David Schmoeller is the director of such horror classics such as “Tourist Trap”, “Crawlspace” and “Puppet Master”.  David has a new film coming out in 2013 that is a different type of horror film called “Little Monsters”.  Media Mikes had some time to chat with David about his new film and also reflecting on his horror classics.

Mike Gencarelli: You are known for your work with monsters but tell us about how your new film “Little Monsters”, tells the story of a different kind of monster?
David Schmoeller: The horrible crimes of patricide or matricide or any of the cidas (fili, frati, parri) are familiar and fascinating subjects of literature and cinema. But the crime of children killing children, in this case, two ten-year olds killing a three-year old – for no reason at all – and then being released at eighteen with new identities, seemed to me to be a fresh and challenging subject for a movie. The opening of the film – the first four shots of the movie, actually – are difficult to watch, but I thought it important to set the stakes as high as possible: we don’t see the murder itself, but the immediate aftermath, the horrible results of a senseless murder. Because of the unusual subject matter, the only way “Little Monsters” would ever get made is if I financed it myself. So, I did. I’m glad I made this movie. I hope it is appreciated.

MG: Where did you come up with the idea for the film?
DS: “Little Monsters” is very loosely inspired by the circumstances of a real murder case, the Bulger murder in England in 1993. In that case, there was so much outrage when the murderers were given new identities and released when they turned 18, that the government passed laws that it was illegal to reveal their identities. So, we know very little about what happened after they were released. I just thought it would be interesting to write a story that speculated what would happen to child murderers if they were adults – and released.

MG: Tell us about your role of Wakefield?
DS: It’s just a funny cameo I played – a silent bit as the retired cop that Carl lives with. It really started during the Empire International days when we shot our films in Rome, Italy. We could only take a handful of American actors because of the cost – and we would pick up the rest of the actors in Rome. So, the directors – and producers – would sometimes cast themselves in small roles – basically because we could speak English (with no accent). I’m not an actor – but I have been in half-a-dozen movies – but, it has to be a really small part – little or no dialogue. We actually shot the scene with sound – with me actually telling this really corny jokes…and I am so dead-panned, Charles and the crew were cracking up. I’ll put the scene in the DVD extras…it’s so bad it’s really funny.

MG: How can you reflect on creating some of horror most beloved films like “Tourist Trap”?
DS: It’s always rewarding when your work from so many years ago grows in appreciation. So, that makes “Tourist Trap” particularly rewarding – since it was my first film – and my oldest. And in the beginning, it wasn’t immediately appreciated. It had what was then called a “regional” release. The distributor struck 50-100 prints and it went from region to region. There wasn’t much advertising. It was a different time. The film was released onto the world – and the world yawned. It wasn’t until a few yeas after it’s theatrical release that Tourist Trap starting playing on TV and slowly began to make some impact – which came, I think, primarily because it was mis-rated by the MPAA. Instead of the usual R rating that horror films need – and generally receive – “Tourist Trap” was rated PG (or PG-13) or whatever the milder rating was. What that meant was that “Tourist Trap” could play on Saturday afternoon TV. And parents across the country were telling their kids – “I have to do the laundry, go watch TV.” And across the country, seven years olds went into the living room and started watching this crazy movie with screaming mannequins with gaping mouths and baby blue eyes – and it scared them to death. And then they would tell their friends and interest in Tourist Trap began to grow. Earlier this year, Jonathan Rigby released his book: “Studies in Terror, Landmarks of the Horror Cinema and Tourist Trap was one of 130 landmark horror films from the beginning of film to present day. In the year 1978, three films were listed: “Halloween”, “Cronenberg’s The Brood”, and “Tourist Trap”. Pretty good company, I was given a Lifetime Achievement Award at the Fantaspoa Film Festival in Porto Alegre, Brazil earlier this year. And they screened most of my films. It was very rewarding that every screening was sold out – and that most of the people were YOUNG people – and the screenings were subtitled in Portuguese. “Tourist Trap” (and “Crawlspace”) still screen in 35MM in art houses across the US – even though the prints are starting to fade. [David Schmoeller starts the New Year with a guest appearance at the famous Alamo Drafthouse Cinema in Austin where a 35MM print of TOURIST TRAP will screen at 10pm on January 1, 2013. Check it out here]

MG: And how about “Puppet Master”?
DS: “Puppet Master” is a slightly different story. Again, I am happy to make a film that is remembered – or still around for whatever reason. I wrote and directed the first “Puppet Master” – and created some of the puppets. The face of Blade was actually our homage to Klaus Kinski – if you look closely enough. But the concept and original story came from Charlie Band. And the franchise is due almost completely by Charlie. I’ll take all the credit people want to give me for that film…but be aware that it really pisses Charlie Band off when they do. That is why he took my “A Film By” credit off – and put his name – ABOVE THE TITLE – on the new Blu-ray versions of Puppet Master. It is now: “Charles Bands’ Puppet Master” – the classic first film. Charlie is getting insecure in his old age. 😉

MG: How do you feel that horror genre has changed over the years?
DS: The changes in the horror film really reflect the changes in the film business itself: lot’s of remakes and sequels and cannibalizing the past. I suspect the more original horror films today come from foreign countries and – in the US – from indie filmmakers. To make a truly original horror film today, a filmmaker would have to figure out the zeitgeist (global financial worries & problems – not exactly an exciting topic for a horror film) –or whatever – it would have to be something we really haven’t seen or experience – and that would never receive real financing, because it won’t have been tested. Tough times for films…

Philippe Brenninkmeyer is best known for his work with Broken Lizard on their films like “Super Trooers” and “Beerfest”. He has also worked with the guys indivdually on projects like “I Heart Shakey” with Steve Lemme, “Dark Circles” with Paul Soter” and “The Babymakers” with Jay Chandrasekhar and Kevin Heffernan. Media Mikes had a chance to chat with Philippe about his films and his love for comedy.

Mike Gencarelli: Tell us how you met up with the troupe Broken Lizard?
Philippe Brenninkmeyer: It happened quite simply. I went out for an audition for the part in “Super Troopers”. When I went in they were all there in the room. Normally you audition for just a director and casting director. There were five of them there, so it was pretty fun. After my audition, I was pretty upset because I didn’t think I did a good job. I didn’t feel that I was that present. Then a few months later they called my agent and said I got the job. I had already forgotten about it. So that’s the way it happened.

MG: Your role in “Super Troopers” is so great; can you reflect on that experience?
PB: The great thing about the Broken Lizard guys is that they do all their own writing. They are really good comedy/script writers. They stick close to the script, even though they may improvise here and there. The scenes were so well-written you didn’t need to do much to deliver the lines. So, the first scene – the famous scene – with the feather and all, they were doing car chase scenes all day, which took a very long time. Just before the light was going down, I was waiting and waiting all day – then they came about and shot it very quickly. The light was very low but you can do a lot with film to fix it up. But from what I remember it was a very quick shot.

MG: With “Super Troopers 2” in the works, did they give you any hint about being involved?
PB: No they haven’t yet. They are such wonderful and loyal guys. They are really professional in the sense that they don’t want to promise anything that might not happen at the end of the day. So far they have taken care of me very much in their films. They wait until they have the greenlight and then give you a call…hopefully.

MG: “I Heart Shakey” was a cute film, how was it playing Mattias Ober?
PB: The characters that they cast me in aren’t too much of a stretch for me. It comes to me easily. They are close to me in real-life. I am kind of that crazy guy. I would say the character in “Super Troopers” was a bit more difficult, but he was still a laid back German swinger. Mr. Ober in “I Heart Shakey” was the kind of character that I relish in. It was great, great fun. Lemme was amazing in this film. It was great playing off him, since he is so subtle and real. You only do something if it really affects him and that is when the truth comes out. The truth is the most believable thing to watch on film.

MG: I loved how that film included the song, “Bidibodi Bidibu”, which the same song you had playing in your Porsche in “Super Troopers”, was that your doing?
PB: What is really funny is that I wasn’t even aware of that. But that is really awesome, I love it.

