Keith David | PITCH BLACK

keith david

This month, Arrow Video is releasing a lot of its titles in 4K ultra HD. Among them is the 2000 classic Pitch Black, celebrating its 20th anniversary this year and which has since spawned a multimedia franchise centred on its antihero, Riddick. To celebrate, STARBURST had the chance to talk to Pitch Black star – and legendary actor – Keith David, who reprised his role of Abu ‘Imam’ al-Walid in the sequel The Chronicles of Riddick. With 320 acting credits spanning over 40 years, David is one of the most prolific figures in genre entertainment, making his name in John Carpenter’s The Thing and They Live, as well as lending his voice to an array of animated characters. We borrowed a brief moment of David’s time to talk about his memories working on Pitch Black, how he feels it compares to roles he has had since, and why he thinks it continues to have such an appeal.

STARBURST: We’re here talking about the 20th anniversary of Pitch Black. Looking back, what’s your fondest memory of making the film or watching the film?

Keith David: Oh well, I have great memories of making the film. I remember that there was so much of the film that was done in post. I never saw what the monsters looked like. When you’re making that kind of sci-fi, there’s a lot of simulations and things that you know definitely get taken care of after the movie after the main photography has been shot. So seeing it all put together was exciting. It really was. That’s one of the things that still fascinates me about the movies – angles. It only has to appear a certain way. It doesn’t have to necessarily be that way. And the way people do their movie magic never ceases to amaze me

Did you approach your role in any particular way? Did you go in with any particular mind-set for it?

Well, I’ve played many priests and preachers, but I’d never played an Imam. An Imam… I guess he’s like a bishop in the Muslim community. So I started doing a lot of research on Islam, and it was quite wonderful a lot of the things that I discovered. Of course all the major religions share a commonality; and that’s one of the things that I discovered was the commonality of our different belief systems. It was very interesting to me that both in Pitch Black and in the sequel, the enduring religion in the end was Islam. That’s the one that went out into space. Which only goes to show you how dangerous and wrong it is to lump a people into a generality, because you’ve had some bad experience with Muslims and whatever society, then you know you blanket them as all bad people because most Muslims are very, very peaceful people.

Why do you think the film, which has went down as a classic as many of your films have, has retained such a loyal following? What do you think fans of the film continue to get out of watching it? 

I mean it’s a great ride. The one thing I learned doing The Thing… Kurt Russell, Richard Masur, and Charlie Hallahan – they were all quite big sci-fi buffs. I think if I remember correctly, Kurt might have done some script doctoring at some point. They knew craft-wise about scriptwriting and especially with science fiction, it’s the case of ‘I’ll believe anything you tell me as long as you keep with the premise that you set up’. You have to be honest to the story. Once you’ve set up a promise then, as long as you’re true to that, we’ll go along for the ride. The movie only starts to break down when you start saying ‘well, the monster does this, this, and this’ and then all of a sudden he starts doing other things. And sometimes even that can work depending again on the premise that you set up. In a bad hokey movie, it just falls apart and you say ‘ah that’s not what you said in the beginning.’ But other times, if you see the way they can make adaptations, you kind of go ‘oh, wow. That’s why he was able to do that’ and you get that feeling. But here, I think we stuck pretty much with what the premise was and that was it. That’s a good thing, you know.

Movies we enjoy the most are those like you were just talking about, that manage to take something that on paper can feel so fantastical and unbelievable and managed to convince you that not only is it genuine but it matters. Coraline, where you voiced the Cat, was one of this writer’s favourite films growing up. And that I think is a really good example. It took something that on paper seems so wildly imaginative and it makes you care deeply about it because it only goes as incredible and out there as it needs to, to keep you on board with it. At least that’s how I’ve always looked at that film. Is that why you think Pitch Black still has a lot of fans? They keep getting something out of it and appreciate its fantastical elements?

Yeah. It’s like when you read a book again, and when you see the movie the second, the third time, you always see something that you seem to have missed the first time. In your periphery, in your mind, you’ll say ‘I remember seeing that, but I didn’t realise it meant that’. It’s quite a wonderful feeling. When you can look at it and still get something else out of it.

How do you think the role compares to others you’ve had in the past. We know you said you’ve played a lot of preachers of the equivalent of preachers in your career – Greenleaf recently finished up – so how does it compare?

Well, first of all, I got to explore what it was like to speak English as a second language. That was a task I set for myself because I think Abu’s native tongue was Arabic. So in Pitch Black, I got to experiment with a little bit of Arabic. And it’s funny because I had an uncle who I think he was stationed in Morocco when he was in the air force. So when he came back he spoke a little Arabic. So I enjoyed that part of it. Whenever I hear Arabic spoken now, I keep my ears tuned and sometimes think ‘oh, I can say that’ or ‘I know that.’

Has much of it stayed with you?

