Gone Girl shook off three new films to retain the top spot at the box-office, as it made $26.8 million. The closest challenger to the film was Dracula Untold, which made $23.5 million. Robert Downey Jr.’ s star power couldn’t life The Judge from a mediocre opening weekend, as it limped into fifth place.
This weekend’s box-office top 10:
Gone Girl – $26.8 million
Dracula Untold – Takes a substantial box office bite with a $23.5 million debut.
Alexander and the Terrible, Horrible No Good Very Bad Day – Family film checks in $19.1 million. If you want to see a great film with Alexander co-star Logan Lerman, check out Fury when it comes out October 17.
Annabelle – $16.4 million
The Judge – Disappoints with a $13.3 million.
The Equalizer – Denzel Washington flick turns in $9.7 million.
Dead Snow 2: Red Vs. Dead is director Tommy Wirkola’s follow up to beloved film Dead Snow. Initiates to the universe should be intimidated, however, as the first several minutes of the sequel gives an adrenaline fueled recap of the storyline.
All you’ll need to know is that Martin (Vegar Hoel) continues his battle with Colonel Herzog and his Nazi Zombies, but this time out he’s blessed (and cursed) with an invincible Zombie arm that kills everything in its path.
Dead Snow 2: Red Vs. Dead – Well Go USA
With the help of the U.S. based group known as the Zombie Squad (Martin Starr, Jocelyn DeBoer, Ingrid Haas), Martin is on a mission to finally wipe Herzog off the face of the earth. Although he’s Nazi zombie killing is his main priority, Martin still has romantic designs on his skin-rotting, undead girlfriend (he accidentally killed her in the first film).
“It was really hard, because the script was so ambitious – based on the budget,” said Wirkola, who previously directed the feature Hansel & Gretel: Witch Hunters. “We had a lot of fun on set, and it always helps when you enjoy working with the crew. It pushes you even further.”
Dead Snow 2: Red vs. Dead poster – Well Go USA
In the audio clip below, Wirkola talks about the challenges of shooting in Iceland and why he’s passionate about using practical effects in his movies (Martin Starr can be heard in the background):
Now playing in select theaters, Field of Lost Shoes, is an ambitious Civil War epic that centers on the Battle of New Market, a conflict which had 274 Virginia Military Institute (VMI) cadets squaring off against Union soldiers. Keith David, Tom Skerritt (as Ulysses S. Grant), David Arquette, Lauren Holly, and Jason Isaacs (as Confederate General John C. Breckenridge) are among the go-to veteran actors featured in the film.
Armed with a solid cast, a script polish from screenwriting guru Ronald Bass (Rain Man, The Joy Luck Club) and a nose to the grindstone director (Soul Surfer filmmaker Sean McNamara), Field of Lost Shoes has all the right ingredients for a good film. McNamara, who also worked with Bass for his upcoming project The Moon and the Sun, explains that even with all the right elements, everything starts with the screenplay.
“Can you feel for these boys who gave their life for this cause,” said McNamara, who also directed the family films Raise Your Voice and Bratz. “Personally, I have three boys – they are 5, 6, and 11. The thought of them going off to any war – no matter what, when you’re a boy you’re just going to believe the side you’re on. It doesn’t matter who’s right or wrong – they fight for their families and for what they believe in.”
Zach Roerig as Jack Stanard and Luke Benward as John Wise in the historical drama “FIELD OF LOST SHOES” a Bosch Media release. Photo courtesy of Bosch Media.
Although it wasn’t armed with a $100 million budget, Field of Lost Shoes is blessed with arresting performances from its ensemble (Luke Benward and Max Lloyd-Jones are particularly memorable) and surefooted filmmaking from McNamara.
While scouting locations and visualizing sequences for Field of Lost Shoes, McNamara utilized such devices as his iPhone and the Go Pro Camera to help plan his shots for the feature. A lifelong devotee of film (he’s shot most of his movies on 35mm), McNamara also embraces the reality (and convenience) of the digital age.
