One of the most terrifying and tremendous thrillers of the 1990’s, Rob Reiner’s film adaptation of the novel of the same name by Stephen King, an ode to psychotic fans everywhere, MISERY, has always seemed somehow destined for the physical confines and emotional excesses of the stage. Now, thanks to two-time Academy Award-winning screenwriter William Goldman, the man responsible for the original film’s screenplay as well as many films, books, plays and musicals of his own, along with director Will Frears, the nightmare is coming to the stage at the Bucks County Playhouse for a special limited engagement November 24 through December 8.
Read an in depth interview with William Goldman and Will Frears by Pat Cerasaro at BroadwayWorld.com HERE
With Frankenweenie, Tim Burton goes back to a couple periods of his own history. One is his childhood, during which he was alienated from average school life, and found solace in monsters and movies. Another is his early career, when he created a short film for Disney that, creatively, was his first big success, and professionally his first major failure. Meant to run before the re-release of Pinocchio, the original Frankenweenie, about a boy who reanimates his dead dog, was deemed too dark and weird, and shelved for years, although I do remember seeing it before a screening of The Nightmare Before Christmas in London. Check out this interview with Burton from /Film HERE
With the announcement of a new documentary about Daniel Lutz entitled, My Amityville Horror, and yet another Amityville Horror movie, it’s time to check up on the ‘real’ story behind the house’s haunted history.
Producer Tony DeRosa-Grund has acquired some video footage of a seance carried out in the Amityville house in 1976 and he’s going to use this material as the basis for a new feature film. The seance was filmed for a report on the local news, but also recorded for the local radio station. That particular report was produced by Michael Linder, later one of the creators of America’s Most Wanted.
Is the story of America’s most famous haunted house real horror, or a common hoax? In 1976 The Lutz family fled from their home in Amityville, Long Island, claiming that they had been driven out by terrifying and unexplained phenomena. Their story went on to become a worldwide bestseller which spawned dozens of books and films.
This followed the mysterious slaughtering of an entire family one night a few years previous. The murderer claimed it was the work of the devil. Mediums and psychic investigators have claimed that there is a curse on the property, while others believe the gruesome history has been invented as a money-making scheme.
This documentary sets out to discover the truth about one of American folklore’s most notorious mysteries and features George Lutz’s last on-camera interview before he died in 2006.
This is the two angle raw video footage that George and Tim Yancey shot for a project about the Lutz haunting. Due to his passing a short time after this was shot, the video was never used. It is the only time Tim ever publically heard him discuss the events of the last night in the house… and the only time it has been documented on film.
Del Toro is back at Comic-Con after completing the robots vs monsters saga Pacific Rim financed by Legendary Pictures and Warner Bros. While it won’t be released until July 12, 2013, some in the industry have seen the early visuals and said they are stunning and they predict Del Toro will make a stirring return that was informed by his setbacks.
DEADLINE: You are finally here with a movie you directed. Describe your road here.
DEL TORO: Two years in New Zealand on The Hobbit, a year in L.A. and Canada developingMountains. Luckily, during the year of Mountains, I started on Pacific Rim and when people ask me why I have four or five things in development, here’s the answer. Paraphrasing John Lennon, a career is what happens when you’re making other plans. I once had a gap between Mimic and Devil’s Backbone of four years and haven’t had that long a gap until now. It is four years since Hellboy II. In 1998, my father was kidnapped for 72 days, I had to emigrate to Texas, and start over. I was recuperating from a bad experience on Mimic and luckily I found Pedro Almodovar, who basically supported me in doing Devil’s Backbone, which I consider my first movie in many ways. To me, this second four-year gap, finding Thomas Tull, John Jashni and Warners, was vital for me to continue. Pacific Rimhas given me an injection of life that I very much needed. I am reinvigorated, and at the most basic existential level, I needed this. I needed to have as good as an experience as this was. I came back from The Hobbit and met the Legendary guys and the experience was life changing. Thomas wanted me to read Travis Beacham’s pitch they had for Pacific Rim and I instantly saw the world.
DEADLINE: What did you see?
