MouseTrap Films Snaps up Four Pix for the Launch of Film Festival Flix & Redefines Indie Film Distribution

First appearing on the scene at the 2011 Toronto International Film Festival, newly launched MouseTrap Films has been rapidly snapping up films for distribution via its FILM FESTIVAL FLIX monthly theatrical series and ancillaries. Acquisitions include “Face to Face,” “The Calling,” “The Holy Land of Tyrol,” and “Rancid.” MouseTrap President / CEO, Benjamin Oberman, has teamed up with VP of Theatrical Distribution, Jill Gray Savarese, to roll out the films theatrically.

Los Angeles, CA (PRWEB) February 29, 2012
First appearing on the scene at the 2011 Toronto International Film Festival, newly launched MouseTrap Films has been rapidly snapping up films for distribution via its FILM FESTIVAL FLIX monthly theatrical series and ancillaries. MouseTrap President / CEO, Benjamin Oberman, has teamed up with VP of Theatrical Distribution, Jill Gray Savarese, to roll out the films theatrically.

Early acquisitions include Michael Rymer’s (QUEEN OF THE DAMNED, BATTLESTAR GALLACTICA) “Face to Face” which won the Panavision Spirit Award at the Santa Barbara International Film Festival, and Best Director, Best Actor, and Best Actress at the Newport Beach International Film Festival. The film, which is based upon a play by Australian Playwright, David Williamson, is frequently compared to “12 Angry Men.” Awarded Best of Fest at the Edinburgh International Film Festival, Jan Dunn’s “The Calling” stars Oscar®-nominated actress Brenda Blethyn and was the last film of Oscar®-nominee Susannah York. “The Holy Land of Tyrol” (aka “Mountain Blood”) is a visually stunning German foreign language film by director, Philipp J. Pamer. Alastair Orr’s “Rancid” is a highly-anticipated sci/fi horror film. An additional 10 films are in negotiations and expected to close soon.

Oberman, who founded MouseTrap says, “MouseTrap Films was started to find the film festival gems that regularly fall through the cracks. The FILM FESTIVAL FLIX platform was created as a solution to the traditional challenge of marketing and branding a great film that lacks star power or other elements associated with a traditional campaign. We present great films and the film festival experience, monthly in your community, and make the films available to independent film enthusiasts on multiple platforms.”

The FILM FESTIVAL FLIX series will host actors and filmmakers for Q&A in 25 theaters nationwide, while simulcasting the events in up to 200 more. In an unprecedented move, filmmakers and actors may earn the right to screen their 5- minute short films theatrically before the features. Rewarding one local artist who coordinates the event-screening in their community, MouseTrap will screen their short film in that venue. The winner of the monthly online nationwide contest will be screened in all FFF theaters and distributed online at http://www.FilmFestivalFlix.com.

According to Savarese, who will establish and head-up the theatrical division, “My belief is that we, as distributors, can strengthen the reach of independent films by giving merit-based opportunities to new filmmakers and actors and by supporting the small exhibitors. To that end, we will strive to make our films available to even the smallest venues (including those without digital conversion) and offer them cross-promotional and grassroots marketing support.”

Branching out into film distribution is a natural progression for Oberman after 7 years of producing films, documentaries, and commercials. Savarese, who was a child performer and had a long career as an actor and producer on stage and film is also at home here. A curiosity that some don’t know, however, is the “consultant” parallel between them. Oberman, a former professional pairs figure skater who performed in the 2002 Olympic Games Opening & Closing Ceremonies, was a Figure Skating Consultant on Paramount / Dreamworks’ “Blades of Glory.” Savarese, a political interpreter who interpreted for President Bill Clinton and Prime Minister Tony Blair, was the Sign Language Consultant on the Fox Searchlight film, “The East.”

About Mousetrap Films:
MouseTrap Films offers an alternative releasing strategy, with FILM FESTIVAL FLIX functioning as a powerful new platform to launch and distribute Independent films. MouseTrap, via FILM FESTIVAL FLIX, plans to release 3 films a month in theaters across the US with day and date VOD/DVD. The films will be available for DVD Purchase, Download to Own, and Streaming Rental through the soon-to-be launched website http://www.FilmFestivalFlix.com and through additional partnerships and platforms.

CBS Films Acquires TIFF Crowd Pleaser “Salmon Fishing in the Yemen”

CBS FILMS ACQUIRES TIFF CROWD PLEASER SALMON FISHING IN THE YEMEN

TORONTO – September 12, 2011 – CBS Films announced today that they have acquired the U.S. distribution rights to SALMON FISHING IN THE YEMEN which made its world premiere at the 2011 Toronto International Film Festival this week.  The announcement was made jointly today by CBS Films’ COO Wolfgang Hammer and EVP of Acquisitions Scott Shooman.

Directed by Oscar©-nominee Lasse Hallström (Chocolat), SALMON FISHING IN THE YEMEN is an extraordinary, beguiling tale of fly-fishing and political spinning, of unexpected heroism and late-blooming love and of an attempt toprove the impossible, possible. Ewan McGregor (Beginners) and Emily Blunt (The Adjustment Bureau) star in the feature film alongside Oscar©-nominee Kristen ScottThomas (I’ve Loved You So Long).

Based on Paul Torday’s acclaimed novel, SALMON FISHING IN THE YEMEN is written by Oscar©-winner Simon Beaufoy (Slumdog Millionaire) and produced by Paul Webster (The Motorcycle Diaries) and executive produced by Jamie Laurenson, Stephen Garrett, Paula Jalfon, Zygi Kamasa and Guy Avshalom.

“I am so happy to have the support of the team at CBS Films for the distribution of our labor of love, ‘Salmon Fishing in the Yemen.’ I had the best of times working on it with producer Paul Webster, writer Simon Beaufoy and the cast, Emily Blunt, Ewan McGregor, Amr Waked and Kristin Scott Thomas,” said Hallström.

“Lasse Hallström has done it again with this beautiful, heartwarming, and elegant picture. The performances are amazing from top to bottom,” commented Shooman who continued, “We are honored to have the opportunity to bring this extraordinary film to American audiences.”

UTAIndependent Film Group set up the film’s financing and brokered the deal with CBS Films.

About CBS Films

CBS Films is a division of CBS Corporation.  CBS Films will release four to six movies a year, spanning all genres.  For more information, log on to www.cbsfilms.com.

Open Road Films will be releasing their new film “Killer Elite”

Open Road Films will be releasing their new film KILLER ELITE on September 23, 2011. Based on the book “The Feather Men” by Sir Ranulph Fiennes.

About the film:
Based on a true story, Killer Elite races across the globe from Australia to Paris, London and the Middle East in the action-packed account of an ex-special ops agent (Jason Statham) who is lured out of retirement to rescue his mentor (Robert De Niro). To make the rescue, he must complete a near-impossible mission of killing three tough-as-nails assassins with a cunning leader (Clive Owen).

 

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TCM’s 10 Favorite Low-Budget Science Fiction Films

Who Needs a Big-Budget Summer Blockbuster?
TCM Finds Just as Much Fun with 10 Favorite Low-Budget Science Fiction Films

Invasion of the Body Snatchers (1956), The Blob (1958),
Plan 9 from Outer Space (1959) and The Terminator (1984) Included on TCM’s List

As summer blockbusters invade theaters across the country and fans descend upon San Diego for Comic-Con 2011, Turner Classic Movies (TCM) has unveiled a list of movies that show how popular and critical success doesn’t require multi-million-dollar budgets. TCM’s 10 Favorite Low-Budget Science Fiction Films is a celebration of what can happen when minimal budgets spark maximum imagination.

TCM’s list spans from the 1953 monster-on-the-loose thriller The Beast from 20,000 Fathoms, featuring Ray Harryhausen’s memorable stop-motion model animation effects, to 2001’s offbeat The American Astronaut, a black-and-white western/sci-fi hybrid. The list includes such acclaimed masterpieces as Invaders from Mars (1953) and Invasion of the Body Snatchers (1956), cult classics like The Blob (1958) and I Married a Monster from Outer Space (1958) and independent hits like The Brother from Another Planet (1984) and The Terminator (1984), not to mention the film delightfully hailed as the worst ever made, Plan 9 from Outer Space (1959).

TCM’s Favorite Low-Budget Science Fiction Movies is the network’s latest list highlighting the history of the movie industry. TCM’s previous lists have included 10 Great Overlooked Performances, 10 Favorite Baseball Films, 10 Great Comedy Lines and 15 Influential Soundtracks. Here, in chronological order, are the 10 films chosen as TCM’s Favorite Low-Budget Science Fiction Movies:

The Beast from 20,000 Fathoms (1953) – Directed by Eugene Lourie
Warner Bros. brought the monster movie into the nuclear age when it bought this low-budget film and turned it into a box-office bonanza. It led the way for a parade of revived dinosaurs and mutated creatures despoiling cities of the world. The story of a prehistoric carnivore awakened from its frozen sleep by an A-bomb test at the North Pole was inspired by the successful reissue of King Kong (1933) in 1952. Producers Jack Dietz and Hal E. Chester thought that by combining nuclear paranoia and giant critters they could create a new kind of monster movie. They enlisted special effects genius Ray Harryhausen – who apprenticed with Kong’s creator, Willis O’Brien – to undertake his first solo job animating the creature. When he realized how low the budget was, Harryhausen dipped into his own pocket. The script set the basic plot structure for most future giant monster movies, moving from isolated incidents in remote locations to a full-scale attack on a major city. Warner Bros. bought the finished film for $450,000, about twice the original cost, and scored a $5 million gross. Monsters were now big business. Warner Bros. followed up with the giant ant movie Them! (1954), though without Harryhausen the effects were far from convincing. Before long, almost every studio was making its own creature features. The real impact was felt in Japan, where The Beast from 20,000 Fathoms inspired Godzilla (1954) and the whole daikaiju (giant monster) genre.

