Tuesday, 13 November 2012
Vincent D'Onofrio Joins Ethan Hawke in Off-Broadway's "Clive"
Brooks Ashmanskas, Vincent D’Onofrio and Zoe Kazan Will Join Ethan Hawke in Off-Broadway's Clive.
Additional casting has been announced for The New Group's upcoming production of Jonathan Marc Sherman's Clive, which begins a limited Off-Broadway engagement Jan. 17, 2013, at The New Group at Theatre Row (The Acorn Theatre, 410 West 42nd Street).
Joining the previously announced Ethan Hawke in the title role will be Brooks Ashmanskas, Vincent D’Onofrio and Zoe Kazan. Additional casting will be announced.
Also directed by Hawke, the production will officially open Feb. 7 at 7 PM.
Inspired by Bertolt Brecht's inflammatory play Baal, Clive, according to press notes, "tracks a dissipated songwriter in 1990s New York City from the hedonistic heights of seduction and consumption into an ecstasy of self-destruction." his production reunites playwright Sherman and director Hawke, who teamed previously at The New Group on Things We Want (written by Sherman, directed by Hawke, 2007 extended run) At once a celebration and a nightmare vision of life lived for pleasure, Clive boasts an eclectic selection of classic American songs performed live.
Performances will be Monday, Tuesday and Wednesday at 7 PM and Thursday, Friday and Saturday at 8 PM with matinees Saturday at 2 PM. Tickets, on sale in late November, may be arranged through www.telecharge.com or (212) 239-6200, or at the Theatre Row Box Office (12–8 PM daily).
Tickets are $60 plus $1.25 restoration fee.
For more Information, visit www.thenewgroup.org.
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Additional casting has been announced for The New Group's upcoming production of Jonathan Marc Sherman's Clive, which begins a limited Off-Broadway engagement Jan. 17, 2013, at The New Group at Theatre Row (The Acorn Theatre, 410 West 42nd Street).
Joining the previously announced Ethan Hawke in the title role will be Brooks Ashmanskas, Vincent D’Onofrio and Zoe Kazan. Additional casting will be announced.
Also directed by Hawke, the production will officially open Feb. 7 at 7 PM.
Inspired by Bertolt Brecht's inflammatory play Baal, Clive, according to press notes, "tracks a dissipated songwriter in 1990s New York City from the hedonistic heights of seduction and consumption into an ecstasy of self-destruction." his production reunites playwright Sherman and director Hawke, who teamed previously at The New Group on Things We Want (written by Sherman, directed by Hawke, 2007 extended run) At once a celebration and a nightmare vision of life lived for pleasure, Clive boasts an eclectic selection of classic American songs performed live.
Performances will be Monday, Tuesday and Wednesday at 7 PM and Thursday, Friday and Saturday at 8 PM with matinees Saturday at 2 PM. Tickets, on sale in late November, may be arranged through www.telecharge.com or (212) 239-6200, or at the Theatre Row Box Office (12–8 PM daily).
Tickets are $60 plus $1.25 restoration fee.
For more Information, visit www.thenewgroup.org.
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Thursday, 8 November 2012
Friday, 2 November 2012
"Crackers", starring Vincent D'Onofrio, Screening at Teaneck Film Festival
Short film, 'Crackers' will be present at Teaneck High School,
Nov. 10
The short independent film, Crackers, produced by Exit 135 Productions starring Vincent D’Onofrio (Law & Order Criminal Intent), Brenda Vaccaro (Midnight Cowboy), Dan Hedaya (Cheers), Sal Richards (Out for Justice), Anthony Laciura (Boardwalk Empire), Beth Ann Bonner (One Life to Live) and Vincent Mora (Westfield resident) will make its New Jersey debut on Saturday, Nov. 10, at 5:15 p.m. at the Teaneck High School Auditorium, 100 Elizabeth Avenue as part of the sixth Annual Teaneck International Film Festival. Tickets are $5 in advance and $7 at the door.
Westfield resident and award–winning documentary and narrative filmmaker, Gregory Principato, (Mr. Laughs –A Look Behind the Curtain – 2009), has directed, produced and co-wrote the film, alongside Mountainside resident, Timothy Reinhardt. Crackers is a fictional showcase piece produced independently with a budget of under $200,000. Even with such restraints, the crew, made up of all professional actors and crew helped to make the film look and feel like a true big budget Hollywood movie. Crackers recently won Best Short Film and The People’s Choice Award at the 2012 Fort Myers Beach Film Festival and Best Short Comedy at Artisan Festival International’s World Cinema Festival in the Hamptons this past summer.
This dark comedy, with a run time of 32 minutes is a story of the unraveling of an otherwise content chef (Vincent D’Onofrio) who now finds himself out of work and having to share his home with his cantankerous mother in law (Brenda Vaccaro), and her nutcracker collection that seem to invade his home. It’s only until he turns to his oddball neighborhood friends, (Sal Richards and Anthony Laciura) for help when things get worse and he slowly loses his paradise, his sanity and all that is sacred to him.
When asked how they came up with the story, Principato said the experience had been surreal. “My wife had just finished reading Tim’s novel, “Not Far From Nothing” and suggested I meet with him to discuss his helping me write Crackers. The story had been twirling around in my head for years, but once we decided to work together, the words just flew out of my mouth and Tim began typing away. It took a few weeks to write the full story. Some of the characters come from our personal experiences and upbringing, so the dialogue felt real, but I was particularly amazed about how smoothly the partnership between Tim and I evolved as we met weekly at Barnes and Noble to work on the story.” Although Gregory has directed projects before and Tim has other fictional works written, this was the team’s first attempt in writing a fictional screenplay.
“There were times I was pacing, waving my hands and yelling out profanities as part of the dialogue, while Tim was sitting on the floor with his laptop plugged in to the wall in the back of the store by the restrooms. One time, there was this elderly woman on her way to the bathroom when she had caught us in mid-dialogue, with me yelling, 'Now Gus, feed the crazy old broad some kind of potent drug." I felt like a deer caught in the headlights when I turned around to see this sweet old woman staring at me. The look on her face was just priceless.” Principato explains.
For more information about the film festival, visit teaneckfilmfestival.org.
SOURCE
Nov. 10
The short independent film, Crackers, produced by Exit 135 Productions starring Vincent D’Onofrio (Law & Order Criminal Intent), Brenda Vaccaro (Midnight Cowboy), Dan Hedaya (Cheers), Sal Richards (Out for Justice), Anthony Laciura (Boardwalk Empire), Beth Ann Bonner (One Life to Live) and Vincent Mora (Westfield resident) will make its New Jersey debut on Saturday, Nov. 10, at 5:15 p.m. at the Teaneck High School Auditorium, 100 Elizabeth Avenue as part of the sixth Annual Teaneck International Film Festival. Tickets are $5 in advance and $7 at the door.
Westfield resident and award–winning documentary and narrative filmmaker, Gregory Principato, (Mr. Laughs –A Look Behind the Curtain – 2009), has directed, produced and co-wrote the film, alongside Mountainside resident, Timothy Reinhardt. Crackers is a fictional showcase piece produced independently with a budget of under $200,000. Even with such restraints, the crew, made up of all professional actors and crew helped to make the film look and feel like a true big budget Hollywood movie. Crackers recently won Best Short Film and The People’s Choice Award at the 2012 Fort Myers Beach Film Festival and Best Short Comedy at Artisan Festival International’s World Cinema Festival in the Hamptons this past summer.
This dark comedy, with a run time of 32 minutes is a story of the unraveling of an otherwise content chef (Vincent D’Onofrio) who now finds himself out of work and having to share his home with his cantankerous mother in law (Brenda Vaccaro), and her nutcracker collection that seem to invade his home. It’s only until he turns to his oddball neighborhood friends, (Sal Richards and Anthony Laciura) for help when things get worse and he slowly loses his paradise, his sanity and all that is sacred to him.
When asked how they came up with the story, Principato said the experience had been surreal. “My wife had just finished reading Tim’s novel, “Not Far From Nothing” and suggested I meet with him to discuss his helping me write Crackers. The story had been twirling around in my head for years, but once we decided to work together, the words just flew out of my mouth and Tim began typing away. It took a few weeks to write the full story. Some of the characters come from our personal experiences and upbringing, so the dialogue felt real, but I was particularly amazed about how smoothly the partnership between Tim and I evolved as we met weekly at Barnes and Noble to work on the story.” Although Gregory has directed projects before and Tim has other fictional works written, this was the team’s first attempt in writing a fictional screenplay.
