Q & A with Gale Anne Hurd | FEAR THE WALKING DEAD

After the Season 2 premiere, STARBURST attended a special Q&A with Gale Anne Hurd, executive producer of Fear the Walking Dead and The Walking Dead. Gale also produced Terminator, Aliens and The Abyss (working with ex-husband James Cameron) and was once an executive assistant to Roger Corman.

We asked Gale what the similarities and differences were to The Walking Dead:

The similarities are we follow the Kirkman rules of the zombie apocalypse. For example, there are no super-fast zombies and you still ‘die’ if you’re bitten or scratched. Everyone is infected.

The differences – setting it in LA – the urban environment. There’s no-one from law enforcement in this group. No-one used to being in authority … no natural leaders or weapons experts. Although there is Victor Strand – what is he? Also young adults haven’t really been explored like this on The Walking Dead.

Other questions included:

What are the challenges of filming on a boat?

Thanks to our set designer, ‘Abigail’ was built in a matter of weeks. We used a 22 million gallon tank that James Cameron used for Titanic.

Addressing the series being set on a boat.

What is Victor Strand’s agenda? It’s his boat – there’s tension. There are complicated relationships that make great drama. The theme is blood versus bond, for example Ophelia’s relationship with her father, now she knows what he really is. There are some new ground rules; zombies can’t swim or climb but they can float and wade. They can’t drown, obviously, so there’s the threat of both sharks and zombies (Would they eat each other? – JA).

On the longer season, which The Walking Dead Season 2 also adopted.

There’s a longer season which is split. Dougray Scott is going to join the cast. This answers the idea of ‘screw staying on land – I’m going to get on a boat’. There’s ‘no safe harbour’ (the tagline of the series).

Gale also urged viewers to watch webisode Flight 462 which ‘answers the plane question’.

You haven’t done anything with James Cameron since The Abyss, why is that?

James has a contract with 20th Century Fox and I have one with Universal. We’re still great friends.

Will there be another spin-off, for example in London or Paris?

Right now we have our hands full, but never say never.

Who is your favourite character in the Walking Dead universe?

Carol, because she started out as an abused wife and lost her child but found strength. She was meant to be killed off in Season 2 but we kept bringing her back. She’s like ‘average’ Sarah Connor (from the Terminator films) who has to save the world.

Could you make the tough decisions in a zombie apocalypse, for example have to kill family members? What would you do?

I love the fact it’s total fiction! If it were real, I’d get behind Daryl Dixon (Norman Reedus) on his bike…

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Steve Tanner | FLINTLOCK

STARBURST caught up with Birmingham-based indie comics hero Steve Tanner of Time Bomb Comics to find out what exciting new things he has planned for 2016.

STARBURST: What Is Flintlock?
Steve Tanner: Flintlock is an ongoing anthology set in the 18th Century featuring highwaymen, pirates and more. Each story takes place at some point between 1701 and 1800, with all the characters co-existing in a shared historical timeline. So, there’ll be highwaymen, law-enforcers, pirates and more. I’m writing the stories, the incredible talents of Anthony Summey, Lorenzo Nicoletta and Ed Machiavello have produced the art for the first issue. Last but not least, we have Bolt-01 on lettering duties. Flintlock’s launching at the Birmingham Comics Festival on April 23rd following a very successful pre-order campaign via Kickstarter.

Why pirates? Haven’t pirates been done?

Pirates in comics haven’t really been done, unless of course there’s been a huge pirate comics revival that completely passed me by! To me, it was a no-brainer that pirates would be an essential ingredient to Flintlock –  although I’m trying present a spin on the stereotypical pirate themes that’s perhaps overly familiar from Captain Jack Sparrow and his ilk!

How is Flintlock different, what should we expect?

One big difference is that none of Flintlock’s leads are what you may expect. Both our lead highwayman and pirate characters – Lady Flintlock and Shanti the Pirate Queen – are women, and presented as realistic, rounded characters rather than the overly sexualised female characters we usually see in comics. Others like the Clockwork Cavalier are, I hope, a bit of a surprise. I think the shared timeline is unusual too as it means that although the various lead characters may never actually meet, the actions they take individually will sometimes have consequences on each other years, even decades, apart.

What is so special about Shanti?
She’s Asian, from India, and her stories will be set for the most part in and around the Indian Ocean rather than the Caribbean setting that people are more familiar with. What also makes Shanti special –  and this is something that a couple of British Asian media commentators have picked up on – is that apparently she will be the first regular Indian Asian female lead character seen in British comics. I find that astonishing if that is indeed the case, although off the top of my head I can’t think of any myself that have been lead rather than supporting characters. Perhaps your readers can confirm that?

What’s the Clockwork Cavalier?

The Clockwork Cavalier is a mysterious wind-up automaton that, rumour has it, has been recruited into Henry Fielding’s Bow Street Runners to help his fledgling law enforcement agency maintain order on the streets of 18th Century London. The Cavalier was very much inspired by the real mechanical figures who were very popular at the time, but of course most of those were little more than cleverly constructed puppets.

What’s your next project?
For me, it’s pretty much Flintlock – Book Two is currently coming together, as I’m intending to release two issues per year. In terms of Time Bomb Comics, the next Bomb Scares horror collection is on the horizon for this October.

What’s the future of the UK comics scene?

The UK comics scene is constantly evolving – a fact that some of the keyboard warrior dinosaurs seem unable to grasp. More people are producing comics in the UK than ever before, the number of female creators is inspiring and the quality of the comics themselves improve year on year.  Newsagents gave ground to comic shops who are in turn giving ground to the digital distribution channels, and the number of comic conventions there are make travelling around the country selling direct to your readers (and building that fanbase at the same time) a key part of reaching readers. Will that bubble burst? Certainly I think we’re at saturation point events-wise, but it’s the shows that put the “con” into comic-con that will struggle over the next few years. Like those aforementioned dinosaurs, they’ll end up extinct. More great creators will continue to produce more great comics though, and alternative distribution will continue to be fully exploited.

What advice do you have for someone looking to create comics?

Simply, create comics. With print on demand and digital distribution it’s easier and cheaper than ever to get your work out there, but you have to produce the pages to do that. I find the UK comics community incredibly open and supportive – so don’t be afraid to ask for guidance and advice. But take time to learn your craft, too, and be realistic in your goals and expectations. Start out the blocks with some shorter stories, that 300+ page graphic novel can wait for later. 

Is crowdfunding the future of indie comics?

