ericvespe FIRST Member Star(s) Indication of membership status - One star is a FIRST member, two stars is Double Gold

from Austin, TX

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    • Alex Wolff Discusses Going Through Hell To Make Hereditary!

      4 months ago

      ericvespe

      As you probably know by now, I adore Hereditary. I love, love, love, love that movie. I love how fucked up it is, I love writer/director Ari Aster's attention to detail, both visual and character-wise, I love the pacing, tone and acceleration into madness and I love how it has absolutely wrecked both audiences I've seen it with now.


      None of that would be possible without a kickass cast and while everybody shines this movie really boils down to Toni Collette and Alex Wolff for me. They get put through hell here and both absolutely shine in their roles.


      So you can imagine I was super psyched to get to talk with Alex Wolff about the making of this movie. The dude started off a Nickelodeon kid actor and has graduated to this incredibly complex, unquestionably fucked up role of a lifetime.


      I think we did a pretty good job of avoiding spoilers, so you should be free and clear on that front. Wolff was a very fun and funny interview, as you'll see by our very first interaction. He also proved to be a real-deal cinephile and actually knew his shit, which is refreshing when you're talking to someone so young.


      Enjoy the chat!



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      Alex Wolff: Hey, Eric.


      Eric Vespe: Hey, man. How're you doing?


      Alex Wolff: I'm good, I'm good. I'm in the middle of a junket and I'm looking at some pretty delicious breakfast, but I'm not going to be eating on the phone with you, so I'm just staring at it and it really, really looks good. Just know that's how much I care about you that I'm not just stuffing bacon into my mouth because it looks so good and if I have one bite that'll be it... Okay, I am going to eat it. I'm sorry. I care about you, but it looks too goddamn good.


      Eric Vespe: That's okay. I ask some pretty long-winded questions so there's plenty of chewing time to be had.


      Alex Wolff: Okay, great!


      Eric Vespe: So, your character is put through some crazy stuff in this movie...


      Alex Wolff: Yeah, no shit!


      Eric Vespe: Everybody goes through hell in this movie, but your character in particular is put through the ringer. I'd like to start by asking how you emotionally prepare for a role like this. I assume it's not as easy as just turning it on in front of the camera and turning it off when they yell cut. There's got to be some ramp up and cool down to go to the places that you go in this movie.


      Alex Wolff: Oh yeah. I think it's safe to say that I was deeply, deeply, deeply affected by every single moment that this character goes through. I kind of stayed in that space for the whole movie, so I left the movie with a little PTSD. It was a serious feat and a serious trauma. I feel super lucky that I got to do it, but it was definitely an upsetting thing to go through. Me and the director, Ari, had this sort of pact. We were like “Alright, let's both get into a kamikaze plane and crash into the ground. We'll both jump into the fire together and we'll both get burned and then we'll help lift each other up afterwards.” We had this very close, familial relationship throughout the movie.


      Eric Vespe: There's a scene in the movie I want to talk about. I was already onboard with this film, but there's a moment that happens about halfway through the movie where I went from just digging the movie to being fully invested and it's a moment that rests almost solely on a close up on you reacting to something horrific. How much pressure did that put on you? You have to do so much and there's no place for you to hide.


      Alex Wolff: Thank you so much, man.


      Eric Vespe: I think this moment really sets the movie on track for the craziness that follows and you sell it. Did you know all the time that Ari was going to milk your reaction as much as he did?


      Alex Wolff: I knew when I saw the movie. I didn't know. There were a lot of other things we did, but he chose to stay on that shot for so long. I'm glad because I gave it everything I had.


      It's one of those things that's hard to talk about. I just want people to see it for themselves. It was really upsetting to shoot. It's funny, we did that angle and I remember crying and sweating and Ari was hugging me. I thought I was done and I went back to the trailer, thinking it was over, and they were like “Actually, we're going to do one more. We're going to do a different shot.” I was like “Jesus Christ” So I had to get back into it. He used that, too. It's all in one close up, but he does use this one shot that's a little further back that is pretty upsetting, too.


      I just feel lucky that I have a director who trusted me enough as an actor that he'd hold it on my face. I really think Ari is a genius. He knows what he's doing.


      Eric Vespe: I got to talk to him a little bit...


      Alex Wolff: He's not a genius at interviews! But he's a genius at directing. (laughs)


      Eric Vespe: He said something really interesting about the influences he had for the movie, which were more '50s and '60s melodramas instead of horror. Did he give you any homework when you got the part? Any particular films he wanted you to watch?


      Alex Wolff: I'm a pretty big cinephile, so I take pride in the fact that there weren't many movies that he suggested that I hadn't seen, but there were some. I'd never seen In the Bedroom and I'd never seen The Ice Storm. He's also obsessed with Wong Kar-Wai and stuff, but those two movies he told me to watch them.


      Actually, no. I'd seen The Ice Storm before. I don't know what I'm talking about, but I watched it two or three times while making the movie and I watched In the Bedroom a few times. I'd just be keeping these movies on repeat. He's seen every single goddamn movie on planet Earth. I consider myself a pretty big cinephile and I've seen so many movies, but man, this motherfucker gave me a run for my money.



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      Eric Vespe: As a cinephile working with a fellow cinephile I would assume that helps strengthen the trust between you two and would give you some cinematic shorthand.


      Alex Wolff: Absolutely. A hundred percent. That was part of our initial connection and knowing we were on the same page with this movie.


      Eric Vespe: Did he bring any of that into the direction? Like “This is how this moment should be played, just like this moment in Hitchcock's Psycho.” That kind of thing.


      Alex Wolff: I remember one time he compared a moment to One Flew Over The Cuckoo's Nest. He would sometimes bring references in, but he really wanted me to craft my own performance and he really wanted to craft his own movie. As much as we were inspired by other movies we never wanted to imitate other movies. We wanted to create our own thing. But it's really Ari, man. Ari's got a specific vision. He's a genius.


      Oh, and Chinatown. Chinatown was one we talked about All. The. Time.


      Eric Vespe: I like all the films you mentioned. There's such dark tones to The Ice Storm and Chinatown.


      Alex Wolff: Yeah, we never really talked about horror movies.


      Eric Vespe: Can you talk a little about the script? Was everything on the page? Did you know what you were in for from day one?


      Alex Wolff: I thought it was a great script, but I didn't quite know how uniquely it was going to be shot. I read the script a bunch of times. I read it about a year before I went in for it. I read it and I was like “This script is unbelievable.” I was terrified. It left a bad feeling in my stomach. At the end of reading it the first time my mom walked into my bedroom and I screamed out loud. It scared the shit out of me!


      I thought it was a unique, interesting script. Then I went in to audition for it and I had to break down and cry and all this stuff and the way he worked with actors... I was like “Okay, this is an amazing script, a delicate, intricate, specific script, with a director who cares about actors and knows how to work with actors.” Then I got on set and was like “Okay, this is a genius script where people talk how people actually talk. I have a director who is making sure the performances are grounded AND this camera shit he's doing is some of the craziest shit I've ever seen.” It felt like a triple punch. He knew exactly what he was doing in every sense of the word.