Some of it has. I’d have to go back and review my notes!

You were, of course, in the follow up as well, The Chronicles of Riddick, which was in terms of the scale anyway a much bigger film since Pitch Black proved to be a hit; bigger budget, more visual effects… how is it taking the same character back, knowing that you have the success of the first film to build on and that the new film had a lot more weight and money thrown behind it?

It was great to see how they expanded the story; people growing up, people growing older, you know? I understand that they [Vin Diesel and David Twohy] are coming up with another one. I don’t know if I’ll get a chance to be in it except maybe like Obi-Wan Kenobi coming back as a ghost or memory or something, which would be nice. I love the way they fit him back in, and keep him woven into the story. So it would be interesting.

Looking ahead, as we mentioned earlier Greenleaf has finished up recently. Will we get to see that show in the UK?

If you haven’t seen it yet, it should be coming soon. It’s on Netflix.

Some other things you have coming up include The Seventh Day and Horizon Line. Are you able to tell us anything new about that?

I’ll have to keep The Seventh Day closer to the vest right now. What I can say right now is that it’s coming. Horizon Line… that one should be coming out soon too. So just look out for it, it’s coming out.

Lastly, what do you think the most important thing about Pitch Black is now it has been rereleased? If someone was to watch it now for the first time, what would you want them to think?

That there are more things out there. To quote Shakespeare, ‘there are more things in heaven and earth… than are dreamt of in your philosophy’. So, be aware. Because there could be things out there that you didn’t count on.

That’s the joy of a science fiction movie.

Yeah, that is the great joy of science fiction, because it is as real as your imagination.

The Ultra HD 4K and Blu-ray of Pitch Black are available now. Check out our review here. All five seasons of Greenleaf are now available on Netflix UK.

Retro Reviews: True Story (2015) and the Real-Life Lessons It Taught Us

Certain films remain with us long after we’ve finished watching them. In some instances, this is because of the tragedy at their heart; in others, because they impart valuable and long-lasting lessons. On other occasions again, it’s because they are, in some way, relatable.

When you consider a movie about a disgraced journalist and a child killer, it may be hard to imagine how it falls into the latter category. Most of us will never be guilty of such heinous crimes, nor will we fabricate convoluted lies to progress our careers.

However, what we will all, on occasion, do is err in some fundamental and regrettable way. This is what makes this not only a true story, but one that is also, in some respects, all too easy to understand and sympathise with.

An unholy alliance

 

At its core, True Story turns on a simple concept: the relationship and unlikely alliance between two very different characters, both of whom have fundamental credibility issues. Starring James Franco and Jonah Hill, the gripping psychological drama originally began its life on the stage, and it makes for a macabre tale of friendship.

Its primary protagonists are an inarguably strange pair: one is a sociopath beyond redemption; the other, a journalist who fabricated a character to star in one of the biggest and most high-profile stories of his career.

It’s an undeniable example of truth being stranger than fiction. The real-life Michael Finkel, played by Hill, was a New York Times’ journalist, while Franco’s Christian Longo was a cold-hearted child killer. The two met following a twist of fate, when the latter went on the run and chose to impersonate the former, whose writings he had long admired.

Rather than being incensed by this act, Finkel, who by the time of this deception had himself been disgraced, chose to get to know Longo, a man whose notoriety far exceeded his own. Making the decision to cosy up to the compulsive liar, he went on to build an odd and enduring bond with a killer who had brutally murdered his own wife and children.

It’s a strange concept to swallow, but it’s the real-life source material behind the film that perhaps make certain parts of it easier to get to grips with. For example, while Longo is arguably irredeemable, Finkel is not. He’s made a mistake, but so too have many professionals.

In fact, so common is it for employees to err that most real-life companies have policies in place to protect them against this. One only has to search online, for example, to find providers that specialize in this type of errors and omissions insurance, which has been specially designed to guard against the consequences of any less-than-gold-standard behaviour.

It is therefore Finkel who acts as the human heart of the film, even if his fascination with his fiendish friend is often difficult to understand.

A glimpse into the confessional

 

 

What’s particularly interesting about this film is that what begins as an inexplicable alliance soon becomes much easier to grasp. While most people would be horrified to come face-to-face with a criminal as heinous as Longo, Finkel instead sees in him a potential confessor – one who cannot be horrified by the crimes he has committed for his own sins are so much greater.

It’s an odd idea to get to grips with on the surface, but the exceptional acting in the film effortlessly carries the difficulties of its opening moments. Indeed, as long-time friends off-screen, its two protagonists have an easiness between them that translates well into their onscreen interactions, making it much simpler to swallow their casting as unlikely allies.

The work they deliver is some of the finest of their careers. Franco’s criminal, for example, oozes a sinister disregard for his crimes, which include the murders of his wife and children, aged four, three, and two. Hill’s less-than-truthful journalist, on the other hand, is more likeable but no less intriguing.