“There were times I was pacing, waving my hands and yelling out profanities as part of the dialogue, while Tim was sitting on the floor with his laptop plugged in to the wall in the back of the store by the restrooms. One time, there was this elderly woman on her way to the bathroom when she had caught us in mid-dialogue, with me yelling, 'Now Gus, feed the crazy old broad some kind of potent drug." I felt like a deer caught in the headlights when I turned around to see this sweet old woman staring at me. The look on her face was just priceless.” Principato explains.
For more information about the film festival, visit teaneckfilmfestival.org.
SOURCE
Thursday, 1 November 2012
"Broken Horses" - New Film for Vincent D'Onofrio
The Men In Black star Vincent D'onofrio starts shooting for the filmmaker's magnum opus Broken Horses.
After much delay on his very ambitious project, sources confirm that Vidhu Vinod Chopra has finally begun shooting for his first Hollywood film. While the shooting is on in the deserts of Death Valley in East California, rumour is that actor Vincent D'onofrio has joined the star cast.
According to sources, the film titled Broken Horses is a gangster film in true Chopra style.
Written by Vidhu Vinod Chopra and Abhijat Joshi, script consultant Jason Richman was also hired to work on the film. Our source says, "Buzz is that Vincent has joined the cast of the film. The actor is known for his famous portrayal of Edgar (the Cockroach Man) in Men In Black."
Often referred to as an actor's actor, Vincent's work as a character actor has earned him the nickname of 'The Human Chameleon'. We even traced a cast member from the film on his social networking site, where he had stated "Had my fitting done for Broken Horses starring Vincent D'onofrio. Shooting Tomorrow".
After all they say, the proof of the pudding is in its eating! Where's Mickey? There was also rumour a couple of years ago about Hollywood actor Mickey Rourke being a part of the star cast. However, ever since filming began, Mickey is yet to be spotted on the sets. With the actor slated to appear in three back-to-back films, we wonder how Mickey will make time for Vidhu.
SOURCE
Written by Vidhu Vinod Chopra and Abhijat Joshi, script consultant Jason Richman was also hired to work on the film. Our source says, "Buzz is that Vincent has joined the cast of the film. The actor is known for his famous portrayal of Edgar (the Cockroach Man) in Men In Black."
Often referred to as an actor's actor, Vincent's work as a character actor has earned him the nickname of 'The Human Chameleon'. We even traced a cast member from the film on his social networking site, where he had stated "Had my fitting done for Broken Horses starring Vincent D'onofrio. Shooting Tomorrow".
After all they say, the proof of the pudding is in its eating! Where's Mickey? There was also rumour a couple of years ago about Hollywood actor Mickey Rourke being a part of the star cast. However, ever since filming began, Mickey is yet to be spotted on the sets. With the actor slated to appear in three back-to-back films, we wonder how Mickey will make time for Vidhu.
SOURCE
Saturday, 13 October 2012
Vincent D'Onofrio Awarded Best Actor for "Chained"at Stiges 2012
I'm not surprised by this award at all. Vincent's performance in "Chained" was outstanding.
The Stiges jury also awarded a special prize for "Chained". Making note of it's high quality . Jennifer Lynch can be proud.
SOURCE
Friday, 5 October 2012
“Chained” with Vincent D’Onofrio. The Secret to Playing a Serial Killer
Shockya.com
10.5.12
10.5.12
Vincent D’Onofrio has enjoyed a career playing characters who aren’t exactly warm and fuzzy. From his famous turn in Full Metal Jacket as the troubled Private Gomer Pyle, to Edgar in Men In Black, D’Onofrio has become a go-to man when it comes to psychotic characters. It certainly doesn’t hurt matters that he excels at the part.
With Chained, D’Onofrio plays Bob, a sadistic killer who preys upon families with his taxi. It’s another fine performance from the man, and he brings a lot of his characteristic quirks to the part. We had a chance to discuss the role with Mr. D’Onofrio recently.
When studying for Bob, did you research any serial killers?
Just as a person, not as an actor, I have no sympathy towards them at all. I think they should be locked up. As an actor, I explored it a lot to give Bob certain actions for why he does the things he does. As I approach this character, and telling the story properly with him, it’s about executing it correctly, so that the story is told properly so that it’s not about Bob and who he is, but an actual story. I made sure his tone and his behavior was a certain way that it fit the storyline.
You’ve played various characters with certain quirks throughout your career. What about that role attracts you?
It’s stuff that I bring to the part. If you were to read these scripts the story would be there, but you wouldn’t necessarily associate those things with the character. Most actors bring things to the part without changing any words, or changing any part of the story. We help tell the story in the way that we thought of, so there are things about Bob that were not scripted that I brought. If I think the story is interesting enough to tell, then that’s what I’ll bring to it.
When you’re playing a character with secrets or you have something to hide, how do you suppress that?
You do it like we do in real life; we behave like we don’t have them. The deeper the secret, the less you’ll be aware that somebody has them. It’s a secret that’s a very surface secret, we can detect when somebody is holding it back. But if it’s a really deep, dark secret then people behave normally. You’re supposed to behave like you don’t have one.
What was it like to work with Jennifer Lynch on this project?
She’s great. She’s a very hands-on director. She’s good at keeping things going with a very positive attitude, with a lot of great ideas at any given time. I’m going to work with her again on a film called Fall From Grace.
Vincent D'Onofrio Talks Chained, Sinister and More
Dread Central
10.4.12
Dread Central: I wanted to ask because I think you have such an interesting career and I've always enjoyed the unique characters we've seen you portray over the years- what is that you look for when you're considering a project? What keeps your attention?
10.4.12
Ever since his stunning turn as tortured Private "Pyle" in Full Metal Jacket put him on the proverbial map back in 1987, actor Vincent D'Onofrio has managed to continuously turn in a string of memorable performances over the last 25 years.
Whether it's his comedic turns in flicks like Ed Wood, Adventures in Babysitting and Men in Black, or some of his far more serious roles in JFK, Strange Days, The Cell, The Dangerous Lives of Altar Boys, Thumbsucker and the aforementioned Full Metal Jacket- Vincent D'Onofrio always delivers with a rare tenacity and fearlessness, leaving him one of the most incomparable and unforgettable actors of his generation.
Recently Dread Central had the opportunity to speak with D'Onofrio about his latest project, Jennifer Lynch's Chained, which follows his character Bob, a reclusive serial killer who imprisons a young boy after murdering his mother after a cab ride gone wrong, exploring the themes of nature versus nurture and whether or not human beings are inherently evil.
Check out the highlights from our exclusive interview with the acclaimed actor and hear more from D'Onofrio about his experiences working on Chained, his brief role in the upcoming thriller Sinisterand what appeals to him as a character actor.
Chained is currently out on DVD and Blu-ray everywhere courtesy of Anchor Bay Films.
Dread Central: Can you discuss what appealed to you about Chained when you were first considering taking on the role of Bob?
Vincent D'Onofrio: The initial appeal was Jennifer- all Jennifer. We had wanted to work together on Boxing Helena but for some reason that I can't even remember now, it didn't work out. So then a friend of mine told me about this script and that I should read it; I loved it and the character but wasn't even sure if Jennifer even wanted me for the role at that point but of course, it worked out in the end.
Dread Central: There's no doubt that your character is a bad guy; but yet, you almost feel sorry for him at moments throughout the movie during certain moments. How did you find the humanity within such a malicious character like this one?
Vincent D'Onofrio: I wanted to find out two things when it came to Bob- how I should approach this role and how did I feel about him as a character, not as a person? As a person, I don't really care what his excuse was because he is a monster- there's no doubt in my mind about that. But as an actor, you can't really think that way; you can't judge your character. In his world, there are justified reasons to kill people or keep a young boy chained up in the house so my approach was to first and foremost find the humanity in him.
This story in Chained lends itself a lot to the behavior of these characters so that gave me so much material to draw from and work with. I had to find Bob's moral compass which seems strange when you're talking about a killer but in this world, even a guy like him has his own set of rules that he lives by.
Dread Central: How was it collaborating with your younger co-star Eamon (Farren) onChained? You guys had such great chemistry- did you stick mostly to the script or did Jennifer let you two improvise at all?