      Eric Vespe: Nice, so there was no first time feature filmmaker fear on your part, then?


      Alex Wolff: Well, I had a little bit of fear. This was a pretty big movie, a pretty crazy stunt to pull off for a first time director, so I was testing him and making sure. That scene where I'm under the bleachers is the moment I hold dearest to my heart and I was like “Hey, man. What do I do?” He was like “I think you should just have a panic attack.” That's awesome. It's a good way of saying it. “Just have a panic attack.”


      Eric Vespe: Thanks so much for your time. Hopefully you were able to sneak some bites of breakfast while we were talking!


      Alex Wolff: Thank you so much, Eric. I'll talk to you soon.



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      Hereditary opens this Friday. Go see it! Bring an extra set of underwear. You'll need it...

    • Hereditary Director Ari Aster Wants To Use Your Horror Expectations Against You!

      4 months ago

      ericvespe

      Hereditary is by far the most effective horror movie in recent memory. The downright creepy atmosphere gets under your skin, the tone lodges itself into your brain and sticks with you for days after seeing it and it will just generally kinda fuck you up for a while after seeing it.


      Who could be behind this extraordinarily macabre vision? A dark, brooding figure that lurks in the shadows, perhaps. Or maybe the kind of guy with sallow skin that you imagine has a basement full of amateur taxidermy.


      The reality is Ari Aster seems to be a normal dude. He looks like your next door neighbor or the enthusiast geeky cousin you had who will talk your ear off about classic cinema, whether you want them to or not.


      In person Aster is a shy, humble guy who seems a little surprised that people actually liked his movie. I saw him “Aw, shucks” his way through the Sundance Q&A after the premiere of this film back in January and that's how he came across when I got the chance to talk to him over the phone.


      He's also a major cinephile, so when the topic of influences comes up he has some very surprising answers. You'd think stuff like The Omen or Rosemary's Baby would be his keystone inspirations for this project, but you'd be mistaken.


      We keep the chat fairly spoiler-free, so don't worry about us ruining the experience. You do want to go into the film knowing as few of the surprises as possible, though. Aster talks about using your expectations against you in this movie and he ain't lyin'. There's some good “What the fuck!?!” moments to be had in this one.


      Enjoy the chat!



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      Eric Vespe: We haven't had a chance to meet yet, but I was in that very first Sundance screening of Hereditary where you scared the shit out of everybody for the first time. So, thanks for that.


      Ari Aster: Oh, wow. No, thank you!


      Eric Vespe: The amazing thing about a film festival that you don't get in today's movie-release world is that you can walk into a film completely blind. I can't tell you how much I loved being a part of that audience as we discovered your movie. Did you watch it that night or are you the kind of filmmaker that can't watch their stuff with a crowd?


      Ari Aster: That screening and the second screening I sat through. The first one there was a speaker down in the back of the theater, so I was actually having an extended panic attack through that screening. (laughs)


      But yeah, that was a great night. When you're in post on a movie like this you get so lost in the minutiae of just making the film and you forget what you made or what you're even trying to make or what steps you're going for on the audience. Especially since a horror film is all about audience engagement. But I'd honestly forgotten I'd even made a horror movie. At the end of the day you're just trying to make a movie that works, you know?


      Eric Vespe: Yeah, I remember at the Q&A you seemed surprised that the audience kept asking you about how you made the movie so damn creepy.


      Ari Aster: I was! I was! That night the prevailing feeling was one of release. “They didn't hate it! Great!” The next night we had a screening at the MARC theater, which was even bigger and all the speakers were working beautifully and I was past the fear of people hating it. It was really beautiful. The audience was going with the film, they were feeling it, it was effecting them.


      It was also a bit surprising to see how well people were receiving it because ultimately the goal was to make a very alienating, upsetting movie. So it's been a nice surprise to see people are embracing this, like, kind of evil thing.


      Eric Vespe: You do something with tone that I think so many people who make scary movies don't do. A lot of people want to make fun horror movies, not a lot seem to want to make an upsetting horror movie. Correct me if I'm wrong, but I think the key to your success here is you take an old school Rosemary's Baby style approach to this where you focus on character drama first and foremost.


      Ari Aster: Thank you, yeah. I did want to go the way of the long, deliberate runway. I wanted to make a film that was grounded in a place of character and let everything grow out of that. When I was pitching the film I was never pitching it as a horror film. I do hope it delivers as a horror film, but the way I was pitching it was always as a family tragedy that warps into a nightmare.


      I wanted it to feel like a nightmare in the way that life can sometimes feel like a nightmare when real disaster strikes. In that way, I feel like the film is as much of a melodrama as much as it is a horror film. I like horror movies, but I love melodramas! In the melodramatic tradition, the movie sympathetically attaches itself to these people and what they're going through. It tries to honor the feelings by going all the way into them. I wanted to make a film that collapses under the weight of what these people are going through. I wanted the fabric of the film to tear open because it's so full of toxic, unresolvable feelings.


      Eric Vespe: It's funny that you mention melodrama because there was a film that your movie reminded me of a little bit, but I didn't think it was at all intentional and it was just me connecting dots that weren't there. It's a great Technicolor melodrama called Bigger Than Life with James Mason...


      Ari Aster: I love Bigger Than Life! Nicholas Ray.


      Eric Vespe: That movie is not at all genre, but it has a disturbing tone to it, too, as we see a family breaking down before our eyes.



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      Ari Aster: I can't say I was thinking about Bigger Than Life for this one, but I love Bigger Than Life and the films of Nicholas Ray are kind of in my bones at this point just because I grew up loving them so much.


      I think, if anything, this film owes something of a debt to Douglas Sirk, especially Imitation of Life, which has a lot in common with Mildred Pierce in that it's a movie about your child turning on you, but this film also plays a lot with the idea of your parent turning on you.


      But Sirk has always bothered me. What he does with color, his sets are so artificial and garish... he was really brilliant. When I think of the end of Imitation of Life, where there's this funeral parade in the streets where everybody is dressed in these really bright pastel colors... there's something so perverse about that. There this incongruity to the images and what he's doing. He's doing two things at once that really have no business with each other.


      I first saw those films when I was a kid and I couldn't make sense of them. They confused me. They really got to me. Now I have a stronger visual vocabulary and I can see what he's doing, but the perversity of those films still really ticks at me.



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      Eric Vespe: Those films really push their actors. James Mason in Bigger Than Life really goes for it as his character's fragile mental state cracks and shatters. He goes into some really dark places. That's the connection I made to your movie. You put poor Toni Collette and Alex Wolff through the ringer in this movie. How did your cast respond to you pushing them so far?


      Ari Aster: They were all very game, so I was lucky to have actors who were willing to go all the way and dive into this. It's a very intense movie and I was asking them to go to very dark places. To everyone's credit in the film nobody was holding anything back.


      The film is dealing a lot with catharsis. There are all these things being built up and built up and built up and then finally there's this upsetting release.


      Eric Vespe: That's a great way to put it. At that Sundance screening I remember looking at the people around me in that last 20 minutes and everybody was transfixed on the screen, not blinking. They were so into it. That kind of audience involvement gets me excited to watch the movie again with a new crowd.