MG: What do you enjoy most about doing comedy?
PB: In the drama based films, I feel like it is more difficult. The script would need to be really good. In a comedy if the script is good but there is dialogue issues, I have the means to make up for that. In comedy, I just have a comedic head. I can also detect straight away if something is wrong in comedy very easily. In drama, I can do the same but I usually need more time to figure it out. People say that comedy is so difficult but I find it comes natural for me, since it is just so much fun.

MG: Switches gears from comedy but sticking with Lizard, was it working with Paul Soter directing on “Dark Circles”?
PB: That was really great also. There is something about the horror genre that responds to me because it is so out of this world. A horror film is something that you think would never happen, so there is an element in there that is crazy. That is what really responds to inside of me. It is a bit out there like a comedy is out there. I like stuff that is sort of filtering on the edge. It was great fun working with Paul.

MG: What projects do you have planned next?
PB: I am trying to get into producing now. I’ve got two scripts going right now and one is with Paul, actually. Paul is an absolutely amazing writer. He has gotten to a point where he is pretty prolific. He is writing all sorts of projects, like dramas as well. This one is actually a drama/thriller. I work a lot in Germany, so I am trying to produce that there. So that is really it. Acting-wise, there is nothing right now but who knows…maybe tomorrow. You never know.

Marilyn Ghigliotti is best known for her role of Veronica in “Clerks”. With the director, Kevin Smith, announcing that “Clerks III” will be his final film, Media Mikes had a chance to chat with Marilyn about the news and reflects on her role in the original “Clerks”.

Mike Gencarelli: How can you reflect on Kevin Smith’s latest news to make “Clerks III” his last film?
Marilyn Ghigliotti: Well, it would be great. I think a lot of people really want to know what is happening with the characters anyway. I do not know if Veronica would be brought back or not – it would be really nice if she was. I am constantly asked that question about a third film. I was just lucky enough to work on the first film and play that character that everyone loves. In the same respect, I like the fact that fans are curious but I only know the same as them right now [laughs].

Mike: Why do you think these characters resonate going on 20 years now?
Marilyn: I think because they are believable. Everybody can relate to these characters. I am thinking because Kevin Smith had a lot of things against him but he beat the odds and was able to make this film possible without a studio. Since then it has just grown over the years. I have even had a nine year old girl come up to me and said that she loves the film [laughs].

Mike: Reflecting back on “Clerks”, at what point did you realize that this little film wasn’t going away?
Marilyn: It was when we were all at Sundance, which is when Miramax bought. Brian (O’Halloran) and I knew that the meeting was going on and we waited on pins and needles to see what was going to happen. When we got word it was bought by Miramax, where were really excited. Even then though, we didn’t know what to expect but we knew it was going to be a little more than we anticipated.

Mike: Do you have a highlight of working on that film?
Marilyn: All of it really. Next year is 20 years since it was filmed, so it is quite a long time. It was just a great experience. I remember we went in very late to shoot and at the time I was working at a salon as well. So I would be lucky to get an hour or two sleep after shooting before going off work. During shooting we got to meet the town drunk that would come in and buy cigarettes very late. We had hot bagels that we weren’t really suppose to have. So things like that.

Mike: Did you have any challenges with the sharp and quick dialogue for Veronica?
Marilyn: Oh yeah! I kind of trip-over my tongue naturally. You can even see, during the scene when Dante is painting Veronica’s nails. Kevin had enough film that he probably could have done a few more takes but I just kept tripping over my tongue. Even though, I come from theatre, which includes a lot of lines to memorize for a stage performance. For me learning lines is always a stressful thing. I want to be able to say them correctly as they are written.

Mike: Did you ever get approach for a role in “Clerks II”?
Marilyn: No, it never did. I did get to go to the premiere out in Red Bank though. I can see why she wasn’t in the film. But I could also could have seen a little cameo with her in it as well. There are many possibilities that I can see for Veronica in “Clerks III”. I know that Kevin writes his stories on how he is feeling at that moment, so it could have nothing for my character as well. But I am still hoping.

Mike: Besides acting, telling us about your work as a make-up artist?
Marilyn: Before I started acting, I was a practicing hair stylist in a salon. At a certain point, I was looking for something new. I was always interested in the entertainment field growing up, in some respect. I always wanted to take dance lessons as a kid and used to always watch musicals. I just ended up falling into it and I am happy I did. My parents brought me up telling me to get an office job or become a secretary to have financial security. Nothing against my parents but I am glad that I fell into this.

Mike: Tell us about what you have planned for next year?
Marilyn: There is one project called “Geek USA” that came about from the sound guy, Phil Bladh, who I worked with on “Alien Armageddon”. It was based on his prom when he was in High School. I was originally supposed to play his mom but there was a scheduling conflict. So I just play a store clerk and hopefully the scene isn’t cut [laughs]. It was fun though! I also just did a day on Neil Johnson’s latest film “Starship: Rising”. He was the director of “Alien Armageddon”. It was only one day but I love getting to work with him and he puts me in these roles that you wouldn’t normally expect to see me in. So, that was fun to do and I like getting to show range.

Sara Lindsey is an up and coming Hollywood starlet who will be appearing in the new Tom Cruise action film “Jack Reacher” which is scheduled for release on December 21^st. Media Mikes had the chance to talk recently with Lindsey about the film and what it was that got her in to acting.

Adam Lawton: How did you first get involved with acting?
Sara Lindsey: I have always been a performer. The first time I tried it was in a 1^st grade play my teacher arranged. That was the bug that bit me. I have been performing since I was very young and I have always been very artistic and musical. As I got older I began to get more serious about things and when I started looking at colleges I decided acting was what I was most passionate about. I felt very connected to acting and that’s what I pursued in college.

AL: How did you get attached to the film “Jack Reacher”?
SL: I had gone to an audition for the film and after that I learned about the book franchise and all the other things associated with “Jack Reacher”. I think the film is going to be really cool as it is a fun film. The story is very easy to follow which is not always the case with some films with similar themes. Tom Cruise is just awesome as the Jack Reacher character. I am definitely looking forward to the film coming out.

AL: What was it like working on such a large production?
SL: It was crazy! I am super new to the business and have only done two or three movies up to this point. The audition process for this was pretty long and I had a few call backs. One call back was done over Skype between the directors, me and the person who was going to be playing my boyfriend. Christopher McQuarrie is such a brilliant writer and director. It was a pleasure to get to work with him. I had a great time during the process.

AL: Were you allowed to experiment with your character at all?
SL: We really did get some freedom within the structure of the film. My big scene is at the very end of the movie. Chris gave us the frame work and allowed us to do whatever we wanted within the boundaries of the scene. We talked over a few different ideas and went from there.  We sort of did things in the moment. To be allowed to do that on this caliber of a movie was very unique.

AL: Can you tell us about the film “Promise Land”?
SL: That was a dream project for me. I got to meet and work with an amazing group of people. I learned so much. The film is about identity and what makes us who we are. The story is set against a back ground that has to do with hydro fracking. There is that issue going on while some great characters with compelling stories are interwoven throughout the film. I think it’s going to be really great.

AL: What are the release plans for the film?
SL: I think they are doing a limited release in several cities starting on or around December 28^th. The wide release is scheduled for January 4^th.

AL: Can you tell us about some of your other projects you have coming out?
SL:  I am working on a screen play project right now that is not yet titled. We have been working on it for about a year now. It has been a lot of fun to work on something from the ground up. The things you can cultivate with peers and colleges are really great. We are hoping to start shooting that in the very near future.

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Ron Shusett is the writer/producer, along with Dan O’Bannon, for the original “Alien” and “Total Recall”. Media Mikes had a chance to chat with Ron about creating the scripts for these iconic films and also got to chat about recent “Prometheus” and “Total Recall” reboot, which was based on his original stories.