Invaders from Mars (1953) – Directed by William Cameron Menzies
Three years before Invasion of the Body Snatchers warned us about pod people from outer space, this 1953 feature poured on the paranoia with the tale of a child (Jimmy Hunt) who sees an alien ship land behind his house, then finds his parents turned into emotionless robots. Director-production designer William Cameron Menzies may not have had much money to work with (an estimated $290,000), but he put it to good use with surrealistic sets and a score dominated by pulsating choir music that upped the eeriness. The man who created the look of such classics as Gone With the Wind (1939) and The Pride of the Yankees (1942) was a master at visual storytelling. In this case, he used deep sets with unusually high walls to create a child’s perspective of a threatening world as Hunt discovers that the people he depends on are joining the enemy. Hunt, nearing the end of his days as a child star, gives the role the perfect sense of wounded innocence. Tobe Hooper remade Invaders from Mars (1986) to somewhat less effect, with Hunt coming out of retirement to play the local police chief and give the film its high point. When he arrives at the hill where the Martian ship has landed and says, “Gee, I haven’t been here since I was a kid,” the original’s many fans got an echo of the dreamlike paranoia that had delighted them for decades.

Invasion of the Body Snatchers (1956) – Directed by Don Siegel
When Kevin McCarthy shouted, “You’re next!” into the camera near the end of this classic sleeper, audiences around the world jumped, shaking at the prospect of being replaced by emotionless beings. Invasion of the Body Snatchers was shot for less than half a million dollars, and only $15,000 went to special effects, proving a small budget can be overcome by a big dose of imagination and a great story. Small-town doctor McCarthy returns from a medical convention to discover an epidemic of paranoia afflicting the town of Santa Mira. Suddenly, many feel their friends, neighbors and relations – the people they’ve known all their lives – are “not themselves.” As the sick miraculously cure themselves, he realizes everyone was right to be afraid; the town’s residents are being replaced by humanoid vegetables from outer space. Critics have argued over what the invaders symbolize. Is the film a metaphor for conformism, McCarthyism or communism? But the film’s makers didn’t have an agenda; they just wanted to scare the audience, and that’s exactly what they did. Invasion of the Body Snatchers earned five times its investment domestically and, even with a studio-imposed “frame” at the beginning and end that allows for a happy ending, it continues to shock audiences. It has inspired three official remakes, numerous parodies and rip-offs and even a Radiohead song, “Bodysnatchers.” It also helped resurrect producer Walter Wanger’s career after a prison sentence for a crime of passion and is often hailed as director Don Siegel’s best film. It added the phrase “pod people” to the vocabulary to describe those devoid of emotion and individuality.

The Blob (1958) – Directed by Irvin S. Yeaworth
Who could resist the idea of people and even entire buildings being consumed by a mass of red gelatin from outer space? Not thousands of audience members, mostly at drive-ins, who made this film a hit and helped turn first-time leading man Steve McQueen into a star. Made by a Pennsylvania-based company specializing in educational and religious films, The Blob was created by people who didn’t know what not to do. As a result, they produced a winning combination of science fiction and juvenile delinquent drama in which the troubled teens of a small town fight to convince the authorities they’re under siege by the title monster. The writers gave the characters believable motivations, and even on a miniscule budget, director Irvin S. Yeaworth shot in widescreen and color. The producers claimed to have made The Blob for $240,000 (Yeaworth later admitted the budget was half that) and turned a profit when Paramount picked up distribution rights for $300,000. The studio originally intended to release it as the bottom half of a double bill with I Married a Monster from Outer Space, but when previews indicated the independent film was generating more interest, they switched the pictures’ positions. Now a movie legend, The Blob has inspired a sequel, two remakes (the next due in 2012) and Blobfest, a three-day annual celebration at the shooting location in Phoenixville, Pa., featuring original props and a re-creation of the scene in which moviegoers flee from a movie theater after the title creature eats the projectionist.

I Married a Monster from Outer Space (1958) – Directed by Gene Fowler Jr.
Though this sci-fi shocker’s plot matches the confessional tone of its title (inspired by the director’s 1957 I Was a Teenage Werewolf), the quality is far greater than that of a tawdry confessional. In fact, this story of a newlywed who realizes her husband and another man have been replaced by aliens hoping to breed with Earth women can withstand comparison to the more acclaimed Invasion of the Body Snatchers (1956). Writer Louis Vittes approached the project with a good deal of imagination, creating aliens who drop their disguises when startled (a creepy effect), can’t drink alcohol, die if given oxygen and repel dogs (an idea later writers would borrow). Gene Fowler Jr. shot it as though it were a film noir, with an impressive use of shadows and disturbing camera angles. Released on the bottom half of a double bill with The Blob, the $125,000 feature wasn’t taken very seriously by reviewers. But television screenings have brought it a devoted audience, while later critics have reappraised the film as an anti-Communist tract (the masquerading aliens lack emotion until they fall for their wives) or an early feminist dissection of marriage and gender roles.

Plan 9 from Outer Space (1959) – Directed by Ed Wood Jr.
With cardboard tombstones, wooden performances and a character who changes size and shape from shot to shot, this would be a bad film in anybody’s hands. But only Ed Wood Jr. could have made it so bad that it turned out to be loads of fun. Although widely hailed as the worst director in movie history, Wood is too entertainingly awful to really deserve the title – and managed to sneak too many ideas into his films. This film, often described as the world’s worst, is actually more watchable than some big-budget Hollywood epics. When friend and frequent co-star Bela Lugosi died while shooting another project, Wood put the footage to use by concocting this tale of aliens using reanimated corpses to alert humanity to their disarmament message. He fleshed out the late star’s scenes by putting a cape on his wife’s chiropractor, even though the man was at least a foot taller, and told him to keep his face covered. The result was a movie too cheerfully inept for anyone to hate. Long before it was hailed as the worst movie ever made, or immortalized in Tim Burton’s 1994 biopic Ed Wood, Plan 9 from Outer Space had developed a devoted following through frequent television screenings. It also triggered the re-discovery of other Wood classics like Glen or Glenda (1953), his semi-autobiographical tale of a transvestite in love. With two remakes and four stage versions in various states of development, it continues to be one of the most popular sci-fi films ever made, all for a budget of just $60,000.

La Jetée (1962) – Directed by Chris Marker
When you have vision you can work with little money, or in the case of this 28-minute film, little movement. While making another picture (1966’s Le jolie mai) pioneering documentary filmmaker Chris Marker composed this black-and-white short almost entirely from still images played against voiceover narration. Rather than calling it a film, he called it a “photo-roman” (literally “picture-novel”), alluding to a popular European genre of comic book made from photos. La Jetée tells of a man from a post-apocalyptic world who uses a traumatic memory of seeing a man killed at Orly Airport to travel to the past in search of salvation for the future. He finds it, along with love and the key to his memory. Throughout, Marker plays with concepts of time, making the audience watch a movie that seems not to move (except for one shot of the leading lady waking up after a night of romance). He even plays with that convention when the leads visit a natural history museum, where the use of still photos makes the stuffed creatures seem as animated as the living people. La Jetée was inspired by Alfred Hitchcock’s Vertigo (1958), and Marker even copies a scene from that film by having the leading man point out his birth date in the cross section of an ancient tree trunk. It has, in turn, inspired other films, most notably Terry Gilliam’s 12 Monkeys (1995).

The Brother from Another Planet (1984) – Directed by John Sayles
Writer-director John Sayles has always made the most of low-budget limitations, nowhere moreso than in this fascinating mash-up of blaxploitation, science fiction, western and social satire. Joe Morton plays a mute, runaway alien who can pass for human as long as nobody notices that his feet have three over-sized toes. Because of his skin color, he ends up in Harlem, where he builds a new life, using his telekinetic powers to repair video games and his silence to become a sounding board to the city’s many troubled souls. Although Morton does not understand prejudice based on skin color, the bounty hunters pursuing him refer to him as “three toes,” suggesting that bigotry is universal. Sayles drew part of his $350,000 budget from a MacArthur Foundation “genius grant,” and though the low budget sometimes shows in the special effects, the freedom Sayles enjoyed by refusing to sign with a major studio led to an innovative movie that overcomes all its limitations imaginatively. The result is a loosely plotted film that makes trenchant comments on race in America while also capturing the essence of immigrant spirit that built a nation. With its catchy title and low budget, The Brother from Another Planet had little trouble turning a modest profit. It also attracted champions like Roger Ebert, who compared Morton favorably to Buster Keaton, and a devoted fan following that has continued with Sayles through such films as Eight Men Out (1988) and Lone Star (1996).

The Terminator (1984) – Directed by James Cameron
When Arnold Schwarzenegger uttered one of his most famous lines, “I’ll be back,” in this action classic, nobody could have realized what a prophet he was. Not only would he return for two more sequels that transformed him from super-villain to superhero, but The Terminator made him a true superstar – with just 16 lines. Writer-director James Cameron and Schwarzenegger created the perfect combination of actor, role and story. Inspired by a nightmare in which a metal cyborg skeleton emerged from a fiery explosion, Cameron fashioned the story about a robot who travels from the future to destroy the mother of his greatest enemy. Originally Cameron interviewed Schwarzenegger to play the future rebel leader who follows the cyborg back in time to stop him. Intrigued by the former bodybuilder’s physical presence, Cameron reshaped his concept, eventually creating a dazzling, low-budget epic with Schwarzenegger as the cyborg. Distributor Orion Pictures didn’t seem to have high hopes for the picture; they didn’t even want to hold a press screening until the actors’ agents insisted. To their surprise, the picture won respectable reviews and went on to earn more than $38 million on a meager budget of just $6.5 million. Thanks to creative merchandizing tie-ins, Cameron’s persuasive direction and Schwarzenegger’s compelling presence, The Terminator became a cult favorite, inspiring three sequels (with a fourth scheduled for 2014), a TV series and numerous video games.

