Antonio Fargas talks about new Christmas film “Silver Bells”

Antonio Fargas is probably best known for his work on the popular 70’s television series “Starsky and Hutch.” As “businessman” Huggy Bear, his character had his ear to the street and often assisted the title characters in solving their cases. But Huggy Bear is only the tip of an iceberg that’s been forming for over five decades.

From episodic television to film to the stage, Fargas has carved out an impressive career by any standards. This coming Sunday, December 1, he appears alongside Bruce Boxleitner on the Up TV presentation of the holiday film, “Silver Bells.” While promoting the film Mr. Fargas took time out to discuss his new film, his musical career and a father’s pride.

Mike Smith: Can you give our readers a quick introduction to your upcoming film, “Silver Bells?”
Antonio Fargas: (laughs) Certainly. Well, after working for 53 years I finally find myself in a Christmas story. “Silver Bells” will remind you a lot of “A Christmas Carol,” where a man with some anger management issues can’t appreciate the benefits of what Christmas is about. Through his anger management classes and his having to do community service with the Salvation Army, he has an encounter with me. I take him on a journey, like the ghosts took Scrooge, through the process of softening his heart and opening him up to the spirit of Christmas. It’s a wonderful, feel good story.

MS: What attracted you to the project?
AF: That I was asked (laughs). No, I loved the challenge of the character. Being a character actor I got to do the dirty work when I was younger. But now, being older, I get to do characters like grandfathers, which is another acting opportunity. I feel that I can put my craft to work and tell the story. You’ve got myself and Bruce Boxleitner…two veterans who were cast to take a journey. It just seemed like the right time.

MS: You mentioned you’ve been working for 53 years…you’ve been successful in both television and film. Do you have a preference?
AF: I think there are two pure mediums. There’s theater, the well where it all started for me. I’ve had many great opportunities to work in the theater. And then there’s…well I used to say thirty-five millimeter film…but now it’s just movies. And television is really somewhere in between, though now they’re both treated as movies, what with shooting in digital and trying to get high definition. I love the craft of acting as it applies to theater but there is also television acting and film acting, where you have to employ a whole new set of techniques. I love segueing between the two. I love theater…that’s number one in my life…but I certainly appreciate the magic of film…the different departments that it takes to put a film together. I call it a “marriage” when a film is started and, at the end, it’s almost like a divorce or a death. Really, I love being an artist and being able to create. It’s like the painter with his canvas, or the man who spins the pizza dough and throws it up in the air. It’s all about being part of the creation.

MS: You’ve sung on film in the past and even played Cab Calloway on stage. Did you ever consider pursuing a musical career?
AF: I’m actually involved in a project called The New Jump Blues, which you can catch on YouTube. I’m doing a lot of Cab Calloway-type of performing. Music has always been a part of my life. But I’ve always had a fear of singing in public. I’m great in the shower, like everybody else (laughs). I’m thinking of teaching an acting class for singers because each song is really an acting experience. (You can check out Mr. Fargas and the New Jump Blues here https://www.youtube.com/watch?v=Bb6Q0Pf8Ezg)

MS: Prouder moment: winning an award for your work or watching Justin score a touchdown? (NOTE: Mr Fargas’ son, Justin, was a star college running back and played several years for the Oakland Raiders)
AF: (laughs) Oh boy! You know, just being on the stage of life is very rewarding. Watching Justin…he was a warrior, like me. He went out there and gave his all. And before every game he would run down to the end zone and get on his knees and pray. That’s one of the things they rarely show on television. After games, when the teams have spent the game beating their brains in, players from both teams would kneel down together and pray. Seeing that was the most rewarding thing for me. I’m very proud of him. Thank you for asking.

MS: What do you have planned after “Silver Bells” premieres?
AF: I have no idea (laughs). I live in Las Vegas and, in my community, I’m directing two plays with two different theater groups. That’s where my focus is at the moment. But I’m sure that, after a 53 year career, something else is coming!

 

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Filed Under: Interviews, TV Interviews Tagged With: antonio, bells, christmas, fargas, film, silver, ...

Tamas Harangi talks about new film “The Advocate”

Enthralled with films as a young boy in Hungary, where he made his own Super 8 movies, Tamas Harangi came to America at the age of 19 to study filmmaking. Since then he’s held pretty much every position you can find on a movie set. His first feature film, “The Advocate,” which he both wrote and directed, was a film festival favorite and was recently released on DVD. Tamas sat down with me to talk about his new film and what we can expect next.

Mike Smith: Can you give us a little info on “The Advocate?”
Tamas Harangi: “The Advocate” is a thriller about a defense attorney who has never lost a case in his life. He takes on a case defending a woman accused of murdering her husband and begins to get a bad feeling. He begins to investigate as to whether his client is guilty or not and gets wrapped up in the mystery of it all. He encounters a lot of twists and turns up to the very end.

MS: You also wrote the script. Was it inspired by a real-life event or just something that came to you?
TH: I’ve always liked films that dealt with crime and the legal system. I had an idea for a story and began discussing it with my producing partner, who’s actually an attorney. I picked his brain about the legal system. I started writing the script and would go over certain aspects of the story with him.

MS: You grew up in Hungary. Is that where you first developed an interest in making movies?
TH: Yes. I actually made several short films while I was in high school. I won a couple of awards at various festivals and several of my films were shown on Hungarian National Television. I came out to California to try and break into Hollywood and that’s where I’m living.

MS: Were you exposed to a lot of Western filmmaking as a youngster?
TH: We did get a fair amount of American films, only we wouldn’t get them until a few years had passed. But I grew up on “Star Wars” and “Indiana Jones” like everyone else (laughs). Only we got them a couple or three years after they’d been released. We’d see advertising for these movies in magazines and have to wait years to see them. I watched a lot of those as well as a lot of French movies…great French comedies. Those were my main influences.

MS: Did you have a favorite filmmaker that you wanted to emulate?
TH: Sure. At the time I was, of course, inspired by Steven Spielberg and George Lucas and what they were doing at the time. As I began studying film and learning about the craft of it I was greatly inspired by Alfred Hitchcock. He is what inspired “The Advocate.” A “Hitchcockian” tone is what I was going for. But really, all of the greats…Billy Wilder, Woody Allen…I grew up on their movies and they’re influential as well.

MS: What are you working on next?
TH: I’ve been busy finishing up “The Advocate” and getting it into festivals. I’ve been busy writing as well. I have a new thriller that I’m almost finished with…the first draft is almost complete. I also have a couple other ideas that I’m working on and developing.

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Filed Under: Film Interviews, Interviews Tagged With: advocate, film, harangi, talks, tamas

Scott Frazelle talks about co-producing and co-writing “House of Bad”

Scott Frazelle co-produced and co-wrote December’s House of Bad. Media Mikes had a chance to catch up with the multi-tasker to get the low-down on one of the most buzzed about horror films on the net.  Be sure to check out “House of Bad” when it hits DVD on December 3.

Mike Gencarelli: What exactly does a co-producer do?
Scott Frazelle: In my experience, that title is given to an individual that not only has a specific job, but also brings something to the table in the form of resources or creativity, or both. In the case of House of Bad, our Director, Jim Towns, Producer Dorota Skrzypek, and myself all shared an equal part of producing this feature. Jim brought the script, and a location already in mind. I secured resources and began planning logistics. Dorota found capitol. We equally hammered out the creative details to make it work on screen, and we did the same through the process of post-production. There are plenty of examples where one individual took the lead, but it is absolutely accurate to say we shared this task equally.

MG: How hands-on were you? Was it a case of being on set, doing whatever needed to be done there and then, or was it more a case of making sure the ducks were all in a row before Jim started shooting the movie?
SF: It worked out that Jim asked me to get involved right at a moment where I was between projects for a short time. I was able to do a few weeks of solid prep, then we were off and running. Things were organized pretty well. I stayed on set and was Line Producer through the shoot, as well as another pair of hands wherever needed. I’ve worked in many capacities on Indie features, so its hard for me not to be involved while on set. Plus, I love the culture of being on set. Its amazing to watch complete strangers come together and step into this circus that is filmmaking.

MG: What’s the biggest difficultly doing an indy film?
SF: Overcoming the urge to let enthusiasm overpower good judgement. A lot of Indie projects are a labor of love or a great idea that hasn’t reached the right channels to properly realize them. As a result, the movie suffers, and the people involved suffer. There’s a saying that goes around town, “If you don’t have enough money… you don’t have the right script.” Often times that’s thrown at small projects that are trying make ends meet as a criticism, but really, it should be a mantra that helps guide your judgement. Its not easy, sometimes, to get your start or see your project come to life, but you have to pick your projects in a way that best honors the quality of the project. If you’ve done a budget several times, and you know you really need $250K, it’s going to get rough when you raise only half of that, and decided to do it anyway. Asking people to work 16 hour days for an entire week “for the sake of the movie” is garbage, damaging, and insulting. You can’t do that if you want to work with people again, and you certainly can’t do that if you want what’s on screen to be right. I’m a firm believer in quality, and it begins with EVERYTHING. The script you write or choose, the people you hire, how you treat them, it all has to be guided by doing it right. The best decision you can make could be to NOT proceed with a project…until you’re prepared.