Mike Gencarelli: Tell us about how you got involved writing the original story for “Alien” with Dan O’Bannon?
Ron Shusett: Yep, I co-wrote that with Dan O’Bannon after he brought me the concept that he has from when he was in film school. We met and shared ideas.  I showed him a script I had done and he liked it.  He said “Your damn good, I think you can help me.  For two years in film school, no one has been able to help me get past the first act”.  I looked at the first 30 pages, which is basically what you see on the screen and he said he needed help finishing it and asked if I wanted to give it a shot.  I told him that I also had the rights to the Phillip K. Dick’s short story “We Can Remember It For You Wholesale”, which turned into “Total Recall”. The short story is only one act and then it ends though. He said “you help me get the second and third act of mine (“Alien”) and I will help you with your second and third act” (“Total Recall”).  And at that moment both movies were born. We worked together on what became “Alien”.  We didn’t an agents or an attorney. We had nothing. The first place we went accepted it, Fox and it was a miracle. And the rest is history.

MG: Where did you get the inspiration for the Aliens?  Did you work a lot H.R. Giger?
RS: Those all came from a Swiss artist that has never worked on a movie, Hans Giger.  Dan found his paintings and thought he was the perfect guy to do these creatures. As we were writing the script, we would send him pages. He wanted to get into Hollywood and be a designer.  So he would design them for us as we were writing the pages. We would think up an idea, send him some pages and he would design them.  Then we reduced them and put them into the script.  They ended up looking exactly like they did in the script, which is very rare. Originally, they didn’t want to go with a first time designer.  But Ridley Scott, the director, looked at Gieger and said that his concepts were so unique that he wouldn’t want to make the movie if they didn’t use him. Ridley said “I can’t do the movie without this guy because I would always know how good it would have been”. Giger ended up winning an Oscar for special effects.

MG: With “Total Recall”, you wrote the screenplay off Phillip K. Dick’s short story “We Can Remember It For You Wholesale”, how was this process different adapting from the short story?
RS: It is a totally different process and I am lucky enough to have done both in my career. It is probably a lot easier to adapt since it gives you a springboard to the start.  It gives you a gigantic creative push forward. If you have a blank page, it is harder to start from scratch even if you have a great idea. So it was hard for both of them but I enjoyed them both.  Phillip K. Dick has seven movies created from his work.  Only two of them were a success at the box office, they were “Total Recall” and “Minority Report”, both of which I worked on the scripted and produced. Not including films like “Blade Runner”, which was not a box office successful when it came out, though later becoming a cult classic. Like I before short stories, only have one or two acts tops.  So if you can’t get a great third act to match him brilliance than it is bound to fail. That was the hardest part.  It took about two/three years, just to get a proper ending for “Total Recall”. The whole “Alien” script was written faster than that. Dan and I got the first two acts of “Total Recall” writing by 1981 but we couldn’t get the third act. Then we got Paul Verhoeven and Arnold Schwarzenegger on board shortly after.

MG: Also having worked on “Dead & Buried”, “King Kong Lives” etc; what drew you to the horror genre?
RS: “Dead and Buried” was a complete original.  Obviously “King Kong” was a sequel – the third sequel in the series.  “Dead and Buried” always surprised me because it didn’t make money original but like “Blade Runner” became this cult classic after a few years.  I guess it was ahead of its time.  It was the only zombie movie, where the zombies didn’t look like zombies. I think only one thing really draws me and that is the fact that you have incredible flexibility. Anything you want to say create…you can, even whether it is believable, realistic or not. It just comes down to good craftsmanship. That is why I love the genre.

MG: With “Alien” getting “Prometheus” and “Total Recall” getting rebooting this year; can you reflect on these?
RS: Both of them were not very successful.  I didn’t work on either of them but was still awarded a story credit by the Writer’s Guild. I had no input either.  We had to use humor mixed with action for “Total Recall”, since that was what Arnold was known for. This time around they tried to do it without humor.  I guess what happened was that the audience wanted to see what they loved about the first one. With the humor stripped, even though the stories were similar, they didn’t seem to embrace it.  I did feel honored though that 22 years later, they are still using my ideas and spending over $100 million dollars on them.  “Prometheus” was 30 years after “Alien” and they still uses our ideas, we got credit for original story elements. I was also very disappointed in that film though. Like I said earlier, also touches on “Prometheus”, I think where they lost you on this film was that the first two acts are visually stunning but they couldn’t come up with a good third act. They left too many open answers that they claimed they would answer in the sequel. But you can’t do that if people don’t like the first one there will be no sequel.

Since our last chat with Keith David back in April of 2010, he has gone on to co-star in one of my favorite films of 2012, “Cloud Atlas”, in which he plays four different roles. Also as we speak, he currently has three films in theaters. Keith is known best for his roles in projects like “The Princess and the Frog”, “Platoon” and “They Live”. He has won two Emmy Award for Outstanding Voice-Over Performance on projects like “The War” and “Unforgivable Blackness: The Rise and Fall of Jack Johnson”. Media Mikes had a chance to chat about “Cloud Atlas”, as well as his other recent projects.

Mike Gencarelli: Tell us about your four very different roles in “Cloud Atlas”?
Keith David: I met the directors and they offered me a job and it was great. This project was one of the most thrilling experiences of my career actually. I got to work with and meet some really great actors. These are people that I have admired from afar for years. Before this, I had never met Halle (Berry) before. I had met Tom (Hanks). We actually did a stage reading for “A Midsummer’s Night Dream” many years ago. It was fun to be on a set and really get to watch these different characters evolve as they were doing make-up tests. It was just thrilling and I had a blast.

[Note: Here is a breakdown of his four roles. Kupaka – “The Pacific Journal of Adam Ewing” set in 1849 and was directed by The Wachowski’s; Joe Napier – “Half-Lives: The First Luisa Rey Mystery”, set in 1973, and directed by Tom Tykwer; General An-Kor Apis – “An Orison of Sonmi~451”, set in 2144 and directed by The Wachowski’s; and lastly, Prescient – “Sloosha’s Crossin’ an’ Ev’rythin’ After” set in 2321, also directed by The Wachowski’s.]

MG: Speaking of make-up, what was your most challenge role? Was it An-Kor Apis?
KD: Yes, I think that An-Kor Apis was one of my favorites. He was the most drastic transformation for me. He was also the culmination of the previous two characters that I play. Kupaka starts out as a slave. Joe (Napier) also sort of works for ‘the man’, until he gets the opportunity to step up to the plate and become more of himself. Then in the next re-incarnation, An-Kor Apis becomes the leader of rebellion. In terms of soul, it was a nice journey for me.

MG: You got to work with both Tom Tykwer and The Wachowskis, how was it switching between the different aspects of the production?
KD: It was amazing. I have never been a part of something like this before. It was such a seamless collaboration. The Wachowski’s, Lana and Andy work together beautifully. Even when they asked for slightly different things, it still felt like one voice. The pre-production before we got there must have been tremendous. There is a lot of back stories and how each piece fits into the puzzle, but the three of them were so clear on it. Going back and forth between the two teams, there was nothing abruptive about it. It was very wonderfully seamless.

MG: How was it filming in Germany and Spain?
KD: I mean what is not to like [laughs]. It was extremely beautiful. When I wasn’t shooting, I got to wander around and explore. I went to the beach and got to swim in Spain. Berlin is such a wonderful city and there is just so much to do. I even have some friends from the States, who now live in Berlin, who I have done shows together with back in New York about three years ago. One of them even has her own Gospel group, so I got to sing in eight Gospel concerts while I was in Germany. That was very cool!

MG: Tell us about your role of Big Earl in “Christmas in Compton”?
KD: That was another fun piece. Big Earl is the nurturer of the neighborhood and runs this Christmas tree lot, which is how he makes a living. He is raising his son, who is really a grown man. After going to college for a few years, his son decides he wants to be a record producer. After Big Earl has a heart attack, he puts his sons name on the lot and tells him to take over. His son, in a bit of bad judgment, puts up the lot on a bad deal and dad has to come to the rescue. I personally love stories about fathers and sons. Sometimes when fathers want more for their children, they end up being harder on them than necessary. This ends up hurting them more than applying the growth that we want most for them. Overall, though I feel it has a nice message.