The American Astronaut (2001) – Directed by Cory McAbee
This cheerfully demented film doesn’t just mix genres; it explodes them. It’s sci-fi with still paintings as special effects, a Western with no shoot-outs and a musical in which the leading man dances his big number opposite another man. Inspired by Dennis Potter’s musicals (Pennies From Heaven, 1981), producer-director-writer-star Cory McAbee combined carefully integrated musical numbers (by his band, The Billy Nayer Show) with a decidedly iconoclastic plot. In McAbee’s Wild West vision of the universe, the sexes are segregated by planet, with the all-male workers on Jupiter worshiping The Boy Who Actually Saw a Woman’s Breast and the all-female colony on Venus in need of someone to replace their deceased consort. McAbee’s title character tries to get rich with a series of trades between worlds, all the while followed by a mad scientist out to kill him for no clear reason. But then, little in this film makes sense or even tries to. Shot in black and white for between $1 million and $2 million, the picture features Southern belle dresses made from shower curtains, a spaceship only shown in still shots and interiors built in an abandoned dance hall in Queens. It’s all compulsively watchable thanks to the off-the-cuff acting, surrealistic dialogue and ironic score. With a cast that includes former rockers Annie Golden of The Shirts and James Ransone of Early Man, The American Astronaut captures the spirit of gritty, inexpensive films punk rockers produced in the ‘80s, before Sundance made the indie scene respectable.

 

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Interview with Ashley Eckstein

Ashley Eckstein is best known for voicing the role of Ahsoka Tano in the TV series “Star Wars: The Clone Wars”.  The show is hitting warp speed and it enters its fourth season this Fall.  Ashley is also the celebrity host, along with James Arnold Taylor, this year at Walt Disney World’s “Star Wars” Weekend.  Movie Mikes had a chance to chat about “Star Wars: The Clone Wars” with Ashley as well as her hosting for “Star Wars” Weekend and even her own clothing line “Her Universe” which is also inspired by “Star Wars”.

Check back this weekend for an exclusive giveaway of an autographed shirt from Ashley’s ‘Her Universe’ clothing line

Mike Gencarelli: So lets start at the beginning, any idea you will be where you are today when you took the role of Ahsoka Tano in “Star Wars: The Clone Wars”?
Ashley Eckstein: [laughs] No, actually I had no idea. I would have called myself more of a casual “Star Wars” fan before I got the “Clone Wars” job. I watched the movies when I was a little kid but it didn’t really go beyond that. I did understand the power of “Star Wars”. I thought knew just how iconic it was. But when I once I was cast on the show. I guess I didn’t quite comprehend JUST how powerful it was and how popular it was worldwide. So, obviously after working on the show and working with Dave Filoni you just become just a hardcore fan. We really have to understand “Star Wars” to be able to do the show. I think in order really to perform our roles to the best we can. Dave really helps us with that. Dave is such a huge “Star Wars” fan. He really knows it all and we get to learn from him. We have been working on the show now close to six year and have really become much more knowledgeable and passionate fans due to that. So I definitely never imagined the position I would be in today and how “Star Wars” has also affected my life and what it means to me. It really has changed my life.

MG: What do you like most about playing Ahsoka ?
AE: I think my favorite part of playing Ahsoka is how powerful of a character she is and a role model for young girls. That has really been a dream come true for me. I worked a lot of the Disney Channel and Nickelodeon before “Clone Wars”, mostly on-camera work. I really fell in love with children and family programming. First hand I saw the impact you can have on a child’s life by doing a children/family show. So, I really tried to gear my career in that direction. “The Clone Wars” came along and I wasn’t even trying for it. Literally, my agent got a call and I was asked to come in and read. So to get the role of Ahsoka who is such a strong and powerful character for young girls to look up to to and to even be a part of it is just such an honor for me. I am not one of these actresses that say I don’t want to be a role model or I never asked for this. I do feel that a child’s role model should be somebody that is in their life on a daily basis. But I also understand that by default as someone in the public eye you are going to be a role model whether you life it or not. So it is something I take very seriously. I want to be a positive influence and through Ahsoka I can do that. I am very honored to be given the opportunity to do that.

MG: Having this character really opened up the “Star Wars” franchise to a more female audience, can you reflect on that for us?
AE: When I was growing up, I was a bit of a tom-boy. The only girl on the baseball team. I didn’t want to wear a dress. Had my hat on backwards [laughs]. Having a character like Ahsoka, I wish I would have had Ahsoka to look up to. Not every girl wants to be a princess or wear a dress. Some girls want to carry a lightsaber and pretend to be a jedi. I think it is really cool to have her character. “The Clone Wars” has kind of become the watercooler show for kids on the playground. Whether you like “Star Wars” or not, it is the show that everyone talks about. Even the girls are starting to watch it just so they are in the know. Now when the kids play it on the playground, the girls have someone they can be. They do not have to pretend to be Anakin, Captain Rex or Obi-Wan. I have so many little girls coming up to be saying “Yeah I am Ahsoka and my brother is Anakin and we play “Clone Wars” all the time”. I think that is so cool that their is a character that the girls can be. Not even just Ahsoka, there is Asajj Ventress, Padmé Amidala, Sha’ak Ti and just so many powerful females in “The Clone Wars”.

MG: What has been your favorite part of hosting Star Wars Weekend in Walt Disney Resort this year?
AE: I think it is the ability to interact with the fans, especially the kids. “The Clone Wars” sort of introduced “Star Wars” to a new generation. It is funny because “Star Wars” is the “The Clone Wars” to many kids today. Many kids haven’t seen the other movies yet. They have only seen “The Clone Wars. To have that impact on a new generation of kids to me…I can’t even fantom it. To see some of the expressions from their faces and I get a chance to meet them. It has really been an honor [laughs], I really don’t have another word for it.

MG: Tell us about your show you are hosting “Behind the Force”?
AE: Of course, I think it is a fun show. “Behind the Force” takes you on a behind the scenes look at our job as voice over artists and recording the show. The first part of the show we have a special guest, in our upcoming last weekend we have Tom Kane, who is the voice of Yoda, the narrator of the show and many others from the show. So we introduce our audience to him and I ask him a couple of questions and then our audience get a chance to ask him some questions as well. Then we go into a live demonstration of us going into the studio recording an episode. Then we audition people from our audience to be an honorary cast member of “The Clone Wars”. The person that is chosen gets to come up on stage and do a scene live with us on stage. It is really exciting and puts the audience in the studio with us and get a chance to see what it is like.

MG: How many times have you rode the new “Star Tours” this month since its opening?
AE: That is a great question [laughing]. I think I have rode it eight or nine times…I think nine times by now. It is such an amazing ride. They did such a fantastic job on it and it is almost like a completely new ride. They revamped the entire thing. I also got to do a series of videos with Disney showing the behind the scenes look on the making of Star Tours. It just awesome. If you ride with me the chances are you will get Hoth [laughs], that is the one planet I keep getting over and over. I have only gotten Naboo twice and to me that is definitely my favorite. I even got picked as the secret spy one time, which was fun.

MG: Tell us about your “Star Wars” inspired clothing line, Her Universe?
AE: Thanks for asking about that. I created Her Universe and we launched about a year ago this June. It is the first “Star Wars” / sci-fi line JUST for women. We are only for the female fans. Close to half of all sci-fi and “Star Wars” fans are women. “Star Wars” is the story of hope and that transcends gender. I got the idea a little over three year ago. Actually when I first got cast for “Clone Wars”, I did a search for merchandise for women because I wanted to buy stuff. But I really came up empty handed. I was able to find one shirt and the rest was either on backorder or sold out. There was very little for women and NOTHING for little girls. It just didn’t make sense to me. I go to all the events and “Star Wars” weekends and there are women everywhere. I was thinking “Why are you giving us nothing to buy when 85% of the consumer market is women?” I have to give LucasFilm credit because they were the first company to give me a shot. They really want to recognize their female fans. They gave me the license and trusted me [laughs]. I have always been into fashion decision, so they trusted me to design clothes and accessories for the female fans. So I am really excited about that. Disney, again, I have to give them credit that they gave us the opportunity to sell it during “Star Wars” Weekends and we have been selling five different shirts in the merchandise tent, Jabba’s Hut. I have been doing signings there also every day. It has been great. One more thing, I have to thank SyFy because we just closed a deal with them and starting in July we are coming out with SyFy merchandise for the brand and also its properties. We are starting with “Battlestar Galactica” and “Warehouse 13”.

MG: What can we expect from season 4 in “Star Wars: The Clone Wars” this Fall?
AE: Sure, I can definitely tell you it is actually called Season 4: Battle Lines. It is going to take you right into the heart of the battles of the Clone Wars. They have been going on for over two years now. The war is really taking its toll on its characters. There are going to be epic battles that are going to be bigger than anything we have seen to date on the series. There is also the return of some classic characters from the “Star Wars” movies including some bad guys but also some good guys. So also look for that trend to continue and look for some really epic battles. They are really raising the bar.

