Robin Hardy is probably best known for his directing of the classic 1973 film “The Wicker Man”. Robin is back directing and is set to release the second film in the Wicker series titled “The Wicker Tree”. Media Mikes was very fortunate to be able to talk with Robin recently about the film.

Adam Lawton: Can you tell us about your return to directed?
Robin Hardy: Over the years I have been directing everything from documentaries to television commercials. I think I have made over 1000 commercials and have been very successful with those. Directing is something that I really enjoy doing. Having been trained as an artist I am able to illustrate everything I want. As a writer I like to introduce music whenever I can. I suppose that comes from commercials. Music is such an important part for those. These things have tended to blend leading me to use them in the features I have made.

AL: What was it like returning to the Wicker series some 40 years after the first one being made?
RH: It was good. I even had some actors in the new film who were in the first one. The little girl who is watching the beetle go around and around the nail in the first film reappears as a cook in the new film. There are some others who returned as well. It was really fun returning to the genre. To revive this genre is what really drew me to this project. It was great fun working on the songs.

AL: What do you think is the biggest difference between the two films?
RH: In many ways I don’t think they differ all that much. I think the second movie brings in some relative sub-plots that were not used in the first film. The question of being able to enlarge on the idea of the Sun as an object of worship turns up in this second film. I liked doing this in the second film because it brings the whole idea of the current state of religion down to us as a more understandable present day interest or preoccupation. In the first film there were a lot of pagan clues which were ultimately leading a Christian man to his death.

AL: How do you think your book “Cowboy’s for Christ” compares to the film?
RH: I think it’s pretty faithful to it. I made a much bigger deal of the police. It seemed to me when I read the book that in order to keep the sense of disbelief in the whole story and to believe in the police man was getting quite close to understanding what was going on we had to expand on that. This had to be the tail to the film because it was too much of a red hearing and it would have spoiled the flair of the story.

AL: Can you tell us about Christopher Lee’s involvement in the film?
RH: In the case of the first film we were all Hammer film fans. We thought that the Hammer films all though tongue and cheek in their way didn’t begin to do justice to the whole pagan background. We thought it would be a wonderful idea to take someone who was an icon of those films and turn the whole story on its head by making this guy the pagan lord.

AL: Can you tell us about your work on the third film in the series “The Wrath of Gods”?
RH: I wanted to make that film in Iceland because I thought it would be sort of fun to try and make this sort of saga theme park in Iceland. I couldn’t raise the money to make the film there because of the terrible economic shape that the country is in. I chose to shoot in the Shetland Island because originally they were Scandinavian. It was perfectly logical to set this saga there. They also have a most wonderful Fire festival there which is featured in the film. I would like to think this film will be out within the next four years.

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Brittania Nicol stars in the film “The Wicker Tree” which is the sequel to the classic 1973 Robin Hardy film “The Wicker Man”. Media Mikes had the chance to talk with Brittania recently about her work on the film.

Adam Lawton:  What can you tell us about the film?
Brittania Nicol: This film is the sister film to the 70’s film “the Wicker Man”. It is sort of in the same genre as the previous film and has the Christian vs. Pagan battle going on. The first film was more of a creepy film and this film is more of a comedy. It looks at the lighter side of things.

AL: What is your role in the film?
BN: I play Beth Boothby. She is a teenage pop star who has left the business to explore her faith as a born again Christian. She and her fiancé decide to give a year of their lives to the church in order to preach the message across the world.

AL: What was it that interested you about this role?
BN: When I read the script I really identified with this character. I knew her and grew up with girls that were like her. I knew I could play the part and was attracted to the role in that way.

AL: What was the audition process like?
BN: We had several auditions. I went in to read first and then they had to find out if I could sing. I had a singing audition with the composer to see if he could get the voice he wanted out of me. I then had a final audition with the guy who was going to play my fiancé just to see if there was any chemistry between us. It was during the final audition that they told us we had gotten the parts. It was a very exciting day.

AL: Was there anything difficult about the role?
BN: I found it difficult to make the character likeable. A lot of people are very turned off by religion. You need to love this character. I had to make sure that while the character was preaching and pushing religion on people that she was still someone that you wanted to win.

AL: Will the DVD/Blu-Ray release of the film include any bonus material?
BN: I know we did a lot of filming of on-set interviews and behind the scenes stuff. There were also some interviews done with the films composer as well as with Robin and the other actors. You will also get to see the Wicker Tree being built.

Xavier Gens is the director of the apocalyptic thriller “The Divide”.  He is known best for directing films “Hitman” and “Frontier(s)”.  Media Mikes had a chance to chat with Xavier about his new film and working with such an amazing cast.

Mike Gencarelli: How did you come on board to direct the “The Divide”?
Xavier Gens: I was shooting a commercial and received a call from the producer, Darryn Welch.  They sent me the script and said that they were fans of “Frontier(s)” and wanted to get my on board. I told them I really liked the concept but wanted to re-write the script a little to show my vision. I worked with Eron Sheean and Karl Mueller for eight months during casting and pre-production and we came up with the final script for the movie.

MG: The cast is such a broad collection of talent, tell us about how the cast was chosen?
XG: I worked with a fantastic casting director, Lindsey Kroeger.  She has done wonders for a lot of movies and brought us a lot of great ideas.  Since we did the casting only one month before shooting, there weren’t a lot of actors who were available.  I never could have imagined that Michael Biehn would have been available to make this film.  It was a pleasure to be working with such a legend from the 80-90’s, I grew up watching his movies.  I was a little bit impressing in the beginning to direct him on the set.  I put a weapon in his hands and directly I thought of Hicks from “Aliens” and it was really cool.  Everyone on the film was just great.