It is in terms of how I approach it, which is as a new avenue for distribution. I use Kickstarter as a pre-order platform to reach comics readers that otherwise I probably wouldn’t. My funding targets are low – and the cost of buying Flintlock via the pre-order campaign was set lower than it will be available for after publication. I don’t quite get the principle of charging backers two or three times as much for your comic as you’re going to be selling it to everyone else for once it’s produced to be honest! Forget 2 or 3 year delays too – I only launched the campaign once all the story pages were fully complete and in-house, and that will be the intention going forward.

You can find out more about Steve’s project at of Time Bomb Comics, and if you want to know more about the UK Indie comics scene, you should visit The Birmingham Comics Festival on Saturday, April 23rd.

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Mike Mendoza | Retro Promenade

Mike Mendoza prefers not to think of his Retro Promenade project as a label in the traditional sense, but as more of a ‘Nostalgia Promotion Brand’. Regardless of what it is, Retro Promenade’s musical releases are stellar homages to a glittering past loaded with synthesisers. Mendoza’s helped shepherd tributes to composers like John Carpenter, as well as director-themed projects like the recent Faltermeyer. It’s all a wonderfully joyous lookback. We spoke to Mendoza, and he gave us some loquacious responses….

STARBURST: What I find most interesting about Retro Promenade is that the albums you put out are theme-based. Is it easier to put together something around a time-period or aesthetic, rather than trying to create a faux film score?
Mark Mendoza: It isn’t necessarily easier to put together any specific concept over another. What’s great about the Retro Synth community is that there are so many fantastic producers who all know each other and hang out online on Facebook and Soundcloud and there are so many eager guys and gals who love working on specific themes. Each project has its own set of tasks to undertake, but the fun and skill and challenge is making sure all the elements come together juuuust right.

Faltermeyer seems to be a perfect example of this – so many different styles of genre, but very similar musical concepts. Are these director-themed compilations a way to connect things which seem disparate, but in which you see similarities?
Yup. This goes along with the idea of paying homage to people and shows and films of the 80s and 90s. Faltermeyer, in particular, was one of those ideas that has a wide swath of references to choose from. The marketing and idea for it was along the lines of ‘You can’t throw a memory stone into the 80s without hitting a project Harold Faltermeyer had a hand in’.

Same goes with Carpenter. Everyone remembers and loves Beverly Hills Cop. Everyone loves The Thing and They Live. And it’s not like I/we were ever trying to come up with the most recognizable ideas for compilation ideas for maximum exposure. They come from that same place in all of us retro cats and we just happen to get together to recognize and celebrate our love for these references.

It’s no different than football fans getting together to watch the game. We just happen to be music producers and visual artists who are trying very hard to be really good at what we do.

Do you reach out to artists, or do they reach out to you — both musically, as well as the visual artists who do your cover art and posters?
It’s a bit of both column A and column B, but definitely more in the line of reaching out to artists specifically. I try to reach out to people I know are very, very good and established as well as finding newer talent. Retro Promenade is very much about trying to find newer audiences to appreciate these artists. Having newer guys to push as well as big name talent to rock it alongside them is really a joy to be able to curate because it helps shine a light on the entire Retro Synth community as a whole.

Your release schedule is absolutely astounding. How far out in advance are you working to bring so much music so regularly?
I’m trying not to be one of those brands that just churns out content for the sake of it, but lately, I’ve been getting music submissions that are so god damn good that I can’t help but want to do my part to get it heard and that it looks like a professional ‘package’ to fans.

It takes up most of my free time, but I’m not complaining. As for how far in advance, compilations are the ones I try to put together 2-3 months in advance, and that’s to give the music producers a lot of time to be able to finish their tracks. Solo artist releases are fun because the artist always knows what they want and how many tracks they’ll be working with. Sometimes they have a full album completed, sometimes it’s a work in progress months in advance that I can help guide. They keep me on my toes and I love the responsibility of having to always be ready to rock.

I have to mention that artists aren’t ‘signed to a label’. I don’t run a ‘label’ or ‘collective’ it’s more of a weird hybrid nostalgia promotion brand. Hey, I like the sound of that, haha! Nostalgia Promotion Brand.

What’s the appeal to the music of this time period?
Probably the simple fact that we grew up in and around this music. This very specific niche appeals to that group of people basically aged 25-35 who grew up with Die Hard and the Transformers cartoon and Top Gun and Ninja Turtles, etc. Of course, there are people older and younger than that are more ‘90s or more ‘70s, but we like what we liked when we were kids and young adults. It’s like our parents who like cranking up disco and Soul Train records or their parents who slow dance remembering their high school dance being supplied with ‘50s and ‘60s jams.

There are other Retro Synth music brands in the community that cater specifically to the 80s. Retro Promenade is 80s and 90s inspired, so it can be as specific as Faltermeyer or as broad as ‘retro video games’.

Will it change? I dunno. I’m not as strict with the concept as others can be. Who knows? In 5 years, it could shift to late ‘90s and I could be doing Backstreet Boys and Austin Powers themed compilations. That doesn’t sound un-hilarious, actually. Hmm.

For a really great run down on the latest and greatest in ‘80s inspired Retro Synth, there’s a guy by the name of Rick Shithouse who runs Synthetix.fm and the public Synthetix Facebook group. Synthetix is where so many of us artists came to meet the other ones and we post our music and art and talk 80s movies and shows.

It’s Rick who really grabbed the reins and started the group several years ago for fans, new and veteran, to be able to nerd out about all this stuff. As I started to become more involved with helping out with Synthetix, he’s supported me and Retro Promenade and I always try to send people back to Synthetix.

As Jackie Moon says: Everybody Love Everybody.

Who are some of the artists of that era to whom you look to as examples when trying to explain what Retro Promenade does?
This one is tricky because the second I start to answer, there will be fans and other artists who will chastise me for forgetting one artist or including another artist. I’d have to go back to the RP tagline, which is Bright. Fun. Retro, to answer this one. It’s really about fun and energy and what makes people smile. I don’t usually reference other artists to get people to understand, I tell them exactly what it is. It’s artists making music that celebrate and sound like movie and TV show themes and video games that we all love from the ‘80s and ‘90s.

In fact, I’ve even written this specifically to help explain the concept: ‘The Raddest 80s & 90s Inspired Music & Art this side of the 21st Century’

It’s funny, I started this thing to try and get more artists to make retro sounding vocal pop music, but I ended up organizing amazing releases based on soundtracks with some amazing people like Lucy Black (on The Next Peak) and Jean Pierre Van Damme (Carpenter). It’s really amazing not knowing exactly what’s going to happen 5-6 months from now, I never know who’s going to come up with a great idea or how it’ll turn out.

