tell her everything is going to be all right. To see that love, all that healing love, that right there made the film being made worth it, just that alone.

BCA: After your release it seemed like you moved immediately to the Pacific Northwest, what is it about that area that attracted you?
JB: I had no idea where I was going when I first got out. When you grow up listening to rock n’ roll, and one of the last cassette tapes you had – before you got locked up – was Pearl Jam’s Ten… He (Eddie Vedder) looks a lot different than he did as a sixteen year old, I mean as you know, we’re both the same age. But when you’re looking at this rock star – who’s not only a rock star, but has given so much of himself when he didn’t have to, and cared about you enough to put his name out there to get you some justice and get you free, and he’s like “Hey, we’re hopping on a plane and going to my house”, you don’t say, “Oh, well I have other plans.” You get on the plane and go to Washington and try to figure things out. I didn’t know where I was going to go, or what I was going to do; because I wasn’t expecting the Alford Plea, I wasn’t expecting to get out right then. I’m looking forward to the December hearing and how long the trial is going to take; I’m just trying to face that, and then I can figure out what I am going to do when I get out. Then all of a sudden I’m out, and at a rock star’s house. In hindsight, Holly and I talked about this a lot… right then I probably could have been flown to the Sahara desert, and after what I had experienced I would have been jumping up and down “Oh, sand! Let’s stay here, I love it!” But it was very fortuitous that we landed in Seattle, because now two-and-a-half, almost going on three years now, after freedom, I’ve had a chance to travel the country, and see a couple of places in the world. And I’ve been amazed, I love every place. But honestly now, after experiencing many places, Holly and I agree, we both choose Seattle. So it’s really awesome that Seattle was the first place we went.

BCA: Do you still have family in Arkansas? Have you traveled back there since your release?
JB: Yea. Holly and I have been back several times. Her dad lives in Arkansas, and my dad lives in Arkansas; we see both of them. My mom goes back and forth between Missouri and Mississippi, and her family lives in Mississippi; so we’ve been to see them as well. She (Holly) grew up in Little Rock, went to high school there, and college; so she’s got a million-and-one friends, so every time we go back it’s always amazing. I meet people who have supported the cause… it’s just always good.

BCA: This past fall you did a Kickstarter campaign – which I gladly pledged to – how is the book coming?
JB: Thank you.
BCA: Is there a release date for that?
JB: I am hoping to have it wrapped up by the end of the year. I’ve got quite a bit written and got a lot more to write. I’m working on a chapter right now, I’m calling it “Jessie’s Girl”.
BCA: Nice.
JB: You know, like the song… [sings] “Jesse’s Girl.” Anyway, working on that chapter right now. I don’t have any chapters finished, because I’m kind of writing them all simultaneously, and just going back and forth. I’m really in the writing phase, just getting it out of me.

BCA: Just getting out the main gist?
JB: Yea, yea. Just putting it all down; then I’ll go back and get an editor and put it together in a book format, ya know, so we can get it to you, since you funded the Kickstarter. Thank you so much for the Kickstarter, because that’s what is paying the bills right now, so I can write it. I’ve never written a book before, it’s hard work. I usually get up around four in the morning, after I feed the cats and everything, then I usually get started on it around six, and work on it throughout the day.

BCA: Is the founding of Proclaim Justice going to be a part of the book?
JB: Definitely yea. I haven’t written any of that yet, I’m still experiencing it, and I’m not limiting it.

BCA: What can you tell me about Proclaim Justice?
JB: My friend John Hardin out of Texas, and I, we started this foundation called Proclaim Justice, and we’re trying to get it off the ground to help innocent people who fall through the cracks for institutions like The Innocence Project, who don’t take their case because they specialize in DNA cases. It’s for innocent people who don’t have DNA in their case; we’re trying to bring those people hope.

The author of “Devil’s Knot”, Mara Leveritt, and Jason Baldwin, worked together on a book entitled “Dark Spell: Surviving the Sentence”, which is set to be released in June. “Dark Spell” is the second part in Leveritt’s “Justice Knot” Trilogy; with a third book, “Justice Knot”, currently in the works.

“DEVIL’S KNOT” will be released on DVD and Blu-ray on June 10, 2014.