Vincent D'Onofrio: We did improvise just a little on this but for the most part, we stuck to the script. It was fantastic so we didn't really need to do much with it at all. But Eamon is such a great actor; you know, sometimes you meet an actor for the first time on location and sometimes you hit it off, sometimes you don’t. But with Eamon and me, it happened immediately; for such a young actor he has this really fantastic concentration to him that made working with him such a pleasure. I could tell after the first day’s work that he was a very committed actor and I think the two of us got along so well because we recognized each other's commitment to these roles.
Dread Central: I wanted to ask because I think you have such an interesting career and I've always enjoyed the unique characters we've seen you portray over the years- what is that you look for when you're considering a project? What keeps your attention?
Vincent D'Onofrio: You know, I just spent the last ten years in the world of television so I kind of feel like I'm starting over again in movies; to be back is really great but the business has really changed so much in that time and even the kinds of films that are being made now are just so different.
What I'm always looking for are great characters; I'm a character actor and I've embraced that. I don't want to take on roles where there's nothing for a character to do- even if it is a really small role, there still has to be some kind of interesting aspect to it for me to want to take it on. But I've always loved fascinating characters- no matter how flawed- so hopefully I'll continue to take on more great characters in the future.
Dread Central: Speaking of minor roles, you recently popped up in Sinister; how was it working on that project?
Vincent D'Onofrio: Oh, that was a really fun thing I did for Ethan! We're really great friends and we share jobs with each other all the time with each other. He called me up and told me about this great horror movie he was involved in and asked if I'd come down for a half-day and do some shooting on a laptop. It was really easy but a lot of fun; I haven't seen the movie yet but I've heard great things about it so far.
Thursday, 4 October 2012
Photos: Vincent D'Onofrio Performs Audio Play for Tales From Beyond the Pale
Both audio plays are now available for purchase at talesbeyondfrombeyondthepale.com
Wednesday, 3 October 2012
'Chained' Star Vincent D' Onofrio Talks Lynch, Kubrick And Playing Thor
When it comes to quality and attention to detail in performance nobody comes to mind quicker then Vincent D’ Onofrio. Having crafted long lasting memorable character work for well over two decades including his arresting debut as Private Leonard 'Gomer Pyle' Lawrence in Stanley Kubrick’s "Full Metal Jacket" and playing an alien with sass in Barry Sonnenfeld’s "Men in Black," D’ Onofrio is showing no signs of stopping. His latest film is no different – a harrowing character study of a demented serial killer who chains one of his male victims and makes him a life long slave entitled "Chained." (On DVD/Blu-ray Oct. 2 from Anchor Bay Home Entertainment) The film is directed by "Surveillance" (a must see!) maestro and daughter of David Jennifer Lynch and is a film that certainly isn’t for the faint of heart. We got the amazing opportunity to chat one-on-one with the iconic D’ Onofrio not only about working with the skilled Lynch on "Chained," but also for a very long (sorry Vincent!) and detailed career interview that includes some of my personal favorites moments - from playing Thor in "Adventures in Babysitting" to his turn as Pooh-Bear in "The Salton Sea." All bow as a master thespian is in the house – welcome the legendary...
Having already played a seriously memorable serial killer in Tarsem Singh’s "The Cell" what made you want to take on the role of Bob in "Chained?"
Vincent D’ Onofrio: You’re right - it is a question. To play these types of characters and why I would do it. I guess the reason is that my first reaction is always not to do it and then you read a script and some are a repeat of what you’ve done already and others aren’t. So when Jennifer sent me this I definitely had never played a part like this or helped to tell a story like this before. That’s why and that makes the decision for you because of this challenge of how you get away with it, what you can bring to the character, what is that guy like - it convinces you to do it.
There’s some sinister stuff that happens to and around the titular chained child Rabbit – what were those scenes like to shoot?
VD: Really good – Jennifer is an amazing director. She’s very hands on and right there with you the whole time. And Eamon (Farren) is a great actor. He’s young and doesn't have a lot of experience, but you would never know it. He’s totally committed and totally there hitting the ball back like a tennis match. The whole art direction, the props, the whole crew was so involved – everyone was connected to it.
You’re very much known as a man who delves into all the details of the characters he plays, so I was curious did you have any input in terms of the look of the house Bob lived in?
VD: Only the bedroom – I had a couple of things about the bedroom and that was it. It was not just me either, Jennifer planned the whole house out and when I arrived it was already being built and was perfect. Then her and I took a walk into the bedroom and talked about the bedroom scenes and how things should be arranged, but nothing big. I didn't alter the set in any way - that’s all Jennifer.
You seemed to have developed a good working relationship with Jennifer Lynch – what about her as a director has been most engaging to you?
VD: She’s just a pleasure to be with and work with. There are a lot of good directors out there and they all have a different way of doing things and I liked her way of doing things. It’s not difficult to bring a character in, not difficult to execute the character in front of her, it’s just a pleasure. She has all the good ideas ring out on the set and whichever one rings the truest is the one we use. It’s an open atmosphere and I like that.
Past Work – "Full Metal Jacket" was a real emotional rollercoaster for your character. What was it like to work on that role and with the legendary Stanley Kubrick so early in your career?
VD: Yeah, it was my first feature. Basically all I can really remember is not wanting to get fired. Because there were people being fired and so I just wanted to do it right. I was still studying method acting at the time, so I was in touch with my teacher about it when I was in England. I would talk to her occasionally about what I was doing and she would just confirm things - that I was on the right track and stuff. It was basically for me just about hanging in there and not getting fired by one of the best directors that we’ve ever had or will ever have, one of the best. It was scary because of that and I hoped that if I just stuck with what I thought I knew best I would be okay...and it turned out alright.
You appeared twice on the New York based TV show "The Equalizer" in two very different roles – what are your memories of working on that show with the late great Edward Woodward?
VD: He was really sweet and I knew his son, not well but a little bit too. Edward was just awesome and really great and I think it’s because of him that I did that show a second time - he was very helpful. I was a full on young method actor at the time and I just finished "Full Metal Jacket" and that hadn’t come out yet and I still had the weight on. I didn’t want to do any films until I took the weight off, so it was during that period when I was losing the weight when I did those two shows. One was when I still had the weight on and one was when I had most of it off and right after that I started doing films again. "The Equalizer" helped me pay my rent and kept my ability to play characters vibrant and ready for when I took all the weight off and felt confident to start doing other parts in films. But it was a really good experience to be on those shows and work with Edward because I think of my show and the ten years I had and how long he did his show. I think of the young actors, and there are a lot of them, that are in movies now that came onto my show and did their characters. We gave them time and allowed them to do these characters unlike themselves. It just made me remember what Edward was like for me as this young actor coming in who was doing this full out character, something they probably weren’t used to doing on TV at the time. How patient he was and how lovely he was as a peer with such a positive attitude.
I loved that you played Dawson aka Thor in "Adventures in Babysitting." Was it cool playing an early version of the comic book character?
VD: Yeah, it was really cool. It’s still one of the only films my kids, the young ones, can see that I’ve done. The others ones are just too either violent or weird for them to watch at a young age. Of course, my twenty year-old daughter she can see anything, but my twelve year-old I still won't let him see certain things that I’ve done. And I have a four year-old, so that’s the only ones that the little ones can see – but it was great.
I somewhat remember hearing a story about your audition for Mystic Pizza from the casting director Jane Jenkins...
VD: What did I do?
Something about how you had bowled her over, had made some interesting choices, something about getting down on one knee...?
VD: I have no idea what I did – I would love to know!
You created one of the most memorable aliens ever in "Men In Black" – how much of that was on the page and how much did you bring to the part?
VD: None of the postures and voice and look was on the page. The look was created by Rick Baker and we sat for hours and hours and hours and he would paint and re-paint and mold and re-mold. And his guys would sculpt and re-sculpt – I was involved in that whole process with Rick at his shop in Los Angeles for the look of the character. Then the posture, the way the character moved and the voices they really didn't know what I was going to do until I showed up. I think everybody was a bit nervous about what I was doing until they saw it in the dailies. But the great thing about Barry Sonnenfeld as a director is he gives his actors complete freedom and doesn’t get in the way of them. So although I think I made him a little nervous, I think in the end he was extremely happy with it. None of that was on the page – I had to be brave enough to bring it all in on my own.
You also played the iconic Orson Welles in Tim Burton’s "Ed Wood" – as an actor with a keen eye for attention to detail what kind of preparation did you do for that role?