MG: You’re actually a bit of a horror veteran. I see you were in “Creepshow III”! Where and when did the love affair with fright-films begin?
SF: Like all good American kids of the time, through television! I fell in love with classic, and b-movie horror films, at an early age. I remember being fascinated watching The Creature from the Black Lagoon around age 6, followed quickly by Tarantula, Them, The Blob, and re-run after re-run of The Twilight Zone. My father has an affinity for those works, so I was able to catch them on TV with him. Those kinds of horror films really had a fantastic quality to them, they were able to make an impression on me much better than say, Casablanca, would have at that age. I think I saw Whatever Happened to Baby Jane and Psycho when I was about 10, and I no longer needed a monster suit to hold my attention, those were the films that made me realize people are the monsters in our world. My involvement with Creepshow3 was in many ways a dream come true, I got a chance to be a part of the legacy of one of my most favorite movies.

MG: Did the script go through many drafts?
SF: I don’t know how many rewrites Jim went through before he decided to show it to me, but when we both agreed to move forward on it together, there wasn’t the need for a lot of work. I wanted to make some changes, but mostly in the nuances. I thought Jim had some great little moments still lurking in his script, and that the movie would be better served by dragging those things into the light. Jim and I worked together to do that, and it didn’t take much time before we both felt it was done.

MG: When you sold the film to the distributor, were you forced to make any changes – either in the title, how the film was marketed, or otherwise. Was it like handing over a baby to a stranger and just hoping it’d be Okay?
SF: It was! We had been handling everything about the movie from day one-including PR, and generating reviews, and all the stuff it takes to get a distributor interested; so when we made a deal with Osiris Entertainment, there was the relief of not having to do all that any more. At the same time, it was the beginning of a whole new kind of stress because, you know, there goes our baby. But one of the biggest factors in accepting the offer from Osiris was that they genuinely liked the film, and didn’t feel there was a need to change anything about it. Jim, Dorota and myself, all agreed that we’d get the best support from a company that appreciated and enjoyed what we had created, so when they did decided to change the DVD cover, we felt their reasoning was sound and continued to put us in the best position possible.

MG: Was it always called House of Bad? or did you have some alternative titles at one stage?
SF: It’s always been House of Bad. I liked the title when I first read it, I thought there was something just a little spooky about it. It never made me think of a slasher film, or torture porn, or anything like that. There was something unsettling about it, in just the right way. Our cast and crew were one of the best little production families ever, we got along, and there was a lot of fun riffing on the title throughout the production, but nobody ever came up with anything that fit better. Once we began, and started talking about it with friends, everyone seemed to react the same way. The planned sequels, however…

MG: You’re also a book editor. Can you tell us a little bit about that?
SF: My formal education is in writing, and one of my gifts, I believe, is the ability to help a fellow writer improve or refine their ideas. This is different from Punch-Up, where you’re hired to take a script and actually rewrite portions of it to meet certain needs; I feel like when I read another writer’s work, I can see their story through it’s flaws, the most common of which is keeping a particular voice, and pacing. I don’t like to put my words into other people’s work, but I can help another writer see where they’ve gotten off course, or change things to keep to the spirit of their story. Its a little like being a coach; sometimes, because you’re the not the one swinging the bat, or club, or whatever, you can see where a tiny adjustment harnesses the all the power. The first time I’ve officially been named Editor was in 2008, when Dorota began her women’s fiction series Sex, Life, and Hannah. She had this idea for a dating series set in Los Angeles. It was high-energy, and magnetic, and the characters were all very real, but it was still evolving. I’ve been attached to that project for three books now, with a fourth on the way, and it’s been great. I’m also serving as editor on her erotic thriller, The Need, which is going to blow people’s minds (and which I really hope gets realized as a feature)! Its great to work in that creative capacity, being there to help things click.

 

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Filed Under: Film Interviews, Interviews Tagged With: bad, coproducing, cowriting, frazelle, house, scott, ...

Kill Devil Hill’s Mark Zavon talks about new album “Revolution Rise”

Mark Zavon is the guitarist for the hard rock group Kill Devil Hill. The group, which also features former Pantera bassist Rex Brown, Heaven and Hell drummer Vinnie Appice and vocalist Dewey Bragg, has just released their second album titled “Revolution Rise” via Century Media Records. Media Mikes had the chance to speak with mark recently about the creation of the new record and what the band has planned for the coming year.

Adam Lawton: What can you tell us about the new Kill Devil Hill album “Revolution Rise”?
Mark Zavon: The new album is just killer! Jeff Pilson co-produced the album with us. That guy was a huge positive influence on the whole process. He is a great songwriter and had a lot of good input. The album turned out great and we are super proud of it.

AL: What do you feel were the biggest changes made on the record compared to the bands previous release?
MZ: We had a lot more time to spend on this new record. The first record we had to do in about a month. Along with the limited time frame we also had a limited budget so we had to try and get things done as quick as we could. Things are both good and bad that way. This time around we had the time to spend getting things together. We also had a couple breaks in there as well as Rex had his book come out and Jeff plays with Foreigner. Getting everybody’s schedules to line up at times was a little difficult. Even though that part of things was a little bit difficult it gave me time to work more on the songs. We were able to put a little more energy into the writing/recording process this time around. I think it turned out a lot better than the first album.

AL: What type of approach do you guys take when it comes time to start working on a new record being that you all don’t live in the same area?
MZ: Every song is different. Sometimes we work together sometimes we work separate and send ideas back and forth to one another. Some of the songs on this new record were written originally for the first album however we had too many tracks so we held on to them. There was definitely a more collaborative approach to writing on this record as everyone was involved and contributed ideas. It was nice having everyone involved this time around as with the first record a bunch of that stuff was written before Rex even joined the band. There was a lot more of a combined effort this time around and we all demoed stuff in different places and then put it all together. We literally came from every angle when putting this album together.

AL: Prior to the albums released you signed to Century Media. What has that partnership been like thus far?
MZ: The thing that we were really missing on the first record was the promotional aspect of things. We were working with a label from Germany who had no real presence here in the States. That was tough as they didn’t really get behind the release all that much. With Century Media things have been much different. We actually started out by going down to their offices and playing a small acoustic set for everyone there. They are located right in Los Angeles, which is local for me. They came to one of our shows at the Roxy and they have been like family. Century Media is the type of label that likes to get behind their artists and promote them. Combining that with the whole family vibe has been a step in the right direction for us. Something like this is what we have all wanted for a long time.

AL: A lyric video for the song “Why” was released recently, Are there any plans to shoot a full production video for any of the songs of this album?
MZ: I think there will be some more lyric videos to come out for the other songs but we also just shot a video for the song “Leave It All Behind”. That should be coming out soon and is going to be really cool. We shot the video at an old missile silo site north of the San Fernando Valley. It was cool and we all had a good time. We actually worked with the director before on our last video and I think it turned out great.

AL: What other plans does the band have in place for the rest of this year leading into 2014?
MZ: We have plans to take the holiday season off and then start back up towards the end of January. There are some plans in the works for the upcoming NAMM show to do some things with our sponsors. From there the plan is to hit it hard and promote this record through out the coming year. The more we play the happier I am.

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Filed Under: Interviews, Music Interviews Tagged With: album, devil, hills, kill, mark, revolution, ...

Devour The Day’s Blake Allison talks about album “Good Man” and touring with Hinder

Blake Allison is the lead singer/guitarist for the band Memphis, TN based rock band Devour The Day. The group recently finished up a successful tour run with Hinder and has also re-released their “Good Man” EP which features a brand new set of mixes. Media Mikes spoke with Blake recently about the group’s formation, the bands re-release and their upcoming plans for 2014

Adam Lawton: Can you give us some background on the band?
Blake Allison: Joey Chicago and I have been writing songs together for a long time. We got to the point with our old band Egypt Central where Joey and I were writing all the music. When the band started everyone pitched in with the song writing equally. As that band went on and we experienced some member changes it came down to Joey and I putting all the music and lyrics together. We started writing what would have been the third record for that band and during that process our singer left us high and dry. We decided that what we had could be really great material and possibly be used for another band. We loved that band but Devour the Day is really close to our hearts. This music is exactly as we want it. In the previous band we would write the music and other members would perform it. With Devour the Day we can do everything we want and it seems to mess with our musical background better. This music is straight from the heart and for the first time in a long time we can finish a song without outside help as we are creating it.