The method of shooting the two characters in close-up works well too, with much revealed through body language alone. Along with the well-scripted dialogue and fascinating facts at the story’s heart, it makes for incredibly compelling view, with its grand tragedies and inconceivable horrors staying with the audience long after they’ve finished watching.

As far as indie psychological thrillers go, this may very well be one of the finest films that the genre has ever seen, before or since.

Tania Raymonde | DEEP BLUE SEA 3

raymonde sea

An experienced film and television actor, Tania Raymonde is most noted for her roles in the J. J. Abrams series Lost and alongside Billy Bob Thornton in the Amazon drama Goliath. With her new movie Deep Blue Sea 3 out for release Tania sat down with us to discuss all things shark related.

STARBURST: How do you feel about the water now after making this movie?

Well, we had to learn how to scuba dive and get certified for this film. And I thought that because I was scared of flying and being all the way up there, how am I going to feel being all the way down there? But I absolutely loved it. I don’t think I’ve ever felt such a state of peace and tranquillity as I did under the water. It’s incredible; the light, the sound, it’s almost trancelike. You feel so calm underwater that it was hard to act in a panic for the film.

We presume you didn’t encounter anything underwater close to the size of the sharks in your film?

[Laughs] No, thankfully nothing like that. I’m sure if I did, I might feel differently about the water now!

The Deep Blue Sea franchise has always had strong female characters. Your character Emma is driven but there’s also a humanity to her. How would you describe her?

Emma is very motivated by her work, a true marine biologist and she cares deeply about climate change and the environment. And she carries a guilt because she can see how important sharks are for the eco-system. And she’s more comfortable around sharks than humans. So, at the beginning she’s firmly rooted in her belief of science and conservation, but she feels she’s fighting a losing battle. As the film the progresses she must figure out how to save her team and the sharks they protect from the bull sharks that come in and start killing.

Does the overall message within a film or series have a bearing on how you select a role?

I think it’s a combination of many things. It always starts with the script, though, as it must be entertaining. There was something in the writing here that was very direct and wasn’t winking at the audience in anyway. There was an earnestness in the way the film and the character were written and that made me invested in it. If I end up caring what happens then the choice becomes easy.

Is there something in the action or shark subgenre that’s enticing to an actor?

Yeah, sure. You know, this was one of the best sets I’ve been on in my life. I remember watching Waterworld with my Dad when I was a kid and this set looked exactly the same. As a little girl, I went to the Waterworld theme park ride and I remember thinking ‘there is nothing cooler than this’. And so when I walked on set it and it was the same it was amazing. It was such fun, like an adult Jungle Gym.

You did a great Instagram video from the set.

Yeah, that was my first day there. It was amazing, but it was cold. They couldn’t heat the water as it would change the colour or something, but it just felt so real.

Did you film in sequence as, without giving away spoilers, there are some explosions?

We sort of did; the third act was all filmed last. It was a shame because this amazing crew built this set and aged it, and then we destroyed it. I remember the first day things started blowing up we were all a little sad.

Why do you think shark films remain so popular?

I think it’s because it’s something that provides a universal, common fear. I think human beings are innately terrified of these prehistoric creatures under the surface of the water. The ocean is such a mystery and perhaps we feel at such a disadvantage in their world.

DEEP BLUE SEA 3 is out now. Read our review here.

[ENDED]WIN a copy of THE MAN WHO LAUGHS on Blu-ray!

man who laughs

We’ve got three Blu-ray copies of THE MAN WHO LAUGHS  to give away in our competition.

Eureka Entertainment to release Victor Hugo’s THE MAN WHO LAUGHS; one of the most iconic and influential silent films of all time, starring Conrad Veidt and Mary Philbin. Available from 17 August 2020 for the first time on Blu-ray in the UK. Presented from Universal’s 4K restoration, as part of The Masters of Cinema Series, featuring a Limited-Edition O-Card Slipcase (First Print Run of 2000 units only].

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MAN WHO LAUGHS

 

To be in with a chance to win a copy, just send your answer to the question below to [email protected] with the header ‘MANWHOLAUGHS’ to arrive before 11:59pm on Sunday, August 28th, 2020

 

The Man Who Laughs is a novel by Victor Hugo, originally published in April 1869 under what  French title ?

 

A) L’Homme qui rit

 

B) Da Da Da ich lieb dich nicht du liebst mich nicht aha aha aha

 

C) 99 Luftballons

 

 

 

One of the most visually striking of all the later silent films, The Man Who Laughs reunites German Expressionism director Paul Leni and cinematographer Gilbert Warrenton from their horror hit the previous year, The Cat and the Canary (1927). Both films are often considered to be among the earliest works of legendary horror classics from Universal Studios, yet the undeniably eerie The Man Who Laughs is more accurately described as a Gothic melodrama. However, its influence on the genre and the intensity of the imagery—art director Charles Hall and makeup genius Jack Pierce would go on to define the look of those 1930s Universal horror landmarks—have redefined it as an early horror classic, bolstered by one of the most memorable performances of the period.

