10 Questions for... Bart Mastronardi

When he's not teaching, the inimitable Bart Mastronardi can usually be found behind the camera on some of the most recognized independent horror films currently hitting the scene. From Alan Rowe Kelly's The Blood Shed to his upcoming masterpiece, Vindication, Bart's talent is evident in every scene. I was recently granted an interview with this up-and-coming multi-talent so without further ado, here is 10 Questions for…Bart Mastronardi!

1.) Dave: You have quite an impressive cinematographer's resume with numerous credits working on independent horror films to the Bravo TV Network. How did you get your start behind the camera?

Bart: Thank you Dave for giving me this opportunity. I really appreciate it.

To start, my dad always brought my brother and me to the movies when he was off from work: the Elmwood movie theater on Queens blvd. in Queens, NY was my favorite movie theater unfortunately, it is now some bingo hall/religious church. However, I grew up loving the movies: Jaws, Star Wars, Friday the 13th – The Final Chapter and James Whales’ Frankenstein are the major movies that influenced me. I grew up reading Fangoria magazine, more than I read my school books, I still collect Fangoria. I always did small theater shows with my friends and re-enacted scenes with my Star Wars figures, too as a kid. As I got older I worked and acted for the Spotlight Players Community Theater in Ozone Park as I was studying for my B.A. in Film Studies at Hunter College in NYC, but college was so boring to me I would always cut to go see a movie or explore the city (laughs). I then worked for an eye glass magazine; after I had enough of the cubicle farm job for a year, I put my head back on straight and became a teacher.

Teaching changed my life because it pointed me in all the right directions, plus I give share with students what I have learned. I teach English, film, photography and drama for HS students and I also teach at New York Film Academy. Along the way I taught a great bunch of students who wanted to be a part of this business too, so they worked hard and they are in their twenties now. They have gone on to become a part of the film business with me, which helps ease the nerves at times. We all work along side each other on different projects while working with other professionals. I studied with Horacio Marquinez a great DP and mentor. However, the best thing I did was I attended a whole summer at the Maine Film/Photographic Institute in Rockport, Maine where I studied with some of the best cinematographers in Hollywood: Michael Goi, ASC; Mark Raker; and Jaskus Laskus, ASC to name a few. Rockport was a far better education than my uneventful college years.

I also met director Alan Rowe Kelly who gave me my first break as a cinematographer on his movies The Blood Shed and Far Cry From Home. I have worked with Bravo TV for Shear Genius (NYC Casting), I shot a documentary for Vidal Sasson and Behind the Chair.com to help raise money for Hurricane Katrina victims and the list is endless. Now I shoot lots of independent horror movies with the best team of crew guys assembled, I just wrapped up my own first feature horror movie, Vindication, shot Stolis Hadjicharalambous’ action thriller Crossed and numerous shorts for Stolis, and I have appeared in Fangoria magazine issue 267 (laughs). I still pinch myself. I am very fortunate for what I have and there is more to come now that editing Vindication will be complete by this summer. Knowing I can continue to work as a filmmaker while teaching is what keeps me going. We all have to start somewhere but how we keep going is up to us.

2.) Dave: For those readers who don't understand what the art of cinematography is, can you explain what it is you do?

Bart: Simply look at life through your eyes and then change it up. Every movie I film is very different from the last one, so I have to go into each movie with a different frame of mind. Basically, a cinematographer (A.K.A. Director of Photography or DP) writes or paints with lights through particular lenses to set a visual mood for the story. You must train your eye to see light and re-shape it to reflect the image you desire. Look at great paintings like Rembrandt, watch great movies with brilliant cinematography, like Taxi Driver, Blade Runner or Half Nelson, even Robert Rodriguez’ El Mariachi is brilliant. Watch how light is playing in the movie. Look how light comes through a window or how a small candle in a dark room makes a huge statement.