AL: Can you tell us about the re-release of the bands “Good Man” EP?
BA: We just finished that up pretty recently. We teamed up with Brian Malouf who is legend in the music industry for making great mixes. He helped us take this whole thing on and we actually were working on in while we were still on tour. We started out shooting ideas back and forth over the phone on how we could give the songs a make over. When we signed to Caroline Records we were super excited and we thought that doing this re-release would be a great way to kick things off. Everyone here is super excited about what we have coming up for 2014.

AL: The band recently finished up a tour with Hinder. Can you tell us about that experience?
BA: Those guys are friends of ours from back when we had our first band. They are just nice people. I think a lot of people would assume that people who are famous are jerks but these guys are not. These guys are living out their dreams and are very happy doing that. Those guys have always taken care of us and when we decided we were going to tour Devour the Day I gave the Cody their drummer a call and asked him to put in a good word for us. He did and landed us a tour that has had us on the road for the better half of 2013.

AL: What was the reception like from the fans?
BA: It has been amazing! We kind of share the same audience and can be heard on the same types of radio stations. The crowds may start off looking at us like we are a little bit weird as they have never heard our songs before but by the end of the set they understand what we are about and what we are trying to do. It can be hard to come out of the gat e and connect with a crowd so we get up there and just lose it and act like idiots. (Laughs) The crowds have loved it though and we are excited to get back out there.

AL: Your song “Good Man” is doing really well right now can you tell what made you choose that song to put out first?
BA: When it came time to pick a song to release there really wasn’t much of a dispute when it came to choosing “Good Man”. That song just stood out as something different from the rest of the material. Simply put it was the strongest song on the record. That song really was the catalyst for putting everything in motion. We had a group of songs that we were going to do and once this one was completed and sent out it got a lot of attention.

AL: Can you tell us about the bands Kickstarter campaign that just wrapped up?
BA: We had discussed putting a video together and the first thing that came up was how could we make a video on a small as budget as possible. We started toying with the idea of doing a cheap video, which generally equates to a band playing in an empty warehouse. That’s just not who we are. We wanted to do something different. Joey’s brother Dan handles the non-profit side of a company called Neighborhood Film Company. They put together Kickstarter campaigns for films that help provide jobs to people in need. We thought it would be a good idea to take the same approach and we came up with the idea of doing a video recognizing all of the people who have helped us get to where we are. We are looking forward to starting work on this and the idea is to make people cry and do something different that what a typical rock band would do.

AL: Can you tell us what the band has planned for the rest of this year leading into 2014?
BA: We have some really big shows coming up towards then end of this year. We have some things in the works for 2014 but I can’t really say too much about that just yet. We are really excited though as we will be out with some newer bands that have a similar sound to us. That should be a really great time.

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Filed Under: Interviews, Music Interviews Tagged With: album, allison, blake, days, devour, good, ...

Stuart Ward talks about touring with Broadway hit play “Once”

Stuart Ward is currently touring North America with the touring company of the hit Broadway show “Once”. Stuart is no stranger to the show “Once” as he was in fact the understudy for the role of “Guy” in the West End production of the show. Media Mikes got a chance to chat with Stuart about “Once” and him role during their stop in Philly in their 29 city tour which runs until October 2014.

Mike Gencarelli: How did you come on board with “Once” for its North American tour?
Stuart Ward: I actually was a part of the London cast of the show. I was a cover for the role of Guy. I missed out on the casting since I was on another job in Australia touring with the singer Cliff Richard. No one knows him in the US but in England he is a bit of a rock pop legend. 73 years old and he is still rocking out! So I was in Australia playing the Syndey Opera House and other great venues with him, so when I got back the show was all cast. I got a call asking if I would be interested in the understudy part and to be quite honest I really wasn’t. But they kept asking and I thought even if I get to do think just once – [laughs] there you go “Once” – it would be worth it and I would be happy. So I took it and then the day after I went on for the very first time, I got a call asking if I would be interested to play the lead in the US tour. My jaw hit the ground and I screamed a resounding “Yes”!

MG: So you are currently in Philly, tell us how the tour has been going so far?
SW: It is going great. We are just kind of settling down now. To be honest, when we were in Providence we were still working on the show and cleaning it up a bit. Then we got to Chicago and we were filming b-roll and doing recordings, so it was busy. So now in Philly it is settling down. I have had some time to explore the city and I ran up the Rocky steps [laughs]. The video is actually on my Twitter. I couldn’t help myself [laughs].

MG: What are some of the other cities that you are looking forward to hitting?
SW: I was actually looking forward to visiting Chicago. When we got there it didn’t let down at all. It had such an incredible vibe about the place. It was a bit like New York but a bit more laid back and chill. I am looking forward San Francisco as well, since it has a similar laid back vibe. I am looking forward to Florida since my mom and dad are coming down for that. I miss them hugely, so I am looking forward to getting them down. Honestly though, I am excited for all of them since I have never been to these cities before in America. So I am taking it a city at a time and having a blast!

MG: What do you use for inspiration to get you into the role each night?
SW: There is a remarkable amount of similarities between me and the character, so it doesn’t really take that much. Sometimes when you are playing a role, I think it is important to bring a part of yourself to it otherwise you are just lying. You have to have some truth in there. Usually it is 30% you and 70% your character that you built. But for this role it is actually like 90% is already there for me. I am a songwriter myself and I can relate to this character. I feel like I am actually playing my own songs out there. They all sit perfectly in my voice. It is quite easy for me to get into it.

MG: Tell us about the chemistry you have with co-star Dani de Waal?
SW: It is massive. I was so worried when I came over here because I didn’t meet her until the first day of rehearsals. I thought that 98% of my stage time is with this girl and I was thinking “God, what if she is terrible?” [laughs] I have been so lucky because she is really wonderful. She has this fantastic quality about her that fits the role of Girl so well. It is like a non-descriptive energy that is so great to play off. I feel quite blessed to have her as my Girl. It would be a horrible experience if she didn’t have all these amazing qualities but she is just fantastic.

MG: What is your favorite song to perform with the show?
SW: It is torn between two songs but think it has to be “When Your Minds Made Up”. I just think that that moment is when everything comes together and completes what they have worked for in the play. He just nails it in the studio the first time around. I always feel like he has that performance in his mind for three or four years and he is just waiting to be unleashed. I just love that moment. Not just performing that song, even when watching it, I just love the moment when he has become a songwriter – a rock star if you like.

MG: How has the show changed for you having watched it and now being the lead of it?
SW: What is great about this show and the whole creative team, is that they never wanted a copy of what has been done before. I have never had this happen before when going into a role that someone else has done. Usually you stand at the mark, turn right and say your lines. With the creative team here, they didn’t want any of that and they wanted us to make our own production of it. They approached the show like it was never done before. Half of the blocking is different and all the costumes are different. So the bare-bones of the show is the same but it is our completely own version. You will notice the differences when you come see it and if have seen the show before.

Here is the rest of the tour schedule! Check it out when it comes to a city near you!

Cleveland, OH (Playhouse Square)
Nov. 12 – 24, 2013

Toronto, ON (Royal Alexandra Theatre)
Nov. 26, 2013 – Jan. 5, 2014

Boston, MA (Boston Opera House)
Jan. 7 – 19, 2014

Durham, NC (Durham Performing Arts Center)
Jan. 21 – 26, 2014

Orlando, FL (Bob Carr Performing Arts Centre)
Jan. 28 – Feb. 2, 2014

Miami, FL (The Adrienne Arsht Center)
Feb. 4 – 9, 2014

Tampa, FL (Straz Center)
Feb. 11 – 16, 201

Fort Myers, FL (Barbara B. Mann Performing Arts Hall)
Feb. 18 – 23, 2014

New Haven, CT (Shubert Theater)
Feb. 26 – March 2, 2014

Atlanta, GA (Fox Theatre)
March 4 – 9, 2014

Pittsburgh, PA (Benedum Center)
March 11 – 16, 2014

Rochester, NY (Auditorium Theatre)
March 18 – 23, 2014

Buffalo, NY (Shea’s Performing Arts Center)
March 25 – 30, 2014

Minneapolis, MN (Orpheum Theatre)
April 1 – 6, 2014

St. Louis, MO (The Fox Theatre)
April 8 – 20, 2014

Des Moines, IA (Civic Center of Greater Des Moines)
April 22 – 27, 2014

Tempe, AZ (ASU Gammage)
April 29 – May 4, 2014

Denver, CO (Buell Theatre)
May 6 – 18, 2014

Las Vegas, NV (Smith Center for the Performing Arts)
May 20 – 25, 2014

Seattle, WA (The Paramount Theatre)
May 27 – June 8, 2014

Portland, OR (Keller Auditorium)
June 10 – 15, 2014

San Francisco, CA (Curran Theatre)
June 17 – July 13, 2014

Los Angeles, CA (Pantages Theatre)
July 15 – Aug. 10, 2014

San Diego, CA (Civic Center)
Aug. 12 – 17, 2014

Costa Mesa, CA (Segerstrom Hall)
Aug. 19 – 31, 2014

Charlotte, NC (Blumenthal Performing Arts Center)
Sept. 30 – Oct. 5, 2014

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Filed Under: Art/Theatre, Interviews Tagged With: broadway, hit, play, stuart, talks, touring, ...