MG: You have another film “The Last Fall” out now as well, tell us about that?
KD: Again, I thought it was a really good story about what happens after your dream is disrupted. Sometimes you have to be careful what you ask for or you may get it or if you’re not careful you will lose it. I thought that [director] Matthew Cherry did a great job with it. It is in theaters now and hits DVD in January.

MG: You also got new TV series called “Belle’s” slated for next year, what can we expect?
KD: I play the head of a family. My wife is deceased but I still carry on the restaurant with her name on it. I have two daughters, who have trouble getting along and a sister-and-law that gets on my nerves [laughs]. I also have a lovely granddaughter that I am crazy over. The show focuses around what happens behind-the-scenes of the restaurant and also when it gets busy. It is really run and premieres also in January.

MG: Did I miss anything? What else you got planned for 2013?
KD: Right now, I am also narrating a documentary for the History Channel called “The Bible”. It will be airing right before Easter.

Christopher Bessette is the writer and director of the film “Trade of Innocents”. The film recently played in the Toronto Cornerstone International Film Festival and we were awarded “Best Feature”. The film was released limited in theaters early this Fall and will be released on DVD on December 11, 2012. Media Mikes had a chance to chat with Christopher about the film, what people can do to help in real life about human trafficking and also what he had plans next.

Mike Gencarelli: You have not has a simple career as filmmaker ranging from places like Amazon and the jungles of Central America, Russia, South East Asia, throughout Europe, across Canada and most of the United States; what do you enjoy most about working in so many different situations?
Christopher Bessette: I am really grateful for the places my career has taken me. You learn to be sensitive to cultural differences and become the observer in the nuance of communication… primarily because you don’t speak the language, so you learn to watch their physical mannerism and reactions.  This has been invaluable for me as a director.

MG: Tell us about how you were inspired to write and direct “Trade of Innocents”?
CB: Interesting how coffee shop conversations can ultimately lead you to the other side of the world. In 2008 I was in a coffee shop with a friend and she shared with me her missions work with orphans in Cambodia.  She told me about the plight of the people and the intense suffering they’ve endured.  My heart was broken and I immediately thought of two of my characters that are in Trade of Innocents. Two months later I get a surprise phone call from a broadcaster that I had worked with 17 years earlier and they asked me to help them tell a story about an organization that rescues children from the sex trade in CAMBODIA! I already had a story that I wanted to tell, so the trip would be dual purpose, I’d do the work for the broadcaster and I’d location scout and research for my movie.  So now I’m in country and I am seeing things happen all around me.  When your readers see the movie and the “Puppy Love” scene in the bar of the hotel; that really happened.  I chased down a perpetrator, following an investigators lead, exactly like the scene in the movie.  People might say, “come on” but if they could feel an ounce of pain my soul suffered when the pedophile was getting away with the little girl, they’d understand why I wept when we recreated that scene for Trade of Innocents… even as gut wrenching as that was, still it wasn’t the impetus.  On that same trip I found myself in the village of Svay Pok, 11 KM outside of Phnom Penh in a building called Rahab’s House. If you’ve seen the Dateline report, this is the building that was a notorious brothel. It is now used used as a community center, day care, medical clinic, church etc.  I went upstairs to the second floor, the room was sterilized freshly painted and void of furniture. Rahab’s House administrator told me that the room upstairs, “The Virgin Room or the Pink Room” was the room brothel owners held children as young as 5, 6 years old for the pedophiles.  I looked out of the bared window of that room to the dirt streets below and saw children playing. I wondered if a little girl looked through this same window wondering why she couldn’t be out there with her friends. I found myself whispering the words, “Oh God, help me tell her story, I have to do something, help me tell her story.”  Needless to say I came home with the story burning in my heart.

MG: How was it working with such an amazing cast like Dermot Mulroney, Mira Sorvino, John Billingsley and Trieu Tran
CB: Absolutely brilliant. Each actor has a different approach. My job is to serve each one so we communicate effectively and in-turn they serve the story, and the story serves the audience.  Here’s where the multi-culture experience comes in handy, I watch their unspoken communication actions and reactions and that gives me clues on how to effectively communicate with each of them.  Trieu Tran and I were in-sync from the beginning, I would say “a couple of words” to Trieu and he’d be like, “gotcha” and boom it would be outta the park!  All of these people are incredible professionals and my level of work with them is very subtle, whereas with other actors in the same piece, it is a lot more intense.  The end result is you’re looking for balance.

MG: Where you aware of Mira’s position on the topic of human trafficking before casting?
CB: She was a goldmine find.  I wasn’t personally aware of it but when her name came to the table, everybody on the producing team started buzzing about her passion with the  issue.  To have an actress that is extremely skilled and passionate about the issue is such a huge blessing.

MG: How does “Trade of Innocents” compare from your previous films?
CB: It is ambitious,  it carries poetic imagery of subtext, that for the viewer looking for it, will find.  I won’t spoil all of it by telling you, but the theme of redemption runs throughout… in each of the characters, even in colors.  The color red for example is typically associated with the red light district or a lady of the night, but in our film you’ll find it played in all of the positive ways, the red krama (scarf) the red drapes in Princess Willow Leafs palace, the Crimson Sun Bird that leads Amy into shanty town etc.

MG: Do you think that this film will create awareness for this “epidemic” of a situation?
CB: One film won’t be the answer, people will. The film will entertain but I hope that somewhere along the journey the viewers realize, “This is really going on!”  There is a collective voice that is silent for the most part crying  – that little girl looking through the bars of a window, hoping that a modern day abolitionist will stand up and say, “Enough, this is wrong.”  I hope it stirs those people that will make a difference.

MG: What do you have planned to follow-up this film?
CB: From real life drama / thriller in “Trade of Innocents” to real life drama in a supernatural thriller: imagine if I told you “The 6th Sense” was real.  True Story –  A 12 year old boy wakes from a coma and he is unable to speak but he can write.  He writes two letters, to two families, street addresses it to their house and everything… but he’s never met them before.  The contents of the letters contain exact details and names of their deceased children he’s met on the ‘other side.‘ They have a message for their parents and the world.

Robert Carlyle is a wonderful character actor known for his role in projects like “Trainspotting”, “The Full Monty”, ABC’s “Once Upon a Time”. In his new film “California Solo”, he plays a washed-out ex-Britpop rocker-turned-farm worker. This role is honestly one of his most revealing and honest to date. Robert took out some time to chat with Media Mikes about the role and what we can expect.

Mike Gencarelli: Where did you pull your inspiration for Lachlan MacAldonich in “California Solo”?
Robert Carlyle: I was fortunate, in the respect, to have known a lot of people who are involved in that world like the Gallagher brothers of Oasis and Ian Brown from The Stone Roses. It was interesting for me to then try and realize what their live would have been like had they fucked up and ended up on a farm in Los Angeles. The role was written very honestly and also believable. He doesn’t like to talk about his past rocker life and just works on this farm. So it was interesting for me to re-examine that aspect of the character. The only similarities between Lachlan and me are that we both have failed at points in our career. But it was very interesting for me to dive into a character like him.

MG: Did you know writer/director Marshall Lewy before he wrote the role with you in mind?
RC: No I didn’t at all. I read the script and I remember thinking about halfway about the role that it is wasn’t going to be me, it better be somebody really fucking like me [laughs]. I spoke with my manager after reading it and found out he wrote it with me in mind. Well maybe not so much with me in mind but with the characters that I have played in the past. Lachlan certainly shares a lot of emotions with characters that I played back in the UK and still do to this very day. I am kind of known for that, in a sense, that I am able to give characters voices that maybe do not have one.

MG: The film has quite the emotional journey for Lachlan, was it a challenging character to portray?
RC: It certainly was! I think there are 96 or 97 scenes in the film and I am in 96 of them [laughs]. So that was a bit of an ask. I was a little bit concerned about that and spoke with Marshall about it. He stuck by his word and thought that it would work well. He believed we needed to see all aspects of this character. You see the certain side of the charm that Lachlan has got. Then you see the hopeless side of him, due to the way his drinks. But overall you get to see all aspects of this man, which I think makes it very interesting.