Interview with Ahmed Ahmed

Ahmed Ahmed is a standup comedian who has also appeared in several films and television shows. His newest project is titled “Just Like Us” and documents Ahmed and several other comedians’ tour across the Middle East. Ahmed took time out of his busy schedule to talk with Movie Mikes about his new project.

Adam Lawton: Can you tell us about your film “Just Like Us”
Ahmed Ahmed: “Just Like Us” is a documentary film that I came up with after doing comedy shows around the Middle East. Around 2007 I toured the Middle East with a group we put together called “The Axis of Evil Tour” which was filmed and shown on television over there. In 2008 we toured there again but not as a group and we didn’t film anything. In 2009 we had a tour that lined up with the International cast and that’s when we actually decided to shoot it.

AL: So the idea came about after touring over there a few different times?
AA: I had started a company with my business partner called Cross Cultural Entertainment and under that umbrella we created Cross Cultural Productions. This would be the portion that would physically produce and put on projects. After doing this my partner asked me what my next plan was. I told him I was going to go to the Middle East and he said I had to shoot it. The timing was great and the topic was relevant so that was part of it. A couple years prior I had done a comedy tour with Vince Vaughn called “The Wild West Comedy Show” which was also turned into a documentary film. From that I sort of had an idea of how to make a documentary. Another thing that kind of brought me to making this project was when I would come back from the Middle East a lot of my friends would ask what I was doing over there. I would tell them comedy shows and they would ask which military base. I would tell them we played theaters for Arabs in English and they get it. The film came out really great and I think people will enjoy it.

AL: What was it like touring and filming at the same time?
AA: I kind of bit off more than I could chew! At first I was going to just be the host for the shows however the promoters started asking me to bring comedians. I in a way started to become a talent booker as well as being relied on to do press. I didn’t have to set up the shows but I did a lot of the grass roots work in setting everything else up and promoting. When we started to shoot that’s where I started to turn into the producer/director (Laughs) It was literally 4 days prior to leaving for the tour that my partner said we should shoot it. I didn’t think we had enough time but he was very adamant about finding camera operators which we did. Once we got back to New York we started almost immediately in post production. We set up an office, purchased the editing equipment, hired two editors and began transcribing everything. We had about 200 hours of footage that we cut down to about 72 minutes. I didn’t really know what I was getting into at the beginning but the film has unfolded into this beautiful project that has taken on a life of its own.

AL: When is the film going to be released?
AA: We did a deal with Lion’s Gate Entertainment and the film is going to be available as a digital download through places like Netflix. My company is also going to release the film independently in select theaters. We hope to get the film into about 10 cities. If it catches wind in its sails we will add more cities. We want as many people as possible to see the film.

AL: Do you have any funny stories from working with Vince Vaughn?
AA: Everyday on that tour was a funny day. It went by so fast that we didn’t have a lot of time in each city but just being a part of that tour was really inspirational and eye opening. That tour really prodded me to make my own film. There were just so many funny things that happened. I can’t think of one that really sticks out.

AL: Had you known Vince previously?
AA: I have been friends with Vince for over 20 years. He had come to a lot of the comedy shows I was involved in which exposed him to the other comedians. He then just had this idea to take it on the road and film it. It was great to be a part of that and we are actually doing some follow up shows in June.

AL: Do you have any other upcoming projects you can tell us about?
AA: The film has opened up a lot of doors. I was actually invited to attend a dinner at the White House last year because of this film and that opened up some doors for us which took us to Palestine, Syria and a few other places to do some shows. During this time we accidentally shot a sequel and we will probably start going through that material in the fall. Releases for “Just Like Us” are going to be spaced out from city to city and that will probably take us through July. I travel quite regular and have had a lot of inquiries to go to a lot of different countries that have recently opened up.

Interview with Danielle Nicolet

Danielle Nicolet co-stars in Syfy’s latest film “Red Faction: Origins”, playing the character Tess DeLaVega.  She is also co-starring with Cuba Gooding Jr. in the upcoming film, “Ticking Clock”.  Movie Mikes had a chance to chat with Danielle about her roles in both her films recent films.

Mike Gencarelli: Tell us about your role in “Red Faction: Origins”, playing Tess DeLaVega.
Danielle Nicolet: Tess is a very special combination of Princess Lea and C-3P0 [laughs].  She is Jack Mason’s unintentional side-kick.  She believes herself to be the smartest person in the room all the time, better much because she is. Jake, our hero, kind of can’t save the day without Tess, but Tess goes along kicking and screaming at absolutely every moment.  She doesn’t do so good out of the office.

MG: Where you familiar with the video game franchise?
DN: I have to say I am a HUGE gamer.  I am a big first person shooter player.  I have even voiced a couple of characters in different video games.  So, I am pretty involved with video games.  I have not played “Red Faction”.  I have not played “Guerilla” until after we started shooting the movie, which was kind of good for me.  When I got the script, I read it and I didn’t have any preconceived notions.  Also Tess, my character, is the only one in the movie that doesn’t have any previous connection to the past games.  My character is though connected to “Armageddon”.  It was really confirming not to have all that in my head before I got the job.  Once I got it I went out and played the games.

MG: How was it working with Robert Patrick and Brian J. Smith?
DN: [laughs] Ok, number one: Brian Smith is the nicest person I have ever known in my life.  I love him.  Number two: Robert Patrick is the funniest person I have ever known in my life and I love him.  Robert is hysterical.  He is from two towns over from where I live in Ohio. We spent pretty much the entire time in Europe together fighting over who was better: the Steelers or the Browns.  He thinks I am terrible person because I am a Steelers fan and I think he is sad and sorely mistaken to care about the Browns [laughs].  Robert is just a blast.  We have breakfast together every morning.  He is just the most salt of the earth completely grounded superstar that you will ever known.  It is like he has no idea he is ridiculously famous.  With Brian, I can say he has no idea he is ridiculously cute and that every girl checks him out no matter where we go.  He is incredibly humble and just really loves being an actor.  It was incredible for me to work with him since we are in every scene together.  We were both so committed to our characters and to this job that we were able to be real supportive of each other.  He will forever be family.

MG: What was the most difficult part of working on the film?
DN: I am sure every single actor from this movie would have the same answer.  The most difficult part was shooting this shooting this movie in Eastern Europe in the dead of winter.  The physical conditions of this movie was the hardest I have ever been in my life.  They were also though the most necessary.  The movie takes place on Mars.  Mars is not a comfortable place to live in “Red Faction”.  It has been terraformed, so you can breath the air but just because it is breathable doesn’t mean it is warmer. We shot in a place that was like the temperature that Mars is.  Our day average about 3 degrees fahrenheit.  At nighttime, it was between 10-14 below.  So we did a lot of huddling up together to try and keep warm.  All of the exterior we did in the movie were not shot in front of a green screen.  We shot all of the exteriors in this incredible cave system just outside of the Romanian boarder.  It is totally remote and a 2 1/2 drive from the nearest hotel.  It literally looks like Mars.  It has red ground, rocky and exactly like the Martian landscape.  The cave system is totally protected from nature.  So when you watch the movie, the only thing that isn’t real is if we are ever outside the sky.  The digitally took out the ceiling of the cave and put in the Martian sky.  But that is why we were freezing the whole time because our director really wanted the exteriors to be real.  He didn’t want it to seem like an entirely CGI generated film.

MG: Tell us about working with Cuba Gooding, Jr. in the sci-fi thriller, “Ticking Clock”?
DN: Working with Cuba was a dream come true.  How many times in your life to you get to ask somebody where do they keep their Oscar [laughs]. “Ticking Clock” is like a psychological thriller but once you get 10 minutes into the film you see it is science fiction.  Cuba’s character is a writer and the murder mystery he is solving in his book starts coming to life.  I play his wife, who has a real problem with what is going on with him.  I believe that he is having the issues he is having because he is drinking too much.  He can’t quite tell the difference between his reality.  I won’t give away the ending but we will find out what is real and what isn’t.  It is a really fun movie and I love my science fiction.  So I was really excited to do that.

MG: You are both equally skilled with drama and comedy, do you have a preference?
DN: I don’t want to sound like a fence-walker but seriously the thing I love to do the most of all is like the character I played in “The Starter Wife” and “Red Faction”, which is a funny character that is in the middle of a serious situation.  That is the most fun for me.  I enjoy playing that character that brings a little of levity to a very serious scenario.  So playing Tess was like being a kid in a candy store for me as an actor.  I got to spend five weeks delivering fantastic one liners and screaming when guns come around [laughs].

MG: What other projects do you have upcoming?
DN: Right now, “Ticking Clock” is obviously coming up. “Marry Me”, the mini series I did with Lucy Lu comes out on DVD in a few weeks.  I know they are also going to air it again in it entirety really soon.  So I got that coming up.  Also just also keeping my fingers crossed that there will be more “Red Faction” movies.

Interview with Tinsel Korey

Tinsel Korey continues her portrayal of Emily Young in the upcoming release of “The Twilight Saga: Breaking Dawn”. Tinsel also recently released her first single currently available on ITunes. Tinsel took time out of her busy schedule to talk with Movie Mikes to discuss “Breaking Dawn” and her venture into music.

Adam Lawton: What made you decide to get into acting?
Tinsel Korey: Growing up I was one of those kids that was always putting on sketches. I was also very artistic so it was my way of expressing myself. It all just became very natural for me. I don’t think there was ever a moment where I didn’t want to be an actor or entertainer. I was just something I knew I wanted to do since I was very young. I actually just performed live with the Acme Comedy Troop and it brought me back to my child hood when I was doing a lot of the same type of funny characters and such.