      Ari Aster: That's one reason that I really love genre, especially the horror genre, because there are these expectations and tropes. Once you introduce one trope it lulls people into their seats. Most of the people who are in that theater are people who watch horror movies. If you're somebody who really likes horror movies you're aware of all the sub-categories and you're aware of what this device means. So, if this device appears that suggests we're going in this direction.


      There's a complacency that comes with watching a horror film. At the same time people are walking in and there's this mutual dare. The filmmaker is daring you to come in and the audience is daring the filmmaker to try to scare them. There's something very fun about establishing tropes that people recognize. I think the first third of the movie does do that. It's sort of nodding towards certain films and certain traditions and I'm hoping what it does then is it upends them in a brutal way. If you do that right it kind of shocks you out of your complacency.


      I'm always so excited when I'm watching a film and I think I know where it's going and then I suddenly realize that I'm not in control of this experience. I'm really hoping that, if anything, the movie does that.



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      Eric Vespe: I can't speak for everybody, but that's certainly the effect that it had on me. You're right, when you're not sure what's coming next you feel strangely vulnerable.


      Ari Aster: Thank you. It's the Psycho thing, right? We're with Janet Leigh, she's stolen the money and I'm sure people are a little bit weary because they know the movie's called “Psycho” if they're seeing it for the first time in 1960, but we're with her. She's stolen the money, but she's decided to bring it back. She's learned her lesson. Okay. We're with her, we like her and then she's stabbed to death in the shower. Now what?


      I'm hoping that Hereditary does something similar to that where there's a kind of shared trauma among the audience that then joins you to the experience of the characters in the film. If you have that complacency that I'm talking about where you sink into a movie and you know this trope and you know this device and you watch it at a distance, where the audience is kind of elevated above the material and they're looking down at it and they're judging it from a more clinical place. But if you a delivered a blow that is tied to the blow that the characters in the film suffer that, I hope, brings you back down to the plane of the movie and hopefully you're in it now. Hopefully now you're at the film's mercy.



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    • Upgrade Director Leigh Whannell Discusses His Geeky Influences And Why "Gimmick" Shouldn't Be A Dirty Word

      4 months ago

      ericvespe

      There's a lot of good genre on the way. Next week sees one of the best horror films of the year, Hereditary, hitting theater screens and this weekend we have a straight up fun sci-fi action/body horror movie called Upgrade. The movie's about a guy who is paralyzed and used as a guinea pig by an eccentric Elon Musk type that claims his new AI can help paraplegics walk again. Naturally there's unseen consequences to this decision, including a kind of Gollum/Smeagol relationship that forms between the lead and the computer voice in his head.


      The movie was written and directed by Leigh Whannell, one of the masterminds behind the original Saw and Insidious. Upgrade is crazy, playing like a real-deal movie version of the best '90s direct to VHS movie you never saw. It's fun, but not stupid if you catch my drift.


      There's a clear sense of Whannell channeling some of his cinematic fetishes into this story, so when I had the chance to talk to him about it that's what we focus on. We discuss the evolution of his movie tastes and how that mirrored my own. In short, it's a chat that movie geeks can relate to. If that sounds like you, then enjoy yourself!


      We do talk about Upgrade, too, don't worry. We don't spoil anything either. Double bonus!


      Hope you folks enjoy the chat!



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      Eric Vespe: Everybody who is a big movie fan has that core group of movies or a particular genre that they loved growing up. What were yours?


      Leigh Whannell: I guess it went in stages. It depends at which age you'd ask me. When I was 5 or 6 I was your pretty typical Star Wars kid, loving Star Wars, watching a VHS copy of that until it was completely worn out. Raiders of the Lost Ark... But actually my favorite film of that era was Jaws. Even more than Star Wars! I guess that maybe signposts an early love of horror, but I just loved Jaws so much. I was obsessed with movies.


      As I got a bit older and was in my early teens I was basically loving video store staples. I grew up in the outer suburbs of Melbourne. It was very suburban and I wasn't deviating from the standard Die Hard/RoboCop/Lethal Weapon path. My parents weren't forcing me to watch Last Year at Marienbad, that's for sure. (laughs)


      Through my teen years I loved genre films... horror films, sci-fi, stuff like Aliens. Then when I got into film school, that's when your palate gets expanded. All of a sudden you're watching foreign films you don't have access to in the suburbs of Melbourne. My local video store wasn't stocking Wim Wenders films! It's almost like A Clockwork Orange. They sit you in a chair and forcibly make you watch all this stuff from all over the world, from different time periods. I'd say that was the final evolution with me, in terms of my taste in films.


      It's amazing, though, that as an adult, the films that I go back to are the ones I loved as a teenager. It's almost like comfort food for my soul. To sit down and watch Big Trouble In Little China, for me, is such comfort food.


      Eric Vespe: I know what you mean. There are certain films that are “Any Time Movies.” No matter what mood you're in... if you're down, they'll bring you up, if you're happy they'll just magnify that. Big Trouble is definitely one of those. Rocky Horror Picture Show, The Big Lebowski, Little Shop of Horrors are big ones for me.


      Leigh Whannell: Yep, yep. There's just a few that no matter will just put you there. E.T. is one for me. I can keep going back to E.T.


      Eric Vespe: I think anybody who's a big movie fan will recognize that trajectory. I remember I took a film appreciation class at UT and while I dabbled in older cinema that's where I really became obsessed with it. The professor showed us Sunset Boulevard and it blew my mind. It got me to commit to exploring older films.


      Leigh Whannell: Yeah, I think you're right. You have these watershed moments. I guess it's similar with music. Your music tastes evolve as you get older and you end up having these seminal moments when you're exposed to something that changes the trajectory of your musical tastes. And that happens with movies.


      I was not deviating from the standard Die Hard path. All the suburban kids around me where I grew up, they loved Die Hard, too. They loved The Crow and Lethal Weapon and all this standard Hollywood action stuff, but I remember... I think it was my last year of high school, I ended up renting Reservoir Dogs on VHS and that was definitely a watershed moment. It was a huge moment. It stood out and marked itself as more special, somehow, than those other movies, those standard Hollywood action movies of the '80s and '90s.


      I remember being excited about that film in a way that I hadn't been about other films. You're right. You can always look back and map out these points... they're kind of like the Monolith in 2001. They come to visit the monkeys every hundred years and shove us into the future.


      Reservoir Dogs was definitely a black Monolith in the desert for me. It started me investigating movies in a different way. Instead of caring about who was in the movie, I wanted to know who was making the movie; who was behind the camera. That's not something I thought up prior to Reservoir Dogs.


      I remember in that moment in time, with Tarantino, suddenly being a filmmaker was cool. It wasn't about being the movie star. In fact, I'd say that Tarantino was a much bigger star than any of this cast members.


      These all add up to a picture when you stand back and look at them.


      Eric Vespe: Yep. That era was full of that phenomenon. You had Robert Rodriguez and Kevin Smith as well, who were more famous than most of the name actors in their movies.


      Leigh Whannell: Exactly.