Field of Lost Shoes – Bosch Media
“But now, technologically, literally with your iPhone you can shoot things, edit it, and put music to it and come up with a point of view that nobody’s ever seen before,” says McNamara, who shot three movies last year. “Today is the time for the filmmaker because they can prove themselves, and then they can get more expensive stuff to make a studio film. That being said, there’s more opportunities for distribution (with streaming services and VOD). I think there’s more opportunities and production everywhere.”
Speaking of opportunities, Field of Lost Shoes is definitely worth a look on the big screen, as McNamara effectively maximized the film’s relatively modest budget.
The new trailer for Digimon All-Star Rumblefeatures the various playable Digimon and their Digivolved forms in the throes of conflict. Under the game’s Story Mode, players will discover the genesis behind the “Digimon Evolution Tournament” and uncover the secret agenda that has kept its wheels turning.
Digimon All Star Rumble – (Bandai Namco Games)
Each Digmon gets their own sequence under Story Mode, and at the end of each stage players will take on a rival that will try to knock them out of the tournament. The goal is to Digivolve, vanquish your opponents and become a tough as nails Digimon hero. The game is being featured at this year’s New York Comic Con (it runs October 9-12) and a Digimon giveaway is being hosted on Tumblr during the convention. For details, go to: http://bandainamcous.tumblr.com/
Digimon All Star Rumble (Bandai Namco Games)
Digimon All-Star Rumble (Bandai Namco Games, ESRB: E10+, $39.99) is slated for release November 11 on PlayStation 3 and Xbox 360 consoles. To pre-order the game, please go to this link: http://amzn.to/ZcDbwi
It’s been a creatively productive several years for actress Camilla Luddington, thanks to her work on Grey’s Anatomy as well as playing the indomitable Lara Croft in last year’s acclaimed videogame Tomb Raider (Rise of the Tomb Raider is set for 2015). If you’re into thrillers, her next choice might be up your alley.
With The Pact 2, Luddington is June Abbott, a crime-scene cleaner and emotionally complex artist who may hold a connection to the Judas Killer (the murderer featured in The Pact). There’s a valid reason why June immerses herself in a world of shadows, and though directors Dallas Richard Hallam and Patrick Horvath aren’t afraid to spill a little blood in The Pact 2 (the picture opens Friday), many of the film’s scares surface from the atmospheric unease that surrounds June’s universe.
During our conversation, Luddington talked about her love of horror films and creating a backstory for her character on The Pact 2. She also elaborates on why she loves getting feedback from Grey’s Anatomy and Tomb Raider fans.
Luddington was gracious and refreshingly gregarious throughout the chat, and when artists are filled with good intentions, one can only hope for their continued success.
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What led you to The Pact 2? Was it the narrative or simply the chance to work with the filmmakers?
Well first off, I’m a huge horror movie fan. My family members are all huge horror movie fans. We grew up watching Halloween and the original Texas Chainsaw Massacre and even kind of odd movies like the French film Martyrs.
I had an interest in doing a horror movie and I was approached about (The Pact 2) during the summer of my hiatus off of Grey’s Anatomy and I was asked to meet the directors. The first thing I did was watch (The Pact) which I really loved and I loved Caity Lotz’s performance.
(The Pact 2 directors Hallam and Horvath) were super passionate and they had a clear idea of what they wanted to do with the movie. I’m always attracted to characters are in no way bimbos or kind of perfect – a little bit tortured, which is what June is. That conversation led to a chemistry reading with Scott Michael Foster (he plays June’s police officer boyfriend) and it kind of went from there.
What was the key to creating June? Much of her world is an interior one, as she often internalizes her feelings and works them out through her drawings.
It was very fortunate for me. I went home to England for a couple of weeks and I got to sit with the script. When I came back, I had maybe four or five days with the directors before shooting, which doesn’t always happen. It was really nice. I spent that time in England just asking a million questions about her backstory.