MG: Like “Frontiers(s)”, “The Divide” is pretty brutal and intense; how do you know when you go to far with your films?
XG: I was frustrated on “Hitman” because I couldn’t do the editing.  For me on “The Divide”, it was very important for me to do exactly what I wanted.  It was like making my first film again.  For me it was important to go much further where I could and bring something new out of this surrounding, almost poetic.  I was great being able to have 100% creative freedom on the project.  It was a great experience for me.

MG: What was your most difficult task in directing “The Divide”?
XG: I think it would have to be shooting in chronological order.  We had our actors on diets during shooting, so they were losing a lot of wait.  For example, Michael Biehn lost 17 pounds during filming.  I also gave a lot of creative freedom to the actors.  I used that a lot to catch the organic tension between the actors on camera.  Lauren German had trouble shooting a few scenes because she never knew what the other actors were going to be doing.  There was some scripted lines but most of it was free-range improv from the actors.

MG: How do you feel that “The Divide” differs production wise from your past films “Frontier(s)” and “Hitman”?
XG: It was a great really.  I got to do exactly what I wanted.  I was really happy with the final cut of the film.  It is hard to get that normally from a studio.  It was fantastic and I look forward to working with those people again.

MG: What do you have planned next?
XG: I am currently working out financing for a movie and waiting to sure what will be next.  I cannot be sure for the moment.  We will see what happens.

Ti West is a name you should know if you are a fan of the horror genre. He  is known best in the genre for writing and directing the amazing film “The House of the Devil”. His new movie from Dark Sky Films is called “The Innkeepers” and is being released on Blu-ray/DVD on April 24th. Media Mikes had a chance to chat with him about that film and what he has planned next.

Mike Gencarelli: How did you come with the idea for this classic ghost story “The Innkeepers”?
Ti West: I hadn’t made a ghost story, so I wanted to do that. When we shot “The House of the Devil”, we lived in this hotel and all this weird stuff happened during that time. I didn’t think anything about it because I was just stressed about making the movie. So about a year later, I started thinking I wanted to do a ghost story and I thought to myself, what if it took place in the hotel we lived it and just went back and shoot it there. I know it already exists in Connecticut and I know there is a tax return for making movies there. It worked out well. I wrote it before asking them and then I paniced, in case they said no. Then I would have wrote a movie about a place we couldn’t shoot it. It would be writing a John Wayne movie, then being fucked cause you can’t cast him [laughs]. Thankfully, they said yes and the rest happened very quickly.

MG: Sara Paxton nailed this role, how did you get her involved with the film?
She came through the normal channels, just auditioning. I didn’t know the rest of her work. when she came in to meet, she was just so awkward, goofy and clumsy. I never would seen that coming and I found it so fascinating and charming. Then I went and watched her movies and she wasn’t like that at all. I wanted to exploit that. That made me push for her. I knew she was doing to be very relatable in the role.

MG: What was your most difficult task in making the film?
TW: This one was oddly pretty easy. Which means the next one, I will be completely screwed [laughs]. We made it so quickly, so that was hard, there was never a moment to breathe. The saying during shoot was that we were just waiting for the other shoe to drop and it was like that the whole time. It never really dropped. Maybe since I had two really hard experience before this and then “House of the Devil” was just really hard to make that movie, I think I was just expecting the worse. This was just so much easier.

MG: The film takes it slow in the beginning but delivers in the end, tell us about that tactic used in a few of your films?
TW: I don’t think about it so much. To me it just seems like the only way for me to make the movie. when its done everything uses the term “slow-burn” and I am like “really”? I understand what they mean but for me I see it as you need to have all this done to make it work, so I just do it. It is like hearing you voice on tape and thinking you don’t sound like that…but you do sound like that. I fell like that might be the way with me and the way I make movies.

MG: What do you enjoy most about working in the horror genre?
TW: It’s been good. I feel like I got a few movie in me and then I got to take a break. I don’t to start repeating myself. The last movie I wrote, I remember writing “She slowly walks down the hall” and I thought to myself, “I can’t believe I am writing this again”. What has been good for me in the genre is that I feel it is an experimental genre. Most people do the same thing over and over and I don’t necessarily like doing that. It is nice for me to make six horror movies in the last six years and they are all very different. The style is different. The stories are different. You can do all sorts of different stuff in the genre so I think that is appealing from a filmmakers perspective.

MG: How do you compare “The Innkeepers” to your past films like “The House of the Devil”?
TW: Once the past films are done, I really don’t think about them anymore. “The Innkeepers” feels like the only movie I have made right now because it is all around me. I work with the same crew already, so for me I think of it as those experience that all of us had a friend then more the content of the movie.

MG: What can you tell us about your upcoming films “V/H/S” and “The ABCs of Death”
TW: Yeah, I did those two anthologies last summer and then both come in this Fall. It’s weird, I didn’t think about myself as an anthology person but I liked the people that were working with. They told me I could get this much money and I could do out and make whatever I wanted. That is a really appealing offer. The only instructions were that with “V/H/S”, it has to be aspects of found footage and horror and that was it. I was able to cast whatever I wanted and make whatever I wanted. with “The ABCs of Death”, they gave us a letter and left me alone. We had to deliver it by this date and we had this much to do it with. It is certainly not a lot of money but if you are smart with it, it can work out well and worth it.