MG: Your are known for your chameleon-like ability to portray a wide range of characters; do these roles always find you or do you seek them out?
RC: I have been very lucky with that aspect and I am fortunate. I have never been the type of guy who would go around and knock on doors. I just look for roles that have honesty and really challenge me to do something different.

MG: You also sing the title song for the film, written by Adam Franklin, tell us about that?
RC: That was actually the scariest part of this role [laughs]. In the end though, it was kind of liberating. It was shot towards the end of production in the last few days. I didn’t use a voice coach to find my singing voice. I didn’t even know what my own signing voice was. But what you hear in the film is exactly what we shot. Plus Lachlan was never meant to be a singer. He is the guitar player, so he didn’t need to really have a perfect voice. However, I was quite pleased with it.

MG: How was it going from a role like “California Solo” to Rumpelstiltskin/Mr. Gold in “Once Upon a Time”?
RC: It is quite a leap. It is fantastic to be on a show like that. In the early 90’s, I wanted to take on roles that were very different from what I did last. I wanted to build up a background with good versatility. As the years have gone on, I hopefully have shown that I am able to play parts like Rumpelstiltskin and he is a culmination of that. He is the most out-there and certainly the most theatrical role that I have ever been given. So I am just looking forward to continuing that and hopefully playing it well.

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Twink Caplan is best known for her role of Miss Geist in “Clueless”.  She also had a fun role in this year’s raunchy comedy “Tim and Eric’s Billion Dollar Movie”.  Media Mikes had a chance to chat with Twink about her role in the film and reflect on playing Miss Geist.

Mike Gencarelli: Tell us about working with Tim & Eric in “Tim and Eric’s Billion Dollar Movie”?
Twink Caplan: Working with Tim Heidecker and Eric Wareheim in “Tim and Eric’s Billion Dollar Movie” was insane fun. We had met a few years earlier when I worked on “Tim and Eric’s Awesome Show.” It was a huge compliment to find out the duo had me in mind while writing the role of Katie. The cast was impressive with Will Ferrell, Zack Galifianakis, John C. Reilly, Jeff Goldblum, Robert Loggia, Will Forte… I was excited to play the lead female in this glorious company of men.

MG: The duo are know for their bizarre comedy, where you aware of this before coming on board?
TC: Reading the script I couldn’t wait to start. I was in my 60’s playing the older woman girlfriend of Eric, who is in his 30’s.

MG: What was the funniest thing that happened on the production?
TC: The funniest thing that happened on the production? The sex scene …when Tim slapped a realistic suction-cup dildo to his forehead and still had the remnants of the indentation and a red rash the next day. He’s very fair skinned. That scene was so wild with escalating in-the-moment improvisation.  When you are so absorbed in the character you realize later you might have done something or you might have gone too far or you might have…oh no…its a Tim and Eric movie!!

MG: What did you enjoy most about playing Miss Geist in “Clueless” movie?
TC: I loved the 40’s fitted clothes and stunning wedding dress Mona May designed for me. The character was humble and sweet and playing opposite Wallace Shawn was the topping on the cake. Hiring Paul Rudd and watching his career blast off. Alicia was adorable and Donald was a ball of energy and Breckin and Brittany were so funny….and gorgeous Stacey…I loved working with the entire cast and we were very close. I’m working with Stacey Dash now playing her old school agent in “Stacey Dash is Normal,” for television. The best opportunity was working with Scott Rudin who is a genius and Sherry Lansing who is not only beautiful but an amazing woman.

MG: …and TV series?
TC: Paramount Studio is luscious and Amy Heckerling and I had Jerry Lewis and Dean Martin’s bungalow. It was brilliant. We continued to do the Clueless series and I was one of the Executive Producer’s as well as playing the role of Miss Geist. It was fun casting the Guest Stars and meeting new actors and its always fun to be able to be in a position to grant wishes.

MG: How did you meet Amy Heckerling and work with her on various projects?
TC: I met Amy Heckerling at Warner Brothers. She had just finished filming European Vacation. We hit it off immediately. We were yin and yang and it was a perfect match! Our working relationship continued for twenty-two years. Amy is a wonderful friend and very clever. I loved her writing and knew she was special. They say a happy set starts at the head of the fish and our sets were always calm and happy which speaks for Amy.

MG: Tell what you have planned upcoming?
TC: In January, I’m looking forward to start filming writer/director Craig Goodwill’s “Boy Toy,” a satirical fairytale adaptation of his award winning short, “Patch Town.”

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Malcolm McDowell started his acting career in the early 60’s and has appeared in over 100 productions. Malcolm is probably best known for his role as Alex in Stanley Kubrick’s cult classic “A Clockwork Orange”. More recently he appeared in the remake of the 80’s holiday horror classic “Silent Night”. Media Mikes had the chance to talk with Malcolm recently about his role in the film and some of his other recent work.

Adam Lawton: How did you become attached to the remake of “Silent Night”?
Malcolm McDowell: They came to me with that role. I was actually in the same city they were shooting the film in at the same time as I was there working on another project. I was already there so I figured why not. I had never seen the original but I looked at the script and thought it would be fun to play a sheriff. I had never actually played a sheriff before. I think the director did a fantastic job with the film. Everything he brought to the production was really great. I think he is going to have a great future. It’s always good to see a young director blossoming and getting hold of things. Even though the film could be considered a B Horror movie there is still some fantastic work that can be done. It’s a great showcase for him and I am really proud.

AL: Can you give us a little more background on your character?
MM: He is a noble man but not really the brightest guy on the planet. The town he works in is a quiet one where the biggest problem he might have to deal with is public drunkenness. Now he is hit with a rash of serial killings which wipes out a majority of the town. He thinks he can handle it and that’s what I thought was so amusing about the role. Our job in this film is to scare people and also make them laugh. It’s entertainment. It’s not to be taken seriously as there are not people dressed as Santa going around flame throwing people. It’s just a fun ride. It’s like a video game.

AL: Did the director keep you confined to script or were you allowed to experiment some?
MM: I was allowed to move around a bit. That’s something I always like to do. It’s much more fun to add in a few bits here and there. I can’t really remember what I added but I know there were a few parts that made it in.

AL: Can you tell us what it was like working on “Home Alone: The Holiday Heist”?
MM: That was really fun. I have 3 young boys and I knew they would love that. When they told me what it was I was a bit unsure however I had worked with the director before and I liked working with him. Now that I have children of my own I look at these types of roles a little more differently these days. Anything I can do that is fun for them I like to do. It was great working with the cast as they are some wonderful actors.

AL: Before you had your children were you a fan of the holiday film genre?
MM: They aren’t film’s I would go and see personally. I like films that are for a mature audience and ones that make you think. Those seem to be getting fewer and fewer so I don’t go to the cinema much anymore. There are some good movies out there right now. “The Master” is an amazing film! Those are the types of things I like.

AL: What do you like most about working on series like “Franklin and Bash”?
MM: It’s like working in theater. You know everybody and you are a family. You get to know everyone very well. It’s a nurturing environment. It is a fantastic privilege to be able to do this. I have a very nice role and I love the character. I hope they continue writing me great stuff.

AL: Do you prefer working on a series at this stage of character as opposed to feature films?
MM: It fits perfectly in to my schedule. With these kids of mine I don’t want to be going away. I want to be around to see them grow up. It works very well for me these days. We shoot in Los Angeles so I can drive there which is perfect. I am not in every minute of things or carry the show as I don’t think is something I would want to do.

AL: Can you tell us about some of your upcoming projects?
MM: I have a couple of films that I am waiting to start on. I think there are 3 or 4 of them. I should be starting those in December and January. I also will be starting work on the new season of “Franklin and Bash”. We will be shooting that until about May. I am really excited to start back on that.

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Mark Walsh has been animating with Pixar going back to “A Bug’s Life”. He took on the role of Directing Animator for Dorey on “Finding Nemo”. Most recently he has gone behind the camera and directed the newest Toy Story Toons called “Partysaurus Rex”. Personally, I think it is brilliant and my personal favorite of any Pixar short. Media Mikes had a chance to really dive in about the short with Mark and find out some really cool facts about the film.