So a lot of her backstory and the choices I made for the character came out of those meetings – and it really helped inform me. June isn’t very emotional necessarily. She channels a lot of her inner conflicts through her comics and her drawings. That was really fun to play, but again I had a lot of questions about her backstory and it kind of all got answered in those five days.
Sometimes the (directors) didn’t have the answer and we would discuss what would make sense for her, or where I thought she was coming from. It was definitely fun to have that and it informed (the character) while filming.
The Pact 2 – (IFC Films / IFC Midnight)
As a film geek and actress, do you see more opportunities thanks to VOD and streaming? Is there more interesting material out there to explore?
I think so, and especially with the found footage films which started really with The Blair Witch Project, from what I remember. It’s encouraging people to pick up a camera and go and write their own material. There are lots of horror movies that are taking the opportunity to do their own stuff. For example, V/H/S – some of the stuff that comes out are really incredible and they’re done for no money and are very entertaining. (Just) being to get your hands on incredible technology for a very cheap price.
It’s really interesting for an actress and a horror movie fan to sit back and watch all the films that are coming out and see what people create. Even things like Slender Man, which was created over the internet, that’s interesting to me that something can go viral like that and sort of become part of pop culture and then urban legend. That’s just someone creating with exposure and the light. So yeah, there’s just a lot of great stuff out there.
Camilla Luddington in ‘The Pact 2’ (IFC Films/IFC Midnight)
Whether it’s being gutsy in taking on Lara Croft, your recurring work on Californication, or pushing the envelope with The Pact 2, it seems you love taking on new challenges as an actress.
I assume that every actor wants to do that. I’ve definitely done fantasy – I played a faerie on True Blood. I played Kate Middleton (William & Kate). Then I played this ridiculous, wonderful character on Californication and Lara Croft and now a doctor (on Grey’s Anatomy).
Part of it is me seeking out these projects and part of it is luck, to be honest. Because you go out for a lot of things that you like and you kind of just pray that you fit.
There are things that I turn down that I think won’t help in the longevity of my career. It’s always important to change it up as an actress. So yeah, a lot of thought goes into what I’ll audition for and meetings that I will take with directors. I hope that continues, because I feel very lucky so far.
I was a huge Grey’s Anatomy fan but I checked out when Lexie Grey (Chyler Leigh) left the show…
Oh no! I know…
On that note, you’re obviously working with a great writing staff and ensemble with Grey’s Anatomy, but what has it been like to also be in contact with the show’s loyal fans?
First off, it’s incredible. It’s in its 11th season. It blows my mind. The only experience I’ve had with fans this passionate are probably the Tomb Raider fans. They are absolutely exceptional – I have to say.
It’s very interesting with Grey’s Anatomy and having access (to the fans) with Twitter and Instagram because I feel very old, actually (laughs). They informed me of what “shipping” is, which I never knew. I don’t know if you know the term . . .
No I don’t.
Shipping is when you support two people getting into a relationship. I remember first getting on the show and people saying ‘Oh I ship Alex and Jo.’ I thought ‘ship them where?’ I was so confused (laughs), So I feel like the fans are keeping me young a little bit because they are so passionate.
What’s happening now are girls on the street who are 16 or 17 – they’re huge fans of Grey’s Anatomy and they would have been 6 or 7 when the show started. People are catching up and binge watching on Netflix. It’s incredible interacting with everybody and especially this younger generation that have newfound passion for the show. It’s pretty incredible.
Has working on Tomb Raider made you a better actress? Plus, playing one of videogames’ most iconic and beloved characters must be such a gratifying experience.
First of all, I didn’t know I was specifically auditioning for Tomb Raider. It had a codename of Krypted, and her name was Sarah. So when I got the role, I was blown away that I was getting to play Lara Croft. And yeah, she is iconic so it’s an honor to be part of the reboot.