VD: I didn't do enough. I think I didn't have enough time to do it and I was doing another part while I was doing that. So I made a short called "Five Minutes, Mr. Welles" and I’m happier with that version of Orson Welles then the one in Tim Burton’s film. Although Tim put a Welles voice in there and made my performance even better then I actually executed it, so I thanked him for that. But I’ve never been happy with my performance in that film and I made myself feel better about the whole Orson Welles trip by making a short on my own just to see that I could actually execute it correctly. To prove it to myself – and I did.
Can you talk about working with the previously mentioned Tarsem Singh on "The Cell" and some of the inspirations behind that serial killer?
VD: There was a lot of talk we had about Carl Stargher. Tarsem and I talked about the characters evolution and all these self-images of him in his own head and we made sense of it all in our heads so that we could be committed to it. Whether it comes across in the film is another story, but so that we could be committed and know what direction we were going in we worked it out in our heads. So I was involved in all that stuff with Tarsem and he’s such an amazing artist. He steals a little from this, he steals a little from that and then creates his own thing. He’s so amazing that way, so what you see in the film as far as my character is a mix of both Tarsem and my visions of why the character would look a certain way and behave a certain way.
"The Salton Sea" - I have to know what inspired your crazed performance as Pooh-Bear?
VD: Just, you know, my head trying to think of things that could make the character more interesting. D.J. Caruso directed it, who is another one of those directors that allows his actors a lot of freedom. I talked to him beforehand and I told him my ideas and he loved them and he let me bring them in and do it. Again, I didn't know it was going to work - you never know. I guess I say this for younger actors out there, you have to be brave and you have to be ready to fail and that’s the only way you can be unqiue. So when a director is confident enough in what they’re doing and they allow their actors to be brave and bring in stuff the more likely it’s going to work out okay.
I think it took people by surprise that you decided to do a TV series like "Law & Order: Criminal Intent" bringing a great character to life so frequently. Was is at all difficult for you being an actor who is all about original work and characters to do a series with detailed work week after week?
VD: Yeah, but I think things are going to change in television. I think with cable and everybody doing a lot less episodes then what we had to do, eventually network television is gonna have to get on board with everybody else. Right now they’re still doing twenty-two, twenty-three episodes a season. That would be the only thing negative about that show because working Dick Wolf was awesome. Dick and Rene Balcer, the original showrunner on that show, the two of them gave me a lot of freedom to create this character and bring it in. All of that was completely positive and we made the show what it was in those first four years and then it kind of rode this wave of what we made it after that until it petered out. So the pro was Dick Wolf and working for him and the negative was the amount of episodes they expect you to do when you’re doing that kind of work is I think absurd. I know that there are actors that are doing television now that are asking for less episodes and that’s why you see a lot of the best actors on cable. It’s just too brutal to schedule – especially if you’re a family man or family woman. If you’re family is as important to you as your career, there’s no way you can do that many episodes a season. But having said that television is so great – it hones your chops as an actor. I’m so much better an actor because of that show then I was before it.
And finally what’s next that D’ Onofrio fans like myself can look forward to?
VD: A lot of the things I have coming up are gonna be pretty cool. "The Tomb" and "Fire With Fire" and of course "Chained." And I did this movie "The Necessary Death of Charlie Countryman" with Shia LaBeouf and I really think that’s gonna be good. I had a really good time with him, he’s an awesome and really dedicated actor and I think it’s gonna be a really good movie. I think they’re all pretty interesting – you never know.
Source: Starpulse.com
Source: Starpulse.com
Tuesday, 2 October 2012
Vincent D'Onofrio prepares for "Like Father , Like Son" in Tales Beyond the Pale
We've been in the bowels of Dixon Place for the last couple days, gearing up for tonight's premiere pairing of Joe Maggio's "Ram King" and my very own "Like Father, Like Son" for Glass Eye Pix's radio play series Tales from Beyond the Pale. It's been a blast putting these shows together with Glenn McQuaid (I Sell the Dead) and Larry Fessenden (The Last Winter). And hell... It's not every day you get to hang out with the likes of Vincent D'Onofrio, hearing him rock your script out.
Beyond tonight's performance, there will be three more nights of radio plays for your listening pleasure by Jeff Buhler, Ashley Thorpe, Simon Barrett, Kim Newman, McQuaid, and Fessenden himself all throughout the month of October. And then...? Well, fingers crossed, the recordings of our plays will make up the second season of Tales ready for listening at your own home!
Hope to see you tonight... 9:30 at Dixon Place!
For more info on Like Father, Like Son, click here: http://bit.ly/W8darI
SOURCE: Clay McLeod Chapman
Director Jennifer Lynch Talks ‘Chained’, ‘A Fall From Grace’ And ‘The Monster Next Door’
If you’re a fan of director Jennifer Lynch (Boxing Helena, Surveillance, Hisss), her new film Chained hits Blu-ray Combo Pack and DVD today – October 2nd -from Anchor Bay Films.
I recently hopped on the phone with Lynch and we talked about the challenges of making an intense serial killer film, the process of casting Vincent D’Onofrio (Full Metal Jacket, Men In Black, “Law and Order: Criminal Intent”) and her upcoming projects. It turns out she’s taking a turn into lighter fare (after her very next film, A Fall From Grace) with the Monster Squad-esque The Monster Next Door.
In Chained, “Coming home from a routine trip to the movies, eight-year-old Tim (Bird) and his mother, Sarah (Ormond) are picked up by a psychopathic cab driver named Bob (D’Onofrio). It ends up being their last ride together. Bob murders the young boy’s mother and keeps Tim as his unwilling protégée, making him clean up the mess following each murder he commits. After a couple of aborted escape attempts, Bob chains Tim – now renamed Rabbit — allowing just enough length to move freely within the house. As the years pass, Bob starts instructing Rabbit, teaching him anatomy and human behavior. Now a teenager, Rabbit (Eamon Farren, X: Night of Vengeance) is slowly being pressed by Bob to start his own homicidal spree. Slowly but surely, he must soon choose whether to follow in Bob’s serial killer footsteps or make one final, desperate attempt to break free…”
The cast also includes Gina Phillips (Jeepers Creepers, “Ally McBeal”) Conor Leslie (“90210”), Evan Bird (“The Killing”), with Jake Weber (Dawn of the Dead, “Medium”) and Julia Ormand (My Week With Marilyn, “Mad Men,” The Curious Case of Benjamin Button). The Chained Blu-ray Combo Pack and DVD also includes, as a bonus feature, the scene that prompted the MPAA give the film an NC-17 rating. Head inside for the interview!
It’s a very intense film in some respects. I know you worked with Damian O’Donnell on the script, but how did this whole thing come about?
Well actually the producers came to me with Damian’s original script, which was a great deal more violent and a slightly different story. It focussed on the graphic nature of a serial killer, it had detectives circling the killer and it was a little more “torture porn.” I went in to meet with them to ask why they had thought of me for this. And they told me they wanted my take.
And, for me, I’m very fascinated by the human monster and how the human monster is made. Why is the killer this way? What is his cycle of abuse? And what happens when an innocent child is thrust into that cycle? So we got rid of the detectives and anything that didn’t focus on that. I’m a lot more focussed on tension and unseen terror.
It definitely emphasis the nurture over nature angle.
Yes. I think some people are genetically predisposed but that a lot of it is nurture over nature. If you hurt any one of us enough and don’t give us the tools or support system to make better choices then we become what our damage is.
D’Onofrio is a big guy, but he’s got a wounded child-like quality to him. His eyes and his mannerisms are so open.
I just love that about him. The fact that that little boy still exists and the fact that he’s brave enough to show it, I just have so much respect for that. It’s exactly what the role required. That visibility of the wounded self within the protective armor.
Had you seen anyone before that? Or was he the first person that came to mind?
He was always my first choice. All sorts of names name up, but he’s one of the most under-respected actors in the business. If you have him, you win. God bless him for saying yes.
This film’s dealings with the MPAA haven’t been a secret. What’s your take on that situation now?
There’s a few schools of thought I have after having dealt with them. I was incredibly surprised with how nice they were, and letting my voice be heard through arbitration. They said, “we think you’ve made a great film. We just don’t think kids should see it.” And my argument was that parents should be able to bring their kids and start a dialogue about it.
If we had gotten a megastar, I don’t think we would have gotten an NC-17. There’s a certain comfort in an actor you recognize. But Vincent is so good at being a chameleon that it feels more authentic.
You’ve got A Fall From Grace coming up next, right?
Absolutely. We’re in the final stages of casting. I think we’re looking at a early spring start date in St. Louis.