Brendon Small talks about “Metalocalypse: The Doomstar Requiem- A Klok Opera”

Brendon Small is the mastermind behind Adult Swim’s hit TV series “Metalocalypse” and the virtual band that has spawned from it Dethklok. It has been 15 months since the close of the fourth season for “Metalocalypse”. With fans wanting more after the cliffhanger from the finale, we finally get “Metalocalypse: The Doomstar Requiem- A Klok Opera”. The special is a one-hour rock opera featuring a fifty-piece orchestra. Media Mikes had a chance to chat with Brendon again to discuss the music behind “The Doomstar Requiem” and the future of “Metalocalypse”.

Mike Gencarelli: Tell us about your decision to turn “Metalocalpyse” into a one-hour rock opera featuring a fifty-piece orchestra?
Brendon Small: I had been toying with the idea of a rock opera going back to season three. You can see there is an episode called “Rehabklok”. It is what we called a troubled episode. We have one every once in a while were the humor isn’t working or the story isn’t tracking. So usually what I will do is go in and up root the story and try and fix it and sometimes that is done through music. So for this case I decided to write everything that this character was going through with the subtext and text and make it into a miniature rock opera. So I really like that. I grew up on musical theatre. Two of my two favorite things are music and stories. So if you can combine the two of them then for me that is a really fun place to play around in. This is part comedy, part super drama and part action, which is what “Metalocalpyse” is, so I thought it was be fun to make to really dark and really stupid and tell the story of the rescue of Toki Wartooth.

MG: How did you end up collaborating with Emmy winning composer Bear McCreary?
BS: I met Bear at a dinner a few years ago at the dinner with Scott Ian of Anthrax. I was familiar with Bear from his work on “Battlestar Galactica”. I studied a little bit of film scoring back when I was in school, so it was something that I always wanted to do. I do a ton of scoring with “Metalocalpyse” but nothing with string or bass stuff. So I always wished that I could make it sound better. Bear had liked the music from “Metalocalpyse” a lot. He usually has big budgets to play with so he can conduct a 90 piece orchestra on an NBC show. I work in cable cartoons and there is no budget for orchestral stuff. TV shows are weird since you are not in complete control of how long they are on which is up to the network. But I knew I had a shot to this one thing and I wanted to do it right and find a way to afford an orchestra. So I called up Bear and tried to get some price quotes and find out the cheapest way to do this in order to make it sound like a movie. So we went back and forth but ended up finding a way to do it. For the first time ever, I put my own money up for a TV special because I thought that it was important for me musically and that it would be an interesting project. I am not sure if I am going to make the money back but I think it was worth a shot.

MG: Give us an idea about your development process?
BS: The most important part for me is the writing and discussion behind what is going to happen on the show. In this case, it is a one-hour long special. So what I did was that I sat with Mark Brooks and Janine Ditullio, the co-writers, in a room for about two weeks. I came to the table with a bunch of the story already planned out including the big flashback for Toki. I wanted to pick up where Dethklok left off but make them have a story of selfishness, selflessness and the feeling of being brothers. After those two weeks, we developed on that and came out with a 15-page outline. I had an idea of what I wanted to music to sound like. In one part, I related to “Jesus Christ Superstar” and then the next part I was thinking about “Les Miz”. There was even a part where I thought about Annie when she went to live with Daddy Warbucks and that was energy and emotional behind that part. I took that and went into my own studio and figured by April 15th I had to have an hour long opera written and I did. In fact, it was much easier than I thought it would be. It was the easiest music to write since I knew what was the emotional center was of each piece and that indicates what the tempo is and so on. I just wanted to keep your ear excited the whole time you were listening. The other thing I like to do when I write music is that when it is over you want to listen to it again. I want to be an audience of the audience as well. I want to be able to enjoy it myself as if I am listening to somebody else’s music.

MG: Where you concerned about delivering this different kind of sound for the series?
BS: That is the thing, I think that people that are familiar enough with the show. They know that Dethklok music is not the only music that shows up in the show. There is Toki’s world, Snakes N’ Barrels, Dr. Rockzo and just stuff that has nothing to do with heavy metal at all. I love metal but I also have an iPod that is always on shuffle. The way that I have always worked with the music on the show is that when Dethklok doesn’t have a song playing it is something that is contradicting to metal, so that the metal sounds heavier when it is on. So if I were to make a full rock opera with a full piece metal band the ear will get fatigued and it wouldn’t work. What I need was a little demarcation end points, a little rest and a few different styles of music to keep your ear excited and for you to keep it on a loop. I wanted to write an album that you leave in your CD player for month. So I think that contradicting stylistically or tempo-wise has always been the easiest thing to do and has always worked when I was writing. So no, this might not be what Dethklok sounds like but it is what “Metalocalpyse” sounds like. I wanted to make sure that people know that this is not a Dethklok album, this is a “Metalocalpyse” rock opera with a 50-piece orchestra.

MG: How was it working with special musical guests like Jack Black?
BS: When I did this thing I didn’t want to be limited by anybody’s range, so you will notice that I did about 95% of the whole thing myself. I wrote for my range of vocals. I can make a lot of different sounds with my voice. So I did everybody from Ishnifus Meaddle to Magnus Hammersmith to Nathan Explosion, Skwisgaar Skwigelf, Pickles and William Murderface. I did all their voices and sang all their songs. I wanted to make sure I had some other voices here and there like Raya Yarbrough, who did Abigail’s voice. Malcolm McDowell and Mark Hamill were in there since I wanted to populate it with a couple of other people. I am able to mask my voice pretty well but at some points you can hear that it is the same guy, which is fine though. Jack Black is an insanely talented superstar. He has got one of the coolest rock voices out there. He really does. I think Tenacious D’s music is some of the best. He was really cool and just completely got the idea of this project. That is also what I love about Tenacious D is that they have this sort of rock opera mixed style with classic rock. I gave him a clip of what he would be doing and I thought it was cool because it reminded me of Andrew Lloyd Webber and classic rock on the vocals. After listening, he drove right over and went into the studio and just belted it out his part and was just super fun to work with.

MG: Many people were speculation this would be the end of “Metalocalyse” but we got left with a cliffhanger, so is it safe to assume we have more to come?
BS: It is funny because I have a Twitter account and I was just laughing watching people say how sad that this was going to be the last episode. I was sitting there thinking that maybe they knew something that I didn’t [laughs]. This is not the last episode of the show. It does have the word “requiem” in it, which is like the end of something. It is very much the end of a few characters since there are a few important deaths in this special. It is “The Doomstar Requiem”, which is a big part of where the story continues from this point and I needed to introduce that. Basically this whole one hour special was to address how we ended things with season four and this was the solution. The whole story was to take these narcissistic assholes and have them care about each other and that was the whole show from the very beginning. You watch from the first episode, they claim to not care about anything and slowly started to in season three and four. They are constantly fighting themselves. It’s their head vs. their heart, the whole time. So it is funny that people made up that scenario online. I am lucky always if I get another season and as that is not always up to me. All I can do is back the project that I have sold and in this case it was “The Doomstar Requiem” and of course I have more story to tell but I couldn’t fit it all in there. But there is still more to come! So if you want to support Dethklok and want more in the future, be sure to purchase the album on iTunes and spread the word!

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Filed Under: Interviews, TV Interviews Tagged With: brendon, doomstar, klok, metalocalypse, opera, requiem, ...

Steven Price talks about composing the score for “Gravity”

I am a huge fan of film scores, always have been. I am always keeping my eyes open for a new favorite. Well, I have found him…enter Steven Price. Steven has three film scores currently under his belt including “Attack of the Block” and “The World’s End”. His latest score for the hugely successful film “Gravity” is no question the best score of the year! I have a feeling it is going to be winning many awards in the coming months. Media Mikes had a chance to chat about developing the score for this film and his involvement with the film.

Mike Gencarelli: Where you ever concerned about delivering the sound to the soundlessness of space with your score for “Gravity”?
Steven Price: It was one of those things that looking back on it I should have been absolutely terrified. At the time we were so into trying things and experimenting that I didn’t realize what a ridiculous thing that I had attempted to do until I finished it really. This was actually lucky cause otherwise I would have sat frozen to my chair and never written a note. At the time it felt like it was a great opportunity to take on this daunting task but I can see now that it was perhaps now quite an ambitious task to undertake.

MG: I felt like the score was the third member of the cast in the film; was that a goal of yours?
SP: The hope for the music was that it was going to add to this idea of immersion. The camera was floating up in space, weightless like the characters and the music was there to follow through with that. You were up in space with them and you felt like you were immersed in that. For me it is the third character in some ways but I was always closely tied to the character of Ryan. A lot of what the music was trying to do was express her emotions and feelings. The hope was certainly that it would have this immersive feel and the sense that it would really all come together as a whole experience.