      Eric Vespe: I have a similar story... The short version is a friend of the family was a big movie nerd, so she'd take me out to see movies every weekend. She liked all sorts of movies, I was definitely more interested in genre. Kenneth Branagh's Frankenstein had just come out and I wanted to see that. She said she'd take me to that if I'd go see this John Travolta movie after. I saw Frankenstein and hated it. I was fuming because the movie I wanted to see sucked and now I had to go see this stupid art house movie with the guy from Look Who's Talking in it. That one was, of course, Pulp Fiction.


      Leigh Whannell: (laughs) That's such a good consolation prize!


      Eric Vespe: Within the first five minutes of that movie my world had changed. There was something so different about film. It legitimately blew the doors open for me.


      Leigh Whannell: People really propagate the mythology of the cinema of the '70s, that auteur era with Francis Coppola and William Friedkin and Steven Spielberg, but for people my age the '90s were really that moment. All of a sudden you cared about movies in a different way. Even the biggest redneck living in my suburban neighborhood had copies of the Pulp Fiction soundtrack! That's something that would not have happened prior to that film. It was such an explosion in the culture that it seeped out to the people who normally wouldn't care about stuff like that. Even my mum knows who Quentin Tarantino is, which is pretty amazing because I doubt she could name any other film directors. It was a huge time, an exciting time.



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      Eric Vespe: What I liked about Upgrade is that feels like a throwback film. The world is over the top, it has some ridiculous conceits in it, but you as a filmmaker takes it seriously, which I think is the magic formula of making a movie fun. I see a lot of movies that are super serious, I see a lot of movies that are super silly. I don't see a lot of people striving for that balance. Can you talk a little about hitting that tricky balance and maybe how some of the stuff you loved growing up fed into that?


      Leigh Whannell: Well, I'm definitely influenced by those films that I mentioned growing up. I always loved contained sci-fi and movies with a dark, film noir bent to them, especially if they incorporated sci-fi. If you look back at the first Terminator film, it's kind of a mixture between a horror film, a film noir, set in the alleyways of Los Angeles and a sci-fi movie, but it's got this punk energy to it.


      Sometimes they're very literal about those things. For instance, the first group of guys that the Terminator kills is a group of punks. The nightclub where Sarah Connor hides out is called Tech Noir. I've read plenty of stuff about that movie and James Cameron always coined the genre that way. He thought he was making a tech noir film.



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      One could look at as a marketing gimmick, but it's something he really bought into. You can't help what you love and I've always just loved that. I love movies that leave you with something, movies that aspire to change your perception of story. I guess I'm trying to dance around the word “gimmick.” It's such a dirty word, but I get really excited by “gimmick movies.”


      When I first saw Memento I loved it. The whole gimmick of that movie playing backwards was exciting to me. I loved Run, Lola, Run and the gimmick of seeing the same story play out three times. Of course it has to be a good movie. You can't let the gimmick itself sell the movie. You have to make a good film, but I don't see anything wrong with a gimmick.


      I love movies that try to push the genre they're working in and frame the narrative in an interesting way, whether it's playing it out backwards or repeating the same story three times. I've always kind of written to that. Even the first Saw movie was a non-linear film. I wanted to tell a thriller that was out of order, that felt like you were waking up from being unconscious and were remembering things.


      Upgrade was kind of that to me. Some may look at it and sneer and say “What did you think was interesting about this?” But to me the idea of a character in a movie that was purely a voice in a guy's head... I found that really interesting. I feel like you always end up writing the movie you want to see and I feel like if I was 20 years old I would want to see Upgrade. That's a movie that's framed in a way that would excite me. That's what I'm always striving for. I want to satisfy the 20 year old movie-going version of me.


      Eric Vespe: I think you do a good job with that here, for sure. Even people that I've seen that didn't love the movie all say “If I'd seen this when I was 15 it would have been my favorite movie ever!”


      Leigh Whannell: (Laughs) I've seen a lot of reviews of this movie that are positive. I've lost count of the ones that say “It's silly. It's dumb fun, but it's great!” I'm like, “I thought when I made a film that good reviews the reviews would actually be good!”


      Eric Vespe: (laughs) They're positive backhanded reviews is what you're saying?


      Leigh Whannell: Yeah. My cheek is just red and stinging from the amount of backhanded compliments I've received on this one, but what're you going to do? Once the movie leaves your hands it's not yours anymore and you can't control the perception of it. You just let it go.


      Eric Vespe: Awesome, man. I appreciate you taking the time to talk to me. Good luck with the release!


      Leigh Whannell: Thank you, mate. I appreciate it!



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      Upgrade is in theaters this weekend! Give it a shot if you like fun things!

    • The History of Star Wars Fandom and How That Relates To Solo: A Star Wars Story

      4 months ago

      ericvespe

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      A long time ago in a galaxy far, far away Star Wars fandom was united. It was generally accepted that A New Hope, The Empire Strikes Back and most of Return of the Jedi were good, the Ewok spin-off movies and the Holiday Special were bad and all was right in the world


      Sure, Ewoks were always divisive, but a lot of the Return of the Jedi hate that has become commonly accepted didn't seem to pop up until around the time the Special Editions were released. As someone who was there I don't remember anybody talking shit about the movie on the whole. Ewoks, absolutely, but most people loved how the Vader/Luke/Emperor storyline played out, thought the Jabba sequence was rad as hell and the Redwoods speeder chase the most thrilling thing since the original trench run.



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      Then the Special Editions happened and that was a huge event. The movies were all #1 again at the box office, but all the early days CGI soured the experience a little and then became giant points of contention when George Lucas refused to let people own the actual versions they fell in love with to begin with.


      But we all still mostly agreed on Star Wars. At least on all the important things anyway. Some of us spun off to the Extended Universe books, some of us stuck with the movies as our canon, but we all basked in the same loving glow of this series we all adored.


      Then the dark days began. For me it was sitting in the Regal Metropolitan's biggest house after waiting in line for 2 weeks for The Phantom Menace. The opening crawl went by and the audience was going absolutely batshit. It was the first official, real-deal Star Wars anything in 16 years and it was finally here. Then the Neimoidians spoke. I'll always remember the line-reading. “Yes, of course. As you know our blockade is perfectly legal.” The emphasis was on all the wrong syllables and it sounded like a white guy playing a 1940s-era Asian stereotype.



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      There was a sinking feeling in the pit of my stomach and the whole temperature of the room changed like an invisible wet blanket smothered the audience's enthusiasm at the same time. That movie has high highs (Darth Maul, a cool lightsaber fight, the remarkably thrilling podrace sequence) and low lows (pretty much every line of dialogue stiltedly spoken, a convoluted, boring plot about trade embargoes and resource hording, and front to back bad acting from good actors), which left me in a daze when I exited the theater.


      Episode 1 couldn't be bad. It's Star Wars and no official Star Wars Saga movie had been bad before, so it must be me. I rewatched it a half dozen times that summer and every successive screening made me angrier and angrier at the stuff that didn't work.