Adapted from the Victor Hugo novel, The Man Who Laughs is Gwynplaine (an extraordinary Conrad Veidt), a carnival sideshow performer in 17th-century England, his face mutilated into a permanent, ghoulish grin by his executed father’s royal court enemies. Gwynplaine struggles through life with the blind Dea (Phantom of the Opera‘s Mary Philbin) as his companion – though she is unable to see it, his disfigurement still causes Gwynplaine to believe he is unworthy of her love. But when his proper royal lineage becomes known by Queen Anne, Gwynplaine must choose between regaining a life of privilege, or embracing a new life of freedom with Dea.

The startling makeup on Veidt was the acknowledged direct inspiration for The Joker in the 1940 Batman comic that introduced the character, and film versions of The Joker have been even more specific in their references to Leni’s film. While The Man Who Laughs contains powerful elements of tragedy, doomed romance, and even swashbuckling swordplay, its influence on horror cinema is most pronounced. Leni died suddenly at the age of 44 a year after this film (with Veidt also unexpectedly passing away too soon in 1943), and The Man Who Laughs endures as one of the most haunting and stylish American silent films, made just as that era was coming to a close. The Masters of Cinema Series is proud to present the film on home video for the first time ever in the UK.

BLU-RAY SPECIAL FEATURES:

  • LIMITED EDITION O CARD (2000 UNITS)
  • 1080p presentation on Blu-ray from Universal’s 4K restoration
  • Uncompressed LPCM 2.0 (stereo) score by the Berklee School of Music
  • Uncompressed LPCM 2.0 (mono) 1928 movietone score
  • A brand new interview with author and horror expert Kim Newman
  • A brand new video essay by David Cairns
  • Paul Leni and “The Man Who Laughs” – featurette on the production of the film
  • Rare stills gallery
  • A collector’s booklet featuring new writing by Travis Crawford, and Richard Combs

THE MAN WHO LAUGHS, one of the most iconic and influential silent films of all time, is OUT NOW on Blu-ray and can be purchased Here https://amzn.to/3fOy9xM

Terms & Conditions:
STARBURST does not accept any responsibility for late or lost entries due to the Internet or email problems. Proof of sending is not proof of receipt. Entrants must supply full details as required on the competition page, and comply with all rules to be eligible for the prizes. No responsibility is accepted for ineligible entries or entries made fraudulently. Unless otherwise stated, the Competition is not open to employees of: (a) the Company; and (b) any third party appointed by the Company to organise and/or manage the Competition; and (c) the Competition sponsor(s). This competition is a game promoted STARBURST. STARBURST’s decision is final in every situation and no correspondence will be entered into. STARBURST reserves the right to cancel the competition at any stage, if deemed necessary in its opinion, and if circumstances arise outside of its control. Entrants must be UK residents and 18 or over. Entrants will be deemed to have accepted these rules and to agree to be bound by them when entering this competition. The winners will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives. STARBURST routinely adds the email addresses of competition entrants to the regular newsletter, in order to keep entrants informed of upcoming competition opportunities. Details of how to unsubscribe are contained within each newsletter. All information held by STARBURST will not be disclosed to any third parties

[ENDED]WIN a Merch Bundle of BILL & TED’S EXCELLENT ADVENTURE

bill & ted

Strange things are afoot at the Circle K in San Dimas…

The beloved 80s classic BILL & TED’S EXCELLENT ADVENTURE has – for the first time ever – been gloriously restored in stunning 4K! This treasured time-travelling comedy stars Alex Winter and Keanu Reeves as Bill and Ted respectively – a hopeless but lovable duo who have since become cult icons after gracing our screens for the first time more than 30 years ago.

Fans can relive the original, first instalment in the hilarious comedy series when BILL & TED’S EXCELLENT ADVENTURE releases on 4K Ultra HD, Blu-ray™, DVD, Zavvi Exclusive Steelbook and digital download 10th August.

Ted “Theodore” Logan (Keanu Reeves) and Bill S. Preston, Esquire (Alex Winter), are in danger of flunking school most heinously if they fail their history exam, and if they do they’ll have to break up their totally bodacious band, WYLD STALLYNS. No way!

They meet Rufus (George Carlin) – an awesome dude in a phone booth that can travel through time, who informs them that the fate of the excellent future he comes from is in their hands and in the songs they will write together, so brace yourself amigos for a most unusual day! Bill & Ted crash from Ancient Greece to the Wild West, from 19th Century Europe to the distant future, meeting famous figures and medieval babes along the way. The boys bag a bevy of historical heavyweights from each stop to take back for their presentation, but will they make it back in time to save not only their grades, but the fate of the world? History’s about to be rewritten by two guys who can’t even spell.