Well, besides Christmas. I super-duper look forward the Christmas release every year. This year the title is It’s Christmas Time, Mr Falcon! as a fun little nod to Die Hard being arguably the greatest Christmas movie there is.

To what can we look forward in 2016?
I’m trying to always be better and more ambitious, so expect more fun projects. I’m reviving the Time Slap podcast (a hilarious retro comedy podcast where a group of us take fan submitted made up ‘80s/’90s movie ‘Title: Subtitles’ and create an entire movie, with real actors from the era, based on the title: subtitle. I then create full length movie trailers based on the movie you just heard us create.) I’d like to start getting official with licensing properties. It’s really fun to create inspired by music and art, but how cool would it be to actually have legal leeway to create officially branded work?

I can’t say exactly what some of these projects are, of course, that wouldn’t be any fun now would it? You’ll just have to follow Retro Promenade on the various social sites to find out what’s coming up on the retro horizon, wink wink, nudge nudge, say no more, say no more…

Retro Promenade’s releases can be found on Bandcamp (https://retropromenade.bandcamp.com/) and Soundcloud (https://soundcloud.com/retropromenade), and news can be found at their Facebook (https://www.facebook.com/RetroPromenade) and Twitter (https://twitter.com/retropromenade). Their most recent release is Synthwave Belongs In A Museum by Who Ha, out now (http://retropromenade.bandcamp.com/album/synthwave-belongs-in-a-museum).

Jean-Pierre Jeunet | THE CITY OF LOST CHILDREN

Jean-Pierre Jeunet’s output has delighted fans for decades, and will no doubt find a new audience with the re-release of The City of Lost Children. Refreshingly honest and open, Jean’s more than willing to talk about his career, as well as Terry Gilliam, Harvey Weinstein, Martin Scorsese, his next film…

STARBURST: A new Blu-ray release of The City of Lost Children is coming out. What’s the reason for the new release?
Jean-Pierre Jeunet: Just because it was the only film I made that wasn’t in Blu-ray and I love the quality. Here we have made some restorations, to make some DCPs (digital cinema packages). Now you can show a film in 45mm. I spent a lot of money myself to make some restorations to Delicatessen, but City was a big work. We had to fix some defects – the colour grading wasn’t so easy – but we have now a beautiful DCP. And a beautiful Blu-ray. So I am very happy – I will be happy!

You tend to work with the same actors in your films, for example, Dominique Pinon, Rufus and, of course, Ron Perlman in The City of Lost Children and Alien: Resurrection. Do you find think this makes the filmmaking process easier?
Dominique Pinon is special because he surprises me in every movie. It’s a kind of game now – I couldn’t imagine a film without Dominique. Sometimes I was close to losing him – for example for The Young and Prodigious T.S Spivet. He plays the hobo in the wagon. At the last minute, he was free so he’s in the film. It’s a kind of game now.

I love so much the cinema of the ‘40s, the French cinema. I’m looking for interesting faces, character actors. In France, there are not so many, so maybe that’s the reason I use him all the time.

There’s a lot of imagination and dark humour in your films – where does that come from?
I believe in imagination. I am not very interested in reality. In France they love realistic cinema. They hate when it’s aesthetic. They love to work with reality. For me as a director, it’s not interesting. It’s like doing photography. I feel like a painter. It’s probably because I come from animation. I was speaking about that with Terry Gilliam a long time ago. He was saying exactly the same thing. When you come from animation you like to control everything. Recently I was in London at the Tate Gallery and I saw the Turner exhibition. This guy was transforming the reality because he was a painter – I feel like a painter. I don’t care about the reality. I think an artist has to have a special look on the world otherwise it’s boring.

You’ve been compared to Terry Gilliam before – is that something you take as a compliment?
Yes. Now I lose Terry Gilliam a little bit. I didn’t see his last movie (The Zero Theorem). But he was a master. We had an interview together for Studio magazine. He put a line on the poster of The City of Lost Children to help with the release of the film.

What was it like directing the fourth Alien movie, Alien: Resurrection?
You know, I didn’t feel like going to Hollywood. I was starting to write Amélie at this time but how could I refuse to go make a big Hollywood movie? I was a young French director. And this time it was pretty new – not many French directors in Hollywood. Now everyone does that. So I couldn’t refuse. In any case, I thought I would be fired after two weeks – I couldn’t speak any English at all. I had a translator all the time.

It was a great experience. I had almost total freedom. It’s impossible to imagine – I was alone on stage. Of course, there were the details of the casting and the editing, but more or less I had the freedom. Nothing compared to France…

You mentioned T.S Spivet, and you mentioned in another interview that Harvey Weinstein wanted you to re-edit the film. Do you feel like you didn’t get as much freedom from him? Do you need to have the final cut on your films?
You know I made a French and a Canadian co-production of T.S Spivet to avoid this kind of problem. You can never totally avoid American people because if you want to show your film – if you want to show it in the USA you need American people. Unfortunately, Gaumont sold the film to Harvey Weinstein. This guy is like a gallery owner saying to the painter ‘we’re going to change the green because American people don’t like the green’. He doesn’t care about cinema, he doesn’t give a shit about the film; he needs to pee on the tree. He has a problem with power and that’s it. It was a mistake to sell my film to this guy. He blocked the film for nearly two years and he released the film very badly so it was a disaster. And it’s a pity because this is the only film I made not really released in the USA. But you can see the film on Netflix and it’s my version, my film.

Amélie was a very personal film for you. You got lots of nominations and awards for that. How do you think that changed you and your perception as a director?
It’s like I had some injection that gave me a big head! It gives you confidence – you are confident when you have such a big success.  It’s a dream for every director to make something so personal and it’s a big triumph. Sometimes I thought I was dead and I was in paradise. And everyone played a character like in The Truman Show, but in the opposite way, do you know what I mean?

Also, it gave me the possibility to find a lot of money for A Very Long Engagement, and I suppose now I still find the possibility to find money because I can say to the finance people – look at Amélie.

We read that you originally wanted to cast Emily Watson (in Amélie) and then Audrey Tautou came along. You said within five seconds that you knew she was right for the part. Did you believe that was meant to happen, or was it just a happy accident?
Yes. Every time when you have an accident it gives you an opportunity to make something better. I don’t want to say Audrey Tautou is better than Emily Watson. I am sure Emily would have been a great Amélie. A little bit different, much more Bridget Jones probably. Older. But I am the only one to be sure she would’ve been great. After I hired Audrey, everyone told me she was too young. But now nobody can imagine Emily Watson except me.