Physically and emotionally, Tomb Raider pushed me more than any other project. She is often in the depths of despair and very interesting things happen when you’re at that point. The directors for Tomb Raider are constantly pushing me in that role because it’s very difficult. I’ve been able to explore a lot as an actress playing Lara Croft.
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#mova being applied #tombraider #laracroft #bonuspicforIG
I recently interviewed Patrick Fischler (The Pact 2 co-star) and he was talking about the ability to snap in and out of a role – as long as it’s not a big emotional scene. Do you have that same facility?
I have to say I work a little bit different. I adore Patrick – he’s amazing. I got to work with him on Californication and The Pact 2. When scenes are a little bit heavy, or if I’m doing something where I’m having a fight with my boyfriend in a scene, I find it difficult to be laughing or joking with them beforehand. I do like to separate myself.
But that’s not for everything. Sometimes you are playing really lighthearted stuff and that’s great. I can joke around with people and then jump into the scene. Sometimes when things are really dark, I enjoy that ride home in my car just to kind of shake that emotion off. I do think you can carry that with you. At least I can.
When people ask you for acting advice, what do you say? Is perseverance an important part of what you do?
Yeah, I think you get told that all the time. We hear that as something that’s common – of course everyone says that. But one thing that was a practical piece of advice I’d give actors is that oftentimes, especially when you’re starting out, you feel in an audition that you . . . I always felt like if I did a scene once and I knew I could do better and the casting director says ‘Okay thanks, goodbye’ – I never wanted to ask if I could do it again. (It would look like) I didn’t know what I was doing.
Now I realize it was the most ridiculous thing to think. It’s so important to make that time in the audition room your own. If you want to go again, ask to go again. Even if you’re halfway through your scene but you’re feeling that if you start over, you’ll get it. It’s so important to feel empowered in the audition room. That’s my advice to actors.
You’ve played your share of emotionally resilient characters. Where do you get sense of strength and confidence from? Is that a quality gained from experience, or was that already ingrained from your family?
I think of course experience always helps. You become a stronger actor the more you have that on set experience. And then there are elements of myself that I bring to all of my characters. Anything that is perceived as strong is probably the result of my family. They always instilled a lot of confidence in me, and that’s why I felt I could persevere in acting because I had the attitude of not letting things get to me. So maybe that’s it. But I do think it’s a mix of both.
The Pact 2 opens in New York and select cities Friday, October 10 and expands to Los Angeles on October 31. For more release info, check out IFC Films.
Directed by David Dobkin (Wedding Crashers), The Judge features Robert Downey Jr. as Hank Palmer, a talented and jaded Chicago defense attorney who returns to his Indiana hometown after his mother passes.
Coming back home turns into a completely bittersweet process for Hank, who is more than happy to see his two brothers (Vincent D’Onofrio and Jeremy Strong). Relations with his father (Robert Duvall), however, are absolutely strained, and though they both share a lifelong dedication to the legal profession (Duvall is the judge), the pair refuse to meet each other halfway.
When the judge is accused of killing an ex-convict on his way home, Hank represents his dad in what one assumes is the most important trial of his life.
During The Judge press conference, Robert Downey Jr. talked about the reactions he’s received at various screenings of the movie:
“To me the audience is a cast member in The Judge . . . when people were reading the script or when Warner Bros. called us and said ‘this is special we really want to make it.’ Or as we’ve been having these screenings, people are saying, ‘Look, I know it’s called The Judge – but that’s my mom’ . . . The great thing for me is the dialogue that’s been going on with people who have just seen the movie – and that to me has been the big reward.”
To hear Robert Downey Jr. discuss the universality behind The Judge as well as collaborating with Robert Duvall (he appreciates that Duvall doesn’t use any acting tricks), click on the media bar below:
The Judge, co-starring Vera Farmiga and Leighton Meester, opens October 10.
Headlined by Randolph Scott, Shoot-Out At Medicine Bend is an engaging, oftentimes funny Western that’s currently available as a Manufactured on Demand title (MOD) from the Warner Archive Collection. The feature also contains excellent supporting work from Angie Dickinson and James Garner, who stars as one of Scott’s fellow soldiers.