AL: Can you tell us about the process of becoming involved with the “Twilight” series?
TK: The process was fairly easy I guess from what I was told. I guess some of the other cast members had to do a bunch of call backs and auditions but mine was fairly quick. Rene Haynes the casting director for “New Moon” was familiar with me from my previous work so I only ended up having one audition in front of Chris Weitz. A couple days later I was short listed for the project. I got really lucky that it went so fast.

AL: I had read you were selected for the role out of 800 other actresses. Correct?
TK: The casting directors had told me that over 800 girls had auditioned for that role. I had no idea that so many people had tried out for the part. I think if I had known that prior to the audition it may have thrown me off a little. I just went into the audition taking it seriously.

AL: Were you familiar with the previous film and the book series prior to reading for the part?
TK: I actually didn’t know anything about “Twilight”. My younger sister is a fan of the series but I had no idea what so ever. Rene Haynes had kept me in mind for that role so she was the one who brought it to my attention. Knowing my sister was a fan I really wanted to get the movie more for her than for myself. I actually took her to the premier which was really exciting.

TK: What was your first experience like on the “New Moon” set?
AL: It was interesting because I didn’t really know the guys. I had known Bronson Pelletier from his work on “Renegadepress.com”. We had to find chemistry together which we were able to do after spending a little more time with each other. I think we really captured that family element which is present in the movie and it actually carried over off screen as well. I knew the film was a big production but at the time we were shooting “Twilight” wasn’t yet really at the caliber it’s at today. It was big just not as big. After the premier of “New Moon” the series just took off!

AL: What can we expect in the next film “Breaking Dawn”?
TK: I am probably most excited for the wedding scene and getting to see the wedding dress. I am still getting asked if I am for Team Edward or Team Jacob. It’s pretty much over! (Laughs) She picks Edward. There is a lot more action in this next film and the director was fantastic. I really hope to get to work with him again. His vision for the film was really great.

AL: Any great behind the scenes stories you can tell us?
TK: During the past shoots we had a little bit more time to Joke around but I do remember a prank we played on Kiowa Gordon. He had ordered a hot chocolate one day and then left it unattended with Bronson and I. The two of us are probably the biggest prankster on set. So Kiowa comes back and gets ready to drink his hot chocolate and I ask him if he was sure he really wanted to do that? (Laughs) He kept asking what we did to his drink so Bronson and I really milked it. After he had finished we started asking him if he was feeling anything. It was pretty funny. To this day we still haven’t told him that we really didn’t do anything to his drink.

AL: You also are a musician. Can you tell us about your first single?
TK: I just released my first single titled “Letter” which is available on ITunes and Amazon. It has kind of a bluesy Jazz Rock sound to it. People have compared my voice to Nora Jones and Jewel. Music is really my focus right now. Acting has always been in the foreground of my life and I really want music to have that chance as well. If a great acting role comes along I am totally up for it but I am not actively search for film roles as my music is the main focus for me right now. Music allows me to use my own words and music compared to when I am acting and performing someone else’s work. I think music is way more personal for me.

AL: Is there a release date for the full album?
TK: I am doing the album independently so I am currently focused on the single and finding time to shoot a video for it. I am hoping by the end of the year. The process of doing a record on your own is very different than when you have the help of a record label. I have a producer who I want to work with and I have some really great musicians involved also. On “Letter” I had help from Marcos Curiel of P.O.D. and Mark Schulman who is the drummer for Pink. Right now it comes down to finding the time to get everything done.

AL: Do you have any other upcoming projects you can tell us about?
TK: I have been doing a lot of live musical performances lately trying to fine tune my craft. I have a film called “Avarice” coming out which stars Kevin Sorbo and Jason London. The film is a Sci-Fi thriller which should be released this year. The director Matt Schilling is a visual effects genius. What we shot and how the end product looked were completely different. It was amazing. The film is getting some good buzz. I also have a movie called “Black Forest” which will be appearing on the Sci-Fi channel as well around the fall of this year.

Interview with John Diehl

John Diehl’s career in the movie business has spanned over 30 years. He has appeared in such classic films as “Stripes” and played the Hawaiian shirt clad Larry Zito on the hit television series “Miami Vice”. Movie Mikes caught up with John to talk about some of his classic roles as well as some of his current projects.

Adam Lawton: Can you tell us about how you got involved with “Stripes”? and what it was like being a part of such a great cast?
John Diehl: I was just starting out in the business and at the time I was working on a  Sam Sheppard play which called for me to have a shaved head. I went to the audition with my head being shaved already and I remember nodding back and forth with Ivan Reitman. A short time later I was delivering furniture when I got a message from my agent telling me that I got the part. As far as the cast goes I never really watched TV so I no idea who anyone was. I think this helped because I didn’t have any trepidation about anything. It wasn’t until afterwards that I found out how great everyone was. My scenes with John Candy were all improv. They really liked mine and John’s characters together. It was great because I got to take that character and make him my own. I understood that character. Ivan was too busy arguing with Bill to worry about me (Laughs) so it was a great experience.

AL: You also had a part in “National Lampoon’s Vacation” can you tell us about that and what it was like working with Chevy Chase?
JD: I still lament the fact that sometime after we finished shooting I was having dinner with Harold Ramis and I asked him if we could add in one tiny part. I wanted the part of my scene with Mickey Jones where Mickey shows Clark his badge and states “I am the Sheriff” I wish I had just said “And I’m the Deputy”. I felt so bad that I didn’t come up with that sooner. I kept asking to get that put in but it never happened. Chevy is a very reserved guy and I remember we had a picture taken of us along with
some American Indians on set. For some reason he thought that I wanted a picture taken with him. Sadly the picture got left on top of an old soda machine and I always think about that. Years later I’m walking through LAX and there is all of this commotion going on. All I see is this big guy with grey hair and a bunch of reporters. It was Chevy and he recognized me right away which was really cool that he remembered me.

AL: What was it like working with Harold Ramis both as an actor and a director?
JD: Harold was really easy going. When he was directing he had a lot more stuff going on than when he was just acting. I don’t think he was smiling as much when he was directing. (Laughs) Overall both experiences were good.

AL: Can you tell us about your work on “Miami Vice”?
JD: There are a few stories that I guess kind of come together as to how I got that part. I remember going on an audition for the show which I think Michael Mann was at. I was wearing this long leather coat because I had to leave my play rehearsal to make it to the audition which really annoyed me. I just went into the audition kind of pissed off which I thought could be a good thing. One other thing that I think was part of me getting the role was I had done a small short called “Leon’s Case”. There was an article about the film that stated Brandon Tartikoff who was the head of NBC at the time saw me in that film and wanted me for “Miami Vice”. That show turned into something we never expected. It had created a lot of buzz but then slowed a little after the first few episodes but after that it really took off. Even though I got myself out of the show after about 3 seasons a move I don’t regret. Working on that show was a great experience and I got some great work from that show.

AL: What made you want to leave the show?
JD: I was miserable. I lived in New York at the time but spent 9 months of the year shooting in Miami. I didn’t mind going back and forth as I was single at the time. We weren’t making a ton of money on the show but it was more than I had ever made. I think it was just really depression that got the best of me. After the first season we were told that they were going to include more of us in the show but, I would show up to work and spend at times 12 hours in my 5 by 5 Honey Wagon just waiting to be called for my scene. There were times where I would show up and the scene would never end up even being shot. There was just a lot of stuff like that going on.

AL: Do you have a project that sticks out for you as a favorite?
JD: Right now I would have to say “Land of Plenty”. I played the male lead role with Michelle Williams. The film never really came out distribution wise but I still really enjoyed the process. I also enjoyed my theater work with Sam Sheppard where I got to work with some really amazing people. “End Game” which I did with John Larroquette was another great experience.

AL: Do you have any upcoming projects you can tell us about?
JD: I like doing independent movies lately. The money usually isn’t as good but the parts are really great! I did one called “Natural Selection” which won everything at this year’s South by South West Festival. The film is going on to some other festivals so I have some reserved hopes for that. I also am in talks to do a horror film in Montreal. One other thing I just finished up was with Bruce Campbell for a “Burn Notice” TV movie which aired recently.

Interview with Kim Roberts

Kim Roberts is known for her role in “Saw III & IV” playing Nurse Deborah.  She also was in Zack Snyder’s remake of “Dawn of the Dead” and just finishing appearing in the TV series “Being Erica”, which was just renewed for season four.  Movie Mikes had a chance to chat with Kim about her roles and what she has planned upcoming.

Mike Gencarelli: Tell us about how you got involved with playing Deborah in “Saw III & IV”?
Kim Roberts: I auditioned just like anyone else. At the time it wasn’t a huge role. When we started filming Darren Bousman, who was directing, told me he really loved my character. He told me he was going to have all this development for my character, so he brought me back in “Saw IV”. He said “Just wait “Saw V & VI” I am going to write all this stuff for you”. As you know [laughing], in Saw V & VI”, Darren was known longer around. Deborah just kind of disappeared. So I myself cannot tell you where she went but it would have been nice.

MG: Are you a fan of the films and horror genre?
KR: Oh yeah, absolutely.