You said in another interview you were going to do a film about sex and sensuality, after directing Casanova gave you some ideas. Is there any more news?
Casanova was a pleasure to make. I loved to do that. It was a paradise in my life because I didn’t work since a long time for personal reasons. I needed to work and not like a big commercial with someone behind my shoulder. And I love to make commercials. But I prefer freedom of course. With Guillaume Laurant, my writing partner, I spent the whole day writing some scenes about sex and it will be funny. I would like to shoot it in Aix-en-Provence because I am tired of Paris now. Too many traffic jams and too expensive. I love Provence and I’m sure it will be great.

So that’s something you’re writing at the moment?
Exactly. I spent the whole day. And I’m finishing a short film, an animation short film, because I love so much to make. If you see on my site, my official site, you can see some animals I made myself, like sculptures. And now we are finishing an animation – I am doing it with the animator of Mic Macs – it will be great. So cool.

In your earlier films you worked with Marc Caro, with some inspiration from comics. Are you still inspired by comics at all?
No not really. I don’t read comics. I, a little bit, follow animation now. I still like cinema of imagination. As I said I don’t like realistic cinema, and I will continue to work about imagination.

Are there any directors or actors working right now who you follow?
I love Martin Scorsese so much. I had the great privilege to be invited to receive the Lumières award. I was the only French director on the stage. And he came to me and he spoke to me about Spivet. He said he saw the film three times, it’s so great, he showed it at the birthday of his daughter, and it was such a great pleasure. Thank you!

He was inspired by French films – you said you love the ‘40s films and Scorsese loved the French New Wave and the Cahiers du cinema…
In fact, Hugo was a film for me. I was pissed off when I saw it. I said to Martin, ‘now you just have to make some good cheese!’, and he laughed with his big laugh. There are one or two shots I can say are so A Very Long Engagement and I know that so I am very proud.

The City of Lost Children is out now on Blu-ray
 

Sadie Miller | MOON BLINK

Candy Jar Books’ popular series of novels chronicling the adventures of Doctor Who’s redoubtable Brigadier Lethbridge-Stewart, launched last year, continue in 2016 with a string of new titles guaranteed to enthral readers with the tales of the Brigadier’s adventures when the Doctor’s not around. First off the blocks comes ‘Moon Blink’ in which the Brigadier investigates the rising popularity of a new street drug which seems to have originated on the moon – at a time when the Apollo 11 moon landing is recent history! ‘Moon Blink’ is written by Sadie Miller, daughter of beloved and much-missed Elisabeth Sladen, who played Sarah Jane Smith from 1974 to 1976, returning to the revived series in 2006 and then in her own spin-off series right up to her death in 2011. It’s a career-change for National Youth Theatre-trained actress Sadie and STARBURST spoke to her to ask her about her new direction and what fans of the indefatigable Brigadier can expect from his latest literary exploit…

STARBURST: Did your move into writing come about from a conscious decision to change your career?

Sadie Miller: Definitely. I always used to write as a sideline anyway, it was always something I was interested in doing but then when everything happened with Mum it just seemed like a more logical progression really because I think, although it’s still very challenging, you have a lot more control over it and it’s not something you have to work away from home for.

How did your involvement with the Lethbridge-Stewart book series – and consequently ‘Moon Blink’ – come about?

It was something that Andy contacted me about. We’d been like ships in the night, we’d almost met and worked together a few times before but when he approached me about it, it sounded like a perfect fit and it’s been quite challenging to write for a character who’s so well-known so hopefully it’ll go down well but it’s been really good fun so far.

How familiar were you with the established character of the Brigadier?

I had to go back and watch all the old ones with Mum although I knew of the character and knew the basics but there’s a lot of the ins-and-outs I wasn’t so familiar with and for something like this I think you’ve got to know your details and make sure it’s all accurate.

How would you describe the story? Is it sci-fi, thriller, adventure?

It’s a bit of a mix really. There’s the sci-fi element in there with an alien baby and the fight for Dr Travers to keep him safe and the Brig is in there of course but there’s also a lot of fun but it’s much more of a family adventure story which will appeal to younger readers. It’s hopefully in the style of the best of the ‘classic’ Doctor Who stories, that’s definitely something I’d like to replicate, if possible, that level of fun and excitement and danger but always in a very safe bubble.

How did the actual story come together? Was it a collaborative process between yourself and Andy?

The concept for the story was something that Andy and I came up with and we developed it together, but I knew it would need to follow on from the preceding book and that restricted us a little bit but Andy’s been great in just letting me get on with it and have a bit of creative freedom which is really exciting.

Who are your inspirations as a writer and how do you discipline yourself to get the actual writing done?

I grew up reading so many different kinds of books that it’s difficult to say, it’s a bit like when someone asks you to name your favourite film. There’s almost too many to choose from. I find I read things ‘as and when’ and that kinds of feeds into my own writing. I’ve just started reading some of Phillip Reeves’ steampunk books and I found that’s really helped me to write something which has a broader appeal so that you’ve got a children’s/YA book but you’ve got that element where it can be enjoyed by everyone. I’ve also been reading books by Glen David Gold who writes quite involved, complex narratives which you uncover layer by layer as you’re reading them which I love as well.

I think you need to have a certain discipline as a writer but for me, because I enjoy it and because it was always a hobby, I kind of see it almost as taking time for myself to disappear into another part of my mind and to let all the crazy bits run free! My husband and I got rid of our TV (so we don’t have that distraction) which is quite helpful! I quite enjoy writing with pen and paper and typing it up later so I love to just go and sit anywhere and I do a bit of people-watching where you sometimes think ‘oh, that’s interesting, maybe that could pop up somewhere.’

How aware were you, growing up, of the popularity both of Doctor Who and your mother’s part in its legacy?

I was aware of it through the conventions mainly and I’d watch a bit of it growing up but I honestly don’t think it was until Mum passed away that I realised where she kind of stands in the Universe of it all. It was only afterwards when I thought ‘Wow, this is much bigger than I thought it was.’

Did your mother ever really appreciate just how popular she was amongst fans of the series?

No, I think she never saw it in that way. She went to work, did the job, came home. I don’t think she ever saw herself in that context and I think that’s part of why she’s popular because she never got carried away with it.

Your mother returned to play Sarah Jane in 1981’s K9 and Company and then, of course, to huge acclaim in the resurrected show in 2006 and then the massively-popular spin-off Sarah Jane Adventures. Did she talk much about playing the character and what she’d like to see her do next?