Cinematographers use light to create a space, which molds the world of the movie visually. We set the mood to the story through the lighting and choice of lenses selected and our film stocks then put that all together and we get to play all day. Not a bad gig (laughs). It’s the best job to have on set next to the director. You do have to work along side the director to capture their vision and tell the story as visually as possible. Knowing when to move a camera or just hold still. You have to read the script, make notes and ask questions. It is not simply putting a camera on a tripod for no reason. There is an art to the craft. Cinematography helps the audience understand why the camera is doing what it is doing for the sake of the story without being to obtrusive to the audience. Making a movie is collaboration and with a great talented crew it worth everything. Let go of the ego; surrounding yourself with great, and yes, fun talent which makes the process much easier. With the crew we laugh all day while working hard.

Two great documentaries to watch are Visions of Light: The Art of Cinematography and Cinematographer’s Style. These are the visual bibles of cinematography about movies and cinematographers. Also, I listed some of my personal favorite cinematography for horror movies: The Devil’s Rejects (Phil Parmet); The Universal classics of the 1930’s; John Carpenter’s Halloween and The Thing (both by Dean Cundy, ASC); The Exorcist (Owen Roizman, ASC); Seven (Darius Khondji, ASC); Friday the 13th VI-Jason Lives (Jon Kranhouse); and of course my personal favorite, the original The Texas Chainsaw Massacre (Daniel Pearl, ASC).

Some of my great cinematographers: Ellen Kuras, ASC; Vittorio Storarro, ASC; Daniel Pearl, ASC; Rodrigo Prietro, ASC; Dion Beebe, ASC; Greg Toland, ASC, Matthew Libatique, ASC. Janus Kaminski, ASC. My list is endless as they are great craftspeople in capturing light. ASC stands for American Society of Cinematographers.


3.) Dave: Many films claim to hearken a return to "old school horror," but the cinematography in Alan Rowe Kelly's The Blood Shed (especially the shots from and around the property) invoke memories of The Texas Chainsaw Massacre. Did you try for that effect or is that just the way it turned out?

Bart: The Blood Shed is a combination of “effect” and “the way it turned out.” I am very much inspired by Daniel Pearl’s work on TCM, but I of course as a DP I really wanted to add my own look and style into The Blood Shed. When I read the script it had that Chainsaw feel to it and Alan had stated this before hand, too. But as I read the script I felt The Blood Shed has much more of a twisted sense of humor, almost like a crazy carnival, but TCM is a much more serious movie with hidden dark humor to it. As I photographed The Blood Shed I purposely created three distinct looks for it: using color temperature, certain lenses and of course the great acting, costumes and sets to work within. It is over the top and that is how I saw best to film it. One look for the camera was for the Bullion family, the camera was always handheld or on a steddie-pod. It was never really static. I put Dutch angles to it and used a very wide lens to distort character expressions so I could create certain moods at times. This was important in conveying who these characters are, crazy backwoods folks. The Bullion family’s lighting was always very warm in color temperature with a colorful palette and a soft look to it with lots of Christmas lights for the disturbing horror of what the family does.

The second look was the model agency, which to me was a grid-like structure always on tripod and very straight on like models on a photo shoot. I also put a touch of blue for coldness. The last section was the suburban neighbors which combined the other two looks when necessary. On The Blood Shed I needed to tell the story in the most visual distinctive way possible while using the budget we had for it, so the audience can feel what it is like to live within the world of The Blood Shed. When you watch Stolis’ Crossed it is filmed as an independent gritty action thriller, deeper colors, more of an objective point of view, which looks nothing like The Blood Shed. Crossed has a unique visceral style that accompanies the action of the story, and then there is my own work on Vindication, which has separate look from all the movies I have shot. Vindication is the point of view of its main character, which means the audience experiences only what Nicolas Bertram (the protagonist) experiences at the moment; it is very subjective in storytelling. Nicolas is in every scene because it is his story and his experience, just like the way we each live life. The cinematographer’s role basically is to ensure the movie’s visuals have a particular look and feel, which reflects the elements of the story.