And you’ve got The Monster Next Door which looks a little more broad and rompy than Chained.
Oh yeah. It’s a lot more broad and rompy, that’s a great way of putting it! It’s a really fun, absurdist, horror comedy. It’s got lots of humor, it’s sort of in line with Superbad meets Zombieland meets Attack The Block. It’s time to play! Vampires, werewolves and zombies! What could be bad?!
Monday, 1 October 2012
Order Your Vincent D'Onofrio Fan Calendar Today!
Here is the information you need to pre-order the 2013 Vincent D’Onofrio Fan Calendar, with all proceeds going to one of Vincent’s favorite charities, The Utah Meth Cops Project. Each calendar will be printed in full color, featuring photos of Vincent by his fans and with his fans!
It couldn't be easier to order:
We are accepting international orders.
Calendars will be offered at $25.00 US dollars for the first calendar ordered, and $20.00 for any additional calendars. To take advantage of the discounted rate for multiple calendars, all calendars must be mailed to the same address.
Payment Method: The preferred payment method is PayPal. To pay using this method, you must have a PayPal account set up. You may also pay by check or money order.
To place a pre-order:
Via PayPal:
1. Go to the PayPal website at www.paypal.com and log in to your existing PayPal account.
2. Click on the blue "Send Money" tab at the top of the screen.
3. When asked the email address to send it to, type in rubystowe6@gmail.com.
4. Type in the total cost of your purchase in the "Amount" field. See price list above.
5. Choose "Purchase" and then "Goods" in the field below. Hit Continue.
6. On the next screen, check your address, as this is where the calendar(s) will be mailed.
7. In the Message section at the bottom of the screen, type in the details of your purchase (i.e., 1 VDO calendars)
8. Click on the Send Money button. And you’re finished!
Via Check or Money Order:
Send an email to rubystowe6@gmail.com and you will receive a form to print and complete. This form will include information as to whom checks/money orders should be made out and the address where your check should go. Please fill out the form completely and include the completed form with your payment.
Calendars are available for order till the end of the year.
Any questions? Feel free to address them here in the comments section or write to rubystowe6@gmail.com. We will do our best to answer them. We thank you, the Utah Meth Cops Project thanks you, and Vincent thanks you!! Please feel free to cross-post. To keep you fully updated we make regular updates on Facebook on the calendars event page. Vincent D'Onofrio Fan Calendar
It couldn't be easier to order:
We are accepting international orders.
Calendars will be offered at $25.00 US dollars for the first calendar ordered, and $20.00 for any additional calendars. To take advantage of the discounted rate for multiple calendars, all calendars must be mailed to the same address.
Payment Method: The preferred payment method is PayPal. To pay using this method, you must have a PayPal account set up. You may also pay by check or money order.
To place a pre-order:
Via PayPal:
1. Go to the PayPal website at www.paypal.com and log in to your existing PayPal account.
2. Click on the blue "Send Money" tab at the top of the screen.
3. When asked the email address to send it to, type in rubystowe6@gmail.com.
4. Type in the total cost of your purchase in the "Amount" field. See price list above.
5. Choose "Purchase" and then "Goods" in the field below. Hit Continue.
6. On the next screen, check your address, as this is where the calendar(s) will be mailed.
7. In the Message section at the bottom of the screen, type in the details of your purchase (i.e., 1 VDO calendars)
8. Click on the Send Money button. And you’re finished!
Via Check or Money Order:
Send an email to rubystowe6@gmail.com and you will receive a form to print and complete. This form will include information as to whom checks/money orders should be made out and the address where your check should go. Please fill out the form completely and include the completed form with your payment.
Calendars are available for order till the end of the year.
Any questions? Feel free to address them here in the comments section or write to rubystowe6@gmail.com. We will do our best to answer them. We thank you, the Utah Meth Cops Project thanks you, and Vincent thanks you!! Please feel free to cross-post. To keep you fully updated we make regular updates on Facebook on the calendars event page. Vincent D'Onofrio Fan Calendar
Friday, 28 September 2012
INTERVIEW: Movie Geeks United Talk with Vincent D'Onofrio
The Movie Geeks speak with acclaimed actor Vincent D'Onofrio (Full Metal Jacket, Men in Black, Law & Order: Criminal Intent) about the highlights of his extraordinary career, and his new film Chained, which is now available on DVD and blu-ray.
Yeah!! Blue Velvet Vincent was mentioned. Thanks to Movie Geeks United.
Thursday, 27 September 2012
"Homefront", New Film for Vincent D'Onofrio
Feature Film "Homefront" New Orleans Casting Call
Source: Examiner
PHOTOS: Vincent D'Onofrio and Bruce Willis in "Fire With Fire"
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| Photo Source: Lionsgate |
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| Photo Source: Lionsgate |
Following a grueling day of work, firefighter Jeremy Coleman (Josh Duhamel) and his co-workers contemplate ending the day with a refreshing drink. When Jeremy enters the liquor store to buy more alcohol, he unknowingly witnesses the clerk being brutally murdered at the hands of Hagan (Vincent D'Onofrio), a white supremacist. After Jeremy narrowly escapes with his life, police detective Mike Cella (Bruce Willis) learns of Hagan’s recent crime and takes an interest in the case. Hagan is arrested and Jeremy identifies him in a line up; however, Hagan demonstrates that he knows full well that Jeremy is behind the two-way mirror by reciting Jeremy’s full name and address.
Prior to the trial, Jeremy is forced to surrender his entire career as he’s placed into the witness protection program. Although Jeremy finds it difficult to cope with the loss of his career, he also finds consolation in his budding romance with Talia Durham (Rosario Dawson), a US Marshal.
Later, Hagan’s attorney (Richard Schiff) arranges for him to be released from prison in the weeks leading up to the trial. As a result, Jeremy and Talia find their lives in jeopardy. When Talia is severely wounded by one of Hagan’s men, Jeremy flees from the witness protection program and travels to Long Beach, CA. There, Jeremy teams up with one of Hagan’s rival gangs in order to bring him down. Soon, Jeremy will have to work to eliminate Hagan’s men one by one in order to protect the woman he loves.
LionsgateAvailable on DVD November, 6th 2012, from Amazon.
Monday, 24 September 2012
A Q&A with A Fall From Grace Director Jennifer Lynch
Darkness visible
BY ANDREW WYATT
Director and screenwriter Jennifer Lynch has been leaving her mark in film and television for over twenty years. The daughter of renowned American filmmaker David Lynch and painter Peggy Reavey, Lynch was just 25 when her notorious first feature, Boxing Helena, premiered in 1993. Following the critical drubbing to which both the film and Lynch were subjected, it was another fifteen years before she helmed another feature, the 2008 indie thriller Surveillance. That film clinched Lynch a Best Director prize at the New York Horror Film Festival, and has led to a second life of sorts for the filmmaker as a crafter of smaller-scale, delightfully perverse independent cinema. Lynch's newest film, A Fall From Grace, is currently inching into pre-production, and will be set in and shot on location in St. Louis. Lynch and her co-writer and producer, Eric Wilkinson, recently sat down with St. Louis Magazine recently to talk about the city's peculiar vibe, the perils of the creative process, and the director's life-long search for her own, distinct artistic voice.
The script for your upcoming film, A Fall from Grace, was co-written by you and one of the film's producers and performers, Eric Wilkinson. How did you originally get involved?
The script that Eric gave me was inspired by the creepy feeling he got while he was standing on the Old Chain of Rocks Bridge. He only later found out about the Kerry sisters [the 1991 murder of Julie and Robin Kerry at the bridge]. Eric's script was not about the sisters at all, but it was certainly inspired by the mood on that bridge, and the fact that something dark had happened there. I know that's a very potent case for St. Louis. I think that at some point in the future, Eric wants to focus on that case in a different film, if he can get the family's permission, because he wants to do it respectfully. Initially, I said “No” to the project three times. Eric is the kind of writer and producer who is very receptive to the fact that I said, “Look, there are just some things in this script that I don't gravitate towards.” I can't say specifically if there were things I just felt I had seen before, or things that didn't hit that part of me that wanted to bring them to fruition. I told him that I loved the idea of the bridges and a killer, but I'd like to explore some different things, and he was very all about that. I did a big re-write and a re-configuration of things, changing some of the story and the characters. And Eric was very happy with the result, and so was I. And at that point it was a story that I wanted to tell, very deeply. That was all brought about because Eric told me, “You've got to come see St. Louis.” I'd never been there, but the moment I was there, I fell in love with it. The city is not just visually arresting, it's the mood and a quality of life, and a type of people that just breeds amazing stories. I was totally inspired, and I went back into the script with that new juice. So the project was born partly of the challenge of making something that didn't necessarily spark me. Eric and David [producer David Michaels] are both people I wanted to work with—I had worked with David before on Surveillance—and I felt that it was certainly worth giving this a shot and trying to thrill them and me. And then once I was in St. Louis, it was all a bit of magic, and the script came out.