Funnily enough, we watched K9 and Co again recently for the book and there are moments where you can kind of tell that she’s not as comfortable as she’d been in the original series. There are moments where you can see she’s saying the words but thinking ‘oh, I don’t want to say this!’ When she was first approached about coming back in the new series I think she thought it was just a little cameo and then that would be the end of it so she didn’t think about it that much. But when they had the proper meeting and it was broached about doing an episode and then The Sarah Jane Adventures I think there was never a moment when it wasn’t going to happen, I think it was pretty much decided then and there. She was massively proud of the Sarah Jane series. It’s funny because we used to sit and watch things like Murder She Wrote with this feisty older woman meddling around and Mum always used to say ‘I’d love to do a show like that’ and a few years later it happened which was just amazing.

And, of course, your mother worked with Nicholas Courtney, who played the Brigadier on TV, both in Doctor Who and in his final appearance in the Sarah Jane series. Did she speak fondly about her time working with him?

Oh yes, they were very chummy and when he was down for Sarah Jane they had a good time together on set. That kind of friendship passing down through the years from that original crew meant there was always a lot of love between them all.

A couple of years ago, the Brigadier was controversially resurrected in Doctor Who as a Cyberman, a plot point which many fans felt was slightly distasteful. What’s your take on it?

I have to admit I’ve not seen a lot of Peter Capaldi’s episodes just because over the last couple of years I’ve been moving around a lot and we’ve missed out a bit as we don’t have a TV now! Without having seen that episode, I wouldn’t like to say definitively but obviously, Nick isn’t around anymore and whilst people can refer to and talk about a character posthumously I think you still have to have a bit of respect for who the actor was as well. That sounds to me pushing it a bit too far. If someone did that with Mum’s character I’d be absolutely furious.

What are you working on next? Will you be writing any more for the Lethbridge-Stewart series or are you keen to develop your own projects, possibly even a bit of scriptwriting?

Hopefully, I can do a bit of both. I’ll see how the book goes and if people like it and want to read more and we’ll go from there. I have another book I’m just working on for myself which I’m trying to get edited and find a home for so hopefully that’ll get published at some point in 2016 as well which would be great. It’s just about getting my head down and seeing what happens; it’s very hard these days as a writer, it’s challenging because it’s so easy to publish online nowadays. Scriptwriting isn’t something I’ve done before. There’s a Wilkie Collins story I love called The Haunted Hotel which is not a very well-known story and I’ve adapted it into a radio script and I’m trying to find a home for that somewhere but it’s not something I’ve spent a lot of time looking into but it’s definitely something to think about for the future.

Sadie’s book Moon Blink is published by Candy Jar Books in April.

Corin Hardy | THE HALLOW

Corin Hardy is an award winning filmmaker and music video director, whose dark visual style is rooted in teenage years spent watching horror films and then practising making his own. Corin’s debut feature The Hallow is out now on DVD (see our review here) and he sat down with Starburst to discuss his version of an Irish fairy-tale.

Starburst: So, your fairies are a little bit different to Disney’s?

Corin Hardy: (laughs) Yes!

That said then, how much of the mythology is real and how much have you invented?

It was very much inspired by real Irish mythology and it was a case of when writing the script, trying to find what would work cinematically. If things become too strange you have to spend time setting it all up and before you know it half the film has gone by. Originally I was looking at the daoine sidhe and the unseelie court, which are the more dark-minded of fairies. I was looking at the origins of fairy folklore in Ireland and this led me to The Book Of Invasions. I guess I was looking at a hell of a lot and just working it down, to such things, as fairies can’t take cold iron – it’s like garlic to a vampire with them. And this idea, that being touched by fairies can take a human being out of their mind, and if these ideas could translate then it would be like being infected. I guess I wanted to suggest ideas that weren’t just the gothic fantasy idea that we have of fairies.

Did you have to then temper what you were coming up with to give some basis in reality?

The original aim was to make a fairy-tale grounded in reality and this made it a difficult and time-consuming script to write. The minute you step over into the fantasy side it feels more like a gothic movie, or something designed for children. If you get stuck in the real world, then anything fantastical sticks out and just pulls you out of the film. A lot of fairy mythology comes from the forest and being at one with nature, which then lent itself to the idea of science. I’d come across this parasitic fungus as well, and it felt like there could be parallels and I wanted to tell a story in which there were two sides, and therefore some interpretation.

You’ve previously described the The Hallow as Straw Dogs meets Pan’s Labyrinth, which is a perfect way of summing up. We wondered which part came first for you?

I love both those films. Straw Dogs is the original home invasion movie and I love the way Guillermo Del Toro handles mythology in his films. In that sense Pan’s Labyrinth is most similar to what I wanted to do but whereas that film is 70% fantasy and 30% gritty reality, I wanted to do the reverse. In terms of balancing the story, initially it was much more fantastical, so it took a while to find that medium. It had to remain scary and tense but also remain grounded, and you only feel fear for a character when you believe in them.

How much do you think the atmosphere of the film is generated by the practical creature effects and the real locations?

It was always important but the more we went down that route; the more I was convinced it was right. I wanted it to be a cinematic and immersive experience and if you see a bit of CGI, no matter how good it is, you can quite quickly not be affected by it. I wanted everything to have a hyper-real feel but trying to shoot in the bogs and forests of Ireland was difficult. Somewhere along the line though it pays off. That said, my favourite effects are a mix though, with creature and prosthetic effects with some CGI to finish them.

The Hallow has been such a major part of your life now for so long. How does it feel with the film coming out on DVD, and effectively signalling the final stage?

It’s like the last part of the closure I suppose. I’m still a fan of the DVD process, as you get the extras and I was keen to include the making of which captures a moment in time. It’s been a dream come true really in getting The Hallow into Sundance Film Festival to launch it, and then 35 more around the world. Just absorbing an audience’s response is both amazing and uplifting.

Horror festival audiences can be tough crowds though…

(laughs) That’s when it can become unexpectedly scary. I’m a horror fan at heart, and one of them! You really want to please the horror audience, but you also know how critical they are. We seem to have gotten a good response so far though.

You put your lead actors through a lot. Will Joseph and Bojana ever work with you again?

(laughs) You’d have to ask them! I think actors love it though if they trust you. We discussed the ambition of the movie, in making a horror film that was also beautiful to look at. Both were heroes though and put up with a lot of night shoots in cold, wet weather. It was tough!