To celebrate the release of BILL & TED’S EXCELLENT ADVENTURE in stunning 4K restoration, we have an exclusive Bill & Ted themed merchandise pack to give away, alongside a copy of the film on Blu-Ray™. For a chance to win, answer the question below –

Just send your answer to the question below to [email protected] with the header ‘BILL&TED’ to arrive before 11:59pm on

Sunday, August 26th.

 

What vehicle do Bill & Ted use to travel through time in Bill & Ted’s Excellent Adventure?

 

A) A Car

 

B) A Phone Booth

 

C) A School Bus

Terms & Conditions:
STARBURST does not accept any responsibility for late or lost entries due to the Internet or email problems. Proof of sending is not proof of receipt. Entrants must supply full details as required on the competition page, and comply with all rules to be eligible for the prizes. No responsibility is accepted for ineligible entries or entries made fraudulently. Unless otherwise stated, the Competition is not open to employees of: (a) the Company; and (b) any third party appointed by the Company to organise and/or manage the Competition; and (c) the Competition sponsor(s). This competition is a game promoted STARBURST. STARBURST’s decision is final in every situation and no correspondence will be entered into. STARBURST reserves the right to cancel the competition at any stage, if deemed necessary in its opinion, and if circumstances arise outside of its control. Entrants must be UK residents and 18 or over. Entrants will be deemed to have accepted these rules and to agree to be bound by them when entering this competition. The winners will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives. STARBURST routinely adds the email addresses of competition entrants to the regular newsletter, in order to keep entrants informed of upcoming competition opportunities. Details of how to unsubscribe are contained within each newsletter. All information held by STARBURST will not be disclosed to any third parties

How Disney’s Marvel Empire Completely Changed Cinema

It still seems difficult to believe that it has been more than a decade since Disney first purchased the Marvel brand, a move that provoked outrage at the time amid fears from fans that the Marvel franchise would lose its edge and grit. However, that did not happen.

Under the stewardship of Disney, Marvel has become arguably the single most successful film franchise of all time, spawning several of the history’s highest-grossing movies and attracting an entire generation of new fans. Beyond this, Disney’s Marvel empire has changed the realm of cinema more generally, impacting on how big studios and filmmakers alike approach new productions. Here’s how.

A Whole New Meaning of the Term ‘Big Budget’

The Marvel Cinematic Universe prior to Disney was still a somewhat profitable enterprise, but nothing major. Sure, pre-Disney releases such as the first Iron Man movie were box office smashes, but among these were relative flops such as the 2003 Daredevil movie starring Ben Affleck. Since Disney took the helm, things have changed dramatically.

The MCU is by far the highest-grossing film franchise in history, grossing a total of $22.5 billion worldwide as of 2020. Each film grosses an average of just under a billion dollars, something that only a handful of films had ever achieved in history prior to Disney’s MCU.

With big profits came bigger budgets, as Disney felt encouraged to take greater risks. None of Disney’s MCU films cost under $100 million to produce, while some, such as the critically-acclaimed Avengers: Endgame movie, cost a staggering $300 million to produce. Never has so much money been concentrated in a single studio.

Source: Pixabay

Films as Merchandising Juggernauts

Film franchises have always been big merchandise revenue generators, with studios increasingly relying on merch sales to top-up box office receipts. However, no franchise has taken this to the levels that Disney did with Marvel. By some estimates, MCU merchandise has earned Disney around $41 billion by 2020, more than every single Marvel movie combined.

Part of this success lies in the sheer diversity of the merchandise on offer, which goes far beyond the typical toys and t-shirts model that other franchises stick to. As well as hugely successful console game releases, MCU has spawned an empire of immensely popular online games.

There are even popular real-money online slot games that are part of the MCU merchandise empire, such as Super Kids and Legends of Loki, which fans can even play for free at VegasSlotsOnline. Then there are the Disneyworld rides that gross millions of dollars per week, the popular Marvel Home Decor range, and Disney’s range of sought-after collectible items. Disney’s impact on how other film studios approach merchandising is undeniable.

Longer Story Arcs Than Ever

The depth and breadth that a single movie franchise can be capable of have been greatly expanded thanks to Disney’s MCU. The Marvel Cinematic Universe as we know it today is essentially one cohesive storyline told over 23 films, something that goes far beyond what other successful franchises such as Harry Potter and Lord of the Rings had ever achieved.

Such lengthy story arcs would never have previously been considered profitable by movie studios, that would generally assume that fans would lose interest after a few films. However, Disney has been able to confidently rely on the dedication of its Marvel fan base, knowing that they will keep coming back for more.