DEL TORO: This is a medium that requires large investment, and as a storyteller on this scale, there are only five guys who can write their own ticket; James Cameron, Peter Jackson, Steven Spielberg, Chris Nolan and Michael Bay. The rest of us, we can only do certain things and they are mostly linear. If you are good at doing a comedy, the industry and the audience sees you only doing that comedy. This was a huge opportunity for me to step beyond where I was. And it was huge for me because I am a such a fan of robots and Kaiju, since I was a kid.
DEADLINE: You mean those cheesy, dubbed Japanese monsters…
DEL TORO: Speak for yourself. How about those fantastic Japanese monster movies? When I was a real young kid, 10 or maybe younger, I wanted to see a movie called The War of the Gargantuas. It was opening and I knew it was designed originally to be a companions piece to Frankenstein Conquers the World. I had to see it and I took the bus to the other side of town, because a movie like that doesn’t open in the A or B circuit, it opened in the Z theaters. It was and old, rundown 2000 seat movie palace, and as I was sitting there enjoying the movie, somebody from the balcony throws a big empty glass…full of pee. It lands on my head. This is how much I love Kaiju; I finished the movie. And then I came out, with a There’s Something About Mary kind of hairdo, and I rode the bus back and nobody sat next to me. Japanese properties were probably cheap to acquire, so the theaters in Mexico were inundated with these films. I saw them all. And it instantly came back to me with Pacific Rim. I pitched scenes to Thomas and Jon, and they said, you have to direct it. I said I can’t, I have Mountains. I came on as producer and in a month, we had done a teaser trailer we animated, we had had silhouettes for 40 robots and some of the monsters and we were doing clay models. I did the Bible for the movie, and found myself feeling, damn, what lucky director is going to play in this world with all these toys?Mountains looked like it was going to happen. Until what I call that Black Friday, and then it wasn’t. I called Thomas and said, I’ll come on board Monday, if you are willing to really ready to take the step into pre-production. And it happened so fast. I’ve never worked as hard on a movie, to hit the budget number. We came in under budget, and under schedule. Hellboy took 135 days, the sequel 132 days. We did this in 103 days.
DEADLINE: You got close on The Hobbit, closer on Mountains. From an outside perspective, it feels like you were at the altar twice, and each time the girl didn’t show up. How’d you feel?
DEL TORO: I don’t know if I would characterize it quite that way. I am a writer of at least the first Hobbit film. The one that really hurt most was Mountains, because it was really abrupt. It was devastating. We were scouting, on the border of Alaska, in the glaciers in a helicopter. And I get the call, you gotta come back for a meeting on Friday. I said, eh…why do we need to meet?
DEADLINE: After I wrote about the film being halted because the studio would not make a $150 million film and give you the right for it to be an R rated movie, numerous studio execs said they would have done the same thing, even though they wanted to see the movie. It’s hard to make your money back on a big budget R film. Do you regret not being more flexible?
DEL TORO: No. But you’re guilty of a lot of my problems, not on Mountains, but you were the one whose article said I was busy till 2015, when in my mind, I’m unemployed and go movie to movie.
DEADLINE: Well, that was an editor at my former workplace, Daily Variety, trying to be clever. But what you say is true. But should you have caved on the rating and been willing to do Mountains at PG-13?
DEL TORO: I don’t regret it. Look at Prometheus. There’s an R rated horror movie that doesn’t have big name stars. We had Tom Cruise, and Jim Cameron producing. But I completely understand why they did it and I can’t argue, I can’t say they were wrong and I was right to take that position. I could never have their job because I would approve Mountains and many others, but I understand. I’ve been here 20 years and I don’t go for the altar reference because I never go into these things feeling it’s unthinkable they might not happen. But it still hurt like a motherfucker. You’ve got hundreds of drawings, dozens of paintings, storyboarded sequences, animatics, ILM did a test that was phenomenal and proved to me that everything we wanted to do was actually possible. It hurts always for the director because there is a movie you see in your head, and you want people to see it. [Del Toro’s manager Gary Ungar stops by our table to give him a carefully bubble wrapped package. He unfolds it, and it is a leather-bound brown journal, the pages filled with elaborate sketches of his Hellboy character. The pen and ink drawings look like paintings, and the handwritten notes beautifully scrawled in the filmmaker’s hand are so perfectly crafted that the book looks like a movie prop out of Indiana Jones or The Da Vinci Code].
DEADLINE: That is magnificent. Are you a closet calligrapher?