There really seems to be a sense that horror is a strong proving ground, with directors such as Gareth Edwards and James Wan emerging from the genre. Why do you think that might be?

I think it’s because horror is limitless. There’s so much potentially out there in the dark and in what you can imagine. It’s the most primal genre, based on fear and survival. I grew up watching King Kong and Ray Harryhausen movies and loved the idea that those things could be real. I also think that to do horror right is really, really difficult. You have to constantly sustain that tension and suspension of disbelief and the moment that goes away you lose the audience. There’s an awful lot of fine-tuning that goes into a horror film.

As a horror fan then, how do you feel about the genre today? Do you think perhaps the genre is becoming diluted with so many middle of the road films and ones that aren’t actually scary?

I can’t be cynical about it. When a James Wan film blows up it’s a boost to the industry but then you also get a run of all these matching ones. There are only so many great horror films though that tap into something and that you’ll watch forever.

Remakes are now staples of a studio’s planning and I wondered if there was a horror film you’d remake if you had to, The Crow aside?

I have lists of those! I do want to make as many fresh and original movies as possible though. When The Crow came along it was different, as I was such an obsessed fan and it would have been wrong for me not to have gotten involved. There’s also the graphic novel, which is a work of art and has a lot of depth and personal story. It would be worth retelling that original story.

The Hallow is out now on DVD   

Justin Raleigh | THE LAST WITCH HUNTER

Justin Raleigh is a Make-up and Special Effects Make-up Artist who has worked on films as diverse as Jarhead, The Conjuring and 300: Rise Of An Empire. His latest film is The Last Witch Hunter and he took some time to talk to us about covering Lili Taylor’s face in prosthetics and not going to the cinema with his wife.

Starburst: How did you get started in your industry?

Justin Raleigh: I was always wanted to be an artist as a kid and was always into film, and particularly fascinated by horror and sci-fi. I was interested in the idea of creating a living, breathing artistic rendition of something, and all those early horror films such as The Exorcist and American Werewolf In London inspired me. Eventually I met someone who needed an intern at a small FX studio and that’s how I got my start.

A lot of your early work appears to have been in mold design.

I kind of came in like that but then was working in sculpting and other things. I started in a mold department but I got a feel for lots of different areas, more like a lab technician, and from there I started doing more artistic work. When you prove yourself, then you start getting hired and I got work in Stan Winston’s studio as a key artist. In 2005 I started my first company and that lead to starting Fractured in 2010.

When you’re approaching a film, do you submit designs along with other effects artists, like the audition process an actor would go through, or do you get the work, but within certain constraints?

It depends. Sometimes you’ll come in and the director has a vision that he just wants you to design. Sometimes you’re asked to put together a budget and if it’s approved then you start designing from there.

Some collaborative, some not then?

To a certain degree they expect you’re going to come up with the design when they hire you, but a lot of the time you’re working from designs. Ultimately it’s down to what’s in the script.

With The Last Witch Hunter, where did those designs come from? Is it increasingly difficult to come up with something new and original?

Absolutely. Audiences are so savvy these days that it’s difficult to surprise them. With Witch Hunter we had a wall of what we didn’t want; a wall of every witch you’ve ever seen! With The Queen, the design came from the environment in which she existed, and how she grew from those surroundings.

You’ve worked on many reality based projects such as Jarhead and we presume that’s a very different concept?

With any of our medical based projects such as Jarhead and The Knick, we use a lot of medical books to make sure we get it right. If we’re recreating something like an old man, we have to use a true reference. With fantasy there’s room to explore and be more whimsical. Everyone knows what an old person looks like!

Do you enjoy the more creative side then?

Honestly, if I had my choice I would want to do something where someone starts young and ends up old, as I think that’s much more challenging.

That’s interesting, as some recent films such as Ant-Man have used CGI to make people younger or older. What are your thoughts on that?

I think what you’re finding more and more is a hybrid between the two. Practical effects take it so far and then visual effects take it on. I think what a lot of people are realising is we can get them 90% there and then they just need an extra 10% push from visual effects. When you put the two together you get a better finish.

So films like Mad Max: Fury Road and Star Wars: The Force Awakens are champions of this happy medium?

I think Star Wars is a perfect example, where J.J. Abrams pushed to get as much of a practical effect as possible. CGI can be beautiful but when next to real, organic characters and sets, it can be jarring.

Does it draw you out of a film sometimes, with the experience you have?

(laughs) Absolutely! My wife doesn’t even want to go to the movies with me anymore. I tend to point out the flaws!

On The Conjuring, Lili Taylor described you as a joy to work with, but we wonder how difficult it can be tailoring specific designs and prosthetics to an actor, who perhaps isn’t quite into it?

That’s always troublesome. If an actor is going to wear prosthetics, it can take a while to get used to it. For example, Lili Taylor at one point had her entire face covered but she worked through it. Some actors have trouble with having it on their face but it really depends on the person. A lot of time, actors are more willing to accept it, if they see and understand why it makes their character better and stronger.

Has there been a particular effect that’s either been the most challenging, or the most satisfying?

The hardest project was probably Tron: Legacy. We built 116 fully illuminated suits, with custom electronics and custom lights that had never been used before. Everything was a prototype. On top of that all the sets were troublesome, as they were all made out of glass and the sets were full of static electricity. We did over 100 hours per week just to get things done. It was gruelling.

Was that the most satisfying to complete then?

I think there was a lot of hatred for it for a long time but eventually I came to accept there were a lot of achievements on that film. Talk of a sequel slowly began to inspire me too. Mentally challenging but made me step up my game.

THE LAST WITCH HUNTER is available on Blu-ray™ and DVD from March 2016, courtesy of Entertainment One 

Jason Zada | THE FOREST

Jason Zada is an American filmmaker and music video director whose debut feature, The Forest is out now. Starring Natalie Dormer, The Forest follows a woman’s search for her twin sister in Japan’s notorious Aokigahara Forest. Jason took the time to talk to us about scary trees, horror remakes and wandering off the path…

Starburst: In the crowded horror genre what would you say makes The Forest different?

Jason Zada: I think many films these days take place in a house, and for me the location felt the key here, almost a character in the film and that’s what set The Forest apart.

How was the experience of visiting Aokigahara Forest? Did you leave the path at all?

When I went to the actual forest I definitely had to go off the path, as I’d been developing the screenplay for so long and knew all about what went on there. My Japanese guide was more cautious; he had a satellite phone with him just in case and it was starting to get dark, and he really wanted to go back. At that point everyone became a little more nervous and was like “okay, we have to get out of this forest right now.” It’s a creepy place and being respectful of everything that had gone on there was important to me.