This feat was also made possible by Disney’s decision to step away from the typical ‘superhero’ story and turn each Marvel release into a genre film. You have the white-knuckle political intrigue of Captain America, the daring heist film style of Ant-Man, and the spellbinding Afrofuturism of Black Panther, to name just a few.

Few people could have predicted just how successful and culturally influence MCU would become when Disney first bought it back in 2009. Now it is impossible to deny how the decision altered cinema forever.

Main image source: Pixabay

[ENDED]WIN Terrifying new Horror The Assent on DVD

assent

To celebrate the UK release of terrifying new horror, The Assent, we have 3 x DVDs up for grabs for you lucky STARRBURST readers. In the film, single father Joel (Robert Kazinsky, Pacific Rim, Captain Marvel) suspects his young son may be possessed. Struggling with his own mental health, he can’t be sure what’s real, and what exists in his imagination. He is aided by Father Lambert (Peter Jason, Deadwood, They Live) who seeks his own redemption after serving prison time for the death of a child during a failed exorcism. Lambert believes the boy has been marked by the Devil himself and, without intervention, Joel could lose his son forever.

From the executive producers of Texas Chainsaw and Day of the Dead, The Assent is a new tale of supernatural terror from multi award-winning writer and director Pearry Reginald Teo (The Evil Inside, The Gene Generation).

Dazzler Media presents The Assent out now on DVD & Digital Download 

 assent

To be in with a chance to win a copy, just send your answer to the question below to [email protected] with the header ‘ASSENT’ to arrive before 11:59pm on Sunday, August 20th

Peter Jason stars in this movie but in ‘They Live’ where he stars as Gilbert what does he help supply so people can combat an alien invasion ?

A) Sunglasses

B) Dido albums

C) Killer Yoghurt

iTunes: https://itunes.apple.com/gb/movie/the-assent/id1515986570

Amazon: www.amazon.co.uk/Assent-DVD-Florence-Faivre/dp/B089HYQQST

Terms & Conditions:
STARBURST does not accept any responsibility for late or lost entries due to the Internet or email problems. Proof of sending is not proof of receipt. Entrants must supply full details as required on the competition page, and comply with all rules to be eligible for the prizes. No responsibility is accepted for ineligible entries or entries made fraudulently. Unless otherwise stated, the Competition is not open to employees of: (a) the Company; and (b) any third party appointed by the Company to organise and/or manage the Competition; and (c) the Competition sponsor(s). This competition is a game promoted STARBURST. STARBURST’s decision is final in every situation and no correspondence will be entered into. STARBURST reserves the right to cancel the competition at any stage, if deemed necessary in its opinion, and if circumstances arise outside of its control. Entrants must be UK residents and 18 or over. Entrants will be deemed to have accepted these rules and to agree to be bound by them when entering this competition. The winners will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives. STARBURST routinely adds the email addresses of competition entrants to the regular newsletter, in order to keep entrants informed of upcoming competition opportunities. Details of how to unsubscribe are contained within each newsletter. All information held by STARBURST will not be disclosed to any third parties

[ENDED]Win The Woman in Black (1989) on Blu-ray and a Hidden Britain ‘Crythin Gifford’ Sign

We’ve got one Blu-ray copy of THE WOMAN IN BLACK to give away in our competition and as if that wasn’t enough the prize also comes with an exclusive ‘CRYTHIN GIFFORD’ Railway Sign Limited to just 20 pieces!

Nigel Kneale’s spine-tingling adaptation of Susan Hill’s gothic novel The Woman in Black creeps onto Blu-ray for the first time ever in this restored special edition, with an audio commentary from horror experts Mark Gatiss (Sherlock, The League of Gentlemen), Kim Newman (author, Anno Dracula) and star Andy Nyman (Ghost Stories).

AVAILABLE EXCLUSIVELY FROM THE NETWORK WEBSITE 10 AUGUST

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 WOMAN IN BLACK

To be in with a chance to win a copy, just send your answer to the question below to [email protected] with the header ‘WOMANINBLACK’ to arrive before 11:59pm on Sunday, August 9th, 2020

Which ‘Harry Potter’ actor starred in the 2012 version of The Woman In Black?

A) DANIEL RADCLIFFE

B) TWIGGY

C) RUSS ABBOT

WOMAN IN BLACK

Nigel Kneale’s spine-tingling adaptation of Susan Hill’s gothic novel The Woman in Black creeps onto Blu-ray for the first time ever in this restored special edition, with an audio commentary from horror experts Mark Gatiss (Sherlock, The League of Gentlemen), Kim Newman (author, Anno Dracula) and star Andy Nyman (Ghost Stories). When a friendless old widow dies in the seaside town of Crythin Gifford, a young solicitor is sent in to settle her estate. Following cryptic warnings from the locals regarding the terrifying history of the old woman’s house, he soon begins to see visions of a menacing woman in black…
Atmospherically directed by BAFTA-nominated Herbert Wise and starring Adrian Rawlins (Harry Potter franchise, Chernobyl) as the unfortunate young solicitor and Pauline Moran as  the terrifying apparition, this unsettling drama remains a high watermark for ghost story adaptations on British television and still retains its significant potential to shock. Unseen for decades, Nigel Kneale’s chilling adaptation of Susan Hill’s best-selling novel was first broadcast on ITV in 1989 and has been painstakingly-restored by Network’s awardwinning in-house restoration team in high definition from original film elements for this longawaited release.