Ralph Bakshi is now best for his animated films like “Fritz the Cat”, “Wizards”, 1978’s “The Lord of the Rings” and “American Pop”.  Ralph is a legend in the animated world and has such a unique vision.  Media Mikes had a chance to chat with Ralph about his films and he even leaked a very cool top secret news about a possible sequel to one of his films.

Mike Gencarelli: Let’s talk about the recent Blu-ray release of “Wizards”, tell us about your involvement?
Ralph Bakshi: Fox did it all by themselves.  They can be a good company when they want to be [laughs].  They did the book by themselves, designed and remastered it.  Then they called me and told me that they were going to release it.  I nearly had a heart attack.  But I loved the picture and I think they did such a great job.

MG: “Wizards” only cost $1 million dollars and looks great, how do you feel about these polished $150 million dollar animated films today?
RB: The artists who are making these films today are so talented.  The kids today are coming out of school with this computer knowledge and its just great. I think it is all too much of the same.  I think that they focus more on the merchandising.  I think they should do something with more of a social bite or dabble in the R-rated area, if not only to do one and try and push the boundaries.   When I was doing my films like “Heavy Traffic” and “Fritz the Cat”, I was yelling at Disney for those same reasons.

MG: There aren’t too many people that are able to pull off adult animated films, why do you think that people steer clear of doing these?
RB: That is a great question Mike, let me tell you what it’s like.  Guys get the wrong impression about my R-rated films.  They think it is about sex, tits ‘n ass and cursing.  Basically what is underlining all of my films are political ideas.  In “Heavy Traffic”, Michael’s father was a racist and he had a black girlfriend.  Those are issues that far transcend the dirty words, the sex and the violence that people think that R-rated violence is all about.  I never start my animated films with trying to shock somebody.  I try to have a reason to make the film personable.

MG: A few years ago there was talk of a sequel to “Wizards”, any chance it will still happen?
RB: Well Mike, you are the first person to hear this.  I don’t know why they never made a sequel but right now, the head of Dark Horse Comics, Mike Richardson, is writing a script for “Wizards 2″. He and his partner are writing the script and he is very interested in making the movie.  I feel that Dark Horse is really the right team in order to get this project done. I will definitely read it once it is completed but I doubt I will direct, probably executive produce. I would also contribute storyboards and sketches for the film if needed. In order for it to work though, I feel that it has to also be political important with what is going on today.

MG: What would you say was your most difficult production?
RB: Well look, they were all hard.  I left the business burnt out and crazy.  Every picture I had was a massive fight.  Like with “Fritz The Cat”, Robert Crumb hated my guts and was screaming at me.  They gave me an X-rating and my mother was mad at me.  Everyone of them was hard.  Everyone of them I worked seven days a week with no money.  I am shocked but happy that people still love these films.  I am grateful to the internet and guys like you who have saved my ass.

Courtney B. Vance is known best for his role of Assistant District Attorney Ron Carver on “Law & Order: Criminal Intent”.  Last year Courtney co-star in a the horror film, “Final Destination 5” and recently appeared in the new post apocalyptic thriller “The Divide”.  Media Mikes had a chance to chat with Courtney about his role in the new film “The Divide”.

Mike Gencarelli: Can you tell us how you got involved with “The Divide”?
Courtney B. Vance: I read the script and initially thought it was a little darker than I tend to like. I wanted the chance to work with Xavier Gens as I loved his film “Hitman”. I wanted to see what he was going to do with this. We were in one room for about 28 days. We got to know each other really well.

MG: What did you like most about playing the Delvin character?
CV: What I liked most was that this was a true ensemble. If something didn’t quite work we could take the time to make it work a little better. Xavier (Gens)’ English is not always the best so we sometimes had to slow it down a little bit to get a better understanding of what he was saying. A lot of times after we got into things it turned out better than even he thought it would.

MG: Where was the film shot? It seemed pretty intense.
CV: We shot on a set in Winnipeg. Everything was on one little sound stage. Things were very contained.

MG: What do you like most about working in the horror genre after last year’s “Final Destination 5”?
CV: It’s new to me. I have never really worked in it before. The directors are new to me. The two I have worked with thus far are top drawer. It was great getting to know them.

MG: What do you generally look for in role when approaching a project?
CV: I like when there is an arc. I also like when there is something a character does that affects an outcome. I like when a character is more than just window dressing. I like a role to be involved.

MG: What do you like about working in both television and film?
CV: It’s the people. Most of the films I am a part of I am just glad to be a part of it. If the people are great then you have the potential for doing something wonderful. If the people are good which most of them are and the script is tight its fun for us.

Multi-award nominated video director Tony Kaye, who has worked with such artists as Soul Asylum, Roger Waters and the late Johnny Cash, made a big splash with his first feature film, “American History X.” The film, about a white supremist gang member trying to keep his younger brother from following in his footsteps, featured Edward Norton in an Oscar nominated performance. The studio, New Line Cinema, asked Kaye to re-cut his original version, which he did. Unsatisfied, a third edit was done without Kaye’s approval. Outraged he asked the studio to remove his name from the credits and replace it with Alan Smithee, a common pseudonym for directors whose film was taken away from them and re-cut against their wishes. The name has appeared on such films as “Hellraiser: Bloodline” (directed by Kevin Yagher), “Catchfire” (directed by Dennis Hopper) and the television film “Riviera,” which was directed by the great John Frankemheimer. When the studio refused he asked that his credit be listed as “Humpty Dumpty.”