Did anything spooky happen to you?

Well I didn’t die! (laughs) No, having been working on the script, your mind plays a few tricks on you but nothing happened. We did see the ropes, though, and the ropes can lead to bodies and that in itself is pretty scary.

We understand you were restricted from filming there?

We were not actually allowed to shoot in the forest itself so we used a location in Serbia. It was very familiar having been in the real one but thankfully where we filmed wasn’t built on lava rock like it is in Japan. Underneath the whole thing are these tubes and so on, so it’s actually really dangerous just to wander around there.

What was it about The Forest that made it feel right to be your debut feature as a director? This is a very high profile film, which must bring more pressure.

It was the people involved like David S. Goyer and Lawrence Bender, who made me really want to do it. I couldn’t really pass it up. And pressure makes me want to work harder! The only tough part was working around Natalie’s schedule on Game Of Thrones, which made it tight to get the film finished by November so we could get it into theatres in the US. I just love the pressure! (laughs)

What was it about Natalie Dormer that convinced you she was right for such an intense role?

Natalie’s in pretty much every frame of the film as Jess or Sara. I’d seen a lot of her work and there’s just something about her. She’s very intelligent and understands filmmaking really well. When The Forest came up, it turned out she was on everyone’s radar so when we met we knew instantly she was the right person for it.

Which films have influenced you in making The Forest?

For me The Shining was always a mental reference, in that they made a hotel scary. It’s the psychological decent into madness of the main character that was always the draw too. Jaws was another film, as that made something not so scary, like the ocean, into something really frightening. For us, we’ve all been in the woods and so the thought that there’s always something lurking was in our minds while making The Forest.

David S. Goyer said part of the attraction of The Forest is in its ambiguity. Was that something you worked hard to develop?

I think the forest itself is a character in it being a real place. The question was how to make a bunch of trees scary, and to create that impending doom, but there’s a certain allure to this place. People travel from all over the world to end their life there, which is a sad and strange phenomenon.

Establishing a franchise is such a massive thing today, so we wondered if you felt The Forest either warranted or demands a sequel?

I don’t want to ruin anything for people who haven’t seen the film but there are a lot of stories to tell about the forest, as there are a lot of people who go there. Once you see the ending then maybe you can see a reason to go back.

We’re always curious about filmmakers’ take on remakes, especially in the horror genre, so we wondered what your thoughts were and if you were going to make one, which one would it be?

I just read a project but I can’t say what it is! It’s a great genre script and is a remake, but I’m of the opinion you shouldn’t remake a film where the original was good. When we do so, it’s hard to improve on the original but there are a lot of great genre films that could be updated with a bigger budget and with better effects. I think there’s a lot to go at.

 

Video Interviews with the Cast and Crew of THE OTHER SIDE OF THE DOOR

With Johannes Roberts’ The Other Side of the Door now in UK cinemas, we’ve managed to bag some cast and crew interviews featuring director Roberts, producer Alexandre Aja, and stars Sarah Wayne Callies and Jeremy Sisto.

The Other Side of the Door is an India-set eerie ghost story that tells the tale of a grieving mother who visits an ancient temple in the hope of making contact with her dead son. When strict orders are ignored, a whole world of tense terror is placed at the door of Callies’ Maria and her family.

Be sure to check out the interviews with Roberts, Aja, Callies, and Sisto in the player below.

Additionally, you can find our in-depth interview with director Johannes Roberts here.

The Other Side of the Door is in UK cinemas now.

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Jason Mewes | BLING

Jason Mewes likely needs no introduction to most folk. Having made waves as the iconic wise-cracking stoner Jay in Kevin Smith efforts such as Clerks, Mallrats, Dogma and Jay & Silent Bob Strike Back, Mewes became a beloved treasure to many a genre fan. Since falling into the movie business, Jason has gone on to become a hugely busy actor in his own right, constantly working on new and future projects. His latest outing, Google Play’s Bling, sees the Jersey native voicing Kit, a robotic ninja monkey involved in a heartwarming animated affair that centres on a young man’s long-awaited proposal to his ‘one true’. We caught up with Jason to chat Bling, overcoming the ‘loveable stoner’ stereotype, the fantastic Todd and the Book of Pure Evil, discuss Batmen (yes, he gives his thoughts on Batfleck), Mallrats II, his directorial debut, and a whole lot more.

STARBURST: How did you end up involved with a project like Bling?

Jason Mewes: You know, just they asked me to jump onboard the project. I was really lucky. They thought of me and asked me to be a part of it. When I heard of what it was about, I was onboard right away – you know, robots and all the fun stuff! But then it was an added bonus when I found out I got to play a monkey.

You play Kit, a badass robotic ninja monkey. Obviously his voice is your’s, but there also seems to be a lot of you in how the character comes across. So with that said, did you have some freedom with the role?

I had to sort of try to speak in the bounds of the dialogue in order to match the mouth of the monkey, but they let me really play a lot with a lot of what I was saying and getting to add a bit of improv and stuff when my back’s turned or I’m off screen. That was a lot of fun. Again, I got to add a little bit of “business” to that, which is always fun. It doesn’t always work out that way, but it did, so it was good.

The film itself has quite the impressive ensemble cast – the likes of Taylor Kitsch, Jennette McCurdy, James Woods, Carla Gugino, Tom Green, Jon Heder. Did you get to work side-by-side with those guys or did the vocal recordings take place separately?

You know, it was a bummer because they didn’t do any of the recordings as a team, which would’ve been fun. And I think there’s definitely a benefit to that, getting to bounce off each other with the dialogue and all that stuff and play around. But there’s pros and cons to that. And also, it’s nice to do it by myself because this way if I mess up I can stop and ask to go again or ask “Hey man, can I try to do this or do that” and there’s no one waiting on me and stuff. So, again, I think that would’ve been fun but it was also nice to just do it by myself.


Mewes as Kit (right) in Bling 

In terms of animated efforts, obviously you’ve done stuff like Clerks: The Animated Series and Jay & Silent Bob’s Super Groovy Cartoon Movie, but you’ve also done some kid-friendly work like Noah and now Bling. As you’re a father now, how is it to know that you’ve got something that your daughter can watch in a year or two’s time?