MG: What did you use for inspiration to come up with this amazing score?
SP: From the word “Go”, Alfonso (Cuarón) was really clear that he didn’t want this to be a traditional film score. I didn’t go and listen to other film scores about space. I avoided things like that actually. We would listen to all types of different music and draw specific aspects from each. You might be listening to rock music one week and then the next some really extreme electronica. All of these things would trigger off little experiments that I would use to apply during the writing process. Everything was really open and we had a lot of freedom. There was no one telling us how we had to create the sound. We got to make something that really fitted this film well and that was also very distinctive.

MG: I read that the score was mixed to be enhanced with the Dolby Atmos technology; tell us about that process?
SP: Yeah! That was the last thing that we did. We came back this past summer and did a new mix for that. This film really suits with Dolby Atmos and the whole thing about it is that you are completely surrounded by speakers. They are all around you. I based a lot around the knowledge that we were doing that when I wrote it as well. You can take it to another level. So if the camera enters the helmet of Sandra Bullock, then all of the sudden the score can feel like it compressed around your head. We had a lot of fun doing that and it is easily my favorite mix. There are so few Dolby Atmos screens in the UK but it is the one that I recommend to my friends for sure in America!

MG: “Don’t Let Go” is one hell of an emotional 11+ minute track; give us some background on its development?
SP: When I wrote it originally it started as 4 or 5 cues. They all did separate things but were designed to flow together. It became the bit that I was most proud of, so that is why I put it on the album as one continuous track. It just felt like it worked so well. It starts off with the introduction of the most dramatic stuff. You’ve had all this chaos and disorientation in the film for the first 20 minutes and this was the first time when you can take a breath. So it let me do a little bit of that kind of writing style which then went into a really choreographed action section. This idea came along early in the writing process that as the actors move around that I can reflect their movement within the music. I thought that that aspect was sort of a breakthrough and I was very excited during mixing that one. I was just so happy with how it all came together and how the emotions carried through it.

MG: What was your timeline on this film?
SP: I started back in December 2011 and we finished the main film mix November/December of last year but then came back like I said this year and did a little more. So I have been involved for the better part of two years now, which in the great scheme of this project is nothing. There are people that have spent around four or five years working on it. But it was great that since it was in fact so much longer than the typical composing project on a film where you are always in a race against time that with this film you got a chance to go back and try different things. I was also involved with temp mixes with the sound crew, so we all sort of evolved the sound together. It was pretty rare and really great to see the whole project develop over the years.

MG: It’s been a busy year for you with “Gravity” and “The World’s End”, tell us about how ?
SP: I had done a film called “Attack of the Block”, in which Edgar Wright produced a few years ago. So “The World’s End” came from that basically. It was just great to work with Edgar on that film. He is so interested in his music. The whole film is so cleverly structured and the music is a part of that. You get really involved really early. Again, I got a script way before they even shot that one and got to discuss how they were going to do things and how we could adapt the sound. That was great fun and a lot of my role in that was around the energy of how everything happened in one night in the film. We got to play into a bunch of different styles since there were comedy bits, action bits and even romantic bits as well. It was just good fun to be able to press different buttons. From being in this very immersive “Gravity” world, it was great to break out and do something different.

MG: What do you have planned after this film?
SP: There are a few things that I have knocking about. Since I am relatively new to this whole composing thing and I am not one of these people that have done like 50 films, I still feel incredibly lucky to be doing it. But also I feel paranoid that it will stop all of the sudden [laughs]. So there are a few things in the works but I don’t want to curse them by talking about them just yet. But there is definitely some exciting stuff coming up!

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Filed Under: Film Interviews, Interviews Tagged With: composing, gravity, price, score, steven, talks, ...

Edward James Olmos talks about new film “Go For Sisters”

Edward James Olmos needs no introduction but I’ll give you one anyway. Born in Los Angeles as a young man he dreamed of being a professional baseball player. However, as he got older he discovered rock and roll and the Dodgers lost an outfielder! As his musical career progressed he was encouraged to give acting a try. He found work with small roles in both film and television. In 1979 he earned a Tony Award nomination for his performance as El Pachuco in Luis Valdez’ play “Zoot Suit,” and reprised the role in the 1981 film version. Roles in films like “Bladerunner” and television programs like “Hill Street Blues” introduced him to new fans and in 1984 he began a seven year fun as Lt. Martin Castillo in the trendsetting show “Miami Vice.” Twice nominated for an Emmy Award for his work, Olmos was the coolest guy on television with the mustache to back it up!

In 1988 he became only the 2nd Hispanic actor to be nominated for the Best Actor Academy Award when he was nominated for his role as real life educator Jaime Escalante in the film “Stand and Deliver.” He went on to star in such films as “Selena,” “Talent for the Game” (one of my favorites) and “American Me,” which he also directed. A second generation of fans embraced him as Commander Adama in the rebooted “Battlestar Galactica” mini-series, television series and films. Earlier this year he starred opposite Denzel Washington and Mark Wahlberg in the hit film “2 Guns.” He will next be featured as ex-cop Freddy Suarez in the new John Sayles drama “Go For Sisters.”

I had actually been scheduled to speak with Mr. Olmos last year during an appearance in Kansas City. When we met I referred to him as “El Pachuco,” which drew a hearty laugh. Unfortunately a change in his travel schedule put our talk on hold so I was thrilled to speak with him this week about “Go For Sisters,” telling a good story and playing baseball on screen.

Edward James Olmos: Hello Michael.
Mike Smith: Hello, El Pachuco! How are you, sir?
EJO: (laughs loudly) I’m doing pretty good. How are you?
MS: Just fine. I’ve been waiting over a year to talk to you.
EJO: Here we are finally on the telephone. I’m ready!

MS: Give us an introduction to Freddy Suarez and your new film “Go For Sisters.”
EJO: “Go For Sisters” is a film written and directed by John Sayles, and it’s probably one of his best films…it’s up there with “Lone Star” and “Passion Fish.” He has created a wonderful, complex character study about two women in need of help. That help comes in the form of a disgraced L.A. police detective who got caught up in the corruption around him and had to pay the price. He’s forced to retire without a pension. He’s also suffering from a tremendous case of macular degeneration, which is an eye disease. So he not only has to deal with his feelings of self-esteem and self-respect but he has to now deal with his physical inabilities. He’s now a shell of himself. A blind shell. But he takes on a last job in the hopes of gaining back some self-esteem. He’s also hoping to make enough money to pay his taxes so he doesn’t lose his house.

MS: What attracted you to the project?
EJO: (laughs) The story I just told you! It was so well written…I couldn’t believe it. John had actually called me and asked me to produce the film. I’ve known John for over thirty years but I’d never worked with him. I told him it would be my honor and asked him to send me the script. I read the script and I was like, “wow.” It was so original. He asked me if I liked Freddy Suarez and I told him I loved him. “Would you play him?” “Of course I would.” So that’s how the whole thing started.

MS: As a director yourself, when you’re on set with someone like John Sayles or Ridley Scott or Michael Mann, do you spend your time when you’re not performing studying their techniques…seeing how they run a set?
EJO: When I’m on a set, moment to moment, my first priority is to build my character to help tell the story…be it theater, a motion picture or television. It’s important to pay attention to the story. But we’re all story tellers. All of us. From the grips to the lighting people to the director…the producers…the actors…we’re all story tellers. We’re all there to tell a story. When I’m acting I’m there for one reason and one reason only. To tell a story. And the story of “Go For Sisters” is one of the most original pieces of work I’ve done in a long time.

MS: You were in the big budget film “2 Guns” earlier this year and now you’re in “Go For Sisters,” which is a much smaller independent project. Do you have a preference when you choose a film project?
EJO: Not really. Again, it begins with the story. If the story is worth telling then I’m interested.

MS: Since we both love baseball, here is one of the questions I’d hoped to ask you last year: In the film “Talent for the Game” you portray a former ball player who gets the chance to catch one more time in the big leagues. As someone that once dreamed of being a professional ball player was it a special moment being able to portray one on film?
EJO: (almost like a purr) Oh yeah. It was probably one of the most memorable experiences I’ve had in filmmaking. I love that movie. It’s just the most unusual little film that more people are seeing now then when it came out.

MS: What do you have coming up next?
EJO: I’m working on a film now called “El Americano,” which is an animated film that should be out in March. It’s a co-production between the United States and Mexico and it stars the voices of Lisa Kudrow, Paul Rodriguez, Cheech Marin, Rico Rodriguez (Manny on “Modern Family)….myself. It’s a handful of great artists lending their voices. It’s an animated film for children but adults will enjoy it. It’s not like PIXAR, where the films are made for adults but children go to see them also. I’m really looking forward to it.