Despite the controversy, Kaye is still a talented and much sought after director. He has earned six Grammy award nominations for his video work, winning the award in 2006 for his video of Johnny Cash’s “God’s Gonna Cut You Down.” His second feature, an abortion documentary entitled “Lake of Fire,” was praised by critics and named to the short list (Best 15) of documentaries by the Academy of Motion Picture Arts and Sciences. His third and most recent film, “Detachment,” recently screened at the Tribeca Film Festival, again to high praise. During a long day promoting the film Mr. Kaye took the time to sit down with Media Mikes to talk about art, working with his daughter and the meaning of life!

Mike Smith: How has your day been?
Tony Kaye: Quite hectic, thank you. But I enjoy these different experiences in speaking about my work.

MS: “Detachment” is a very deep and dark film. How did you become attached to the project?
TK: I’ve always had an interest in being a teacher…maybe art school or film school or something. I’m very interested in social issues. So when my agent sent me the script and I saw what it was about I was immediately intrigued. It was really the wonderful writing of Carl Lund…it was so good that I wished I had written it. I felt it would give me a wonderful opportunity to get some great actors and some great performances.

MS: The film features some of Adrien Brody’s best work. How did you attract him to the film?
TK: Adrien’s father has been a public high school teacher for 30 years. And he reads a lot of the scripts that are sent to Adrien. And he said, “son, you have to do this one!” (laughs) It was really an incredible opportunity for me. I’ve got a teacher that wrote the movie and then I get the son of a teacher as the star of the movie. Plus I had the opportunity to cast an Oscar winning movie star. Adrien is such a cool guy and he brought that dynamic to the set. All of the other actors were saying, “well, Adrien seems to be listening to Tony so I might as well do the same!”

MS: Speaking of the other actors, you have a great supporting cast, including James Caan, Blythe Danner and Marcia Gay Harden. Were you involved in the casting? Were you able to pick and choose the actors you thought best for the roles?
TK: When you have a script that’s as good as the one Carl wrote it’s very easy…it’s certainly not difficult…for great actors to want to give their time.

MS: The animation sequences in the film are quite original. How did you come about the decision to include it?
TK: The idea of the animation came to me during editing. I wanted the school to be a character. I wanted the school to talk. And the way I thought it could talk would be if the blackboard became animated. And there was no texting in the movie…there was no “smart” board. There was a blackboard. There are no computers…in fact the teachers don’t have lap tops, they write in composition books.

MS: The film also features the screen debut of Ms. Betty Kaye, your daughter. What was the experience like, directing her?
TK: It was an incredible gift and opportunity for a father that’s a director to actually work with his oldest daughter on her first film. It was an incredibly challenging role for her and she’s so brave. It makes me cry…I weep…and I’ve seen the movie fifty times! And I still cry when I see what she’s exposed herself to. Really unbelievable. She’s a great artist and she’s finishing her education now at University. I should add that I had every intention of not giving her the role if she wasn’t the best. I saw a couple hundred girls for that role and she really was the best. I gave her the script two or three years before we made the film so she really knew the movie. She really knew that character from every single angle.

MS: You have a book coming out titled “Epicomedy.” Tell us a little bit about that project.
TK: I was originally an art student…I had to study filmmaking when I was in college. My initial calling was to pain. I’ve been painting all my life. I did a couple of conceptual shows in the late 1980s. I’m doing a book…a couple books…which will include all of my scribbling and paintings and things.

MS: IMDB lists your next project as “Attachment.” Any similarities in that film and this one or just in the titles?
TK: Well, nothing is an accident, you know? I believe that everything is predestined…worked out…in your life. But yet your choices are what your choices are. And it’s up to us how we deal with them….re-actively or proactively. Hopefully not re-actively, as I’ve learned in my own life. There is a similarity in the underlying theme. I didn’t write “Attachment.” I actually thought it was a joke when it was sent to me. The underlying theme of both movies is love. And that love beats death. So there is an underlying theme, but it’s buried eight million miles deep!

Joel M. Reed is the writer and director of the cult classic film “”Bloodsucking Freaks”. Joel also appears in the upcoming independent horror/comedy “Supernaturalz”. Media Mikes had a chance to chat with Joel about creating a cult classic and what he has planned next.

Mike Gencarelli: How did you get involved with the film “Supernaturalz”?
Joel M. Reed: For many years Kevin (Sean Michaels) has been a student of mine and follower. However he misled and said I was to do a hard core scene with a stripper. I would have not only added length to the production but width.

MG: How was it working with Kevin Sean Michaels being the director?
JR: He made me the man I am today.

MG: Tell us about how you came up with the idea for “Bloodsucking Freaks”?
JR: I was producing a film called “Teen Demon” and having trouble raising money when an agent Dorothy Palmer told me about an off-Broadway S &M Ballet being presented by a guy name Giles Fontaine. It was him and his girlfriend totally nude. I had dinner with a group of famous and rich ballet aficionados the following week and told them of the show. They all demanded tickets. After the performance they all said if I made a movie about an off Broadway S&M theater they would give me all the money. I wrote the script in one day and they all sent over s&m stuff from their collections. Some too sick for me. When they read the final script they said they loved it but they were all broke at the moment. About that time Joel Weinberg a film attorney called me and asked me if I had a movie I could should before the end of the year. I said, “Yes, “Sardu, Master of the Screaming Virgins”. Do you want to read a script?” He replied, “Fuck the script.” Pick up a check on Monday. It was for $125,000.00 dollars.

MG: When Troma acquired the film they changed the title, which was the third time for this film, any feeling about that?
JR: The film would have succeeded under any title.

MG: Did you ever feel that you were going to far with the content and gore in the film?
JR: I thought the film was funny. Actually is quiet tame by today’s standards.