DEL TORO: This was on loan to the Seattle Science Fiction Museum. It’s just my notebook on Hellboy and some different stuff. These are all my drawings, and I just got it back. I’m an obsessive compulsive, what can I say.
DEADLINE: Will you still make At The Mountains of Madness, especially if Pacific Rim puts you near the category of those five directors you mentioned who can write their own tickets on big buck films?
DEL TORO: I want to see Prometheusfirst [there are plot similarities]. To me,Pacific Rim is a catalyst for so many things. You learn your craft little by little, and you do it publicly. You make mistakes in front of an audience. Make a wrong casting or editorial decision, and it’s all out in the open, like crashing a car in slow motion, publicly. Everybody can see your head bounce, your spine snap, and they comment on every single fracture. You’re giving interviews, or reading opinions. “Look at the way his wrist snapped! He’s never going to walk again the way his spine just broke!” You learn your craft that way and it’s rare that you can calculate or control it. You get lucky sometimes. I desire to direct big crazy movies and small crazy movies, and on Pan’s Labyrinth I was able to do that with some degree of control. Pacific Rim is the first time I have been able to articulate something that is purely entertaining, big and bold in this large format. I was incredibly aware of every choice, both creatively and fiscally. I stayed under budget and wanted that to be part of the experience. To be as bold and big as possible, but within the parameters I had agreed to. The narrative comes first, but I was a producer on this as well.
DEADLINE: At Disney’s Comic-Con panel, early The Lone Ranger footage was stylish and impressive, but the first connotation of that film is budget struggles. Unless you’re making a sequel, it seems very hard to create new tent poles. How much has pressure increased when you are creating something completely new?
DEL TORO: When you are producer and director, you are basically making a vow to be able to whistle and keep the tune. I’m aware of how much each extra costs, that I have to give up two cars to get four extras for five days. I have to pre-plan so if I say a sequence will take three days, it takes three days. I had the partnership of guys who believed in creating something new. They were not asking for a re-launch or a sequel. Finding a partner like this who shares not only in the financials but fully in the creative dream is a blessing that doesn’t happen often. But as to your question, I don’t believe any experience is bad and I’m not trying to sound wide-eyed or naïve. I don’t know if I could have done Pacific Rimwithout having prepped The Hobbit and especially Mountains because we got so close. It was a warm up for prepping movies that size, fiscally and technically. My contact with ILM started on Mountains, all the creative heads that came intoPacific Rim were guys who wanted to do Mountains. They knew what I wanted to try, that it was a new way of trying effects. The core of my creative team of designers moved from Mountains on a Friday to Pacific Rim on Monday. That tough experience allowed me to do this. To me, it’s harder to recuperate from success than failure. You can get a little lost in analyzing your success too much. Our culture prepares you on how to overcome failure. Look down, soldier on, figure it out. No one tells you how to avoid the trappings of success. That you figure out by brutally going through experiences. You learn much more about who you are going through difficulty.
DEADLINE: What look were you after with Pacific Rim?
DEL TORO: I wanted to do a big adventure movie with saturated colors, operatic battle set pieces and saturated colors and richly textured. As a kid I loved the Korda adventure films and I used them for inspiration. I wanted to evoke the feeling I had as a kid when I dreamed of being a cowboy or a pirate or an astronaut. I didn’t want to make a war movie, and visually avoided all the trappings of that like the long lens, super polished blue steely images that looked like a recruitment video, and the winner aesthetics that immediately tell you that a select group saves the world. I wanted it to be all of us who saved the world. So when I wanted Charlie Hunnam, Charlie Day, Idris Elba, Rinko Kikuchi, and Ron Perlman, they got it. Sometimes you pitch that and watch the studio head glaze over and say, yeah, but we need these five names to make this work.
DEADLINE: Will you be involved in Legendary’s Godzilla remake?
DEL TORO: No, we made it a point so far not to discuss that. Our conversations are limited to this. We were planning a sequence on Pacific Rim and when I described it to Thomas Tull, there was a landmark involved and he said, that one is taken in Godzilla. You have to guarantee me you won’t stomp, burn or destroy X, because Godzilla’s already doing that.
DEADLINE: Will it be odd having The Hobbit on the same Comic-Con bill as Pacific Rim?