4.) Dave: Your current project is the psychological horror film, Vindication. As the film's writer, director, producer, cinematographer and co-star, what was the most difficult process in the film's creation and how did you overcome it?

Bart: Vindication is a huge labor of love. The primary knowing is that the cast and crew make Vindication what it is because without them this horror movie is nothing more than all crazy ideas inside my head. It’s my first born child and the cast and crew is the surrogate family. Raising an actual child is much more difficult, but making a movie is never easy especially one on such a low budget. Yes, things do get tedious, but I am usually a person who never sees a problem, I’d rather look at things and say, “OK. Just deal with it and go for it.” I have a team of people who don’t bullshit me either. They tell me what I need to hear for the movie, not what I want to hear to stroke my ego. I trust them as they do me. Perhaps the most difficult process in the film’s creation has actually been just coordinating everyone’s schedules together. Scheduling is more cumbersome than anything else, or even worse having a location cancel at the last minute. The way to handle it is to go take a deep breathe and go to plan B, C, D, or E in case plan A falls. Money has also been a matter, but I would schedule the film shoot around my paycheck days, so I can spend more for Henry Borriello who does an amazing job with the makeup or get more breakaway glass. SAG was interesting because it is the actor’s union but that was just a lot of paper work for actor Patrick Cronen and Patrick delivers a fine performance. What always concerned me was feeding the cast and crew. They must be feed. I’m Italian so food is necessary (laughs).

Living upstate for a week with a cast and crew of six can be expensive, but so many people have given so much to Vindication that it has made the process of making this movie much easier. Rich Wenzel and his family gave me the cabin upstate for nothing, Alan Rowe Kelly and so many cast members opened up there homes to us. Stolis’ dad owns a deli, Hilltop Deli, in Long Island so he catered for us when I had huge cast and crew days. But my God I am blessed with Henry Borriello and his involvement with C W Post College for the use of their theaters and their lights. Now, Billy Archiello is doing an amazing score for the movie late May/early June, Javier Rodriguez is mixing my sound, Stolis is editing, Chris Otis plays a mean Time Keeper; and Dominic Sivilli is the best assistant I can have. Keith Fraser, the lead actor, god bless him, he is very dedicated and willing to go beyond the means of the movie. He has always been there since the short movie. Alan Rowe has introduced me to his company of talent: SAG actor Patrick Cronen, Jerry Murdock and Zoë Daelman-Chlanda. Henry Borriello and C W Post introduced me the talented Jessie May Laumann and Talia Morrero; also Vindication’s talented costume designer Brittany R. Jones-Pugh. And Dom introduced me Miguel Lopez. I wish I could pay them all more than they get. I can name all of them, but the way I have overcome any problem is simple, if you haven’t already figured it out: I have surrounded myself with the most dedicated, generous and talented group of individual people who trust and believe in Vindication and my vision for it.

Kind of funny but Vindication is a horror movie, but it has been made with so much fun you never would guess it is horror movie when we are on set. You know 4,000 of our American troops were killed in Iraq, so for me there are much bigger problems in the world than making a movie like Vindication. During the filming of this movie I have seen parents and friends die, so if the key light isn’t working or someone is late just fix the issue and move on. Laughter is key to overcome many problems when making a movie!

5.) Dave: Can you give us a glimpse into what your writing process was like while you were writing Vindication?

Bart: Vindication writes itself, I am just the stenographer to the movie (laughs). Writing for me is a lot like method acting. From the setting, to the mood, to creating certain characters, Vindication tells me what to write. For example, Nicolas roommate, Michel, is an UN-stereo typical gay character, played genuinely by Miguel Lopez. I never set out to write a gay character, but Michel was there. I do research for the story by reading books, plays, essay, monologues; I also have tons of images from paintings, photography and commercial shoots, I dive into my own private life, and just looking at life in general. All of this helps me to understand the world I am writing about, thus creating Vindication.