MG: How does it feel to be the director of one of the most controversial films of all time?
JR: A lot of Goth kids chase me down the street.

MG: Tell us about your film school and its teachings on how make your own cult movie?
JR: I have a new concept in teaching film writing and directing and producing. It’s more like Navy Seal Training. It trains you in all the qualities that make one a film maker that have nothing to do with art.

MG: Will we ever see “Bloodsucking Freaks II” get made?
JR: I have some even more earth shaking films to made with more shock value.
Sardu and Ralphus are gone. Anything I do is the true “BSF Part II”.

Thomas Ian Nicholas is currently appearing in the 4th film in the “American Pie” series, “American Reunion”. This film marks the complete return of the original cast from the first film. Thomas also is currently touring with his band, TNB. Media Mikes had a chance to chat with Thomas again about “American Reunion” and also his music.

Mike Gencarelli: What was it like the first day when you got to set and the entire group was there?
Thomas Ian Nichols: Filming is always like a jumbled group of actors and it’s something you don’t have any control over. The first time that we got together was prior to shooting. We did some table readings and screen tests that everyone was at. When I first walked into the room it was a trip. On one hand I had thought I matured as I am married now and had a child on the way. As soon as I walked into that room I reverted back to my youth. We started talking and during the table read it felt like no time had passed at all. It was very surreal.

MG: Was there any particular highlights for you from filming?
TIN: Each film has been subsequently more fun to make. I think each time we know each other a little more and we have history together. The first film we were kids and I was just happy to have a job. The second film was a giant party, and the third film was just a big celebration. This film being 10 years later and also the first one to be shot on location was just nuts! All the other films were shot in Los Angeles so at the end of the day we would all just go home. When you are on location you are away from your friends and family. We spent a lot of time just hanging out.

MG: Can you tell us about how your character Kevin has been up to?
TIN: I had never really considered a reunion. Jon and Hayden I think chose wisely for Kevin. He is doing what we would expect him to be doing. He has gotten married and moved on from Vickie. He has kept in touch with everybody and is working as an architect. Kevin is also a good cook and there is a line in the film about him being Jim’s favorite house wife. Kevin acts as the ring leader to bring everyone back together again.

MG: What does this film bring new to the table?
TIN: I think what it brings new is also what it brings old. Jon and Hayden are really big fans of the original film and the franchise. They really sought out to capture the heart of the first movie. When I first saw the film I thought they achieved that and so much more. I kind of consider “American Reunion” to be the perfect sequel to the first movie.

MG: Can you tell us about your song on the soundtrack?
TIN: I have tried to pitch songs to be on all of the “American Pie” films. This time I recorded a song that I knew was going to be on the soundtrack already and pitched the idea to Jon and Hayden. I ended up playing the wrap party for the film which was something I had never done before. After hearing me they asked to include one of my songs on the album. They didn’t use the cover I did of “Laid” as they chose to go with the original James version. They ended up going with an original song of mine that is off my new album titled “My Generation”.

MG: Can you tell us about the “American Reunion” college tour?
TIN: During the month of February I traveled around to 20 different colleges playing concerts and promoting the movie. I wanted to make sure that the next generation was aware of the film so I came up with this idea to spread the word.

MG: What other projects do you have planned?
TIN: My new album will be coming out so I plan to be out supporting that. As far as films “The Chicago 8” where I play Abbie Hoffman should be coming out hopefully later this year. I also have a few other projects I am working on. I am always keeping busy.

David Brooks is the director of the new horror/thriller “ATM”. The film is also David’s feature directorial debut. Media Mikes had a chance to chat with David about the film and what he has planned next.

MS: You’ve done a couple of short films but “ATM” is your first feature. How did you get involved with the project?
DB: I’m good friends with Peter Safran, who co-produced “Buried,” which was (writer) Chris Sparling’s other feature. He had seen the short I had done coming out of NYU called “Gone.” He really liked it. He was working on the post-production of “Buried.” I read the (“ATM”) script and really just started badgering him. I then started working on a draft of the script with Chris…that was the gestation of it.

MS: “ATM” takes place pretty much AT an ATM. How were you able to build and sustain the suspense in what is pretty much a one set film?
DB: It’s certainly a challenge for sure. But I think that was one of the things that brought me to the project…to have to figure out how to do that. For me it was about getting the right amount of balance between the perspectives. Essentially we have three characters inside a vestibule and a man outside. So a lot of the tension comes from playing between the perspectives. Them inside. He outside. Then within those I try to play with who is seeing what at what moment. At times you may think you’re looking through the man’s purview from outside and then he steps through the frame. It’s just a matter of continually finding ways to keep the audience unsettled. That was the goal and we do that with the shifting perspectives.

MS: You’re working with a pretty young cast. How were they to work with?
DB: Really, really fantastic. I was really lucky to cast all three of them. It was really great for me as a first time feature director to be working with such talents. They were all very special…they all brought something unique to their characters. We all decided that we would work hard and they answered the challenge.

MS: You edited commercials as well as most of your earlier film work. Editing seems to be, from Robert Wise to Martin Scorsese, an almost perfect segue into directing. Did that experience help you when you set up your shots and planned on where to put the camera?
DB: It was a natural progression. Working on a low budget film, especially one as intimate as this one, it was a great opportunity for me to bring my comfort in the editing room to the table. That definitely was a big part of it.