That’s really awesome. I’m very excited about that. It’s not always that I get to do a fun cartoon with monkeys and stuff. Right now, I don’t think she’ll necessarily understand the dialogue, but again, she can watch the cartoon characters run around and play. I think that’ll be really cool. We were gonna watch it together but she started getting sleepy yesterday and the day before, so I just watched it alone. So I’m very excited to let her watch it. I’ve even thought about letting her watch Super Groovy Cartoon Movie. Again, she won’t understand the dialogue, but I was hesitant because there is Ralph Garman’s character who runs around as a giant weiner. But this is good because there’s animals and stuff.

And working previously on Noah, is that something that you recorded vocals on individually or did you get to work side-by-side with the likes of Michael Keaton?

Yes, that was the one movie that I actually got to work with the other actors on, and that was really nice. But it was also so nerve-wracking to me as we were bouncing off each other in that, and if I messed up or wanted to say something different or try it again because, you know, I don’t wanna make Michael Keaton wait on me. That was a lot of fun, though.

As a loud-and-proud comic book fanboy, how cool was it to be working with Batman himself, Michael Keaton?

It was great! Honestly, I got to meet him years before that at a benefit and he was the nicest guy. He was the one guy at the benefit… Jennifer Jason Leigh was there, and Gillian Anderson was there, and Jack Nicholson, and all these people, but he was the one gentleman who was just so nice. It was so cool, and it was an honour to have worked over the years with so many great people. I feel very blessed to have worked with so many great people. It’s not something I’d planned. And recently I got to film a scene with Johnny Depp, which was really cool. Johnny Depp’s, I think, one of the best actors out there. So I got to do a scene with Johnny Depp and that was fantastic. I just feel very blessed that I’ve gotten to work with all of these people, but yes, the original Batman was nice. Now I’ve worked with two Batmans.

Indeed, you’ve worked with Ben Affleck plenty of times before. From what we’ve seen so far, it looks as if he’s going to absolutely nail the Batman role in Batman v Superman

I think he’s gonna do well, too. Him in the suit, they have the voice modulator for when he’s in the Batman suit, so he can’t ruin that. But Bruce Wayne, I think he’s gonna be perfect as him. When I found out, a lot of people asked me what I thought. I always said he’d be a perfect Bruce Wayne; he’ll be a smooth, sort of cool Bruce Wayne. I think it’s gonna be really good.


Mewes as Jay in Clerks II 

You’re this regular Jersey kid who almost just fell into acting. After having played Jay in your first few features, did you find it hard to land other roles and that people put you in a certain box? Was it hard to break out of that stereotype?

Totally, especially in the beginning. I can’t complain, though, even though it stunk that people would only offer me the funny stoner guy. At the time, I was just honoured as it wasn’t my plan to act. I did a couple of movies, but it wasn’t until after Mallrats that my buddy offered me a role in Drawing Flies and I was like “Well, maybe this is something that I can do”. So I got an agent and a manager, tried to get out there, and I got some offers to play in little indies and stuff, the same type of character. I think it’s nice that people even thought of me, because there’s tons of people who can play those roles, but as time went on I wanted to do more challenging characters and different characters. Someone asked me yesterday why I’ve done a bunch of movies that aren’t really good, to be honest. I was, like, even if the movies aren’t great, not that I’ve found every script that I’ve done or movies I’ve been in to be great, but even if the movie’s not that great then it’s a cool character to me or challenging. So I want to do this movie or play this character to challenge myself and show that I can do other characters. As time went on, I’ve been offered other stuff. Don’t get me wrong, some people, if they ever paid attention to the stuff that we’ve got going on… My agent will go to guys and be, like, “Hey, you’re casting this movie. What about Jay for this role?” And then they’ll be, “Well, does he have long hair or short hair?” It’d be nice if it wasn’t the case, but I can’t complain because I love playing Jay and that’s what got me started and even got me thinking of being in the movies and of doing entertainment.

To us, one of the coolest things that had been on TV for years was Todd and the Book of Pure Evil. The show was criminally only two seasons, but how cool was that to be involved in?

It was really cool, man. It was such a fun show to be in. I had a blast on set. It was cool because all the kids on that show were super stoked to be doing it, so they’d all come to work happy and looking forward to the day. They all bonded and we’d have a blast doing it. And I agree, I think the show was super fun. The writers were really creative and I can’t wait for the animated movie. I actually go tomorrow to record all my dialogue for my character. And we’re putting music together to sing two songs in the movie, so tomorrow I go sing these songs and do some ADR. The animated movie should be out in like a month or so. The script is great, it’s so fantastic. It’s literally like the two seasons of Todd the live show wrapped up into this one movie and funnier. So I’m really looking forward to it. I agree with you, the show was fantastic.


Mewes as Jimmy in Todd and the Book of Pure Evil 

Obviously most people will know you as Jay in Kevin’s movies, but you’ve been such a busy guy over the years with what other projects you’ve been involved in, including fun stuff like The Tripper, The Watermen and Noobz. To date, is there a particular favourite movie of your’s? Would it maybe be headlining your own film with Jay & Silent Bob Strike Back?

Mallrats, definitely. Jay & Bob is a very close second. I had such a blast on Jay & Bob. Everybody involved, like Will Ferrell, were so much fun, but Mallrats is my favourite because, even though we’d already shot Clerks, Mallrats was the first studio movie. In Clerks, when shooting that it was just with 8 or 10 of our friends, and I’d go back to work roofing after shooting it. I’d wake up at 7 in the morning roofing. Then we were in Minnesota in a really nice hotel, going to the mall and there’s wardrobe and there’s craft service and…

And Stan Lee…

Yeah, it was just so surreal to me. Every day was such fun. To me, it would literally be like waking up and winning $100,000 a day on the lottery. That’s how I’d feel for that whole thing. I’d just be like, “This is amazing! I can’t believe I’m shooting a movie and I’m working with Stan Lee!” And Jason Lee was such fun. It was all so much fun. I’ll never forget it. So that movie to me will always be my favourite and the most fun I’ve had. Again, the movie itself I like a lot. I love the banter back and forth between TS and Brodie, and there’s talk about comics constantly, and there’s hanging out at the mall, and of course the goofiness of Silent Bob swinging through the air to try and break the stage down with schematics. The movie is my favourite, then Jay & Bob definitely a close second because I had so much fun on that one. All of them I did, honestly, were great, but those two stand out in terms of having fun. 

There’s currently Clerks III and Mallrats II/MallBrats on the horizon for yourself, but what else can you tell us about what you’ve got coming up?

Hopefully Mallrats or Moose Jaws are next. Moose Jaws is part of the trilogy from Clerks II. So all that’s going on, and hopefully I get to direct this movie or we should start shooting Moose Jaws.

Bling is now available to watch for free exclusively on Google Play.

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