Mike Gencarelli: You’ve been with Pixar almost since the beginning, how was it stepping away from the animating desk and behind the camera directing the Toy Story Toons short “Partysaurus Rex”?
Mark Walsh: I love it. I have been reading articles about different actors who are turning directors. Largely what an animator is an actor. So to move to directing has been a similar experience. I think it is really fun and I enjoy the collaboration of it, even more than animating. I think animating is trying to create an emotion or feeling and directing is the same thing but on a larger scale. Yes, there are many more things to worry about. Yes, the buck stop with you…but the feeling of creation and collaboration, especially when something works is unparallel. I love it.

MG: Where you nervous at playing with the “Toy Story” brand?
MW: Not really. I am familiar with the characters. I worked with them before on the TV commercials for “Toy Story 3”. Working with the creator of the series, John Lasseter, there isn’t anything that he would let through that isn’t right. John will really be interested in how each director is going to push things. I think that is why “Toy Story 3” feels like a “Toy Story” film but also feels like a Lee Unkrich film. That is because John invites the input of the new director and he still makes sure it stays within the world. So with that support on hand, I felt invigorated to try new things. “Partysaurus Rex” is pretty different than the usual. But it I was happy knowing that the guardians of the franchise, here at Pixar, were there to make sure that I didn’t step out of bounds.

MG: I like that Rex gets a chance to shine. He is a funny character!
MW: Isn’t he great!? Rex is just such a sweet character. What I like most about Dorey from “Finding Nemo” is that she is a comedy relief character. But she is rare comedy relief character that gets a spotlight to see what it is like to be the comedy relief character. In her case, it is kind of sad. Rex is similar in a way. He is so nervous and nerdy that he funny. However what is it like to actually be that guy? I had that experience in school when I was a kid. So I just tapped into that for the movie.

MG: How long did this short take to make from idea to completion?
MW: A long time actually. It took about two years from start to finish, which seems long for six and half minutes. But there are two things that were going on. First, we had to wait for “Small Fry” to get finished. They were both produced by our sister studio at Pixar Canada. They are a really small studio, smaller than Pixar was when I came on during “A Bug’s Life”. They have a really great culture there but they can’t handle five or six shorts at the same time. Both Angus MacLane and I started on our shorts at the same time but I had to wait until they finished. Also it took two years since the itself process is just very long and arduous. There isn’t any stage of the production where the questions aren’t asked “Can we make this better?”, “How can we approve this?”, or “Can we add any more entertainment value here?”. That takes time. I was really pleased though because the shorts at Pixar gets treated the same way that the features do.

MG: Tell us about collaborating with BT for the music?
MW: BT is amazing. You listen to electronic dance music and some people think “How hard could it be?”. You have a drum beat and maybe some synthesizers. BT is not one of those people. He is an artist. What I liked about BT’s work is that it has the most emotion to me compared to other artists and DJs. When you are working in film, especially a short like “Partysaurus Rex”, emotion is what you are after. I wanted music that would be like a second character. I am very glad he found the time for us and that we were able to collaborate. The music gets louder, more intense and a bit crazier as the film goes on along with the party. So it kind of represents the party in a way. The music had to start small and get crazy, so the biggest challenge was reining it in. BT was able to do that so well. He just brought idea after idea and that was the best part of working with him.

MG: How does it feel to be the first Pixar short to not only have a MP3 single but also get a level in video game “Tap Tap Revenge”?
MW: I love it. Usually shorts don’t get this short of reaction. Especially a franchise related short. I was just trying to create this story with fun music that matched it. I wasn’t even sure if people would like it, but the response has just been amazing. It has been positive for all ages, especially young people. There is so much music that BT made, but the film just wasn’t long enough. We kept getting request after request for music from the film. On the single, BT had used “Partysaurus” as the inspiration even including dialogue and created this track, which plays so well on the dance floor. I listen to it every day and I feel that it even works better than the version in the film.

MG: How many hidden Pixar nods are there in this short, like the Sulley toilet cover?
MW: [laughs] Yeah, there is a lot in there actually. There is quite a few “Finding Nemo” references, since I worked on “Nemo” as the directing animator for Dorey. When we cut to the underwater guys and the “What Up Fishes” scene, Mr. Ray from “Finding Nemo is down there as well as one of the dolphins from that film. There is T-Bone from “Small Fry”, who floats by. There are a lot of “Toy Story 3” characters. But I am not going to tell you all of them; I want people to find them out for themselves.

MG: You also voice the new character Drips the Whale, tell us about that?
MW: When you are trying to get the story worked out, you are looking for something that is funny and gets it done. I liked the idea of a faucet cover, so kids won’t hit there heads, and I’ve seen them for sale. I thought it would be funny to have it coming out of his mouth, so he was permanently talking like this [mumbling in Drips’ voice]. We always record our voices as temporary voices when we are developing the story. It helps us find out if the movie is working before you bring in Tom Hanks or Tim Allen, which is great. Drips and also Puffy, aka “What Up Fishes” are my voices. Due to time, the fact that it was already funny and we didn’t have a name star attached to play them, John said “Why not!”. So I felt very lucky it is rare that a temporary voice gets to stay in the film.

MG: Do you have plans to take sight on features next to direct?
MW: I hope so. In Hollywood, everyone always says “I am doing this now, but what I really want to do is direct”. Everyone thinks that it is better, but it is really hard work. This was actually the hardest job that I have ever had but it is also the most gratifying. I am happy to just keep, as they say “doing the reps”, lifting weights to get my skills up. What has always been important to me at Pixar is that my craft is good. So I hope that I still have opportunities moving forward to keep improving on that craft. Until then, I am just building up my biceps [laughs].

Regan Mizrahi is cos-starring with Johnny Knoxville and Patton Oswalt in the new film “Nature Calls”. For us parents with young kids, he is also voicing the character of Boots on “Dora the Explorer”. Media Mikes had a chance to chat with Regan about his new film and doing voice work.

Adam Lawton: Can you tell us about your role in the film “Nature Calls”?
Regan Mizrahi: I play Kent, a boy way older than his years. I spend the movie trying to romance Janine (Maura Tierney). Since people tell me I’m an “old soul,” this was my chance to attempt to charm an “older lovely lady.”

AL: What was it like working with Johnny Knoxville and Patton Oswalt?
RM: I learned a lot from working on a set with comics who do stand up. Learn your lines and prepare for chaos. No scene will go as planned. You will crack up most of the day. Your mom might not be thrilled with some of the conversations you might be privy to either, but I loved it!!!!

AL: What was your favorite experience from the shoot?
RM: There was an apt I was supposed to trash with Rob Riggle and Johnny. They told me “trash everything”- no one has ever said that to me before. They had like six of everything, so they kept resetting after each trashing. I was so tired at the end of the day, but it was so much fun!

AL: What do you like most about voicing the character of Boots on “Dora the Explorer”?
RM: One of the great things about voice overs, is that you can be in your PJ’s in the booth. It’s all about your voice and your imagination. I enjoy playing Boots because I like being a positive role model for kids. I have been voicing Boots for almost five years now, so my Nickelodeon co-stars have become like family.

AL: Do you have any other upcoming projects you can tell us about?
RM: I presently am the CEO of the Haribo Gummy Bear TV campaign. I have just done my fifth commercial for them. I love the perks of that job “all the gummy bears you can eat!!!” i also have a few things in the works that I am excited about, but cannot talk about just yet.

Mark Hamill may be known best for playing Luke Skywalker in the original “Star Wars” trilogy. He is also the voice of The Joker for the last 20 years, starting with “Batman: The Animated Series”. Mark is taking on his most challenging and unique role yet, as Crow, in his new film “Sushi Girl”. I highly recommend this film, as it is one of my favorite films of the year.  It is being released on VOD on November 27, 2012, in advance of it’s theatrical release on January 4, 2013. Media Mikes had the real pleasure of chatting with Mark about this amazing performance and how he put himself into that role. We also got to chat a little bit about his voice work and what he has planned next.