MS: The film is currently available on Video on Demand and opens on April 6th. What is the release schedule like? Are you opening wide or just hoping to start small and build on word of mouth?
DB: We’re going to start limited and hopefully grow from there. We’re getting great response on the VOD. People are getting a chance to see the film. I believe we’re starting out in six cities, expanding to six more the following week and hopefully growing from there. I think for a small movie that people are able to see it on VOD. But I want people to get that big screen theatre experience…I hope they decide to see it in the cinema as soon as possible!

MS: Do you have your next project lined up?
DB: That’s a good question (laughs). I’m working on a few things but for the most part really I’m just reading scripts and trying to find my next thing. The short answer is I’m not sure but hopefully I’ll know soon enough.

Brian Krause is known best for his role in the TV series “Charmed”. He also recently starring in the Roger Corman produced creature feature “Camel Spiders”. Media Mikes had a chance to chat with Brian about the film and what we had planned next.

Mike Gencarelli: How did you get involved with “Camel Spiders”?
Brian Krause: I am friends with Matt Borlenghi, who was already cast in the film. He told me the project was going forward and they were looking for a guy for this role. They threw my name in a hat and I was fortunate enough to be picked up. Jim Wynorski thought I was decent enough [laughs].

MG: With the film being presented by Roger Corman did you have the chance to meet him?
BK: Unfortunately, No I did not. We were out in the middle of nowhere during shooting.

MG: Can you tell us about the production of the film?
BK: We shot non-stop for 12 days. Everything was fast and furious. We tried to shoot as much as we could in a short amount of time. We had a minimal crew so everyone had to be ready. It was very windy and cold in the high desert. It was tough.

MG: What did you like most about working on this type of “creature feature” film?
BK: It’s fun! Everything is done with a wink and it’s not super serious. All the actors are having fun with each other. It was great seeing a guy like Jim Wynorski get things done. Jim and Roger have a working formula that is just impressive. It’s an honor to be a part of that.

MG: Do you have any specific highlights from the production?
BK: I became good friends with Kurt Yaeger who plays Joe in the film. He is an incredible guy that is a former BMX X-Games star. Kurt is just killing it! To see his motivation and how he has become an actor is impressive. It was a great experience.

MG: Can you tell us about your return role in “TBK: The Toolbox Murders 2”
BK: I have worked with Dean Jones a couple times now. He penned the script and directed the film. He has made a different version of the film that is like a prequel. I know he has finished the film but it is tied up in editing.

Tell us about your upcoming online series “The Unknown”?
I just finished that the other day. It is being put out by Crackle. This will be a direct, original content television show and is being produced by Sony. It is in the vein of “Twilight Zone”. I play one of the main characters in the first 6 episodes, which were directed by Martha Coolidge. These episodes have a high production value and I think the same audience will love to check these out on Crackle.com. The stories are so good that they could make their way on to network television.

MG: Any other projects you can tell us about?
BK:I just did a film called “Gabe the Cupid Dog” which is an ABC type family film. I also am working on a couple of my own projects and trying to raise funding for those.

MG: Will those include you directing?
BK: Yes. I directed the teaser which is being used to help raise funds. If I can keep myself on as director once all the funds are raised that will be great. If I have to bring someone else in that would help us raise the money I would definitely relinquish that spot.

Paul Bunnell is the writer and director of the new film “The Ghastly Love of Johnny X”. The film is tribute to the 50’s B&W sci-fi genre. It recently premiered at the Cinequest Film Festival. Media Mikes had a chance to chat with Paul about his film and it’s road to the big screen.

Mike Gencarelli: Tell us about the origin behind “The Ghastly Love of Johnny X”.
Paul Bunnell: “Johnny X” came about after a few failed attempts to get other projects off the ground. Time had been ticking away and I felt too much of it had been wasted since the completion of my previous film, “That Little Monster”. I wanted to make a movie that would be completely original and fun — a movie with all the things I love: drive-in theaters, diners, movie palaces. It was kind of like my life all rolled into one movie. It’s who I am.

MG: How did you manage to pay homage to the 50’s B&W sci-fi genre without spoofing it entirely?
PB: By simply being sincere and true to the things that I love and what the characters in the movie love. It’s their world. They (the characters) aren’t making fun of the things in their universe. I had the actors play every line of dialogue with the utmost sincerity. That’s the key. Believability.

MG: How were the songs in the film created and were they difficult to shoot?
PB: The songs began as an afterthought to the story. I wasn’t always happy with parts of the script. I felt it either needed to be trimmed or rewritten. I decided to try out one song, which Scott Martin wrote. I loved it so much that I started combing through the script to find other places to switch out dialogue with a musical telling of the story. This became the rule: the songs had to move the story forward or they would not be in the film. Period. The only time where a song does not move the story forward is when Mickey O’Flynn (Creed Bratton) sings, but he is performing the song in concert. The songs in Johnny X were not any more difficult to shoot than the rest of the movie. One thing was certain, the crew seemed to be having fun whenever we had a song to shoot. So if anything, they were a breeze.

MG: How did you get Will Keenan, Kevin McCarthy and Reggie Bannister involved?
PB: Will Keenan was suggested to me by filmmaker Ramzi Abed. I saw Will’s reel on YouTube and decided to get in touch with him for an interview. I was not familiar with his work prior to meeting him but I brushed up before we met and screened a few of his “classics” like “Tromeo and Juliet”. He was an interesting fellow and had the exact look I wanted for the role, so I gave him the job. Kevin McCarthy was a guest at Cinecon, a classic film festival I attend every year with my wife. I introduced myself to Kevin and told him about my new project. After several phone calls and meetings he finally decided to take a chance on Johnny X and said he would do it because he “didn’t want to disappoint my wife.” As for Reggie Bannister, he appeared in my 1994 film, “That Little Monster”. I wanted to continue the tradition and offered him the role of the dead rock star, Mickey O’Flynn (that Creed Bratton plays). But he didn’t want to do that. He really liked the King Clayton character, so I gave him that role and boy is he great!