With writing it is also the only time I have alone with these characters, so I have to be very intimate with them. Afterwards the actors get them, then production, and then Stolis (the editor) has his fair share, too. While I write I act out the scenes to listen to the characters playing off one another. Nicolas was difficult to write because Nicolas represents many people who feel alone or lost in the world, so there is this responsibility to ensure Nicolas is believable. Also, Nicolas never spoke much. His actions and visuals speak for him. The characters around him help guide him with their spoken words. I do get attached to my characters too. I remember writing Nicolas’ suicide attempt and it was very painful to write. I really felt bad for this kid. Here is a twenty-year old kid, lonely, guilty of so much who then strips down to bare himself; he has all these cuts on his naked body, he is a cutter, and then he grabs a razor while he gets into the tub. The hardest part was where it was leading up to. Why is that so hard to write? Because Nicolas is in such emotional pain and he truly believes if he escape the pain of life through death all will be better. However, personally, asking the actor, Keith, to go nude for the scene was a bit odd (laughs), but Keith is a total professional of an actor and he believed in who Nicolas represents; Keith trusted my direction, so Keith did the scene nude. I am in debt to him.

Now, I knew Nicolas was going to attempt suicide but I just can’t sit down and write that scene from beginning to end. It doesn’t work that way for me. It is a process. Scenes come to me and I write them down: napkins, pizza box, paper, in a coffee shop, at home, the shower is the best place oddly, and NYC subways, wherever. When I sit to write it in script form I have a dictionary, a thesaurus, and all the material that are inspiring to the story. I just write Vindication as it is told to me. Then I put the scenes together the way Vindication tells me to. It sounds crazy but writing Vindication, as hard as it is to write at times, was as truthful I have ever been as a filmmaker. If writing, visually or verbally, is the communication of ideas and expressing those ideas was very scary then all filmmakers must expose themselves in their work somehow; otherwise, the audience does not believe it. Vindication is a simple story: a young man dealing with who he really is in life, just within the horror genre.

6.)Dave: Along with Alan Rowe Kelly, Joshua Nelson and Stolis Hadjicharalambous, you were recently featured in Fangoria Magazine about independent filmmakers. How has your life changed since that fantastic article hit the newsstands?

Bart: I am still on cloud nine still after Fangoria issue 267 hit newsstands. I have been reading Fangoria since I was six years old and have every issue since 1987. To be a part of the Fangoria history is a dream come true. I remember the night I got the issue, it was at The Blood Shed premiere and all four of us were like kids in a candy shop. Joshua Nelson and I more so as we are the same age growing up with the magazine. My knees were shaking as I looked through the magazine. My friends and family were all there to share in that magazine, so I am very grateful and blessed for Alan Rowe Kelly and Michael Gingold for believing in my work. I can say the issue has solidified me as a filmmaker so it has helped me to talk to people who are like me trying to get a break in the film business. I get some recognition and work has stemmed out of it, so I am not complaining. But since I have been in Fangoria I now know I am responsible for working hard to deliver a great horror piece; not just simple blood and guts storytelling.

Vindication has been given a chance within the horror community, so the responsibility to deliver a movie that does more than just slice and dice characters for celluloid is important to me. It’s like the new Friday the 13th movie coming out in ’09. I know some people are moaning, but I will be first in line for this one. Jason is my favorite villain. Yes, Marcus Niespal and his team have a responsibility to make not just another Jason movie, but a great movie in general. Marcus is a great director so I am hoping this Jason will blow me out of the water. If not give me the money I know exactly what to do for a Jason story. Fangoria magazine has high expectations for filmmakers in the horror genre and just like audiences there are expectations when watching Vindication. If not Fangoria suffers and so does the genre. Look at the westerns, dead. Since Fangoria gave me a nod I now have to acknowledge back by ensuring Vindication is done right. So pressure is how Fangoria changed my life. Thanks Fangoria (laughs)!

7.) Dave: What sparks your creativity?