 

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Filed Under: Film Interviews, Interviews Tagged With: edward, film, james, olmos, sister, talks, ...

Paul Teutul Sr. talks about new series on CMT “Orange County Choppers”

Paul Teutul Sr. is the President and CEO of Orange County Choppers, which he formed in 1999. He was introduced to the world of reality TV in 2002 with “American Chopper”, which aired for many years on Discovery Channel and later on TLC. Paul returns to TV with this latest show “Orange County Choppers”, which premieres on CMT on November 16th. The show has him continuing to do what he does best…making bikes. Media Mikes had a chance to chat with Paul about his new show and his love for what he does.

Mike Gencarelli: How does “Orange County Choppers” differ from “American Chopper”?
Paul Teutul Sr.: One word. Freedom.

MG: Tell us about this freedom with working with CMT this time around on “Orange County Choppers”?
PT: What the cool part is that when the station decided to take us on they wanted this to show who we are and for us to do what we do. They didn’t ask us to fill this certain format or change this or that. They told us to build some cool bikes and just go crazy.

MG: What are some highlights that we can expect from this season?
PT: First of all, I think you are going to see a different style of bikes, not major but I want to go more basic this time. Even though we do themed bikes, I want the bikes to actually look like bikes, not crazy but still cool looking. I think some of the bikes we did in the past stopped looking like actually bikes…

MG: Well some people want over the top and people want old school, I understand that…
PT: Absolutely and there is a balance there. I think for me personally, I just want to build some really cool bikes and I want some more hands-on work.

MG: You have been on TV for over a decade now, what do you enjoy most about reality TV?
PT: I enjoy it most because it IS reality TV. You come into work in the morning and you do pretty much exactly what you would do whether the team is there or not. I think if it was scripted it would have been gone a long time ago. I tell people it is like a form of discipline also since when you are filming you have to make certain commitments. I think that this is good and it helps discipline yourself. I am 64 years old, so I can pretty much come and go as much as I want. But I love the shop and I love building bikes, so I will always do that regardless whether the filming crew is here or not. There was though about a six month gap from when we stopped with Discovery and started filming with CMT, so we came to work and it just felt different. It was like “Where did everyone go?”.

MG: You weren’t the only ones going through withdrawal Paul! We were all there with you man!
PT: Oh yeah! You know what is funny we have been on Twitter and everyone just seems so excited to see the show. They are like junkies, they need their fix! [laughs]

MG: What is your favorite activity related to owning OCC?
PT: Hmm…that is a great question Mike. I guess there are multiple answers to that. I guess it is honestly the freedom to being able to do whatever you really want to do. It is a business but it is also an opportunity to reach out to people and do good things and that is very important to me to be able to do those kind of things.

MG: Now for the opposite, I have ask what is your least favorite activity related to owning OCC?
PT: Paying the bills…[laughs]
MG: You are a business owners for sure, I would have said payroll myself!
PT: Well, it is all part of it. [laughs]

MG: What was your all time favorite build?
PT: It has to be the POW/MIA bike. That was my favorite.
MG: Yeah, that was a great bike!

MG: What do you like to do most when you are not on camera?
PT: I’ll tell you what my life is…building bikes, riding bikes, fishing and working out. [laughs] That is it!

MG: You got into to this business to build choppers, do you get to do what motivated you as much as you would like? Or is it just a business now?
PT: You know what Mike, around the shop here it is a little difficult. But I have a shop at home and I build at least three choppers a year out of my home shop. But I build the kind of bikes that I would want. I build the regular David Mann, 60’s/70’s-type choppers that are streched out with springer foot ends. That is what I do all winter, I build bikes.

MG: If you could have one thing that you don’t have now, what would that be?
PT: Wow, these are some good tough questions Mike! [laughs] You know I am a big car collector and I am always on the look out to buy another car. I have some of the Vette 01Z and the Camaro ZL1 and stuff like that. I am not a Ferrai or Lamborgini guy. I am not sure…but it will definitely be a car. I have to admit, I am very blessed I got a lot more in life that I ever expected. So I don’t have a lot of needs.

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Filed Under: Interviews, TV Interviews Tagged With: choppers, cmt, county, orange, paul, series, ...

Jim Towns talks about directing the film “House of Bad”

If you walk away from December’s rather tense House of Bad a little shaken and stirred, the man to send your letters of complaint to is Jim Towns. Media Mikes had a chance to talk to the talented up-and-coming filmmaker about one of the most daunting films you’ll see this year. Be sure to check out “House of Bad” when it hits DVD on December 3.

Mike Gencarelli: How far back does the story of House of Bad’s conception go?
Jim Towns: All the way back in college I’d had a vague idea for a story about three sisters on the run with a stolen suitcase of drugs. I thought I’d someday do it as a graphic novel or a prose story, and at one point I wanted to do it as a black box theatre play, but I’m glad I held onto it for a while until it could be realized on film.

MG: Were you a horror/thriller fan growing up? Is that what stemmed the interest in doing a genre film? Or is it because horror seems to be an easier sell these days?
JT: No, I’m an old-school, dyed-in-the-wool horror fan. Scooby-Doo, The Munsters, and Abbott & Costello meet Frankenstein pretty much sealed my fate at an early age. I think it’s pretty apparent when “mainstream” filmmakers try to exploit the horror genre in order to get a film made and sold and bolster their reputation. I’ve been sent a few of those scripts and I think those films – and we’ve all seen them- come across as very hollow and half-hearted. Horror fans are smart, and they know when someone’s trying to exploit the genre. Also, I’m not sure horror is actually that easy of a sell these days either, because there’s a helluva lot of people making a helluva lot of horror films right now. It’s pretty hard to rise above the white noise of all that and land a good distribution deal, it takes something unique.

MG: You co-wrote the script. We picture two guys on computers, side-by-side, madly writing something by moonlight. Is that how it worked?
JT: Not really. I had a rough draft done before Scott [Frazelle]came on. We never actually sat together in a room with duelling laptops or anything, it was mostly emailing each other scenes and revisions and working in tandem to hone in on the best structure and the most compelling character moments to give the film the most impact for the viewer. Scott’s a great writer with a natural instinct for what makes a story work, and that was a huge benefit for the movie.

MG: Are the people involved in the film – particularly behind-the-scenes – all friends? Or was this a case of ’rounding up’ the best for the job?
JT: Scott and I have each worked in just about every capacity on films and TV at some point over the years, so it really was a matter of tapping our combined talent pool. Luckily we knew just about everyone we needed for the crew, and the jobs we didn’t have anyone for, someone we knew would know someone who was perfect. When you basically have no time for pre-production, you have to find people you know aren’t going to let you down, because lost time is lost money and that’ll sink you, so you simply cannot afford to pick the wrong person. I look at the finished film now and I see the amazing look our DP Chad Courtney and art director Nikki Nemzer gave it. The great makeup by Jennifer Jackson. The seamless blend between Anthony Eikner’s SFX and Gregg Deitrich’s VFX work on many of the blood gags. Nina Lucia’s razor-sharp editing. The incredible score by Terry Huud, and on and on. So yes, they were all friends, and yes we got the best for the job. It’s nice when that works out.

MG: Who is the audience for the film, in your opinion?
JT: House of Bad has all the signature moments of a good horror film- building suspense, big scares, great gory effects, so I’m not too surprised that horror fans have responded so favorably to it. What has surprised me is how well it’s connected to non-horror viewers. I think the dramatic setup of the movie, the dynamic of the three sisters dealing with the ghosts of their past, connects with a much larger demographic beyond the horror fanbase– so to answer your question, I think the film is for anyone who enjoys a good story, but can handle a few scares, too.

MG: Complete the sentence. ‘You’ll love House of Bad, if you liked…’
JT: Indie films, ghost stories, and films that don’t suck.

MG: The movie seems to be getting a lot of publicity online. How important is the internet in terms of marketing a film like this?
JT: It’s absolutely critical when you can’t afford to buy ad space or billboards. Online critics, reviewers and bloggers are a vital component in getting the word out about your movie, and I’m really thankful for everyone who’s taken the time to watch and review HoB and for the interviews, especially since the reaction has been so overwhelmingly positive. I’ve never had any of my films get such good press across the board and it’s been a pretty awesome few months, I can tell you. To my peers out there with a film project in the works I’d say put aside a few bucks aside and try to hire a good PR company like ours (October Coast) to raise your film’s awareness. Social media is great but it can only reach so far.

MG: What’s your next movie?
JT: There’s a few things coming up for me right now, which is exciting. There’s a supernatural western called A Man with a Gun, which is about this gunfighter with a dark past who travels through Purgatory to rescue the souls of his murdered wife and son. I wrote and am producing it, and it will feature Dani Lennon (Bite Me) and Tony Todd. Getting a call on your cell from the Candyman is a pretty cool thing, I gotta say. I’m also set to shoot 13 Girls next year, which is sort of a cross between Rosemary’s Baby and Law & Order. Sadie Katz and I will be reuniting on that one, as well as another little film we’re developing called Invasive, which will be really scary and really really sexy, too. Maybe even more sexy than scary, I don’t know. But it’ll be a lot of fun to watch, without doubt.