MG: You wore a lot of hats in this film, what was the most difficult task?
PB: Wondering if I was ever going to find the money to finish the movie. Six years of wondering! The planets aligned and a very good friend stepped forward and gave me the money. “Miracle” is not a word I use lightly, but in this case I think it applies.

MG: What is the release schedule for this film?
PB: For now, The Ghastly Love of Johnny X is having its world premiere at the Cinequest Film Festival in San Jose, California on March 3rd, 2012. There are two other screenings at Cinequest on March 6th & 10th. For tickets go to: http://www.cinequest.org/event_view.php?eid=1623

MG: I am sure people would love a soundtrack released, any plans?
PB: As a matter of fact, yes! “Kritzerland” is releasing it on their independent label in a few months. Stay tuned for more news.

MG: What do you have planned next?
PB: A little sleep and then on to the next project! It’s kind of top secret at the moment but if you’re a fan of fantasy and Victor Hugo, I think you will enjoy it.

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Scott Shuffitt is one of the minds behind Lebowski Fest, which is a traveling tribute gathering to celebrate “The Big Lebowski”.  The fest has been going strong for over 10 years and is only growing and getting more popular.  Media Mikes had a chance to chat with Scott during their recent visit to Orlando, FL to chat about the fest and what else we can expect for 2012.

Mike Gencarelli: After going over 10 years what do you do to keep the Lebowski Fest fresh every city/every year?
Scott Shuffitt: There are new challenges in each city and we are still learning and growing so that helps to keep it fresh. Of course new achievers are still discovering the fest. I ask the crowd at the House of Blues Movie Party how many where at the fest for the first time and it seemed to me that at least 40% were first timers.

MG: Tell us how long it takes for you guys to setup an event like this?
SS: What’s kind of hard to say but basically I start working on a fest about eight months or longer before. A lot of it depends on if is a return to the city or new to us.

MG: What is the craziest thing that has happened at Lebowksi Fest over the years?
SS: Our first event outside of Louisville was in Vegas and everyone was super pumped about it. There was a guy wearing a rug as a costume, he cut a hole in it and put it over his head. After the fest he laid it out in the parking lot and a bunch of dudes piss on it.. Kinda gross, def crazy. We’ve seen plenty more, probably none as gross though.

MG: Tell us your favorite line in the film if you had to choose one?
SS: I like “Darker than a black steers tookus on a moonless prairie night” a lot but there are plenty of others. I kind of like how when the Dude muddles his words like in the back of The Big L’s limo.. What in God’s name are you talking about?

MG: Why do you think fans resonant with this movie for through it’s cult status?
SS: At its core it is a great comedy, all the actors really nail the characters, and it is great visually. Add that to the fact that its kind of anti-establishment and that it isn’t really a film that has wide appeal and you can’t stop quoting it, I think that is what makes it a cult film. Seemed to work on me at least.

MG: You have expanded this fandom from the fest to a book, what’s the next goal for you?
SS: Not really sure, we would like to take the fest to some new cities, including Canada and maybe even some European stops, but that kind of depends on the Dudes budget, you know.

MG: What can we expect from the Lebowski Fest for the rest of 2012?
SS: More party!

Elfar Adalsteins is the writer/director of the amazing short film “Sailcloth”, which stars John Hurt.  Elfar was able to tell an amazing story through this short without any dialogue.  Media Mikes had a chance to chat with Elfar to chat about the short and what he has planned next.

Mike Gencarelli: Tell us about the origin of the short “Sailcloth”?
Elfar Adalsteins: The idea presented itself couple of years after my grandfather passed away and revolved around the bedsheets transforming into the sail that allow the old man to go on a last great journey. I guess it you can say it’s my farewell vignette to him.

MG: How did John Hurt become on board?
EA: I simply sent his agent the script with a personalized note to John stating why I thought he would be perfect for the role. A week later his agent called and told me John wanted to meet to discuss the script. That was surprising and scary in equal measures but that soon passed after meeting him as I could feel we were on the same page. After talking things through John said “Elfar, let’s go make a film” and we did.

MG: The short is wordless, yet it says so much, tell us about that?
EA: There wasn’t any need. The Man wants to go unnoticed, to vanish without a trace. The only bump in his road is when he sees the young boy on the beach. But he swallows hard and keeps going. It’s one of my favourite scenes in the film, so wonderfully portrayed by John and my son.

MG: Tell us about the wonderful score in the short?
It was written by Richard Cottle, a close friend of mine who I had worked with on numerous occasions. He was on board from the offset and as soon as the rough cut was ready we began testing things out. I wanted an accordion, double bass and cello, which was our starting point. Richard plays dozens of instruments and played the piano on the soundtrack along with masterfully conducting the string section. He was pure joy to work with.

MG: Where you involved with the cinematography in the film?
EA: The relationship between the director and DP is probably the closest on set. I had story-boarded the script so Karl had a good idea of what we were aiming for. He has a great eye and offered up some interesting angles. Shooting is like everything else in filmmaking, it’s a collaborative exercise.

MG: How long did short take to complete from script to finished product?
EA: It was a good six months, mainly because there was a couple month delay before I got an editor. The editing process was quite arduous for such a short film, because the scenes on the ocean were hard to assemble. But after a few sleepless nights we eventually got there.