      You may love the prequels, you may hate them or you may feel indifferent about them, but it's undeniable that they deeply fractured Star Wars fandom. I thought I had moved on from that franchise until The Clone Wars was able to retroactively improve the nonsense of the prequels. Suddenly Anakin was a multi-dimensional character and I actually bought him as a good guy worth saving. Suddenly the Clones had personality and were rich characters. Suddenly the Jedi weren't just boring dudes sitting in a circle debating about mundane bullshit. I still may not love the prequels, but The Clone Wars and, later, Rebels, helped me come to terms with them.


      Then the Disney era came and for a brief time fandom was reunited again. Maybe not as permanently or purely as they were in the good ol' days, but that level of excitement between when Episode 7 was announced and it premiering was the closest I've felt to pure unity since the lead up to Episode 1.


      Again, there were always minor squabbles and some cynicism, but on the whole the question of what this new Star Wars was going to be enraptured most of us. The guessing game and slow glimpses behind the scenes and wait for that first trailer... it all felt fun again.



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      There's a reason The Force Awakens broke box office records and had huge legs. It was a fantastically fun movie with one foot planted firmly in nostalgia with the legacy characters and a rehash of A New Hope's basic structure and one foot taking a giant step forward, introducing us to a whole new cast of lead characters that somehow felt perfectly Star Warsian.


      Rey, Finn, Poe, BB-8, Kylo Ren... they all felt like part of this universe without being direct repeats of what came before, thanks in large part to the smart decision to mix and match Star Wars character tropes. There isn't a Han Solo type. Finn and Poe have elements of the charming scoundrel, but Poe also has Luke's almost naive optimism. Rey has Luke's pure-hearted earnestness as well as a dash of Han's roughness and Leia's get-shit-done attitude, for example.


      But even this very crowd-pleasing movie couldn't completely heal the fractured fanbase. The cracks started showing up again, this time with a heavily misogynistic flavor that puts a bad taste in my mouth. The same people who believed a young man intuitively strong with the Force but without any training whatsoever could use the Force to essentially dunk a basketball from outside the stadium said that it was unrealistic that a girl who had fought for her life since she was a child could swing a lightsaber.


      That's not to say everybody who dislikes the new characters or how they're executed are misogynists or racists. I want to be clear about that because saying something that definitive undercuts the discussion at large and automatically paints anybody who disagrees with me in the most negative light possible. I would never assume that's where you're starting from if you dislike the new Disney-era saga films. However it is fair to say that if you are racist and/or misogynist odds are you hate these new movies.



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      Star Wars has always been progressive. The very first film is an allegory for Vietnam, which means the evil Empire is the American Military Industry, folks. They may dress like Nazis, but the Empire is a stand in for America and the evil Emperor was Nixon. Don't take my word for it, Lucas says it here.


      But a lot of fans were happy to keep all that as subtext and weren't comfortable when that progressiveness was put on full display in the new era.


      Yes, some prequel haters were dismissive of prequel apologists and that conversation was hardly ever cordial and very often heated, but there's a meanness to the fanbase now. Maybe, like the MAGA hat wearing bullies that have sprung up in the last two years, the mean Star Wars fan was always there and just afraid to go full bore until now, but it's happening.


      That all came to a head with The Last Jedi's release. One more time, in case you missed it, I'm not saying that if you disliked any aspect of Episode 8 you are automatically lumped in with the worst of the worst. It's totally fair to not want to see Star Wars evolve past the icons that you love and that's what that film was about. Remember them, use that memory to inspire the next generation, but it's not their time anymore. We see that on the light side with grumpy old man Luke's storyline and you see that on the dark side with Kylo Ren finally evolving past just trying to imitate Vader.


      That brings us to Solo. The reason I spent so so so much time outlining the history of Star Wars fandom is because I believe where you fit into the current Star Wars fandom will determine how you react to Solo.



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      I think those that loved the direction The Last Jedi and, to a degree, The Force Awakens were going in will feel like Solo is a step backwards. Their interest will be muted because it's not a story about pushing the overall lore forward. It's a nostalgia bath that wants you to relax in the warm waters of characters and iconography most of us grew up with.


      There's no real attempt at gaining any deeper understanding of the characters you already know and love. They're so focused on just making them look and feel right that any deeper reason for this movie to exist within the established lore is thrown out the window.


      For me that was frustrating. We'd get little glimpses going in that direction. In particular there's a conversation between Han and Lando where they're getting to know each other and talk a bit about their parents. The way Lando talks about his awesome mother piqued my interest. It was the first time I felt like they were exploring something about that character I didn't already know, but it's dropped as soon as it is brought up.


      And that's fine. It's not what I want out of Star Wars at this point, but I'm sure it's what a lot of people do want. They just want a fun story told in an exciting way with the characters they loved. There's nothing wrong with that, but it's not all that interesting to me.


      But I'm the guy that never really got into the Extended Universe books either. I liked what I read just fine, but they just never felt like real Star Wars to me. They did for a whole lot of people, but I wasn't one of them, despite trying as hard as I could to be one.


      Solo is made for those people. It really does feel like a movie adaptation of an EU book that never was and for some that will be music to their ears.


      Whether you will think Solo is good, bad or mediocre will entirely depend on what you want out of Star Wars. My guess is that history will show it as an entertaining, but inconsequential addition to the overall lore, but only time will tell.


      On a technical level it's a solid movie. There are a couple really thrilling action sequences, one involving a train heist and one being a rather creative envisioning of the Kessel Run. These sequences are unquestionably well-executed. Towards the end they finally go for the character complexity I was hoping for with a band of pirates and smugglers, but at that point it felt like too little too late to me.


      The idea of doing a Han Solo on his pirate adventures story is pretty fun, but much like Rogue One I felt like they missed the target on integrating a famous cinematic genre into Star Wars. If they made Heat, but in Star Wars or even The French Connection, but in Star Wars, that would have been amazing, but we don't get nearly enough of the smuggler life or spend enough time in the gritty criminal underbelly of this universe. That stuff felt like a side note, kind of like how the Men On A Mission aspect of Rogue One was backgrounded pretty much until the final third and we never got to see those people actually work as a team until the big mission... when they're all separated anyway.



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      Everything you've heard about Donald Glover's Lando is spot-on. He's got the charisma and chops to make me buy that he's Lando. Alden Ehrenreich is trying his damndest to pull off young Harrison Ford's swagger and he succeeds on some levels, but the fact that Glover seems to do it so effortlessly really shows how much Alden's struggling to find that pencil line thin balance between capturing a character's essence and just giving us an imitation.


      It made me wish this wasn't a story about Han Solo, to be honest. If Ehrenreich was playing a character in the Han Solo mold then I think he would have been freer to try different things and make it his own.


      I have some issues with where things leave off at the end, particularly when it comes to Solo himself. I kinda feel like it undercuts who he is at the beginning of A New Hope, but I'm not too much of a stickler about that because there is still a question about stuff that could happen between the end of Solo and the beginning of A New Hope.


      The score is pretty damn good, as to be expected. Some great themes return at the right moments and really help give those big scenes the Star Wars feel. John Powell does a fine job at keeping the non-John Williams cues feeling like Star Wars and not a pale imitation, which is a tall order.