MG: Tell us about your experience working on the film “Dawn of the Dead”?
KR: It was wonderful, it really was. I think part of the reason why “Dawn of the Dead” was so beautiful was that there was a lot of love on the project. Zack Snyder, who directed it, and I actually shot a commercial with him about a year or two before this. It was a really huge project for him. He had all these wonderful ideas and passions for it. Since I worked with him before, I was happy to get the opportunity again and was rooting for him. Sarah Polley just rocks and she is amazing. Working with her is just a dream. She is one of Canada’s greatest gifts. I was really touched to do that scene with her. We keep saying [laughing] “We want more scenes together”. Even watching the film, there is a wealth of Toronto talent and also great LA talent. He just got so many great actors that are actually so are passionate about there craft and their work. Everyone wanted to do a great homage to such a classic film. I think that when you have real good artists caring about what they are doing, it just works.

MG: You have played a nurse in various TV and film projects, how do you always find yourself in this role?
KR: [laughs] It came to a point when I said to my agent, I am not doing any more nurses. I said unless it is the nurses life story I am not doing any more nurses. I think every actor has a typecast. I remember reading a quote from Jennifer Aniston that before “Friends” she was typecast as playing a waitress. The nurse just became mine. The irony about it was that when I was a kid, I said I wanted to be a doctor. My very first on camera role, I actually played a doctor. So a lot of people actually thought I was a doctor [laughs] for a really long time. But I keep saying “No, I am an actor [laughs]”, so I keep finding myself in this doctor/nurse roles. I think karma is a funny thing.

MG: With “Being Erica” renewed for Season four, can you tell us about your character and are you going to be returning in next season?
KR: Camilla was introduced in season three, as part of this whole journey that Erica was on. I don’t want to spoil it for your readers if they haven’t finished up but we find out it was quite the journey. So I am a part of a group therapy unit that is in a sense are people that all lived like Erica. At the end of the season, I am the only person from the group who graduates with her. So there is a hope that the character will come back and maybe go one to beautiful things and it will great to play her colleague. We have to see what the writers have in store for the new season. It was a blast and an honor to work on the show. My character Camilla was really fortuitous. When I auditioned it was only for one episode, then when I came on initially it was for the first six episodes but they liked the character and kept her. Again I haven’t been killed off yet so who knows?

MG: What else do you have planned for the future?
KR: The project I have coming up next is “The Vow” with Rachel McAdams, should be out next year. It was a great experience, she was so sweet to work with. I also just shot a Christmas movie, it is untitled right now but I loved it. The producers Steve Solomos and Joel Rice are so great. I love them. I think this is the fifth project that I have worked with them on for Lifetime and every time they are in town they put me in them. They do really go work and are really good guys. Right now it is called “The Untitled Santa Project” and will be on ABC Family next Christmas.

Interview with Lester Speight

Lester Speight is one of the busiest guys in Hollywood. If he is not tackling office colleagues (“Terry Tate: Office Linebacker”), then he is fighting alien robots (upcoming “Transformers 3”). Lester has plans to take over the business, though his main goal is to host Saturday Night Live and I know that this will happen for him because he will tear that roof down. Movie Mikes had a chance to talk with Lester about his career, how he got started and what is to come for the future.

Mike Gencarelli: How did you originally get started as the “Terry Tate Office Linebacker”?
Lester Speight: Back in 2000 I got a call from my agent, he said he found the perfect character for me. I was in Baltimore at the time and I told him to fax it over. I was just a short movie, but once I read it I said “If I can’t play this guy here, I cant play anybody” [laughs]. I went in and did an audition. When I walked into the room I was in character. When the audition started I just ripped right into it. I am half Jamaican, so I have a big mouth as it is. I knew that I knocked it out of the park when I left. We shot the original pilot in November that year. It went around Hollywood as a viral funny joke campaign. Terry Tate originally had a gold tooth but I told them I am not doing a gold tooth. An ad agency representing the Arnell Group saw it in 2002 and took it to Peter Arnell. Peter Arnell then took it to Reebok. They gave us a six figure budget to shoot four more shorts. They had a big sales meeting at Reebok in November of 2002. Micky Pant brought me into the sales meeting. During this meeting they are showing Venus Williams and Shakira and then they popped in Terry Tate and the whole place just erupted. I was in the back with Micky during the meeting. He was going to be on stage after the commercial. During his speech he got a call from his wife and started talking to her on stage. Terry Tate came out the back and blasted him over his chair. The place went bananas. He took a nice bump and tore his suit and everything. I screamed on stage “You know you can’t be on the phone unless you all alone. Who do you think you are, WOOOHH?” I stomped off stage. The next day they called ABC and bought the third quarter spot of the Super Bowl. Reebok’s stock quadrupled. It was the most visited website for three months, it got like 11 million hits. I even got to ring the closing bell at the NYSE.

Mike Gencarelli: Did you improv a lot of those tackle lines or were they all scripted?
Lester Speight: I added my flavor to every scene. The basic core of the dialogue were written by Rawson Marshall Thurber and Jason Mercer. The Wooh’s and the double Wooh’s were all me. I would add whatever I thought would fit the character. It was a marriage made in heaven. With Rawson’s creativity and my energy and acting creativity coming together, it was just one of those things. We caught the lightning in the bottle.

Mike Gencarelli: Do you have a favorite one?
Lester Speight: One of my favorite was when he said “That was Simone’s cake Phillip, next time you eat someone else’s cake again. I am gonna give you a slice of Terry’s special pain cake. And you WON’T want seconds of that, Wooh!!!”

MG: Have you always been a football fan?
LS: Growing I always was a football advocate and enthusiast. Playing high school and college football, but I didn’t have the pro career I thought I was gonna have. God, gave me a Super Bowl in this way with Terry Tate. I am ranked one of the best Super Bowl commercials of all time. There are thousands and thousands of football player but not a lot can do what I have done. I am an actor and singer before I even put on a football uniform. Football is a youthful window and you have to play in between 21-25 if you want to go pro. As I getting older, I see the Lord had a different path for me. I always wanted to be an actor. With football you have to play it when you are young and then its over. I can act forever.

MG: Tell us about your role in the “Gears of War” video game series?
LS: I was just at Comic-Con for the “Gears” panel. The room was packed with like 500 people. It was crazy. When I did “Terry Tate”, I never thought it would be what it was. I figured that Cole Train would be similar to Terry Tate though not Terry Tate. I didn’t think I would be the star of that game since Marcus Fenix is the star of “Gears of War” but people really love the Cole Train. New game comes out April 2011.

MG: Have you ever been approached to play live-action Augustus Cole in a “Gears of War” movie?
LS: It’s funny, cause I know that Cliff Bleszinski and Rod Fergunson know I am more than capable of handling that role. The fans want it. The fans get off on actually seeing the voice actor on the screen. That has never really been done because more voice actors do not look like their character. I think with some of my success with the character is causing them to rethink how they want to use the Cole Train in the movie. We spoke about in Comic-Con, that we would want to do it in the fashion of “District 9”. They know that I am here and ready. It is going to happen. I am the only person who can play Cole Train, I brought him to life. That is what the fans want!

MG: How long have you been acting?
LS: I have been doing this a long time. My first movie I was an extra in was 1991, was “The Meteor Man” with Robert Townsend. That was the first time I walked on a movie set. Almost 20 years. When I was in college. I snuck around and took a couple of theater classes. I didn’t want my teammates to know. They would always yell at me “You can’t be an actor and play football”. I can’t be in too toos going to practice [laughs]. I felt the pressure one year and I dropped the class. I was just a communications major. My heart was always in acting. I grew up signing in a choir. My mother plays piano and she taught her kids how to play as well. I have always been very active. That energy has carried over now I am still training and working hard.

MG: Do you have a dream project you would want to work on?
LS: I have always wanted to get the opportunity to make a movie about Reggie White from the Eagles and Green Bay Packers. I think I can shine some light on his story. Jack Johnson, the first black heavyweight champion, I would love to play him. I really feel that one day I will have the chance do these great biographies. They are some of the bigger than life characters. I would really be honored to play them. Action stuff is great but as an actor you want to be able to try different challenges. I actually have a treatment for a Jack Johnson movie now that I am working on with a couple of producers. I always need to keep moving forward and up in this business.

MG: What other projects are you working on?
LS: I just did a movie with Billy Bob (Thornton) and Dwayne Johnson called “Faster”, my characters name is Baphomet. That movie will be out this Thanksgiving. Then I just did a movie with WWE called “Knucklehead”. Dennis Farina and I pair up. I play henchman named Redrum and I am the number one fighter in the movie. It is a comedy and it is really hilarious. I got a movie I did called “Peepworld”, my characters name is Wizdom. The film is directed by Barry Blaustein, who also worked on “Saturday Night Live” and “Coming to America”. I have been pretty busy man and pretty fortunate, especially in this recession.

MG: Do you ever think we will see the return of Terry Tate?
LS: Yes man. When I am done shooting “Transformers”, we are going to start pitching Terry Tate to all the apparel companies as well as some of the top corporate Fortune 500 companies. It will be called “Terry Tate: Superhero for Hire”. Reebok only leased the character for two years. So Terry is looking for a job. Maybe Home Depot. Maybe Nike. We were looking to run an angle with Terry Tate leaving Reebok to go to Nike. I love improv. My biggest goal right now is I can’t wait to host “Saturday Night Live”. I love sketch comedy. I am really looking forward to that day when I can stand up there and host that show. I got so many characters. You never know what can happen, the whole cast might be walking around as Terry Tate and I am a regular office worker. How funny would that be? The dramatic side has picked up for me recently. But when I get back to comedy people are really going to see that I have got the ability to entertain and make people laugh. We are going to do a major campaign to find Terry another company. You are leaking this news for the first time!!