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Randy Couture talks about his new film “Ambushed” and returning to “The Expendables 3”

Five-time World Champion and Hall of Famer, Randy Couture came to spotlight with his fighting skills in Mixed Martial Arts and Ultimate Fighting Championship. Besides fighting, Randy has appeared in films like “The Expendables”, “The Expendables 2” and “The Scorpion King 2: Rise of a Warrior”. Randy also reunited with “The Expendables” co-star Dolph Lundgren in the film “Ambushed”, which will be released on November 12th. Media Mikes had a chance to chat with Randy about that film and also get a sneak peak into “The Expendables 3”.

Mike Gencarelli: How did you end up reuniting with “The Expendables” co-star Dolph Lundgren in “Ambushed”?
Randy Couture: It was actually more like an “if then” type of deal. We have become good friends over the years. We heard about this project and they were thinking about him and wanted to know if I would be interested. I said if Dolph was going to do it then I was absolutely interested. He said the same thing that he was in if I did it. We were looking forward to the opportunity to work with each other again outside of “The Expendables”.

MG: You also co-starred with Vinnie Jones in last year “Hijacked”. Was this Accident or propose?
RC: Actually that was an accident. I didn’t know that that was coming and I was very excited to find out that he was going to be part of this film.

MG: Tell us about your role Jack Reiley and how you prepared?
RC: Jack Reiley was a challenge for me to play such a nasty character. It was very outside of the box. Part of the acting process is figuring out how to relate to the character and figuring out who they are. I had no real basis in my stream of experience to give to him, so I had to create a back story. He was doing the things that he was doing in my mind and perspective to get ahead and provide for his family and keep them in his life. Once I wrapped that frame of mind into the things he did that I felt like I was able to find him and tell the truth, which is the process in acting.

MG: What made you also take on the role of producer for “Amushed”?
RC: It was due to the relationships that I have been lucky to build. I was able to throw my name in that hat and get some credit under my belt. It was nice being able to pull the entire piece together and I have a great group of guys to help me out. Sam Spira, my manager, was great in putting me in a position to be a part of that.

MG: Do you see your taking on that role again or even stepping behind the camera?
RC: Absolutely, I am already producing a few TV shows for Spike. I am definitely looking for more opportunities in that regard. In terms of directing, it is definitely something I see myself doing. I am learning more about cameras, film speeds and all those sorts of things as I am around guys like Sly (Stallone) and other guys that I have been getting to rub elbows right. So I will definitely want to try that out at some point in the future.

MG: Tell us what we can expect from “The Expendables 3”?
RC: Actually we just finished it. It is all in the can now. I am sure that they are organizing it and getting it line out. I am hearing net August probably for a release. I will be excited to see how it comes together.

MG: Give us a rundown on some of the new additions to the cast?
RC: We have a very interesting story. It puts an interesting twist on “The Expendables”. Wesley Snipes joined the crew and how that unfolds is very cool. We add some new younger guys to the group Kellan Lutz (“The Twilight Saga”), Victor Ortiz (Former WBC Welterweight Champion), Ronda Rousey (UFC Women’s Bantamweight Champion) and Glen Powell (“The Dark Knight Rises”). I think that storyline – the young vs the old – the tech savy vs. us older guys who are like the Planet of the Apes when it comes to techical stuff [laughs]. It is a pretty interesting juxtaposition and creates some interesting conflicts and I think people are going to dig this story.

MG: Besides acting, tell us about your work with Xtreme Couture MMA?
RC: The gym is going very well. We just picked up a new MMA coach, Robert Follis, who has changed a little bit of the atmosphere and energy in the gym. Some of the top pros are starting to come back into the gym setting. We have a great group of young guys. Our amateur team has been great and is kicking butt under the training of Dennis Davis. I am very exciting about the things that are happening now. We have just started an affiliate program. We have two in New York and Colorado Springs. So keep an eye out!

 

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Alter Bridge’s Myles Kennedy talks about new album “Fortress”

Myles Kennedy is the lead singer/rhythm guitar player for the hard rock band Slash and Alter Bridge. The groups 4 album titled “Fortress” was recently released to rave reviews and the group is currently touring Europe in support of its release. Media Mikes had the chance recently to ask Myles a few questions about the album and what it’s like splitting time between two successful projects.

Adam Lawton: Can you give us some background on the new album?
Myles Kennedy: Mark Tremonti and I started the writing process for “Fortress” last year while we were touring with our various projects. We both agreed to meet in Florida starting in January to begin the arrangement process. Things went pretty quickly from there because we didn’t allow ourselves to over think. With that said we certainly tried to challenge ourselves and venture into new musical territory as much as we could.

AL: What do you feel was the most difficult part of working on this record as compared to the previous 3?
MK: Our fall tour and record release date had already been set so it was challenging knowing we had a finite amount of time to get the record done. Another challenge was not allowing ourselves to utilize the same arrangement approaches we had used in the past. It was very important to push ourselves as a band and continue to evolve.

AL: Does having multiple projects and larger time gaps between releases affect your creative process at all?
MK: It liberates us. I feel like our various projects keep the creative juices flowing all the time and benefit the songs at the end of the day. I’ve learned a lot about myself as a writer, singer, guitarist and performer in the last few years.

AL: Can you tell us about the “Addicted to Pain” video which was released recently?
MK: We teamed up with Dan Catullo for this video. He directed our live DVDs which we recorded at Wembley Stadium and Amsterdam. We were definitely on the same page regarding the overall vibe and visual concepts which made the process go quickly.

AL: Can you tell us about the upcoming Alter Bridge tour?
MK: We are currently touring Europe getting the set refined. At this point we are trying to mix up the set-list more than we have in the past. We have a lot of diehard fans that travel all over to see us. Often times they come out and see us more than once on a tour cycle so we are trying to keep them in mind by switching tunes out from the new record in order to keep it interesting. The hard part is when you find a set that has a great flow you have to be careful how much you alter it or the show will suffer. It’s a delicate balance.

AL: Do you have any other projects in the works that you would like to mention?
MK: At this point we are focused on Alter Bridge. I am working with Slash and the guys on new material for the next record and I am sure Mark is chipping away on songs for next Tremonti record as well. We are lucky to have so many musical outlets to keep us busy and it’s definitely something we don’t take for granted.

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Filed Under: Interviews, Music Interviews Tagged With: album, alter, bridges, fortress, kennedy, myles, ...

Justin Kirk talks about new film “Last Love” and TV show “The Blacklist”

The first time I saw Justin Kirk perform he was naked! Of course, to be fair, I should note that all of the performers were naked. It was 1995 and I saw Kirk and a stellar cast, including Nathan Lane, John Glover and Anthony Heald, in the Tony and Drama Desk Award winning play, “Love! Valour! Compassion!” One thing that stood out about Kirk (no pun intended) was his bio in the Playbill in which he noted, among his credits, that he was “Michelle Pfeiffer’s dead brother in WOLF.” If truth be told, it was actually a PICTURE of Kirk portraying Ms. Pfeiffer’s dead brother but still, to say your first film starred Jack Nicholson and Michelle Pfeiffer does look good on a resume.

Since then, Kirk has worked steadily, in both film and television. His real first feature was the film version of “Love! Valour! Compassion!” in which the entire cast, less Nathan Lane and Anthony Heald, recreated their roles. Lane was replaced by Jason Alexander while Stephen Spinella subbed for Heald. He has also appeared in popular television series like “Everwood” and had a recurring role in the Showtime series “Weeds.” He can also be found occasionally on the Emmy Award winning “Modern Family,” where he plays Mitchell’s boss, Charlie Bingham. He can also be seen in upcoming episode of the new show “Blacklist.”

On the big screen, Kirk has appeared in “Angels in America” (made for HBO), “Vamps” and can now be seen in the recently opened “Last Love.” Mr. Kirk took some time out of his schedule to sit down with me and talk about his new film, working with James Spader and how his photo got screentime.

Mike Smith: I’m not sure if the rep told you when I scheduled this interview but I had the great opportunity to catch you in New York in “Love! Valour! Compassion!” And if I didn’t say it then, let me say thank you for signing my Playbill.
Justin Kirk: Wow! That’s going back some. Talk about déjà vu…I just did an episode of the “The Blacklist” with…not one of the original cast but in the second string…an actor named Richard Beacon. I hadn’t seen him in 18 years. And I just got a text from Stephen Bogardus, who was in the original cast. I’ve managed to keep in touch with all of those guys over the years.

MS: Can you give us a brief introduction to your new film, “Last Love”?
JK: Sure. Well, an introduction from my perspective is that Michael Caine and I are an angsty father and son. It’s a movie about some lonely people trying to reach out to each other.