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      Ron Howard is a guy who knows how to put a film together. He has decades of experience telling him what angles work best for what scene, how to manipulate the edit and to keep the pace going, but there's not much of a director's voice on display. He does a solid job, no doubt, but I didn't feel like there was anything special going on, which is kind of my issue with the entire movie to be honest. Maybe if he had been able to build this one from the ground up instead of pinch-hitting when things went bad between Lucasfilm and Chris Miller and Phil Lord things could have been different, but that's not what we got here.


      At the press screening there was a bit of a technical difficulty. Right in the middle of the movie, just as the main heist was about to begin, the screen went dark, but the audio kept playing. This went on for about 60 seconds and then the projectionist stopped it and rewound the film. The problem was they rewound it almost a full reel, maybe 15 minutes.


      As I rewatched those 15 minutes I found I was bored, which doesn't bode well for my next actual re-watch. If that had happened during The Force Awakens or The Last Jedi or literally any original trilogy movie I wouldn't have felt that way, but I did here and that might be the most blisteringly critical thing I could say about the movie.


      It doesn't make you a bad person or a bad fan if all you want is to cuddle up to an old friend and bask in nostalgia for 2 hours and 15 minutes. If that's what you want then you'll get your money's worth here. If you want something a little deeper then you might find this journey into the Star Wars universe a little hollow.

    • Captain Marvel Enlists Annette Bening!

      5 months ago

      ericvespe

      You know, I love it when the MCU lands big, serious actors. I mean, superhero movies on the whole don't have a problem hiring all sorts of actors, from A-list to Oscar types, like Viola Davis and Will Smith in Suicide Squad or Benedict Cumberbatch for Dr. Strange or Jeff Bridges in Iron Man, but occasionally there's a bit of old school casting that makes me sit up and take notice.


      Gary Shandling in Iron Man 2 was the first one. I just never pictured a world in which Larry Sanders himself would be on screen with Tony Stark. Kurt Russell in Guardians of the Galaxy Vol. 2 was another happy surprise.


      The biggest get up to this point was Robert Redford in Captain America: The Winter Soldier. Him being the big bad guy of that film helped Winter Soldier set a new tone for the MCU. It's still got goofy comic book shit in it (the whole Zola/Talking Computer sequence for instance), but there's a degree of legitimacy that comes with someone like Redford.


      It seems like Captain Marvel is going in that same direction, at least in terms of casting. The Hollywood Reporter has a story saying that Annette Bening was cast in a secretive role that is most likely a scientist of some sort. 



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      Bening doesn't do a lot of giant budget movies and when she does they tend to be weird. Mars Attacks jumps to mind. Her big films all seem to be awards stuff, like American Beauty. She usually stays in the more serious adult drama world so when she signs up for something like Captain Marvel that tells me she believes in the story being told and/or really wants some of that sweet, sweet comic book movie money.


      Either way it's an exciting development for MCU fans. 

    • Burt Reynolds May Star In Tarantino's Once Upon A Time In Hollywood!

      5 months ago

      ericvespe

      Burt Reynolds was once the biggest movie star in Hollywood. He rode that wave for a decade before audiences opted for more action hero types like Schwarzenegger and Willis and Stallone. Movie star ranking aside, Reynolds was one of the most charismatic leading men to enjoy success in the movie industry. Watch Smokey and the Bandit or Hooper or White Lightning or Gator and tell me I'm wrong.


      The dude can phone it in for a paycheck (he did star in a Uwe Boll movie once after all), but when he's challenged he can be magic. Look no further than the performance Paul Thomas Anderson got out of him in Boogie Nights. Although he quarreled with his director that collaboration gave us something wonderful. 



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      I'm hoping we'll get the same kind of commitment here. According to Deadline, Reynolds is in talks to star alongside Leonardo DiCaprio and Brad Pitt in Quentin Tarantino's Once Upon A Time In Hollywood. He'd be playing George Spahn, the 80 year old blind owner of the infamous Spahn Ranch, which he would rent out as a western town to movie and TV productions from time to time, although that's not why Spahn Ranch is well known today. 


      Today it's more famous as being home to the Manson Family. Spahn let Charles Manson and his follows camp down at the ranch and in exchange Charlie had his follows have sex with the elderly man. This is the real life dude here:



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      The part is supposed to be a pretty juicy one. Deadline also reported that Tarantino regulars Kurt Russell, Michael Madsen and Tim Roth are also in talks to join up in smaller parts. 


      At CinemaCon Tarantino said that there were going to be a ton of small, but memorable roles in this one, much like in his early work. I'd be shocked if Sam Jackson doesn't already have a part locked down.


      This is one of my most anticipated movies in production right now. Can't wait to see how it all comes together!

    • Fox Continues To Kill It With Their Deadpool 2 Marketing! New Poster Is Both Funny And Beautiful!

      5 months ago

      ericvespe

      If you couldn't be more psyched for Deadpool 2 then prepare to push yourself even further with this gorgeous and funny art poster Fox just released. "From the Studio That Killed Wolverine." Bless you all. I want this on my wall now. 



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      Ain't that thing a beaut? I mean, we have Blind Al, Terry Crews, Negasonic Teenage Warhead, Ricky Baker, Shatterstar and Rob Delaney all on one poster! I mean, there's everything AND, literally, the kitchen sink in this poster. If this movie is even a fraction as awesome as this poster we're all in for a great time. Only a week and a half to wait, folks!

    • Wait, John Lithgow is going to play Jud Crandall in the new Pet Sematary remake?!?

      5 months ago

      ericvespe

      This may be a little niche, but today's casting news of John Lithgow joining up with the pending Pet Sematary remake is right up my alley. Lithgow is awesome and he's going to be playing of my favorite King characters: Jud Crandall. 



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      You'll remember the late, great Fred Gwynne played Jud in the original film and he did a bang up job, putting on an authentic Maine accent so thick he became a quick parody. South Park straight up cut and paste him into the series he was so memorable in that role. "Don't go down that road..." 


      Much like Gwynne, Lithgow's career has been mostly built around him being such a lovable guy. There have been a few exceptions, my favorite being his cold-blooded strangler character in Brian De Palma's Blow Out, but on the whole Lithgow was mostly the dad you always wanted.


      Crandall is the granddad you always wanted, so that fits. He's kind, smart, has an answer for everything, but he's also haunted. In this case he's haunted by the knowledge he has... of a little clearing beyond the pet cemetery where the soil is stoney, like a man's heart. And he's haunted by the power he knows that place possesses. 



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      The remake cast Jason Clarke as the lead, Louis Creed, a doctor who moves his family to a small town in Maine and now Lithgow. Both have starred in recent Planet of the Apes movies, so here's hoping Andy Serkis comes in to MoCap the Creeds' undead cat, Church.


      This marks a post-IT renaissance of Stephen King adaptations and I'm there for it. What do you folks think? 

    • Eric Vespe Takes You Behind The Scenes Of Jurassic World: Fallen Kingdom!