MG: Was the short a success during its festival tour?
EA: Rhode Island International Film Festival put us on the map by awarding us with the Grand Jury Prize for Best Short. That automatically qualified us for the Short Film Oscar where we progressed to the last ten, or the Oscar Shortlist. Unfortunately we didn’t make the final nominations, so no tuxedo this year. We also got a Cinematic Achievement Award at the Thessaloniki Short Film Festival, so I’m really pleased with how well the film has done.

MG: We have had inquires of where people can see “Sailcloth”, any plans of releasing?
EA: It will be distributed for TV to begin with, then released as a download on iTunes or similar in a year’s time. I’m happy to hear that people have been asking for it. Hopefully it will secure us a few downloads next year.

What do you have planned next? Any features?
I’m finalising my first feature script that I’m attached to direct, backed by a US based prodction company. It’s still early days so I don’t want to say to much… I’ve probably jinxed it already.

Nathan Baesel plays the lead character Leslie Vernon in the cult horror classic “Behind the Mask: The Rise of Leslie Vernon”.  Horror fans will hopefully get to see Nathan play the fantastic role about soon in the planned sequel.  Media Mikes had a chance to chat with Nathan about his iconic role in the film and its sequel plans.

Mike Gencarelli: How did you get involved with “Behind the Mask: The Rise of Leslie Vernon”?
Nathan Baesel: I got the script from my agent and, given that I hadn’t had that much professional acting work at the time, attending the audition was a foregone conclusion. I was very excited however when I began reading the script because everything clicked for me and I was able to envision the whole world very clearly. Scripts usually have at least a few moments where you’re left thinking, “I’ll have to fix this because it just doesn’t work”. The script for BTM didn’t have any of those moments! In addition, I’ve always enjoyed playing characters who are completely self-revolving, where “it’s all about me”. Those characters are a huge source of fun playing but also poking fun at. Like the way Jack Black or Will Ferrel play ego maniacal asses. Leslie thinks enough of what he’s doing that he has a camera crew following him around documenting his every move for Pete’s sake! I saw a lot of potential humor in making Leslie so serious that he’d be the last guy to see how absurd he is.

MG: Tell us about working with Scott Glosserman?
NB: I can’t say enough good about Scott. From the audition till now he’s been a laugh waiting to happen and I always felt as though I could do no wrong because it seemed as though the laughs kept coming. As long as he was pleased the path seemed clear. And he’s really easy to please! Scott is also the most industrious person I know. He’s never at rest, always with an eye on the next task at hand. That’s a priceless commodity when you’re the producer, director, co-writer and even actor (though his scenes didn’t make the final cut unfortunately). Scott was endlessly cheerleading us all on and reinvigorating the cast and crew whenever energy or enthusiasm dipped. He put so much of himself into making the film that by the time the shoot had completed he was sick and exhausted. You know how mushy your brain gets when you’ve stayed awake for 2 days? I don’t think he got more than 4 hours sleep a day during the 5 or so weeks we were shooting. Scott completed the shoot as a laughing, smiling, mushy-headed mess!

MG: Leslie Vernon has now become a horror icon himself, tell us about how it feel to play that icon?
NB: It’s incomprehensible to me that people have responded as well as they have. I was just running around, having fun, playing hard and thrilled to be payed for it. Leslie was the most fun I’ve had as an actor, the closest I’ve come to realizing the value of actors in our culture and the most fully lived-in character I’ve had the opportunity to play. I don’t think I’ll ever have another opportunity like it so in a real way I feel like I’ve done what I set out to do in my career and can leave Leslie behind as my legacy.

MG: How was it working with horror legends Robert Englund and the late Zelda Rubinstein?
NB: Both Robert and Zelda were so gracious both to me and to the movie. They lent not just their talent but their legends built with their blood, sweat and tears. People may sometimes have wanted them in their films because of the associations they brought with them but in our case we NEEDED those legendary associations to make our film work in important academic ways. Yes, they gave great performances but their presence alone makes it possible for some BTM fans to pause the film mid-view and say, “Holy shit, my mind has just been blown!”

MG: Tell us about the film’s prequel/sequel “Before The Mask: The Return of Leslie Vernon”?
NB: I don’t know how much about B4TM I can say but I’ll tell you that what I’m looking forward to most, besides getting the band back together, is exploring all of the ways that Leslie’s path and mine continue to intersect. He’s chosen a rough road to go down but it’s one of integrity. There’s a million reasons why he didn’t hit the big time and there’s a million ways that he could have sold out to try to make it happen anyway. But he stayed true to himself and his friends and he’s going to take another stab at making a legend the old school way. That’s about as close to an autobiography as a film is going to get for me.

MG: What can fans do to assure that this film get’s made?
NB: Look, even if you’re not a hard-core fan and just enjoyed BTM and would enjoy watching another film like it you can make it happen for less than the price of a ticket to the theater. We’re taking pledges on our Before The Mask Facebook page and in exchange for a commitment of whatever dollar amount you choose you’ll get in return a poster, a DVD of the new film once it’s released, a Blu-ray, the opportunity to get killed off in a scene of B4TM. If everyone who has “liked” the page committed $10 we’d be able to start shooting within a couple months! Behind The Mask has had the life that it’s had only because of the love, support and enthusiasm of the fans. This sequel fundraising is continuing with that dynamic. Check out the Facebook page. Surf around. There’s a number of fun things to explore and a ton of information about how people can help B4TM get made. And you can even come away with some pretty sweet swag.