So the visit to St. Louis was when the project pivoted from more of a work-for-hire to something you could sink your teeth into?
Absolutely. It was the city that brought me, in the very best of ways, to my knees, as far as that creative passion. Around every corner there's new look and a new type of air, and my brain was just going crazy with stories. I think that's what I needed. I am such a fan of the Mississippi River, so that was just a bonus. But you guys have everything: the bridges, the farmland, the city, the wealth, the poverty, the old, the new. I was awestruck. There's something about the vastness of the sky and the potency of the weather that I think really humbles people and makes them authentic in a way that helped me fall in love with characters. I want to showcase St. Louis as a beautiful place with tremendous history, and both an innocence and a creepiness.
Historically, there are only a handful of films shot predominantly on location in St. Louis that are also explicitly set here.
Right! And I want to be the first in this decade, certainly, to really make St. Louis a character in our film.
The last one that I can recall is Steven Soderbergh's King of the Hill.
Yes, I think that's right. There is a whole trial and tribulations we're going through, as far as the St. Louis Film Commission and having a tax incentive brought back there. It just seems to me that there is so much more to see and bring to the screen in St. Louis. Right now Louisiana is getting all of it, and I don't get that. I think the economy in St. Louis could benefit so greatly from having that tax incentive. I would love to be a part of bringing some money back into the city. And, in a selfish way, I would love to have this great place to shoot that people haven't seen, the way I intend I shoot it.
The Chain of Rocks Bridge certainly is a spooky kind of bridge. Apart from the length, it has that odd bend in the center, and those water intake islands.
Yes, the trees and the intake towers and then the Chain of Rocks itself, which is so visually arresting. It's like this nature-made halt in the river. It's where you can really see how powerful the water is, where nature has given evidence and reminded us of how quickly that water is moving. Otherwise, it can just sort of look like silk out there. I wanted to get into those intake towers like you wouldn't believe, but apparently you can't access them anymore, because the stairs that lead up to them are completely rotted away.
I've always wondered if the Army Corps of Engineers ever lets anyone in those towers.
Apparently the won't. [Laughs]. I tried. If I had my way, I would love to go in there and re-build those stairs, and be able to get inside one of those. It's the most isolated, terrifying, Rapunzel-esque image I've seen in a long time.
If you're out there on the bridge at dusk, the whole place definitely has a weird voodoo about it.
It really does have, for lack of a better word, a vibe. It's got a mood. From the construction of it, that strange bend, as you say, which I'm sure was there for a necessary reason. But it's so strange a bend to have, and then to have it go into the woods the way it does. It's very much like a child would have made it in a dollhouse environment. It's a little too long and it's not quite straight and it's so narrow. And the fact that it used to be Route 66. It's just got all these super-cool things about it. When we were shooting the teaser there, I just can't tell you how eerie and magical it was. It really is a beautifully constructed bridge.
In all of your films, you've been either the sole screenwriter, or a co-writer. Do you feel like you need to have a hand in a script to make it your own?
I do feel better knowing that I have something in it. For me, directing starts in the writing, because I I believe you make a film three times: you write it, you direct it, and then you edit it. Each of those times, it becomes a different thing. You conceive of it in the script, and you bring it to life as you're shooting it. However, it's changed from the script, because you have real human beings stepping into the skins you've created, and they have things to say about it. So there's an evolution there. And ultimately when you get into post-production, you have to listen to the footage, because it's not necessarily what you set out to get. Hopefully, it's better, but it's always a little bit different. I think for me, being involved in the script is a necessity, not because I need to say something about it, so much as it's the best way for me to start the communication. That doesn't mean there aren't scripts I wouldn't kill to direct as they are.
\A couple of years ago, you directed a supernatural horror film, Hisss, on location in India. The storied tale tale of shooting that film is the subject of a new documentary, Despite the Gods, from a first-time director Penny Vozniak. I understand that Hisss was an instance where what you set out to do versus the end product wasn't at all what you imagined it was going to be.
Well, ultimately, I didn't get to make that film. I put my director's cut together, and the producers decided it was not what they wanted. They took it back to India. I never did any scoring or cutting or color-timing or any of the things you do to make the movie. They took the footage and changed it into what they wanted it to be. So it's not my film. I went to India and shot some footage, but I have nothing to do with the movie they made.
That's an instance where you were able to complete the first two steps of writing and directing, but were not able to complete the third step of cutting.
Exactly. It's like being really nauseous and hoping you can throw up, but not being able to. [Laughs] I went through several years of sorrow over that. It was one of the most significant losses I've had in my life.
The loss of control over the film at the end.
Yeah, it was just really sad for me. I think it was a mistake for them to do it. I would rather make a film and fail at making it and yet still complete it, as opposed to not being able to finish something. I'm deeply resentful that they decided to keep my name on it as writer and director. I think it's terribly unfair and very bad business.
So the Bollywood experience did not pan out as you would have preferred.
Well, that film specifically did not. The Bollywood adventure itself was magical and insane and absurd and joyous and nine months long. It was a significant part of my life. I would return to any time. I would go back in a heartbeat.
Despite the fate of Hisss, you can see yourself returning to do another film in the Bollywood mode?
Absolutely. I would love to. I would just work with different producers.
Your films have all been shot on location outside Hollywood, going back to Boxing Helena in the Atlanta area. How does selecting a locale for filming come about?
It's mainly a decision of the producers, because of tax incentives, and a way to save money. It's just too expensive for most people to shoot in Los Angeles. Because I'm rarely doing a film that's over one or two million dollars, producers are always looking to save money. I'd love to shoot locally, but it's best to shoot on a sound stage when in L.A., because you've just seen everything here.
Your 2008 thriller, Surveillance, which was shot in Canada, benefits from not being obviously set in Los Angeles.
Well, the interiors, such as the police station, were shot on stage, but with all the exteriors, I was just dying to say it was Anywhere, Middle America.
Certainly, the film's environment is very non-specific. It could be the plains of Nebraska or the desert outside Los Angeles. It's pointedly never specified where we are.
Well God bless you for saying that, because that was the idea! I did that on purpose. Every license plate said something vague. I tried to never focus on that. I tend to feel that the more universal a place feels, the more we, as audience members, feel we could be there. If we give it a specific name, sometimes it will feel safe, knowing we don't live there. I kind of wanted to erase that line of safety.
In contrast, A Fall From Grace is going to be explicitly set in St. Louis, correct?
It's named as a St. Louis film, definitely. The protagonist, he works for St. Louis P.D., he's a homicide detective. It's important to note that although within the story there are beautiful moments and intensely dark moments, none of this is blamed on St. Louis. St. Louis is representative to me of anywhere in America. Or for that matter, anywhere in the world, as far as how people live together, and what the human condition is. These particular incidents in the story take place in St. Louis, but it's not because it's St. Louis.
You were involved in a car accident in 1988 that has subsequently resulted in significant pain issues for you. Is it fair to say that living with pain is an element of your artistic life at his point?
It certainly hasn't been of no effect on my artistic life. I think I was interested in the ways that pain affects humans even prior to that. Certainly, the sense of isolation and entrapment in one's own body or a space became more specific after the accident. Most of my artistic interests are in the darker areas of life. I'm incredibly interested in comedy too, people just haven't seen me do it yet. [Laughs] I'm interested in the dark stuff, because that's not what my life is. I gravitate towards things I'm curious about, or things I've had tastes of. I never want to go to prison and I never want to be arrested, but I tend to show a lot of people being arrested, and I'm sure someday I'll show people going to prison. That's a way to have that experience without ever really having it. But certainly there is my own experience in everything I do. I can't deny that. It's as much my own experience as my own curiosity. I tend to be curious about things that terrify me in the right way, so I go towards them.
That does seem to be a theme of captivity in your films, whether it's explicit physical confinement or a more indirect kind. It goes back to Boxing Helena and extends to the film you just completed, Chained. On of the things I enjoy about Surveillance is the sort of blackly comical way that the corrupt patrolmen detain the motorists out on the road with their bizarre, menacing behavior. Their victims seem uncertain about whether they can just leave.