Mike Gencarelli: Take us through the how you ended up working on “Sushi Girl”?
Mark Hamill: They sent me the script; I read it and liked it a lot. But initially I couldn’t see myself doing it. I couldn’t imagine it. I was trying to get other things off the ground and sort of forgot about it. Then it came down to “Yes or no…Are you in or out?” I was thinking maybe it was a little too extreme. It seems crazy now that I did this but I turned it down. That was the easy way to deal with the troubling aspects of the screenplay. After a week or so I reconsidered, I am lucky they didn’t go to anyone else in that time. What happened was, I turned it down but didn’t feel good about it. So I asked my kids for help. Nathan was busy but I had my son Griffin and my daughter Chelsea read it, just to get their reactions. I need the reactions from twenty-somethings since I don’t have access to those demographics. Griffin didn’t think it was that violent like torture porn or gratuitously violent. The violence is part of the movie like in “Reservoir Dogs”. We are showing the underbelly of the ugly unsavory low-life kind of crime. So I agreed with him. But the one that really got to me was my daughters comment. She said “I heard you over the years saying that you had to go to Broadway to get character parts or the only really good character parts you got in film/TV are in animation like the Joker…if you turn this down then don’t complain anymore, you should be flattered they wanted you for the part to begin with”. It took a certain amount of imagination for them to even think of me for Crow at all. Ironically, when I asked them why they wanted me they said “Well if you can play a psycho like the Joker in animation, why not do it in live-action.” I decided to read it again but this time in character as Crow and not as Mark Hamill and that made a world of difference. So I told them I had to do it and luckily I got in under the wire. I really believe in this movie and I really want it to get the recognition it deserves.

MG: Where did you get your inspiration for the twisted yet perverted Crow?
MH: Obviously, most everything is in the screenplay but in terms of who I was using and how I got into the part and got inside the characters head, I used a few people that I used to work with in New York. I don’t want to use their names since they are not psychopath killers [laughs], but more in terms of their dark sardonic humor. There was a guy that was my understudy in a musical I did on Broadway and it was that sort of cynical snarky humor that Crow has, I took from him…and also various other people in my life. I loved the fact that we came up with a visually arresting look for the guy. I thought he should just show up and people should think that “There is something wrong with this guy”. The hair was one of those things that evolved overtime. At first I thought if I should be bald with a little Van Dyke beard and an earring or I thought maybe ponytail, since that is always creepy to me on a guy. Eventually, we went from bald to 180 degrees from that, since Tony (Todd) was bald. That hairdue might work for someone that is in a grunge band in Seattle or a surfer in his 20’s but it is just age inappropriate on a man like this. Then he has the three piece suit, which looks sort-of normal in the middle and then those tennis suits, which are more appropriate for a little boy. Visually there is just something that is so disturbingly wrong.

MG: For people that know you as Luke Skywalker and the voice of the Joker; what is this film going to do to your image for them?
MH: That is something that I have wanted to do for as long as I can remember. When I was a little boy and all the classic Universal Monster films came on. I admired all those actors like (Boris) Karloff and Lou Chaney Jr. & Sr. I loved the idea of hiding behind a completely different visual persona. It gives you great strength. You look in the mirror and it is not you. So you have to let go of your ego. In the film, I look awful. I look like five miles of bad road. Again, to look in the mirror and see a different character liberates you to make different choices that you wouldn’t originally make if you were Mark Hamill trying to look as good as you can. I love that about it. One of the greatest compliments I got about the role was when the producers showed it to some prospective buyers and when the movie was over, they asked “Where was Mark Hamill?” [laughs]. I mean that is the greatest compliment that I can get.

MG: Tell us about working with this phenomenal cast?
MH: You never can be sure what is going to happen. Not only did every cast member get along perfectly, there were no feuds or fights or egos involved. Everyone worked as a team and that included the crew. We were treating this like the little movie that could. It is idiosyncratic. It’s atypical. It’s quirky. But it is something special. It was just a joy to go to set every morning and you honestly cannot say that about every movie or TV show you work on. This is a cast that has gotten together for BBQ’s, birthday parties etc since filming. You get this real family feeling about it and that is not common at all in this business.

MG: The torture scenes in the film are quite a challenge to watch; were you ever concerned about it going to far?
MH: Yeah of course, from when I first read it. Let me tell you I have been married to a dental hygienist for more than 30 years and when I saw the extreme dental violence in this film, I thought there was no way I could do it. My wife is the woman that says “May The Floss Be With You” [laughs]. I couldn’t also see how I can film it without upsetting myself. I am quite squeamish about certain things and things dealing with teeth is one of them. During filming it, I am in character and Crow is really getting off on it. So I had to stay in character but Noah (Hathaway) was so realistic with these blood-curdling screams. That and the chopstick scene were definitely the hardest to shoot for me.

MG: After your likeness was used in the Mark Millar series, tell us about your recent casting in film adaption of “The Secret Service”?
MH: Mark contacted me via email and wanted to know if he could use my likeness in a comic book and beyond that to kill me in it. Well I thought that it was a very interesting idea. I am a huge fan of his and Dave Gibbons from “Watchmen”. I have a great friendship with him now. He asked me if I wanted to be in the movie and I said “Sure”. I don’t know what the details are yet. But it sounds like a lot of fun. The last time I played myself was in “The Simpsons”, back in 1998. It is very unnerving to play yourself because you have to analyze “Well who am I?”. I really don’t think about myself except in the roles I play. When I was getting ready to do “The Simpsons”, I was walking around the house asking “Do I sound like this” or “Do I sound like this” (both in different voices). I became very self-conscious but once I saw the advance concepts for the comic book from Mark, I thought it was such a brilliant concept combining the fantasy world of James Bond and contrast that with the drab lower-class English background that this guy comes from. It is such a wonderful paradox combination of elements in and of itself. It is not a major role but I never look at things like they need to be about me. I think about if it is good and if it is good I want to be a part of it. As far as I know, it is all a-go, we haven’t signed contracts or talked about a deal but I am sure it is going to happen.

MG: After stealing the show in “Sushi Girl” and no retired from Joker, do you plan to tackle more live-action roles?
MH: I am in collaboration with Amber Entertainment to finally get “The Black Pearl” made as a feature film that I would direct but not perform in. That is my main goal at the moment. If someone sees Crow and thinks of me in a different way and offers me another idiosyncratic character role, I would be thrilled to do it. I don’t have any direct plans but I also didn’t plan on “Sushi Girl” coming my way either. So you never know.

MG: I am also a big fan of your work on “Metalocalypse”.
MH: That is a very unusual show. We are heading into our fifth season of that show and that is one of the four that I am working on right now. Then there is Disney XD’s “Motorcity”. “Regular Show” just won an Emmy, congratulations to the people behind that show! I am also on the “How to Train Your Dragon” TV series “Dragons: Riders of Berk”, which is doing very well. I play Alvin, a big stupid Viking on that show. But I love it. He doesn’t think about himself as stupid or a villain. He is a real fun character to play. He wasn’t in the movie but was created for the TV series. I get to channel the crew from “Star Wars” since they were from the East End of London. They were all great fun to be around and I love the music of their accents. To be able to channel those guys is great fun. It is like getting into an amusement park car and riding along in someone else’s persona. That is why I don’t like playing myself…I am boring [laughs] but all the characters I get to play are more interesting.

MG: When we met at Star Wars Celebration VI, a young child came up to you in passing and asked you to do the voice of the Joker and you did. I will never forget the look on his face. What do you enjoy most about meeting all your fans?
MH: Going and meeting so many people that care some much about something that you been involved with it is really overwhelming. I don’t take it for granted at all. It is not something that I come face-to-face with everyday. In that context it is so easy for me to make that little kids day by just saying “I want money first” (in Joker’s voice). It is just so much fun. It is like a magician being able to just do a slide of hand magic trick that the kid will remember many moons to come. That is one of the perks of this business and one of the reasons why I got into it. I enjoy it. I love making people laugh and I love making people happy. I wasn’t motivated by fame or money. I wanted to do something that I enjoyed doing and I am so grateful. The fact that I have been able to do some many of those things I love, whether it the seven shows I have done in NY or the Regional Theater or the numerous cartoons. I grew up loving cartoons. So I am just so grateful to get a chance to keep doing the things I love.