DEL TORO: No. I haven’t seen the footage, but The Hobbit decision took a long time to make. And when you make a decision like that, you don’t look back, at least I don’t. I really think the movie’s in the right hands. I want to see it and wish it the best of luck. For me, the one that hurt was Mountains because it was not one where I had time to absorb or think about. That year was a hard year. But there is a contraction of the industry and Mountains three years before would happened. With DVD and Blu-ray, they would have taken the bigger risk.
DEADLINE: Fans will look at Mountains the same way we look at Halo, and wonder what might have been had Neill Blomkamp done that as his debut film instead of District 9.
DEL TORO: You mention Halo. We developed that movie, with D.B. Weiss, one of the creators of Game of Thrones. We made a screenplay and nobody talks about it but it was amazing. I went to WETA, met with them to talk about designs, had a big meeting. And then I went and made Hellboy.
DEADLINE: So leaving was your choice?
DEL TORO: That one was my choice.
DEADLINE: It really feels like this is a game of choices and it’s understandable why it’s so hard to choreograph success, especially now, when studios don’t really know what to make except sequels.
DEL TORO: It has always been that way though, no? When you read the real tales of movie making, it has always been pretty turbulent. Always, a few guys can write their own ticket, whether it was Capra and Sturges, Howard Hawks. The names change, but it’s usually limited to the same number of guys. I was just saying to a studio executive the other day that in the best of circumstances, when you hire a director, you are hiring either a guy who has the touch with actors, is a world creator visually, and maybe a guy who brings a certain tone that make his films recognizable. Everything else is a crap shoot. And all the preconceptions that used to guide the movie business through the years, like reliance on stars, are basically gone.
DEADLINE: How are you with that?
DEL TORO: I think that’s thrilling. At the end of the day, if you have a worthy story to tell, you’re going to tell it. If you can only tell a story with a certain range of budget, then you should worry. It softens your tissue somehow. But if you can write a book, make a small or big budget film or tell your story in a graphic novel, then it is a very exciting time.
DEADLINE: You mentioned Michael Bay as one of the five guys. After John Carter and Battleship, I heard more than a few people say they had new found respect for Bay and the skill it takes to make these big popcorn pictures.
DEL TORO: A lot of people think erroneously that it gets easier with more money. It doesn’t, because you are steering a much bigger ship. Imagine you are the rudder of a small fishing boat. If you become the rudder of a trans-Atlantic oil tanker, it doesn’t get easier on the rudder, it’s more taxing. There’s a feeling that CGI writes itself and happens while the director is riding with a starlet on the PCH in a convertible, on the phone saying, how is the CGI going? It’s a specific logistical, almost military operation you have to be able to run.
DEADLINE: How helpful is it to be here at Comic-Con with a movie that’s not coming out until next summer?
DEL TORO: To me, Comic-Con has always been invaluable, it doesn’t matter what project, I want to be here. Spiritually, it’s a beautiful place for me, I truly love Comic-Con. I feel at home. Whether it’s Pacific Rim or Pan’s Labyrinth, I come here.
DEADLINE: It’s easy to be condescending and cynical, but the passion of this crowd is charming when you get to observe it up close.
DEL TORO: It’s more than that to me. It’s pretty easy to be reactionary, to be like a parent in the 50s seeing their kids with rock and roll. What are you doing in your room all day? You are doing nothing! Same with video games. But the craftsmanship that allows for that narrative interface with video games, it’s huge and transformative. It has transformed the storytelling of the visual medium. Cultural swings are defined by clashes. Counterculture clashed with narrative in the 70s and you got intense, thoughtful, hardcore movie making, and you have pop culture colliding with narrative and these are waves you ride.
DEADLINE: It’s hard to figure out this current wave.
DEL TORO: There’s a very interesting confluence where you have this very intense awareness of pop culture, to a point where essentially nothing is fringe that cannot be taken by a corporation and commercialized by it. That’s the bad aspect of it. At the same time, you are finding a lot of the young generation galvanized socially in a collective way, whether it’s hacking or taking on Wall Street. It’s a curious time. I, myself at 47, am more interesting in find what’s alive, what is the pulse, than mourning any loss.