The story begins on a somber note, as Captain Buck Devlin (Randolph Scott) is too late to save his brother from an Indian attack. His sibling’s death was due to faulty bullets, and Devlin, along with two Army compatriots (James Garner, Myron Healy) head to Nebraska to catch the suppliers that were indirectly involved in the killing.
Although the officers get their clothes stolen while skinny dipping, a group of Quakers offer the men assistance. Dressed as Quakers, the trio head into Medicine Bend, only to find a town that’s rife with corruption. Angie Dickinson is Priscilla King, the brown-eyed beauty who helps run a competing supply store that’s being bullied by the local cutthroats, and Dani Crayne also stars as a salon girl who’s in cahoots with Medicine Bend’s baddies.
Shoot-Out At Medicine Bend (Warner Archive)
Randolph Scott, known as the stoic cowboy from such films as Ride the High Country and Seven Men From Now, brings his dry humor and flair for the absurd to the film, as he alternates between a Quaker and gunslinger outfit (he masquerades as a robber to turn the tables on the bad guys) while trying to bring the culprits to justice.
Though James Garner, Angie Dickinson, and Myron Healy all get their moments to shine in this engaging tale, it’s Dani Crayne who’s the absolute scene stealer. Nell Garrison (Crayne) knows how to lure local cowboys into the town saloon with her beauty and promise of libations, yet underneath her tough as nails exterior lies a good gal waiting to break out. It’s almost love at first sight when Nell meets Sergeant John Maitland (Garland), and her gradual transformation is one of Shoot-Out’s narrative high points.
It’s befuddling that Crayne (she bears a striking resemblance to Scarlett Johansson), didn’t have a bigger career in Hollywood. She plays Nell with a ton of moxie and charisma, and though she also played Helen of Troy in The Story of Mankind, her showbiz career ended in 1957.
One theory is Crayne, who was married four times (Donalde Crayne, singer Buddy Greco, actor David Janssen and stuntman Hal Needham) was too busy for Hollywood, and this following Los Angeles times profileon Crayne displayed a bit of her playfully sarcastic persona.
Shoot-Out At Medicine Bend – Warner Archive
Shoot-Out At Medicine Bend is a Western that hangs its hat on humor and a bit of action, and it’s a mixture that works well for the parties involved (Scott has a terrific fight scene during the final chapter). It’s also great to see Randolph Scott crack a smile or two, and Garner and Dickinson are always terrific. Discovering performances dished out by little known actors is also a great thing, and Dani Crayne is one of the biggest reasons to have a Shoot-Out At Medicine Bend.
One of the many takeaways behindI Am Ali, the inspiring documentary on iconic pugilist Muhammad Ali, is the sincere and deep love he has for his family. Hana Ali and Maryum Ali are two of the children that are interviewed in the film, which also features a plethora of archival footage from the boxer’s illustrious and history making past.
Select sound clips Audio journals collected by Muhammad Ali (and dutifully kept by Hana Ali) are also interspersed in I Am Ali, giving viewers a more intimate look at the boxer. “My best moments are the places of worship with him,” said Maryum Ali during today’s interviews for I Am Ali. “Because he would want to go to prayer service and open the Koran and read and talk to me about life and spirit. That stays with me every morning I wake up.”
Hana Ali also talked about the deep bond she shares with her dad. “I have so much appreciation and love for my father in my heart, that I feel like I am going to explode sometimes,” said Ali, who is currently working on a book on her father that’s tentatively titled At Home With Muhammad Ali: His Untold Legacy.
Hana Ali & Mayum Ali – “I Am Ali” (Focus Features)
Click on the media bar below to hear Hana Ali talk about her close-knit relationship with her father (Maryum Ali is also heard in the clip) and the biggest challenge of writing the book:
I Am Ali opens in theaters, On Demand, and Digital HD on October 10.