Interview with Chris Sanders & Dean DeBlois

The directors of “How To Train Your Dragon” come from very different backgrounds. Chris Sanders hails from Colorado while Dean DeBlois hails from Canada. Though a decade older, they both began their professional careers around the same time, working for two of Hollywood’s legends: Jim Henson and Don Bluth. Sanders began working for the Walt Disney Company in 1990, where he served as a character designer on “The Rescuers Down Under.” In 1991 he helped write and create an impressive string of animated films regarded today as classics, including “Beauty and the Beast,” “Aladdin,” “The Lion King,” “Mulan” and “Lilo and Stitch,” which he also co-directed. Finding the work with Don Bluth not to his liking (“A Troll in Central Park” was a long fall from the heights of “An American Tail”), DeBlois joined Disney and soon found himself paired with Sanders on “Mulan.” Their next project, which both men wrote and directed, was “Lilo and Stitch,” which earned an Academy Award nomination as Best Animated Film. The film, and it’s various animated spin-offs, also kept Sanders busy as he provided the voice of Stitch. Their next project, which opens this week, is the 3D adventure “How To Train Your Dragon.” I recently shared a phone call with the two filmmakers, who were promoting the film in our nation’s capital. I was tempted to ask Sanders to answer my questions as Stitch but realized I would never understand his answers!

Click here to purchase “How to Train Your Dragon”

MS: You worked on “The Muppet Babies” television show. Was that your first professional job?

CS: (surprised) Oh my gosh! Yes. I drew models for that.

MS; Was (Muppet Creator) Jim Henson someone that had inspired you growing up?

CS: When I was a kid? Yes. My two big influences were Carl Barks (who drew the popular “Donald Duck” comics) and Charles Schultz (the creator of “Peanuts”). Carl not only drew Donald Duck but he told some great stories.

MS: Though you have a few directing credits the majority of your film work has been writing. I mean, you’ve written or helped write five modern animated classics. Was your intention to make writing a career or is it just something that you discovered you were good at?

CS: That’s interesting. When I got to Disney I started in the story department. And to my surprise, I discovered that there is a little bit of writing you can do all the time when you’re in “story” because when you’re given little sequences to movies you always have to do a little customizing, so it becomes very natural to start writing sequences when you’re in the story department. On “Mulan” I started out as the head of story and actually ended up doing quite a bit of writing for the movie. And from there I went to “Lilo and Stitch.” I should mention that Dean and I met on “Mulan, where we both were writing the story. And then from “Lilo and Stitch” we went on to the “Dragon” movie, where we’ve continued our relationship.

MS: What is the time frame from sitting down and knocking out a script to the finished animated feature?

CS: Animated films, in both traditional animation and CG, tend to go about three years average. They can go four years, a little bit longer or they can go shorter. The interesting thing about “How To Train Your Dragon” for Dean and I is that we actually joined the film after it was being developed, so we came on fairly late in the process. By the time we were asked to come on and write and direct the film it had about fourteen months to go until the start of production. So that was a very fast schedule by anybody’s standards. But the amazing thing is that the crew we worked with was able to pull it off. We really did re-writes and started the film, story-wise at least, from scratch, fourteen months before the end of production.

MS: That’s some serious speed. Do you enjoy spending that much time on one project or are you looking forward to doing something that’s live action with a much shorter production schedule?

CS: (laughing) We definitely look forward to doing that at some point. We’re very interested in trying out as many things in the business as possible. We love animation. We love live action. One of the amazing things, of course, is now-a-days when you’re doing CG you really are taking your first steps towards the live action realm, because so many live action films are now a hybrid…half CG…it’s all mixed in. And we’re interested in doing…you name it!

MS: I really enjoyed the film. I must tell you that I wasn’t thrilled with “Avatar.” Technically brilliant, but there was just too much…STUFF…happening. I couldn’t keep up with it. Plus your film actually has a story…

CS: (laughs)

MS: When you both came on board, was the original story concept based around a dragon? Or was that something that evolved in the writing stage?

CS: The story came from a children’s book written by Cressida Cowell. Dreamworks had optioned the book so we did have some source material to work with. We did do a bit of changing. The fact is you can get into more details with a book then you can with a film so there’s always an adaptation you have to do. The trick is to try to stay true to the spirit of the book and to keep as many things that keep the flavor of the book in the movie. It was also a very unique experience for Dean and I because, of all the projects we’ve worked on, this is the first one where we knew we’d eventually run into the author! Of course we were very anxious to see if she liked what we did. At the same time, we had to make some big changes, some big choices, to make the story work for the screen. We did finally meet her when she came out from England to watch the movie. She was actually very, very excited about what we did…she totally understood why we made the changes we made and has been incredibly supportive of the direction that we took.

MS: When two people direct a film…I know on a live action film one person will be responsible for one area, one for another…how does it work on an animated film in deciding which vocal take to use, what to feature in the background?

CS: That’s a really good question. (Thank you) There are different ways to do it and different people do it differently. Dean and I actually share all of the responsibilities. One thing we found is that we both have a very similar taste…similar tone with what we like. So we are almost always making the very same movie. In fact that’s what makes the whole thing easy. If we do have a disagreement we learn very quickly…who’s the most serious about this? Who wants this change the most? Almost always one of us wants it more then the other one, so whoever wants it most gets it. We always write together and we always record the voices together. And we’re also in animation together. Because we need to be there for the most important aspects of the film…and it’s also important to keep in touch with the story. We pretty much share all the responsibilities.

MS: When you are directing the voice talent, do you have them do various takes….try it sad, try it happy, because you’re still not sure visually how you’re going to portray the scene?

CS: For the most part, we know the general tone of the scene, and we pitch that to the actor. But that being said, we always encourage the actors to bring as much to the party as they want. We always encourage them to experiment with things…to put things in their own voice. Every once in a while an actor will say, “you know, I don’t think I would have said it this way.” And you encourage them to put it in their own voice. But for the most part you are telling them what angle to take on a particular scene and they will follow that angle.

MS: When Wes Anderson recorded the voices for “The Fabulous Mr. Fox,” he had all of the actors in the same room, encouraging them to play off each other. Is that something you would like to do, or do you have to grab them based upon their availability?

CS: A little bit of both, but you said the right thing. The best way to do it is to have as many people as possible in the same recording session, because then you don’t have to direct as much…they’re going to play off of each other. And you’re going to get better – and more happy – accidents that way. I think you’ll also get a better interlocking of emotions between the two or three voices you have in the room. We definitely do record people on their own. A lot of people are busy…we might be under a tight schedule and not have the time to wait for everyone to get together. The nice thing about this movie was that all of the key moments between Stoic (Gerard Butler), Hiccup (Jay Baruchel) and Gobber (Craig Ferguson)…we were able to record them in different combinations in New York City over the course of one weekend. That was especially valuable for us. It just made those scenes that much better.

MS: Is there perhaps a dragon or two in the background with Stitch’s head on it?

CS: (laughs loudly) We weren’t able to hide anything inside the film like that, though it would have been fun. I just don’t think we had time!

With a final laugh Mr. Sanders handed the phone to his creative partner, Dean DeBlois.

MS: Good afternoon. Or actually “good evening,” since you’re in D.C.

DD: Good evening.

MS: You began your career working with Don Bluth (“An American Tail”).

DD: Yes, that was my first studio job coming out of college. I went to work at his studio in Ireland.

MS: I know Chris had admired Jim Henson and then got to work with him. Were you a fan of Don Bluth?

DD: Absolutely. I loved “Secret of N.I.M.H.” And I liked his style…his character design style in particular. And when I was in my first year of college “All Dogs Go To Heaven” came out…the same time as (Disney’s) “Oliver and Company” came out. I though the design of the characters in “Dogs” was superior. It was clear that they were holding their own quality wise. Of course, this story grows increasingly worse because eventually I was really excited to go to Disney where I could work on films I was actually proud of. (I can hear Chris Sanders laughing along with Mr. DeBlois in the background).

MS: Chris mentioned an admiration for Charles Schultz. Did you have any animators or cartoonists that influenced you?

DD: I wanted to be a comic book artist. I was a fan of many different comics, but my favorite was “The Savage Sword of Conan.” (Interviewer note: among the many artists who contributed to this publication: Neal Adams, Dick Giordano, John Buscema, Ernie Chan and Jim Starlin). I really learned to draw anatomy. Most of my drawing skills come from emulating people like Ernie Chan, who I think was my favorite “Conan” illustrator. I just realized at age 16 going on 17 that it was time to think about what I was going to pursue as a college path. I started looking around and found a program that taught animation just outside of Toronto, which wasn’t far from where I lived. I decided to give it a try over the summer session. And it contained everything I really liked. It had story telling, character design. It had elements of comic book artistry…you got to compose frames. It all appealed to me. Plus the whole illusion of animation was pretty exciting. So I stuck with it. And I got hired right out of school to go work for Don.

MS: “How To Train Your Dragon” is in 3D. Was that something that was decided on at the start of production or was that a process that was added later?

DD: No, let me clarify that our film was authored in 3D as opposed to retroactively made 3D. There’s a big difference on screen because when it’s organically authored it means your elements from the beginning are separated in depth layers. And it’s so ingrained in the Dreamworks pipeline that all films going forward have the 3D option built into them and, for the foreseeable future anyway they’re all going to be 3D. It’s not something you have to think a lot about. It’s there…it’s a tool in the box. We realized we could go ahead and make the movie we wanted to make and dial up those moments that felt very dynamic and a good use of 3D and let the other ones, the private, intimate moments, flatten out so your eyes get a little rest and refresh for the 3D effect throughout the movie.

MS: I told Mr. Sanders that “Avatar” drove me crazy because everything was jumping around, and you watch the film and your eyes are darting to this and that…

DD: Right.