That element of physical restraint seems to crop up again and again in your work. Chained is no exception. It's about a boy trapped in a house for ten years with a very dangerous man. That's not a conscious decision I'm making, but I'm pleased by the different things that come out of people when they're forced to sit still. Those are the reactions I'm fascinated by. If everybody can just come and go as they please, it's not nearly as interesting to me as people having to keep their wits about them and redefine themselves in order to stay alive. I think that's a universal touchstone for everyone, because ultimately when we're reduced to one being in one place, we all really only have certain choices to make. I really get a kick out of watching people make those choices, and how well or poorly they can go.
Your early writing efforts include the Twin Peaks tie-in book The Secret Diary of Laura Palmer. However, another, less well-known project of yours was scripting an episode of the cult horror show Friday the 13th: The Series.
Hell, yeah! [Laughs] I used to write a lot of television. I got involved in that when Paramount called me. They knew I was writing scripts, and brought me in one day. The funny story about that is, I had two meetings that day, one at Paramount for Friday the 13th: The Series, and another at another studio for another show. And I went to Paramount thinking it was for this other show. As I walked up the stairs following the guy into the office, he turned around to lead me up, and he was wearing a Friday the 13th: The Series jacket. And I went, “Oh, f***, I'm not ready for this meeting.” I sat down and by the grace of whatever creative angels there are out there, an idea came to me, and I pitched it to them, and they bought it that day.
I still enjoy that series immensely as a great, old-school supernatural horror story. The episodic nature of it worked very well.
I know! And I'm about to leave shortly to do an episode of Warehouse 13, which reminds me very much of Friday the 13th: The Series.
Your episode, “Repetition,” reminds me a bit of a gambler's tale: a person who gambles to pay off debts, and then just creates new debts, establishing this endless cycle. Only with the addition of murder and the supernatural.
Yes, and the idea that you have to choose who's worthy to die. The question of who doesn't matter is a fascinating thing to me. What a curse that would be! In order to save yourself, you'd probably go for it.
I understand that you were educated at the Interlochen Center for the Arts.
Yes, for the last two years of high school.
I attended college in Michigan, and had several classmates who spoke very glowingly of their experiences at Interlochen's Arts Camp. Was attending school there full-time a positive experience for you as well?
It was incredibly pivotal for me. Transformative in just about every way. It was where I think I developed my voice, separate from my parents. There was a particular writing teacher there, with whom I'm still in touch, and he changed my life. He made me embrace the idea that there is really no way to write anything other than your own way. Certainly, there are changes in structure and things that can make something more palatable to a reader. But the very best way to tell a story is the same way you would tell a best friend or a lover or a child. You recount it. That what a great voice is. It's like great joke-telling. You tell it yourself, and that's what makes the joke great. It's the kind of thing I would wish for everybody. That's what education should be. It should be one if not more teachers that really bring you into yourself. They don't teach you to be themselves, they teach you to be you. I can't stand teachers who want me to be them. [Laughs] That's not only boring, it's irritating.
Jennifer, thank you so much for speaking with me today, particularly at this early stage in the production of A Fall From Grace.
I really appreciate it. There are always things to talk about with the film, and the beauty of it is that it's always changing.
BY ANDREW WYATT
 |
| Photo Source: Kevin A. Roberta |
The script for your upcoming film, A Fall from Grace, was co-written by you and one of the film's producers and performers, Eric Wilkinson. How did you originally get involved?
The script that Eric gave me was inspired by the creepy feeling he got while he was standing on the Old Chain of Rocks Bridge. He only later found out about the Kerry sisters [the 1991 murder of Julie and Robin Kerry at the bridge]. Eric's script was not about the sisters at all, but it was certainly inspired by the mood on that bridge, and the fact that something dark had happened there. I know that's a very potent case for St. Louis. I think that at some point in the future, Eric wants to focus on that case in a different film, if he can get the family's permission, because he wants to do it respectfully. Initially, I said “No” to the project three times. Eric is the kind of writer and producer who is very receptive to the fact that I said, “Look, there are just some things in this script that I don't gravitate towards.” I can't say specifically if there were things I just felt I had seen before, or things that didn't hit that part of me that wanted to bring them to fruition. I told him that I loved the idea of the bridges and a killer, but I'd like to explore some different things, and he was very all about that. I did a big re-write and a re-configuration of things, changing some of the story and the characters. And Eric was very happy with the result, and so was I. And at that point it was a story that I wanted to tell, very deeply. That was all brought about because Eric told me, “You've got to come see St. Louis.” I'd never been there, but the moment I was there, I fell in love with it. The city is not just visually arresting, it's the mood and a quality of life, and a type of people that just breeds amazing stories. I was totally inspired, and I went back into the script with that new juice. So the project was born partly of the challenge of making something that didn't necessarily spark me. Eric and David [producer David Michaels] are both people I wanted to work with—I had worked with David before on Surveillance—and I felt that it was certainly worth giving this a shot and trying to thrill them and me. And then once I was in St. Louis, it was all a bit of magic, and the script came out.
So the visit to St. Louis was when the project pivoted from more of a work-for-hire to something you could sink your teeth into?
Absolutely. It was the city that brought me, in the very best of ways, to my knees, as far as that creative passion. Around every corner there's new look and a new type of air, and my brain was just going crazy with stories. I think that's what I needed. I am such a fan of the Mississippi River, so that was just a bonus. But you guys have everything: the bridges, the farmland, the city, the wealth, the poverty, the old, the new. I was awestruck. There's something about the vastness of the sky and the potency of the weather that I think really humbles people and makes them authentic in a way that helped me fall in love with characters. I want to showcase St. Louis as a beautiful place with tremendous history, and both an innocence and a creepiness.
Historically, there are only a handful of films shot predominantly on location in St. Louis that are also explicitly set here.
Right! And I want to be the first in this decade, certainly, to really make St. Louis a character in our film.
The last one that I can recall is Steven Soderbergh's King of the Hill.
Yes, I think that's right. There is a whole trial and tribulations we're going through, as far as the St. Louis Film Commission and having a tax incentive brought back there. It just seems to me that there is so much more to see and bring to the screen in St. Louis. Right now Louisiana is getting all of it, and I don't get that. I think the economy in St. Louis could benefit so greatly from having that tax incentive. I would love to be a part of bringing some money back into the city. And, in a selfish way, I would love to have this great place to shoot that people haven't seen, the way I intend I shoot it.
The Chain of Rocks Bridge certainly is a spooky kind of bridge. Apart from the length, it has that odd bend in the center, and those water intake islands.
Yes, the trees and the intake towers and then the Chain of Rocks itself, which is so visually arresting. It's like this nature-made halt in the river. It's where you can really see how powerful the water is, where nature has given evidence and reminded us of how quickly that water is moving. Otherwise, it can just sort of look like silk out there. I wanted to get into those intake towers like you wouldn't believe, but apparently you can't access them anymore, because the stairs that lead up to them are completely rotted away.
I've always wondered if the Army Corps of Engineers ever lets anyone in those towers.
Apparently the won't. [Laughs]. I tried. If I had my way, I would love to go in there and re-build those stairs, and be able to get inside one of those. It's the most isolated, terrifying, Rapunzel-esque image I've seen in a long time.
If you're out there on the bridge at dusk, the whole place definitely has a weird voodoo about it.
It really does have, for lack of a better word, a vibe. It's got a mood. From the construction of it, that strange bend, as you say, which I'm sure was there for a necessary reason. But it's so strange a bend to have, and then to have it go into the woods the way it does. It's very much like a child would have made it in a dollhouse environment. It's a little too long and it's not quite straight and it's so narrow. And the fact that it used to be Route 66. It's just got all these super-cool things about it. When we were shooting the teaser there, I just can't tell you how eerie and magical it was. It really is a beautifully constructed bridge.
In all of your films, you've been either the sole screenwriter, or a co-writer. Do you feel like you need to have a hand in a script to make it your own?
I do feel better knowing that I have something in it. For me, directing starts in the writing, because I I believe you make a film three times: you write it, you direct it, and then you edit it. Each of those times, it becomes a different thing. You conceive of it in the script, and you bring it to life as you're shooting it. However, it's changed from the script, because you have real human beings stepping into the skins you've created, and they have things to say about it. So there's an evolution there. And ultimately when you get into post-production, you have to listen to the footage, because it's not necessarily what you set out to get. Hopefully, it's better, but it's always a little bit different. I think for me, being involved in the script is a necessity, not because I need to say something about it, so much as it's the best way for me to start the communication. That doesn't mean there aren't scripts I wouldn't kill to direct as they are.