Patrick Fischler is a virtual scene stealer in everything he’s in, and whether it’s on television (Mad Men,Lost) or films (The Black Dahlia, Mulholland Drive), there’s a good chance his work has come across your doorstep.
With The Pact 2, Fischler is FBI Agent Ballard, a laser focused tough guy who’s bent on catching a serial killer, even if it means alienating his colleagues as well as June Abbott (Grey’s Anatomy star Camilla Luddington), a woman who has a tragic connection to the killer. Though the narrative’s main focus centers on June’s journey (Caity Lotz, who played Annie in the first film, also returns), Ballard is a key player in the equation.
During our phone interview, Mr. Fischler covered a variety of topics, including working with talented The Pact 2 directors (Dallas Richard Hallam, Patrick Horvath), his previous collaborations with Brian De Palma and David Lynch, and the creative opportunities that have opened up thanks to Video On Demand (VOD).
Sidenote: If you’re a huge Brian De Palma fan, Fischler offers up interesting insight about working on The Black Dahlia (since De Palma’s my favorite filmmaker, I’m very biased toward his work, and it’s great that Fischler has an even eyed look when discussing his De Palma experience).
The Pact 2 is currently available on VOD and opens in theaters October 10.
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Agent Ballard is a no-nonsense guy who doesn’t suffer any fools.
I think not suffering any fools is exactly a perfect way to describe it. I don’t think this guy can deal with anyone who’s not excellent at what they want to do. I didn’t want to play him as offbeat or weird – that wasn’t my intention. I think he is socially awkward and he is someone who is incredibly good at what he does and when something slips by he doesn’t tolerate it. If someone’s not doing their job at their utmost best, he’s not someone who hides it.
That can come off as sort of weird and different or intense and all that is accurate and fine, but none of that was in my mind. That’s how it came to me.
There’s a sequence in the middle of the film where Ballard has an intense sequence with June (Camilla Luddington).
You mean the scene when she’s coming out of the bathroom?
Yes.
All of that is accurate – that’s actually great. I think he sees a kinship in her. He sees her as incredibly smart, but she’s doing dumb things. I think that’s driving him crazy. He’s trying to get through to her – and the way he does it, like I said, comes across as intense, for lack of a better word.
In that moment, she’s broken into a crime scene, so for him that’s intolerable. Once he gets past that this was done, he really wants to find everything he can about her and this is their first like real moment fully alone. Every other time either her boyfriend or another cop’s been there. So this is his chance to get really underneath what is really going on with her.
The Pact 2 – IFC Films
The Pact 2 directors have a really unique visual and narrative aesthetic – is that how you felt about working on this project?
Yeah, I think Dallas and Patrick are incredibly talented. What really sold me was when I saw their first movie Entrance which they made for like $9,000. It just had a different quality about it and (the film) drove me to meet them.
When I met with them, I thought they were fantastic and I’d work with them anytime. I really do feel that way. We’ve become friends. They are not cookie cutter (filmmakers).
They love movies. I love movies. I think if you have a passion for film – that’s a drive right there. That just makes you want to do something interesting and not just do what everybody else does.
Who were some of your acting influences during your youth?
I think earlier for me it was Robert De Niro and Al Pacino. Those were the guys that drove me the most. As an adult – the movies they make now, I rarely see. But when I was young, their stuff pushed me to no end. Meryl Streep was always one of my biggest influences. I love how she disappears and what she does completely and wholeheartedly.
When I get a part, I just have to find the part of me that’s in that guy. Even if it’s a tiny little bit, and then just go from there. That’s how I start.
Scott Michael Foster and Patrick Fischler in ‘The Pact 2’ – (IFC Midnight – Credit: Carmen Cabana & Ron Batzdorf, Copyright: Unlocked Door Films, LLC)
My favorite director is Brian De Palma, and you had the chance to work with him on The Black Dahlia. What was it like working with such a visualist?