MS: … but as you said, in “Dragon” you have moments where the 3D is very important to the story…it draws you into the story…and then in the more emotional scenes, especially those between Hiccup and Stoic…

DD: I have to tell you, they kept giving us lists of all the things you could and couldn’t do in 3D and a lot of them felt like we were having our hands tied as filmmakers. So we just decided to hold hands on the idea that we would make the best film we could make and then let 3D find its’ way into the story. And that’s what we did. In areas that weren’t conducive to 3D we just didn’t push it. We allowed it to soften and let your eyes re-adjust and take a break. And moments that were exhilarating and exciting and organically seemed to beg for more dimension, that’s where we put it into effect. It’s like music. It should draw you in and make the experience better without ever reminding you of itself. Gimmicky was not the route we took.

MS: This is a two part question: do you both intend to keep directing as a team? And do you have any interest in doing live action?

DD: Well the first part is absolutely. We love working as a team and I think we will continue to do so. We absolutely love it because, in a way, we inspire each other to go a little further and push beyond the cliche’s that we sort of carry with us in a sense. I can always rely on Chris to read anything I am working on and know that he has a great nose for anything that feels a little to cliched. And the moment he points it out I know it’s been discovered and I have to go back and work on it a little harder. And I do the same for him. I just make sure that I am his kind but stern critic and make sure that the stuff we’re putting out together…and even separately when we read each other’s work…is the best we can do. You get a lot of notes when you work in film but there are very few people whose notes you trust implicitly and I think that’s the case with Chris. I know I can trust him because he always “gets” where I’m going. His notes are usually always additive and never detractive. We enjoy working together and will continue to do so. We have plenty of ideas in our hopper.

MS: The things you mention are very important not only for a working relationship but for a friendship.

DD: Yes. As for the live action side, absolutely. I have a whole bunch of projects. Some of them certainly much better suited to live action. I’ve been pursuing that since “Lilo and Stitch.” I’ve set up a couple of projects at both Disney and Universal and maybe, with the momentum of Dreamworks, can probably get some of those re-stoked and some new ones set up as well. The one thing that working in 3D and CG taught me is that I love expanding the tool box. I love that the medium can be appropriate to the story and not something that you are encumbered by. It’s great that we’re not just known as traditional animators. Now we can be the “3D animation” guys. And hopefully, the “live action” guys. Stop motion animation guys. (laughs). I hope it’s all there. That would be great.

MS: Since you mentioned your hopper, do you know what your next project will be?

DD: Well, I’ve written my script and, fingers crossed, it will get going. But beyond that it’s kind of like lining up your planes on the runway. It’s good to have several that are ready to go. So there are several things being talked about and absolutely nothing committed to just yet. We’ll be sure to talk to you when we do have something.

MS: That would be great!

Click here to purchase “How to Train Your Dragon”

Interview with John Wilson

Since Movie Mikes are a member on the voting committee for the Golden Raspberry Awards, we recently has the opportunity to talk with the founder John Wilson. John started the Razzies 30 years ago which are an annual ceremony dedicated to “honoring” the worst in film, set the day before the Oscars.

Mike Gencarelli: How did the Golden Raspberry Awards start?
John Wilson: It came out of several things about 30 years ago. At the time, I was barely out of college and I was working for a company that made movie trailers. The company sponsored a film festival, I agreed to be the liaison and between that part of my job the movie I saw working on trailers and my own interest in movies in 1980, I actually saw 250 films in one year. When you see that many the odds don’t favor the Oscar stuff, they favor what the Razzies is talking about. Specifically in the summer of 1980. I came back from a trip to Europe and went to a double feature for $.99 cents of two now infamous disco musicals. Olivia Newton John in “Xanadu” and The Village People in “Can’t Stop the Music” and even though I only spend $.99 cents, I wanted my money back. When the manager said no, when I drove home I remember clearly running through my head “We’ll those two movies really sucked, what are other movies from this last year? I could name a dozen off the top of my head that if there were an awards for the worst certainly, those would be contenders. At the time I was doing an annual dinner party to watch the Academy Awards, the end at a fairly reasonable hour, like 9pm or 10pm. The very first one started as a party joke. I made a cardboard cut out podium. I put a foam ball on a broom and pretended it was a mike. I painted a banner and hung it in the alcove of my living room. When the Oscars were over, we spent 20 minutes doing a fake imitation Oscars with clips from the nominated pictures, ballads at the buffet table and a sing-a-long at the end where we rhymed the names of the movie stars that died in 1980 to the tune of “That’s Entertainment”. Two or three dozen people were there, everyone still talks about the first one. The following year I sent a press release in advance and got two newspapers. By the fourth year, I realized you couldn’t do it on Oscar night and hope to get any attention. We moved it to the night before and that is when it really took off. Press from all over the world come to LA for the Oscars, and the night before there is nothing for them to do. Partly by perseverance, we have lasted 30 years which is a lot longer than anyone doing something this silly seem to last.

Mike Gencarelli: You just celebrated the 30th anniversary, honoring the worst films, what has been one defining moment over the years?
John Wilson: As cool as it was to have Sandra Bullock show up with a wagon of DVD’s and give them to the audience, the ultimate Razzies moment was 5 years ago at our 25th, when the first Oscar winner showed up to admit that she made a career mistake. Halle Berry came out on our stage with the Oscar in one hand from “Monster’s Ball” and her Razzie in the other. She was killer funny for seven or eight minutes straight, ripping on her own Oscar speech, naming all the people that needed to share this award. She trashed the studios, she was absolutely hilarious and in doing that she put “Catwoman” behind her. Now when people talk to her about it, its not about what a rotten movie she made, but how you had the guts to show up and accept the awards.

Mike Gencarelli: Do you still enjoy watching movies or do you find that you are always on the “job”?
John Wilson: I do but on different levels. Watching the Oscars this year, I was rooting for the picture that did win. I thought that “The Hurt Locker” was a brilliant film. “Avatar on the other hand…huge money maker, wasn’t a particularly original, clever or valid film. I would salute Cameron for “Titanic”, “Avatar” ehh. I am capable of coming at a movie from several different perspectives. Supposedly there is a movie coming out called “The Expendables” that has Sylvester Stallone, Dolph Lundgren, Mickey Rourke. It is like a 1980’s Razzie nominees reunion. Some people have to understand if it is the right bad movie, it can be incredibly entertaining.

MG: What do you look for when you watch a movie to consider it the worst?
JW: There are three or four yardsticks, that we generally go by. One of them is, yes we do pay attention to reviews. There are two sites that we go by, Rotten Tomatoes and Meta Critic. We look at box office and compare to how much something costs. “Land of the Lost” is a perfect example. It cost, I heard $150 million to produce, $100 million to market and it grossed $49 million. That is going to get our attention. We pay attention to the comments and discussion that is posted on our official forum. Then there is the “Razzie Pedigree” to a movie, which is how many people involved in the movie in front and behind the camera have a history with our awards. I was surprised it took Michael Bay until this year to win a Razzie, he is a terrible director and should be doing trailers for insurance commercials blowing stuff up.


MG: Do you typical invite all of the celebrity nominees to the event? Anyone every give you a problem?
JW: What we normally do, we wait until we know or the trend is clear and who the winners are going to be. We contact the people that we think are going to win. I have been on an annual basis hung up by managers, agents, people representing these various artists. My favorite was when Madonna won worst actress of the century. I spoke with her publicist and the woman totally said “What makes you think that she would show up to accept that award?” I said back “I can’t argue that she didn’t earn the award” and the phone clicked in my ear and the conversation was over. We do not discourage people from attending certainly, we are a well-known enough event, if you wanted to attend. It’s posted on the website and it’s mentioned in the press release. What we don’t want is people showing up and being pissy, that doesn’t work for anybody. Over the 30 years we have done it, I do not even think it is ten people who won awards accepted them.

MG: If you have to narrow it down, what is your favorite film? and your least favorite?
JW: Favorite good movie is “Sunset Boulvard”. I have it memorized. I grew up watching it as a kid. To me that movie has everything. It is a comedy, drama, romance, mystery, in places it is a horror movie. The only genre it really doesn’t have, except when Gloria Swanson sings, is musical. It has every other genre all wrapped up in one wonderful package that also at the same time is talking about how cruel and heartless Hollywood is. My favorite Razzie movie is a toss-up between “Mommy Dearest” that has every credential to have been good, everyone involved was an Oscar winner. The movie is still an enormous joke. The ultimate Razzie movie, that held the most awards for a while is “Showgirls”. A group of adults that make a serious drama about the tragedy of being a lap dancer in Las Vegas. The people that made the movie did not mean it as a comedy. My least favorite movie is “Freddy Got Fingered”. It is the most indefensible, unfunny, sick, ugly, angry, nasty, gross piece of crap I have ever seen in my life. Tom Green showed up and behaved almost as abominably as I thought. We literally had to drag him off the stage. He figured it was funny to stand on our stand for what felt like five minutes, it was probably three and play the harmonica. We carried him yelling and screaming off the stage, the audience loved it, Mr. Green was livid and threatened to sue.

MG: What is your 5-year goal for the 35th anniversary of the awards?
JW: I would love to see the show broadcast. As well known as it is, most people have seen clips of the show on the news, so they think it has been broadcast. It has never been because the studios have always refused to give us any permissions commercially. We are trying to figure out a way to get around that at this point and you may finally see the show broadcast.

Click here to purchase John Wilson’s Books

Watch below to see Halle Berry & Sandra Bullock’s acceptance speeches at the Razzies.