SUSHI GIRL centers on the compelling character of a man called “Fish,” just released after six years in jail after successfully not ratting on those involved in the robbery that sent him to prison. The night he is released, the men he protected with silence celebrate his freedom with a congratulatory dinner. The meal is a lavish array of sushi, served off the naked body of a beautiful young woman. The sushi girl seems catatonic, trained to ignore everything in the room, even if things become dangerous. Sure enough, the unwieldy thieves can’t help but open old wounds in an attempt to find their missing loot, with violent results.

Media Mikes had been working and promoting this film since August 2011. “Sushi Girl” is finally being released on VOD everywhere on November 27th, 2012 and in theaters on January 4th, 2013. It has been a long road for this little-movie-that-could but it deserves the attention. “Sushi Girl” is easily one of my favorite films of 2012. We got a chance to finally complete our interview series with the legendary Mark Hamill (“Star Wars”) and Noah Hathaway (“The Neverending Story”). We are proud to be supporting this film and hope you enjoy!

Directed by: Kern Saxton
Written by: Kern Saxton and Destin Pfaff
Produced by: Neal Fischer, Destin Pfaff, Kern Saxton, and Suren M. Seron
Cast: Tony Todd, James Duval, Noah Hathaway, Andy Mackenzie and Mark Hamill, Cyrus Alexander, Michael Biehn, Sonny Chiba, David Dastmalchian, Jeff Fahey, David Reynolds, Ted Stryker, Danny Trejo, introducing Cortney Palm

Find out more at our official site: http://www.sushigirlmovie.com/
Follow us on Twitter @ http://twitter.com/SushiGirlMovie
Exclusive Facebook Content: http://www.facebook.com/SushiGirlMovie
Check out our IMDB at http://www.imdb.com/title/tt1606339/

Travis Knight is the CEO/President/Lead Animator of LAIKA, which is the animation studio behind films like “ParaNorman” and “Coraline”. Arianne Sutner is the producer of “ParaNorman”. “ParaNorman” is the latest film from the studio and will be released on Blu-ray/DVD combo pack on November 27th, 2012. Media Mikes had a chance to chat with Travisa and Arianne about their work with stop-motion and what they have planned next.

Mike Gencarelli: Arianne, you’ve been working in stop-motion since “The Nightmare Before Christmas”, what is it that draws you to this medium?
Arianne Sutner: When I was starting out I was always a fan of animation and family movies. I was working in the Bay area and the movie that was happening around that time was “Tim Burton’s The Nightmare Before Christmas”. Part of it also was that you get to work on the project for a long time and it was still very new at the time and very exciting. When I started working in that environment, I just love that you create everything by hand. There were these fantastic stages that you get to work on and also the fact that it was this collaborative process. You really get to feel everything and get very involved. I really fell in love with it. I worked at other places like Pixar, in their beginning and they are making fantastic movies. But it is the experience of working on these movies that I love so much and the kind of people that are drawn to them. I always say that it is really fun and Travis says that I am crazy, which is true. You really get your hands dirty and get to collaborate and with some real great artists.

MG: Travis, How does the LAIKA President & CEO also end up being the lead animator on projects like “Coraline” and “ParaNorman”?
Travis Knight: I have been an artist my entire life. I fell in love with stop-motion, since I was child. Ultimately, I wanted to figure out how it was done before the internet or animation schools etc. So I was just learning by practice. It is something that has been a part of my life for 30 years now. I was an artist long before I was an executive. I have described myself as an artist trying to find his inner-executive. As I have been trying to move the company forward, it was always important to me as I began the process of building the company that I never lose the direct connection with the work because it’s what it is all about. It is why we do this. It is why we got drawn to creating something of great beauty. It is something that is critical to me. I think also to have the head of the studio in the trenches with all the other artists and filmmakers, rolling up my sleeves and getting my hands dirty and being a part of the creative process helps to define the sensibility of what the company is all about. We really are all about finding a beautiful way of telling these classic stories in this extraordinary art form of stop-motion.

MG: Arianne, You took on the role of producer in “ParaNorman”; what was your most challenging aspect?
AS: I think it is to make sure that the script we got was so beautiful, so well picked, so ambitious and overall something that was really special that had various different layers. Also that it was at the same time entertaining and had certain messages that we believed in. We wanted to make sure that it brought to life the way that Chris (Butler) intended it. While also making sure that we met Travis’ standards and to have the best stop-motion animation in the world. I think that was my biggest overall challenge that I was reaching for everyday.
TK: Arianne is fairly humble. She really is like a little marvel. She held the entire production on her shoulders. Every day some new crazy challenge was thrown her way and she handled all them with this amazing grace. The fact that we brought this extraordinary film on time and under budget is a testament to her leadership.

MG: Travis, How does the production on “ParaNorman” differ to “Coraline”?
TK: With “Coraline”, it was the first film that we had done from the ground up. So everything was new. We were forging new ground. In some ways we didn’t know better. We had really grand ambition and wouldn’t accept the fact that we couldn’t do certain things with conventional stop-motion, in the sense of what you can do in this medium. So that meant incorporating technology that wasn’t done before. The natural enemy of stop-motion, this age old craft, is technology. We decided to embrace technology and to bring that forward as part of the process with digital capture systems, 3D photography, laser cutters and rapid prototyping. That way we were able to embrace the machine in a way that hasn’t been done before. It allowed us to expand the scope of the movie. We built on that to an incredible extent for “ParaNorman” and we took it even further than we could have imagined for “Coraline”. I think that process of innovating to tell incredible stories in this medium by fusing those two aspects together, art craft and technology, led us to a place where we can really seize our ambitions and see them realized on the big screen. When you look at the evolution in the visual stylization in the technical execution between “ParaNorman” and “Coraline”, it is fairly remarkable that it happened in only three years.

MG: Why do you think that stop-motion films tend to deal with darker subject matter?
TK: That is an interesting question. We can’t fully appreciate what that means until we see how the thing plays out in the fullness of time. I think when you look at the history of stop-motion film; there is a very small amount of films made in this medium. You can attribute about half of them to two guys, Tim Burton and Henry Selick. They have this dark gothic sensibility. When these guys make the films they want to make…they make them. I think you can look at our films and they don’t have that sensibility. They have this warmer sensibility that is distinctly British but is all very entertaining. So I think you need to look at those two things and see that there is nothing inherently creepy or dark about stop-motion. I think also when you have an inanimate object that is brought to life by the hands of an animator; there is something weird about that. They move is this weird jerky kind of way, which does gives a certain creepy feeling. One of the things that we have been trying to do at LAIKA is to really take the performances in the animation of these stop-motion puppets to an entirely new level and make them feel very human. So that people can connect with these emotional characters on the screen. It is really difficult to do that in stop-motion. I think it was important us to get over that hurdle of making these things creepy. I think you can certainly see with “Coraline” and “ParaNorman” they share some DNA in common. Moving forward, I do think that it is important for us at LAIKA to expand what we do and that is telling different kinds of stories in different kinds of ways. So when you see the next handful of films from our company hopefully they will not look or feel like anything we’ve done before.

MG: What’s next in the cards for LAIKA?
TK: We are very selective on the project that we take on. Currently we do have about ten projects in various forms of development. It is a combination of things that are adaptations of literature and original projects. “Coraline” was an adaptation of a Neil Gaiman novel and “ParaNorman” was an original idea. These things take a long time to make since the pace is graceful. There was about three years between “Coraline” and “ParaNorman”. There will be about two years between “ParaNorman” and our next film. We are trying to truncate the time period, so ultimately we are on an annual release schedule and releasing a film every year. It is a challenge and is difficult to do that but it is something that we are shooting for. But that is path that we are aiming for.