I grew up a ginormous Brian De Palma fan. Carrie, Dressed to Kill, and Blow Out – I can’t even describe what . . . I probably shouldn’t have seen them the age I saw them. I was quite young when I saw all those movies.
So when I got to meet him when I went for The Black Dahlia – it was a win-win. His style unlike anybody’s. I think what’s held him back recently – he had such a great peak in the 1970s and 80s and I feel like he hasn’t (had) scripts that he’s connected with in the same way. Not that the films haven’t been good – The Black Dahlia had a lot of good stuff in it.
Working with him was great. We were in Bulgaria and we had a great time. The movie wasn’t exactly what I wanted it to be. His visual style was there, but it didn’t kind of connect like I said. Maybe that’s a problem he’s faced recently with his movies, but he is so immensely talented.
Talent doesn’t disappear. With actors, directors, and writers – it just doesn’t go away – we all have projects that doesn’t end up being exactly what we want them to be.
One of your acting highlights must have been working with David Lynch on Mulholland Drive and with Twin Peaks coming back on Showtime….
Oh it’s the best news day for me – I love Twin Peaks.
Two part question. How great was it to be a part of David Lynch’s universe and also – with more streaming and cable network options, is it a great time to be an actor as well as a viewer?
David Lynch is a master and like De Palma – The Elephant Man and Blue Velvet were groundbreaking for me when I was young. Both those movies meant a lot to me. Getting to work with him – and Twin Peaks was my favorite show. When it was on, I was obsessed with it.
Working with Lynch was – we have those moments in our life that we’re always going to sort of cherish. That will be one I’ll always have in my back pocket.
I just remembered as if it was yesterday. He’s a fantastic director with actors not only with what he does visually. What he said to me that day, I’ll never forget. It was great. Working with him was really, really special and I can only hope I get to do it again. So that was amazing.
As for VOD, I will never stop going to a movie theater. There are a lot of people who’ve stopped going to movie theaters because it’s just so easy to watch it at home and that’s fantastic. What VOD and streaming has given us is the ability to watch anything anywhere.
What VOD has done (for actors) is incredible. It’s opening doors to people who wouldn’t get to work if it was just the way it used to be. It’s opening doors for writers and directors. More movies are being made and are being thrown on VOD.
Most people now at home are asking ‘Honey what do you want to watch tonight, let’s see what’s streaming.’ And they just go and look as opposed to, ‘Honey what do you want to watch tonight in the theater, tonight?’ It’s really changed the business, and it’s going to continue to change.
Can you talk about your upcoming projects? Are you working on Shameless and an untitled Warren Beatty film?
With Shameless, I’m going to be in the new season. It was a complete blast. It’s a totally different part that I normally play. It’s very emotional, funny, weird and warped. So I loved doing that.
The Warren Beatty film – it was a phone call. Basically, for lack of a better word, it’s a cameo. If you blink you’ll miss it. But I got to work with him, so my answer was an immediate ‘yes’ when they called.
And the same producers of The Pact 2 did a movie called The Diabolical, which is starring Ali Larter that I’m in and it’s going to be a total rollercoaster ride. So all has been good, I have to say. Things are doing great.
What is your key of staying in the moment?
I don’t get lost in . . . I’m not a method actor. I talk to everybody. I hang out. I can snap pretty quickly into (the scene) unless it’s a very emotional thing. If it’s some kind of emotion, I really need to kind of stand on my own, listen to music, and just be peaceful. But if it’s any other type of job I’m doing, it’s very easy to be Patrick and then be the character. It’s the way I work.
Patrick – thank you for the talk and I hope to interview you for the next one.
Thank you so much, man. It’s a pleasure. Take care.
Caity Lotz & Camilla Luddington in THE PACT 2 (IFC Midnight, Copyright: Unlocked Door Films, LLC, Photography by: Carmen Cabana & Ron Batzdorf)
Co-starring Caity Lotz (Mad Men) and Amy Pietz (Caroline in the City), The Pact 2 is currently available on VOD and opens in theaters October 10.