What’s the point of the Emmys..? Apart from those awful shows backslapping each other on their ‘achievements’ in whatever category they’ve put together to exclude quality TV (cable) and award themselves a bunch of meaningless awards. However, around this awards season we get a few good interviews and promos for forthcoming quality TV shows (cable). Below is one with Jessica Lange discussing American Horror Story: Season 2. Courtesy of DEADLINE
Constance Langdon is not a neighbor you want to borrow a cup of sugar from, and you most definitely should beware when she comes bearing home-baked gifts (or, for that matter, “sweet breads”). And yet as portrayed by Jessica Lange, who came into American Horror Story with two Oscars and an Emmy on her mantel, the Harmon family’s oft unwelcome visitor did not repel, she but regaled us. Thus far, Lange has netted a Screen Actors Guild Award and a Golden Globe for her first venture into series television — might another Emmy make her housewarming complete?
AWARDSLINE: When you first started seeing the American Horror Storyscripts, did you suspect the role of Constance could be Emmy-worthy?
LANGE: I didn’t really know what to think. We were shooting really fast, so I don’t think anybody was thinking about the outcome as much as the process of getting through it. This was the first time I’d ever done this kind of television — a miniseries — and not being all that familiar with the world of TV, I didn’t have any frame of reference. So when the performances started getting recognition, yes, it did kind of surprise me. I mean, I knew how good the writing was, and I knew there was a great deal that I could do with it — it’s a big character with a huge range of emotions.
AWARDSLINE: Given how dicey the subject matter could get, how did you find the humanity amidst of all this surreality?
LANGE: I just paid attention to creating this character and playing her as absolutely real as I could, in the context of all this other stuff. I really didn’t think in terms of the overall sweep of the piece, or the tone of it.
AWARDSLINE: Because of the intensity of the material, was it a particularly galvanizing experience for the cast?
LANGE: I can’t speak for the others, but I know that for me there were moments where it was like, ‘Wow, I can’t believe that they’ve written this!’ [Laughs] It’s always a leap of faith. The only thing you can think about is: What are you given to do, and how well do you do it?
AWARDSLINE: Was there a past performance of yours that informed your portrayal of Constance? Was it Queen Tamora in Titus? Maggie in TV’s Cat on a Hot Tin Roof?
LANGE: Certainly there were moments where I felt that there were shades of Tennessee Williams — because she’s Southern and because it was about failed dreams and disappointment, and loneliness. Those themes crop up in a lot of Tennessee’s women — like with Blanche [in A Streetcar Named Desire] or Amanda Wingfield [The Glass Menagerie]. But that’s really where the comparison ends. Constance’s actual behavior has nothing to do with any character I’ve ever played before.
AWARDSLINE: How did doing a TV miniseries shape you as an actress?
LANGE: It shifted something profoundly, because this piece forced me to work in a way I’ve never worked before, and that was with complete immediacy — and in some odd way it was very liberating. It forced me to be extremely bold. I couldn’t approach this with any kind of trepidation, and in that way it felt expansive to me.
AWARDSLINE: Would you concede that Constance is a despicable person? Or was she coming from a place of misplaced love?
LANGE: Certainly you can look at her actions and say that she was horrendous. However, in the playing of it I had to find her humanity, and I did that through her emotion and her capacity for love. The fact that it was so twisted in many ways came out of circumstances rather than the essence of the character. What I kind of loved about her is she did not mince words. Sometimes, like when you hear her speaking to her daughter or in a scene with her son, as a mother [myself] I was like, ‘Oh my God!’ But again, there was something very enjoyable about playing someone who was no-holds-barred.
AWARDSLINE: She certainly stood out in today’s ever-PC climate.
LANGE: I thought she was kind of a throwback to another time, pre-political correctness, when people said things that would now be seen as shocking. Like some of the dames from the films in the ’30s — hard and rough-talking but honest and forthright. Yes, we had scenes where what she did was reprehensible and criminal, but there was an element to her I found very refreshing.
AWARDSLINE: With the next chapter of American Horror Story, you have the rare opportunity to create a new character. How will your insane asylum administrator differ from Constance?
LANGE: It’s a different time [set in the 1960s] first of all, and she comes from a completely different background. There’s also different geography [being set on the East Coast], and that informs a character tremendously. So without giving away too much, I think there are similarities — they both have a history, and I’m not entirely stellar! [Laughs] — but that’s probably where the paths diverge. She is very different from what I’ve played. It’s going to be another wild ride!