\A couple of years ago, you directed a supernatural horror film, Hisss, on location in India. The storied tale tale of shooting that film is the subject of a new documentary, Despite the Gods, from a first-time director Penny Vozniak. I understand that Hisss was an instance where what you set out to do versus the end product wasn't at all what you imagined it was going to be.
Well, ultimately, I didn't get to make that film. I put my director's cut together, and the producers decided it was not what they wanted. They took it back to India. I never did any scoring or cutting or color-timing or any of the things you do to make the movie. They took the footage and changed it into what they wanted it to be. So it's not my film. I went to India and shot some footage, but I have nothing to do with the movie they made.
That's an instance where you were able to complete the first two steps of writing and directing, but were not able to complete the third step of cutting.
Exactly. It's like being really nauseous and hoping you can throw up, but not being able to. [Laughs] I went through several years of sorrow over that. It was one of the most significant losses I've had in my life.
The loss of control over the film at the end.
Yeah, it was just really sad for me. I think it was a mistake for them to do it. I would rather make a film and fail at making it and yet still complete it, as opposed to not being able to finish something. I'm deeply resentful that they decided to keep my name on it as writer and director. I think it's terribly unfair and very bad business.
So the Bollywood experience did not pan out as you would have preferred.
Well, that film specifically did not. The Bollywood adventure itself was magical and insane and absurd and joyous and nine months long. It was a significant part of my life. I would return to any time. I would go back in a heartbeat.
Despite the fate of Hisss, you can see yourself returning to do another film in the Bollywood mode?
Absolutely. I would love to. I would just work with different producers.
Your films have all been shot on location outside Hollywood, going back to Boxing Helena in the Atlanta area. How does selecting a locale for filming come about?
It's mainly a decision of the producers, because of tax incentives, and a way to save money. It's just too expensive for most people to shoot in Los Angeles. Because I'm rarely doing a film that's over one or two million dollars, producers are always looking to save money. I'd love to shoot locally, but it's best to shoot on a sound stage when in L.A., because you've just seen everything here.
Your 2008 thriller, Surveillance, which was shot in Canada, benefits from not being obviously set in Los Angeles.
Well, the interiors, such as the police station, were shot on stage, but with all the exteriors, I was just dying to say it was Anywhere, Middle America.
Certainly, the film's environment is very non-specific. It could be the plains of Nebraska or the desert outside Los Angeles. It's pointedly never specified where we are.
Well God bless you for saying that, because that was the idea! I did that on purpose. Every license plate said something vague. I tried to never focus on that. I tend to feel that the more universal a place feels, the more we, as audience members, feel we could be there. If we give it a specific name, sometimes it will feel safe, knowing we don't live there. I kind of wanted to erase that line of safety.
In contrast, A Fall From Grace is going to be explicitly set in St. Louis, correct?
It's named as a St. Louis film, definitely. The protagonist, he works for St. Louis P.D., he's a homicide detective. It's important to note that although within the story there are beautiful moments and intensely dark moments, none of this is blamed on St. Louis. St. Louis is representative to me of anywhere in America. Or for that matter, anywhere in the world, as far as how people live together, and what the human condition is. These particular incidents in the story take place in St. Louis, but it's not because it's St. Louis.
You were involved in a car accident in 1988 that has subsequently resulted in significant pain issues for you. Is it fair to say that living with pain is an element of your artistic life at his point?
It certainly hasn't been of no effect on my artistic life. I think I was interested in the ways that pain affects humans even prior to that. Certainly, the sense of isolation and entrapment in one's own body or a space became more specific after the accident. Most of my artistic interests are in the darker areas of life. I'm incredibly interested in comedy too, people just haven't seen me do it yet. [Laughs] I'm interested in the dark stuff, because that's not what my life is. I gravitate towards things I'm curious about, or things I've had tastes of. I never want to go to prison and I never want to be arrested, but I tend to show a lot of people being arrested, and I'm sure someday I'll show people going to prison. That's a way to have that experience without ever really having it. But certainly there is my own experience in everything I do. I can't deny that. It's as much my own experience as my own curiosity. I tend to be curious about things that terrify me in the right way, so I go towards them.
That does seem to be a theme of captivity in your films, whether it's explicit physical confinement or a more indirect kind. It goes back to Boxing Helena and extends to the film you just completed, Chained. On of the things I enjoy about Surveillance is the sort of blackly comical way that the corrupt patrolmen detain the motorists out on the road with their bizarre, menacing behavior. Their victims seem uncertain about whether they can just leave.
That element of physical restraint seems to crop up again and again in your work. Chained is no exception. It's about a boy trapped in a house for ten years with a very dangerous man. That's not a conscious decision I'm making, but I'm pleased by the different things that come out of people when they're forced to sit still. Those are the reactions I'm fascinated by. If everybody can just come and go as they please, it's not nearly as interesting to me as people having to keep their wits about them and redefine themselves in order to stay alive. I think that's a universal touchstone for everyone, because ultimately when we're reduced to one being in one place, we all really only have certain choices to make. I really get a kick out of watching people make those choices, and how well or poorly they can go.
Your early writing efforts include the Twin Peaks tie-in book The Secret Diary of Laura Palmer. However, another, less well-known project of yours was scripting an episode of the cult horror show Friday the 13th: The Series.
Hell, yeah! [Laughs] I used to write a lot of television. I got involved in that when Paramount called me. They knew I was writing scripts, and brought me in one day. The funny story about that is, I had two meetings that day, one at Paramount for Friday the 13th: The Series, and another at another studio for another show. And I went to Paramount thinking it was for this other show. As I walked up the stairs following the guy into the office, he turned around to lead me up, and he was wearing a Friday the 13th: The Series jacket. And I went, “Oh, f***, I'm not ready for this meeting.” I sat down and by the grace of whatever creative angels there are out there, an idea came to me, and I pitched it to them, and they bought it that day.
I still enjoy that series immensely as a great, old-school supernatural horror story. The episodic nature of it worked very well.
I know! And I'm about to leave shortly to do an episode of Warehouse 13, which reminds me very much of Friday the 13th: The Series.
Your episode, “Repetition,” reminds me a bit of a gambler's tale: a person who gambles to pay off debts, and then just creates new debts, establishing this endless cycle. Only with the addition of murder and the supernatural.
Yes, and the idea that you have to choose who's worthy to die. The question of who doesn't matter is a fascinating thing to me. What a curse that would be! In order to save yourself, you'd probably go for it.
I understand that you were educated at the Interlochen Center for the Arts.
Yes, for the last two years of high school.
I attended college in Michigan, and had several classmates who spoke very glowingly of their experiences at Interlochen's Arts Camp. Was attending school there full-time a positive experience for you as well?
It was incredibly pivotal for me. Transformative in just about every way. It was where I think I developed my voice, separate from my parents. There was a particular writing teacher there, with whom I'm still in touch, and he changed my life. He made me embrace the idea that there is really no way to write anything other than your own way. Certainly, there are changes in structure and things that can make something more palatable to a reader. But the very best way to tell a story is the same way you would tell a best friend or a lover or a child. You recount it. That what a great voice is. It's like great joke-telling. You tell it yourself, and that's what makes the joke great. It's the kind of thing I would wish for everybody. That's what education should be. It should be one if not more teachers that really bring you into yourself. They don't teach you to be themselves, they teach you to be you. I can't stand teachers who want me to be them. [Laughs] That's not only boring, it's irritating.
Jennifer, thank you so much for speaking with me today, particularly at this early stage in the production of A Fall From Grace.
I really appreciate it. There are always things to talk about with the film, and the beauty of it is that it's always changing.
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Nationwide Release November 6th, 2012
Currently Filming in California
Available on Oct.2 2012 on DVD
Click for Synopsis
In Stores October,23,2012
Post Production
unofficial release date. Dec. 1st.2012
In Theaters September 27th, 2013
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About Me
- Bev
- I'm highly optimistic, good natured, sympathetic, forgiving,and courteous.I'm creative, conventional and down to earth. I love meeting new people. I like trying new and exciting things. I've been a big fan of Vincent D'Onofrio's for a couple years now. Enjoyed Law and Order:Criminal Intent since it's premiere. I AM CANADIAN! :) and proud of it.