MS: What attracted you to the project?
JK: Well, right off the bat you’ve got Michael Caine…that’s a tough one to turn away. (laughs) I enjoyed the writer/director’s (Sandra Nettlebeck) first movie, “Mostly Martha.” I was a big fan of it. It was a great script. It all just came together and I decided I’d better haul my ass to Europe for a couple of months.

MS: You’ve done a lot of film and television work. Do you have a preference? And do you have to prepare for a role differently for film vs television?
JK: Not really. I think in this day and age the lines between the two are blurring. A lot of people will probably see “Last Love” on the same box they watched “Weeds” on. The difference pretty much is that in television there’s a different script every week…you don’t necessarily have your characters beginning, middle and end when you sign on to do the job. You don’t know what it’s going to be. Other than that it’s pretty much the same. They turn on the camera, look at the other actors and try to remember who the person is that you’re playing…what they do…and start talking.

MS: Do you know yet if you’re going to be back on “Modern Family” this year?
JK: Wow! Thanks for asking (laughs). I did two episodes for this year. The first has already aired where I hit on Haley. That was a lot of fun. And then there’s one more that hasn’t aired yet. That’s been a good one over the years. They usually have me back at least once a season or so. It’s not a bad show to be a part of.

MS: One of the things I remember most about you and “Love! Valour! Compassion!” was that in the Playbill you’re claim to fame was that you were Michelle Pfeiffer’s dead brother in “Wolf.” You’re actually just a PHOTO of Michelle Pfeiffer’s dead brother. How did that come about?
JK: (laughs) Someone actually sent me a shot of that scene and I was shocked at how young I was in the picture. That came about because I was doing a play on Broadway and the costume designer for the show, Ann Roth, is also Mike Nichol’s costume designer (NOTE: Oscar-winner Roth has designed the costumes for all of Mike Nichol’s films since “Silkwood”). I had never met him. One day she told me that she and I were going to take a ride about 45 minutes out of town and take some pictures. And later on, there it was in the movie. It pops up on the screen and Jack Nicholson says, “Nice face.” I rode that one for awhile! And then years later I worked with Mike Nichols on “Angels in America” and I continually had to remind him that I had worked with him before. He was fairly unaware of that. (laughs). But you know, you never know where things like that will lead.

MS: That’s like Bruce Willis trying to convince Paul Newman on the set of “Nobody’s Fool” that they had worked together before because Willis was one of the galley members during the courtroom scenes in “The Verdict.”
JK: Really? I didn’t know that. That’s a good piece of trivia.

MS: What else do you have coming up?
JK: I just did a pilot for FX called “Tyrants.” We’ll see what the life of that one turns out to be but it was a pretty crazy experience in Morocco. I just got home yesterday from doing an episode of “The Blacklist,” which is a hot new show with James Spader. That was a lot of fun, being a bad guy. And that should air fairly soon…they have a fast turnaround there because the show is doing very well so they have to make them quickly.

MS: I think it’s because of the characters he plays but I’ve always imagined James Spader would be the worse person you could ever want to spend time with. But having just said that I’m guessing James Spader is pretty cool.
JK: He’s super cool. I’ve been a fan of his since I was a teenager in Minneapolis and went and saw “Sex, Lies and Videotape” at the local art house. He’s been for me, and a lot of my generation of actors, much like Michael Caine. When the opportunity came to work with James I was like, “I’ve got to go act with Spader for a second!”

MS: That’s really all I had. Thanks again for signing my Playbill. Everybody at the stage door was mobbing Nathan Lane when you came out so I don’t know if I got to say thank you.
JK: (laughs) That’s great. I’m glad. Maybe we’ll get the chance to do it again in the future.

 

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Filed Under: Film Interviews, Interviews Tagged With: blacklist, film, justin, kirk, love, show, ...

Val Lauren talks about working with James Franco on “Sal”

Val Lauren has done very well for himself, carving out an impressive career while staying just below the radar. That is all going to change thanks to his bravura performance as Sal Mineo in director James Franco’s bio film, “SAL.”
A longtime member of Playhouse West, Lauren is a frequent collaborator with his friend, Scott Caan, on various film and stage projects. He made his film writing and directing debut with the well received short film, “Help,” which I recommend you give a look at http://www.openfilm.com/videos/help

While getting ready for the release of “Sal,” which opened last week, Lauren took time out to speak with Media Mikes about Sal Mineo, changes in Hollywood and why James Franco has his cell number.

Mike Smith: How did you get involved with “Sal?”
Val Lauren: James Franco offered me the role out of the blue. I got a text from him saying that he would like me to play Sal Mineo. I had no idea the offer was coming so it really took me by surprise. That’s simply how it all started. I stared at my phone for a while and then I texted back “cool.” And the next thing you know we had jumped in feet first.

MS: Nice. The first thing I would have wondered is how James Franco got my cell number.
VL: (laughs) James and I are friends. We’ve had a collaboration as actors for many years now. We’re both part of the same theater company, Playhouse West, an acting school and repertory theater company in Los Angeles. That’s where we first met over a decade ago. We’ve collaborated together on characters we’ve played in our individual movies as well as on scenes in plays for the theater. It’s an ongoing joke that we’re regarded as the James Dean and Sal Mineo of the theater company. In fact, when James did the movie “James Dean” I worked with him for a couple of months helping to research the part and that’s where we both learned a lot about Sal Mineo. We considered writing a play about James Dean and Sal Mineo so that topic has always been there. After James read Michael Gregg Michaud’s biography about Sal he decided he wanted to tell a story about Sal Mineo and that’s what we did.

MS: In researching the part where you able to speak with any members of Sal Mineo’s family or his last partner, Courtney Burr?
VL: I was. I spent a wonderful afternoon with Courtney Burr. Michael Gregg Michaud is a friend of Courtney’s and one day he asked me if I wanted to meet him. Of course I said yes. So we went over to Courtney’s home and spent the day together. Courtney told me some great stories about Sal and about their experiences together. He had a chair…a beautiful chair…in his house that Sal had given him as a gift. He let me sit in it, which I was very nervous to do. I didn’t want to knock it over or break it. He told me about their time together. We really just talked a lot about Sal. I can really see why Sal loved him. I can also see why Courtney loved Sal. He was great in helping to inform and reinforce me about the man that I had been given the responsibility to represent.

MS: Though he didn’t flaunt his sexuality, Sal Mineo never shied away from the fact that he was gay, even in an industry that, almost four decades after his death, people do their best to stay closeted. Do you think that affected his later career choices? I mean, his last movie was “Escape from the Planet of the Apes.”
VL: It absolutely demolished him. Technically he was the first known actor to come out. He didn’t make a big thing out of it but he did not make any efforts to really hide it. He would do interviews with gay publications, which at the time were relatively unheard of. He would not stay undercover. This absolutely destroyed him in the business. Friends of his that were actors and actresses and directors were afraid to even hang out with him because they would not want to be guilty by association. And I found that just appalling that it happened. I’m very happy that, almost forty years after his death, we don’t have to hide ourselves. Not only in Hollywood but in life. People have finally started to wise up and say, “what’s the big deal here?” There has been a lot of growth since then. Although there are always pockets of people that are slow to catch on I think we’re on our way to sanity.

MS: As a writer/director yourself can you give us a critique of James Franco as a director?
VL: (laughs) I think he has a very interesting and specific lens through which he views things. I think he has a very unique perspective on how he likes to tell stories. I think he’s brave to venture out and try new things at a time when we often see the same kind of movies told in the same kind of format. He has very specific ideas on what he wants to explore, which is an attribute I find in the greatest directors that I admire. I applaud him for exploring areas that, frankly, other people are too afraid to touch.

MS: There had been some talk about you making your short film, “Help,” into a feature film. Is that still the plan?
VL: I believe that the story in that short film was told in full. We may make it as a feature and we may not. I’m still not sure. I’m really proud of the film as it is and I think that I’d like to make other movies now and tell other stories and let “Help” be what it is. Yes, it’s a short film. It is 40 minutes long. But I believe that the story I wanted to tell has been told.

MS: What else are you working on?
VL: Right now I’m directing a play that just opened called “One Hundred Days of Yesterday” that was written by Scott Caan. We’ve done about a dozen plays together….ones he wrote…ones I directed…ones we starred in. This is one that he wrote that I’m directing with two great actors. My next movie coming out is called “The Last Knight” and it’s based on this great Japanese tale of the 47 Ronin, who were a group of warriors that set out on a mission to avenge their master.

MS: I’ve got to end this by saying I thought your performance in “Sal” was brilliant. I’m making sure I use that word in my review as well. I think it’s so hard to play a real-life person that is so well known because people go into the film with a preconceived notion of how that person is. I think you captured Sal Mineo perfectly.
VL: You just made my day, man! Thank you so much. That really means a lot to me.

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