AVAILABLE EXCLUSIVELY FROM THE NETWORK WEBSITE 10 AUGUST
Starring Adrian Rawlins (Harry Potter franchise, Chernobyl), Pauline Moran (Byron), Bernard Hepton (Get Carter) and Andy Nyman. Written by Nigel Kneale (The Stone Tape, Quatermass and the Pit) and directed by Herbert Wise (I, Claudius, Once They Marched Through a Thousand Towns).

SPECIAL FEATURES:
• Feature version in full widescreen
• Limited edition, specially designed o-card packaging
• Audio commentary with horror experts Mark Gatiss, Kim Newman and star Andy Nyman
• Image gallery
• Booklet by Andrew Pixley

The worldwide Blu-ray debut of The Woman in Black is available exclusively from the Network website on 10 August 

Hidden Britain produce handmade signs and prints from British folk horror TV, film and literature. To purchase head to: https://hiddenbritain.bigcartel.com/

Terms & Conditions:
STARBURST does not accept any responsibility for late or lost entries due to the Internet or email problems. Proof of sending is not proof of receipt. Entrants must supply full details as required on the competition page, and comply with all rules to be eligible for the prizes. No responsibility is accepted for ineligible entries or entries made fraudulently. Unless otherwise stated, the Competition is not open to employees of: (a) the Company; and (b) any third party appointed by the Company to organise and/or manage the Competition; and (c) the Competition sponsor(s). This competition is a game promoted STARBURST. STARBURST’s decision is final in every situation and no correspondence will be entered into. STARBURST reserves the right to cancel the competition at any stage, if deemed necessary in its opinion, and if circumstances arise outside of its control. Entrants must be UK residents and 18 or over. Entrants will be deemed to have accepted these rules and to agree to be bound by them when entering this competition. The winners will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives. STARBURST routinely adds the email addresses of competition entrants to the regular newsletter, in order to keep entrants informed of upcoming competition opportunities. Details of how to unsubscribe are contained within each newsletter. All information held by STARBURST will not be disclosed to any third parties

Out Now – Issue 473

ns 473

The latest issue of STARBURST is in stores now. In a special edition, we countdown the ultimate TOP 100 SCI-FI FILMS OF ALL TIME! Will your favourite be in there? Our writers have put their heads together to come up with definitive list.

We also look forward to the impending release of THE KING’S MAN and the return to the screen of the loveable duo as BILL & TED FACE THE MUSIC.

There are exclusive interviews with FRANK MILLER, who talks about the Netflix hit CURSED and THE UMBRELLA ACADEMY showrunner JEREMY SLATER and star TOM HOPPER tell all about Season 2.

If that’s not all, we celebrate the 60th anniversary of SUPERMARIONATION, the brainchild of GERRY ANDERSON and go on the set of MARC PRICE’s sci-fi film DUNE DRIFTER. HORROR OBSCURA chats with EMILY BOOTH about the bloody hilarious SHED OF THE DEAD and INDEPENDENTS DAY profiles filmmaker KATIE BONHAM.

Our two new regular features make their debut too: TELEPHEMERA unearths forgotten TV shows and ROAD TO OTAKU will give you all you need to know to begin a journey into anime.

Plus all your favourite COLUMNS, NEWS, and REVIEWS from the worlds of SCI-FI, HORROR and FANTASY!

Jonathan Reid-Edwards & Kate Tuck | THE GOOD NEIGHBOUR

neighbour

One of the standout films at this year’s STARBURST International Film Festival was The Good Neighbour. The film follows a woman struggling with a recent MS diagnosis who strikes a friendship with a man not from this world. As the film makes its way to Prime Video, we caught up with writer/director Jonathan Reid-Edwards and producer/writer Kate Tuck to find out more about the making of this engaging, very human sci-fi drama…

STARBURST: What was the genesis of the story?

Jonathan Reid-Edwards: Five years ago, I was diagnosed with Crohn’s disease during a pretty harsh relapse. I was juggling a day job and trying to get my first feature made and I couldn’t deal with the fact that I wasn’t as in control of my life as I thought I would be – I felt the disease was scuppering my chances at the life I wanted. In truth it was much simpler- I was too stubborn to ask for help.