Released in 1989, the horror thriller Leviathan (98 minutes, R), centers on a mining crew (led by Robocop’s Peter Weller) who discover an abandoned Russian vessel amidst the ocean’s dark waters. Their discovery leads to tragic consequences, as one by one the crew members (which includes Richard Crenna, Hector Elizondo, Ernie Hudson, Daniel Stern, Amanda Pays, and Lisa Eilbacher) fall prey to a slimy monster with an appetite for human flesh.
Directed by George P. Cosmatos (Rambo: First Blood Part II, Tombstone, and the underrated, Charlie Sheen B-flick The Shadow Conspiracy), Leviathan doesn’t completely succeed as a compelling narrative, even though the script was penned by David Peoples (Blade Runner, Unforgiven, Twelve Monkeys). The storyline has similar narrative beats to Ridley Scott’s classic Alien, and if you come to Leviathan with lowered expectations, the picture pays its share of creative dividends.
Peter Weller in ‘Leviathan’ (Shout! Factory)
For one, character actors Crenna (as a morally compromised doctor), Hudson (playing the crew’s resident bad-ass), and Elizondo (he gets the John Hurt moment from Alien) each lend a sense of believability to the proceedings, and co-star Michael Carmine (the 30-year-old died in 1989) showed a rare, natural presence that escapes many actors. As the too cool for school alpha male, Weller’s Steven Beck isn’t a memorable protagonist, as Cosmatos paid more attention to the idiosyncratic behavior of Beck’s motley crew (which also includes a revved up Daniel Stern as an irritant named ‘Sixpack’).
Ernie Hudson, Hector Elizondo, Amanda Pays, Michael Carmine in ‘Leviathan’ (Shout! Factory)
Although Leviathan exists as passable fare, film buffs should check out three excellent interviews on the making of the film:
Leviathan – Monster Melting Pot (40:26) – Special effects vets Tom Woodruff Jr., Alec Gillis and Shannon Shea give a frank look at working with Stan Winston and director George P. Cosmatos on Leviathan. During the segment, Winston’s lifelong perfectionism and desire to craft creatures within a short time window are discussed (Shea also delves into the huge difficulties they encountered making the space suits for Leviathan).
*** There’s a ton of anecdotal material on this special feature – and perhaps the most resonant came from Woodruff Jr.’s recollection of Winston’s generosity. When Woodruff Jr. left to form his own special effects company, Winston actually helped him land jobs for Tremors, Death Becomes Her, and Alien 3.
“(Stan Winston) wanted to see us to succeed as much as we wanted to succeed.” – Tom Woodruff Jr.
Dissecting Cobb With Hector Elizondo (12:36) – Hector Elizondo’s trademark dry humor is in full effect, as he talks about spending three months shooting Leviathan at Rome’s Cinecittà studios. During the interview, he discusses the challenges of wearing the space suit which led to Elizondo’s most dangerous moment on set. He also elaborates on the camaraderie that was on the set among the actors (he describes the late Crenna as a “zen master”).
Surviving Leviathan with Ernie Hudson (15:02) – Ernie Hudson delves into the sets that were created at the Cinecittà studios, and he also talks about shooting some of the water sequences in Malta (Hudson admits that’s not a natural swimmer). Even though he was hand-picked for the role, Hudson smiles during the interview as he remembers working with George P. Cosmatos (he died in 2005), a director he claims is the most “politically incorrect” filmmaker he’s ever worked with:
“(Cosmatos) would say things to people that was challenging, but I know it came from a good place and he meant well. He was a wonderful director who enjoyed what he was doing but it was sometimes very hard to interpret what he was saying and not take offense to it.”
Hudson adds that he has only “respect” and “love” for Cosmatos, a director who was known for his larger than life persona.
Leviathan – Shout! Factory
***Leviathan is now out on Blu-ray is available for purchase on Shout! Factory’s official site.