      5 months ago

      ericvespe

      The summer of '93 was an import one for me as a movie geek. Of course I had grown up with Steven Spielberg's work like Jaws and the Indiana Jones films and Close Encounters and ET, but I had never been caught up in one of those as an “event.” They had simply existed, either on cable or VHS. I did go see Last Crusade opening weekend with my family, but it was just a cool thing to do, not necessarily a landmark moment.


      The evening of Friday June 11th, 1993 I was at my grandparent's house. We were watching the news after dinner and the big story were the lines around the block for Jurassic Park. 



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      I was so pumped to see the movie, but also nervous. I was supposed to go see it the next morning, but could I even get in?


      My grandparents very rarely went to the movies with me. Grandpa Vic would often say “I want to keep my shoes” when I'd ask him to go watch movies with me, referring to the sticky floors of the theaters. But they encouraged my movie habit and bright and early Saturday morning my Grandmother dropped me off at the domed Century Theaters in San Jose, California.


      I walked up to the ticket booth while my Grandmother waited to make sure I could actually get in and sure enough I was able to buy a ticket to the first screening that morning. No lines, no problems. I vividly remember getting a Coke and some Red Vines, thinking all that stuff on the news was overblown and then I entered the theater... a buzzing, packed theater.


      Somehow I hit the sweet spot between sold out and lining up hours in advance and just kinda slid on in. I remember sitting off-center and being perfectly happy with my seat and then the usher came in and asked everybody to scoot towards the middle so the next wave of people could have easy access to remaining seats.


      When all was said and done I somehow ended dead center, middle of the theater. It's like fate put me in that seat. Then the movie played and I was hooked in a way I had never been before. Some of it was the buzz of the crowd, some was the technical majesty of the effects, both practical and digital, on the screen, some of it was the charisma of all the actors, a good deal was John Williams' score and there was also a little bit attributed to the state of the art immersive screen I was watching it on.


      The Century theaters were domed, with curved screens so it felt a little bit like I was surrounded by the movie. Not only that, but this was my first experience with Digital Sound. The DTS logo is super cheesy now, but at the time it blew my mind (and my eardrums).





      I was so into the movie. A 12 year old boy in 1993 was already the perfect mark for Jurassic Park and when you add in the fantastic presentation to the mix you get something life-changing.


      I'll always love Jurassic Park thanks to that screening. That summer I was boy obsessed. I both read the original Michael Crichton novel and listened to the audio book (read by John Heard). I collected Jurassic Park trading cards, I bought the making of book, I listened to the soundtrack on repeat, I pumped countless quarters into the Jurassic Park pinball machine. And I dreamed of petting a real life dinosaur.


      Cut to 24 years later and I found myself in the jungles of Hawaii, about to enter a tent filled with animatronic dinosaurs. Twelve year old me was very much on my mind in that moment.


      But lets back up a second. I got the call asking if I wanted to visit the set of the Jurassic World sequel after I had booked a much-needed vacation to New Zealand in that same timeframe. However you must remember that whole page of backstory I just made you read. A little thing like vacation wasn't going to keep me from getting to visit a Jurassic park in real life. The way it all worked out I flew from Austin to LA to Aukland to Wellington (roughly 20-ish hours of travel), got to sleep for a night and then got on an airplane and headed about 10 hours back the way I just came and I did so with a smile because there was a chance I was gonna see some goddamn dinosaurs and for that I'd fly around the world three times over.


      One of the perks of getting to touch down in New Zealand first was I happened upon a bag of limited edition Guardians of the Galaxy Vol 2 Doritos that was only available in the Southern hemisphere. The chips were green colored and “Gamora themed” and I said “Screw it, I'm going to gift these to Chris Pratt if I get the chance.”


      So, me and my movie tie-in junk food ended up in Hawaii where I found out the set visit was very limited. It was just me and Slashfilm's Peter Sciretta there, which made the whole thing feel intimate and less junket-y where you're herded like cattle from one part of the visit to another. Don't get me wrong, those visits are fine, too, but this kind is way better.



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      Our first stop was the destroyed Main Street of Jurassic World, built up off of Police Beach on the North Shore of Oahu. This exterior set was totally cool to be exposed to the elements because in the story for the sequel the Park has been abandoned for years. They've given it back to the dinosaurs and thus everything is overgrown, broken down, unkempt and probably filled with a bunch of dino doo-doo. I didn't see any, but I'm sure it was there.


      They built Main Street on an old WW2 airfield and it looked identical to the one you see (in much better shape) in the first Jurassic World even though that original set was built in New Orleans. The production design team was able to recreate it in exacting detail from the construction drawings, 3-D scans and photos taken on set the first time around.


      I didn't see any evidence of it, but I'm hoping we see a skeleton holding margarita glasses in each hand somewhere in this scene.


      While that's wishful thinking on my part, what I can say is that this location doesn't play a huge part of the movie, but I was told that it serves a pretty big moment that sounds like it mirrors the original Jurassic Park.


      When our heroes return to the island they find more dead dinosaurs than alive dinosaurs. Bones, carcasses, etc. I mean, the dinos have been left to their own devices so naturally the meat-eating meatasauruses have been eating the veggiesauruses and they don't tend to clean up after themselves.


      Apparently our heroes come to Main Street and see their first sign of life: a Brachiosaur walking amongst the ruins. Like I said, it sounds like a callback to the original moment when Grant sees the Brachiosaur for the first time. There's still awe and majesty even as this island is about to go up in flames.


      One of the big characters that has been kept out of pretty much all advertising is Ted Levine's character, Wheatley. We didn't get to see him work, but we heard a lot about him. Ted Levine is a very great and intimidating character actor probably best known as Buffalo Bill in Silence of the Lambs and his character here is apparently a real son of a bitch. He's a hard-ass military style dude on the ground to organize the extraction of the very specific species he's tasked to grab and from the sounds of things he's a little bit of a mix of Pete Postlethwaite's Roland Tembo and Peter Stormare's Dieter Stark from The Lost World in that he'd rather hunt the dinosaurs instead of saving them, but he doesn't seem to have Tembo's respect for the animal. He's a little more cruel about it and like most cruel people in the Jurassic universe things probably aren't going to end too well for this dude.


      While the production was very secretive about what happens after everybody gets off the island we did get filled in on some of the key on-island locations. We know that our group is trying to find Blue and to do so they need to journey to a radio tower on the island where they can plug in and track the dinosaurs (remember they all had tracking devices implanted). I assume there is where Justice Smith's character comes in since he's a computer dude who is deathly afraid of literally everything on the island.


      We've all seen the trailers by now so you know they find Blue. What you might have missed is that Blue has made her nest in the overturned jeep that the T-Rex messed up so beautifully in Jurassic Park. I was told later that the idea to do that came from Mondo, of all places. You may remember their teaser poster print they did for Jurassic World depicting a Raptor on top of the ruins of the car. Apparently that image stuck with the creative team and they couldn't find a place to put it in the first film, so they wrote that into the sequel.



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      And speaking of Blue, I guess it's time to talk about losing my mind and petting a real, living, breathing dinosaur.