Kate Tuck: When Jon started to feel a bit better, we went for a long walk and came up with the story for The Good Neighbour. We wanted to make something about the power found in asking for help and accepting it. It’s also important to us to tell stories from underseen points of view.

The film touches on the post-Brexit way of thinking, was it tempting to go further that way?

Jon: The initial script came about as the referendum was decided. Regardless of political opinion, it would have been impossible to not have Brexit leave a mark on the film. Yet at the same time, it was something we didn’t want to date the film, particularly as at the time of filming it was still up in the air with whether the Brexit process would actually go ahead. So we had to temper how far we went and keep the film universal.

Kate: If we were to go further into exploring the ramifications of Brexit, the film would have become about something else entirely. So as much as it was important to us to include the element of ’the fear of the other’ if we had delved too far deep into we would have lost the thrust of Jodie’s story.

You have a great cast, was it hard to find the right people?

Jon: It’s funny, we both went to drama school in our twenties and as a result a large proportion of our friends are working actors. It’s something we take for granted whenever starting a new project. In this instance, the lead roles were written with the actors in mind. From the very first round of ideas for the story, one thing was agreed: Fiona Hampton would be the lead, followed by George Taylor. Also, knowing them so well means you know the range available to them as actors – things a casting director may not be able to discern from the few roles they’ve seen them play.

Kate: The benefit of casting this way is that there is an in-built chemistry and ease of working. Jon, Fiona, and George are not only friends, but have worked together previously on several projects. Even when casting outside of our immediate circle, we were extremely lucky to be able to tap into the networks that our lead actors have developed through their own burgeoning careers. A great example of this is Fiona introducing us to Lucy Sheen, who plays her mother.

How long was the shooting schedule?

Kate: The shooting schedule was five weeks in total: four weeks on our main location – a farm in Saffron Walden – with another week shooting the remaining scenes including moving to a different location for the horse scenes. Before shooting we also had to build in time for some fight rehearsals and for Fiona to learn how to ride a horse. Shooting predominantly in one location meant that if need be, we could more flexible with the shooting schedule.

Jon: We had a lot of ambitious scenes to cram into the schedule that ultimately ended up not getting shot. As Kate said we had fight rehearsals – this was going to be for a grand action packed third act that half way through filming we realised wasn’t true to the story. So we shut down for two days and re-wrote the end of the film. As a result, fights were scrapped as well as some truly fantastic practical effects. But we did the right thing serving the story, and I still have sleepless nights imagining how bad it would have been to have kept those scenes.

You went to Indiegogo to finance the post-production – what was that experience like?

Kate: It was really successful so over all it was an overwhelmingly positive experience. It was great to connect with new fans and future collaborators. Some of the higher contributors became associate and executive producers on this project and are interested in working with us on future projects, which is really amazing. However for anyone about to undertake their own crowdfunding campaign you must always bear in mind that it takes over your whole life- you have to commit to it one hundred percent.

Jon: Considering we managed to shoot the film for £36,000, the money raised in post was a gift from the gods. To save money we do everything in house, and I edited, graded, mixed, and sound designed the film in post myself. So we were able to use that money to secure a proper soundtrack, cover VFX and more. We made it go a really long way. That said, I did kind of feel like Kubrick on Eyes Wide Shut in that the film took a much longer, more concentrated part of my life than I know any other film ever will in the future. Famous last words!

How does it feel to finally have the film out ‘in the wild’ for audiences to discover?

Jon: Having had this film such a huge part of my working life for so long, it’s a beautiful feeling handing it over. Kind of like sending the kids to university – I’m proud of it, obviously there are parts I would change if I could, but at the end of the day, it’s not mine any more. It’s about to start its life. Having seen the reaction to it at festivals both here and in the States, I’m excited by the fact that literally anyone can watch it now, that anyone can read whatever they want to into it.

Kate: The audience is the final component for any story, the element that completes the circle. So it feels great to finally put The Good Neighbour out there to see who it will connect with. We’ve been with this project for so long and it’s our first time going through the process of making and releasing a feature film. So it feels cathartic in a way, but we’re also really aware that the work isn’t over yet.

What’s next for you?

Jon: In terms of directing, I’m four drafts into what will hopefully be my second feature. It’s semi-autobiographical and with the Black Lives Matter movement, it’s suddenly become relevant. But it’s not a straight-up drama, it’s got a strong supernatural element – hence the stress on semi-autobiographical. I can’t wait to be able to talk about it.

Kate: As a filmmaking duo, I am working on the next film that we are going to make in-house, this time I’m writing and directing and Jon is producing. It’s going to be my debut feature as a director, I’m currently developing the script and we’re going to make it in the same way as The Good Neighbour. It’s written to be a low budget drama and we hope to be making it soon – but with the current pandemic, who knows?

The Good Neighbour will be available on Prime Video on August 7th.

The Good Neighbour Trailer 2 from Jonathan Reid-Edwards on Vimeo.