      I'm jumping forward a little bit here, but before the final part of our set visit, Peter and I got to step into the SFX tent and see some of the animatronics involved in the movie. We missed the biggest animatronic build of the shoot, sadly. They built a full sized T-Rex all drugged out and in her container, but that wasn't brought to Hawaii so I didn't get to see her.


      I did get to see a baby stegosaurus and Blue in all her head to toe glory, though, so I'm not complaining.


      The stego was a partial build. The body wasn't fully animatronic as the scene it's in apparently calls for it to be fairly stationary. The head, though, was articulated and puppeted by two guys, one controlling the rig that made its head move around in a surprisingly big range and the other using a remote control to make the eyes blink.


      Working together they made this head on metal skeleton come to life. It sniffed at my leg and nudged my outstretched hand like a big, goofy dog. Even though I could see the illusion thanks to the physical body not being in that tent at the time I still bought into it thanks to the animation happening before my eyes.


      The raptor didn't require as much suspension of disbelief. Blue was a full build. She was groggy, laying on the ground, but fully articulated. Her legs could push out, her arms moved, her ribcage expanded and contracted with each breath, her head could raise up off the ground and move around, her eyes opened and closed and could follow you, her mouth and tongue were working. In short, she was alive. In that tent at that moment, with a huge team of puppeteers behind her, Blue was a living thing.


      This was the moment I had dreamed of since I was a wide-eyed kid sitting in that movie theater watching dinosaurs come to life.


      The SFX crew told us that this particular build breaks down into three parts that when connected makes a seamless, full body Velociraptor and that it typically takes 11 puppeteers to bring her to life. Some will operate individual limbs, some the bladders built in that make it look like she's breathing, some on her face.


      The SFX team, lead by Star Wars' Neal Scanlan, didn't just create living dinosaurs. Nope, there's lots of dead ones as well. Near Blue's nest, out in the jungles of Hawaii, they built a full scale, dead adult Stegosaurus. This thing was massive. Sixty feet long, 15 feet tall, and immaculately detailed. Leathery, drying skin hanging over an exposed ribcage... It was sad and beautiful at the same time.


      There were a good dozen more dino carcasses scattered around the landscape. We went to visit the Radio Tower location, which is near where they shot the Gyrosphere Valley sequence in the first Jurassic World, at a place called Kualoa Ranch, which has been the location of a ton of movies and TV shows. When Hurley was golfing in Lost or when Lex, Tim and Dr. Grant were running from the Gallimimus in the original Jurassic Park, the Kong skeletons scene from Skull Island... that was all shot at Kualoa, a giant gorgeous amazingly beautiful reserve. I'm also told the Obamas frequent the event center.



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      One of the locations in this huge natural wonder is a steep green hillside and the Radio Tower was down at the foot of that. They had rigged the whole area with gas pipes so they could pump out fire for a big lava sequence and they even dotted the landscape with those dino carcasses. From the tower location you could easily see for miles and they had a bunch dotting the landscape and like the Stego these aren't just bones, but fully detailed decomposing carcasses.


      The scene in the trailer where Chris Pratt is running down the hill yelling “RUN!” is from this location and it looks way more steep and treacherous in person than it does on camera, let me tell you.


      We saw very little actual filming, but our last stop of the day did take us to the active set.

      The scene is the finale of the big island escape and involved Justice Smith and Chris Pratt and a speeding truck racing down a dock, trying to make it to a boat being chased by lava and probably a dinosaur or two. I don't know about that last part, but it is a Jurassic movie, so if someone's running odds are there's a dinosaur involved somewhere.


      Instead of getting to watch the scene unfold we instead spent our time at this location interviewing many of the key players, including legendary producer Frank Marshall, Justice Smith and Chris Pratt. I've run all those interviews separately and will list them at the bottom of this article. I highly recommend you give them a read if you want to know more about the movie and hear some fun filming anecdotes.



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      This was my first time meeting Pratt and he was every bit the joking, charming leading man type I expected from his film work. Of course within seconds of him entering our interview tent I bestowed upon him the gift of limited edition Doritos that had his face on them and to my delight he was super over the moon about it.


      There was a debate about whether or not he was going to “smash them” that night or hold on to them for posterity's sake and eat them in 20 years. That spurned a quick conversation about just how high you could get eating 20 year old movie tie-in Doritos and then we calmed down and had a nice chat about Jurassic stuff.


      Before we left we got a visit from Bryce Dallas Howard, who was in the tent next door to the one we were doing interviews in. We had interviewed her earlier in the day and since she knew she had two full blown geeks she asked us if we had any thoughts about her dad signing on to do the Han Solo movie. Of course we did and we listed off a few words of geek wisdom that she rapidly typed into the notes app on her phone and she said she was going to send them on to her dad. Whether or not she did and whether or not he took any of them to heart I have no idea, but it was a pretty cool moment nonetheless.



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      And that ended the big trip. The next day I got back on a plane and went back to enjoy my vacation knowing that I had gotten to bond with a real life dinosaur. The SFX guys could explain all the servos and components that made Blue look alive all they want, but I'm pretty sure they just cloned a real life dinosaur. That's my story and I'm sticking with it!


      Thanks for following along on this crazy adventure. Hopefully you know a little bit more about this crazy new Jurassic movie. If not now you know about limited edition Doritos, so I guess it's a win either way.


      If you want to read full transcripts of the interviews with the main players then here you go:


      Director JA Bayona On Making Jurassic World Scary Again

      Producers Frank Marshall & Patrick Crowley Discuss The Goals Of This Huge Sequel

      Chris Pratt Talks About Jumping Through A T-Rex's Mouth

      Bryce Dallas Howard On Becoming A Dinosaur Rights Activist

    • JJ Abrams' crazy Stephen King-themed CASTLE ROCK gets a new trailer and release date!

      5 months ago

      ericvespe

      I'm hoping by now a good many of you have gotten to know me a little bit. If I'm still a mystery wrapped in an enigma for you, I can boil my interests down to two Steves: Spielberg and King. I grew up obsessed with both men's work. Starting in 6th Grade I decided I was going to read every book Stephen King ever wrote. I started with Cujo and being the solitary nerd type throughout all my schooling I had plenty of time to read and by the time I was in high school I had read everything King wrote (even the stuff he wrote under his Richard Bachmann pseudonym). 


      I still pick up every book he puts out and that is one prolific motherfucker, so he keeps me busy. 


      So when it was announced that JJ Abrams was developing a Hulu show called Castle Rock I was already in. Castle Rock is one of King's famous fictional Maine towns and it serves as ground zero for a bunch of crazy shit. The show promised to bring all kinds of King references and characters together and now we've gotten a new trailer that really underlines that.


      One thing that's really interesting is that they're casting it with a few Stephen King movie alums, like IT's Bill Skarsgard and Chosen Jacobs and Carrie's Sissy Spacek. The other cast is top notch, too, including Lost's Terry O'Quinn, apparently playing the new warden at Shawshank Prison, Melanie Lynskey as a real estate agent (tough job in that town), Andre Holland and Evil Dead and Don't Breathe's Jane Levy round out the cast.


      The new trailer not only gives us a better glimpse at what kind of show we should expect it also drops the release date: July 25th. It can't come soon enough for this King nerd. 




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