Bart: Oh, man, so many things spark my creativity. There is a great mystic from India his name is Pantajali, he lived around the third century B.C. and he talks about inspiration. Pantajali says when a person is inspired by some great purpose the mind begins to break boundaries and the consciousness expands and that person can then begin to discover he or she is a greater person than they ever dreamed themselves to be. So for me it may be a single image I see or a piece of music I hear that could start off my creative juices. I am very much inspired by life itself, even when tragedy is happening. When I am on a set I can start to see what the actors are bringing to the movie and it’s like the creative flow is racing through my system. The cast and crew laugh because I get all excited about what they are bringing to the project. Also, anything from a sunset, to museums, to sensuality, to even go whale watching off the coat of Long Island is all inspiring to me for creativity.

I love going to the theater, Off-Broadway has such talent, even photo galleries, just to see what the photographer is saying through visuals images. Dancers spark energy in me. They way they move and use dance to express themselves. It’s about the visual image; filmmakers have to be aware of it in the world around them; it is life that we are telling stories about. Now what I also feel helps me to continue to be creative is I love to physically work out and be try to maintain a healthy lifestyle, but a great cheeseburger from Paul’s Burger Joint on 2nd Ave. and St. Mark’s Place is inspiring, too (laughs). Staying physically fit just keeps me fresh and wanting to do more. It’s sad when I see people so tired and sleepy and negative all the time. Like many people, I too have seen and experienced a lot of unfortunate happenings in my life; I buried my dad after a two year battle with brain cancer. After his death I understood I have no time to wait around for things to come my way. Life really is too short. I put myself out there to experience life, take risks, which helps me to be creative in my work. Plus, I am a lucky S.O.B. I live in NYC the greatest city for all creative energy!

8.) Dave: What projects are you currently working on and what can we expect from you in the upcoming months?

Bart: I am finishing up cinematography work on Stolis’ Crossed, which I have seen a rough cut of the movie and I am blown away by how it is coming out as an action thriller. Then Stolis, the crew and I are then filming his thesis film for SVA this fall. Alan Rowe Kelly and I are working on a new short titled Down the Drain for a trilogy series he has worked on with Anthony Sumner (By Her Hands.). This would be the final piece to an anthology movie: By Her Hands and Far Cry from Home are the other two pieces. We all get started this June on Down the Drain so it will nice be working with Alan and Anthony again.

Besides all of that I am currently with Vindication in post production as Stolis is editing, Billy Archiello begins scoring for the movie in late May/early June and I have already heard some of it. Billy is creating a dramatic piece of music which uses horror, drama, and all these other emotions to add to the mood of the movie. Javier Rodriguez is going to soon be working on sound and then it is off to final sound mix with Tom Burns, who does Alan Rowe Kelly’s movies. Needless to say I am a very happy filmmaker right now. After post I then promote Vindication into film festivals and other venues plus distribution. Besides teaching high school seniors, I’m also teaching at the New York Film Academy in NYC where I teach camera and lighting to film students, which I am very excited about. I get to spread the good word of filmmaking even more (laughs), but I enjoy just helping and teaching people about helping them to study their craft. I seriously have to put myself out in the film world because I enjoy the work. Your work and your work ethics will define you, so just keep setting up goals and making sure you accomplish them. As for my own next big project, I just want to ensure that Vindication gets out there to find its audience.

9.) Dave: With online streaming video becoming such a hot commodity, do you think that the future of independent cinema is going to be online-based and if so, how do you feel about that?

Bart: I just came home from watching Jaws and Back to the Future at the Zeigfeld movie theater in Manhattan. I can’t begin to explain how big the screen is and how amazing it is to watch a movie up on the big screen. It is an event. I am in awe by the theater for motion pictures. How the lights dim the theater, to the projector emitting this huge source of light that flickers onto the screen and at 24 frames per second (normal speed) these images move an audience. That is church for me.

I am also of the generation between the movie theater and the on-line streaming, so both are a great way for filmmakers to get their work out there. Just watch Jaws, Star Wars, or Friday the 13th on the big screen and you will know why I love movies. I am not a fan of people capturing fifteen minutes of fame or watching movies on screens the size of my palm, that is ridiculous, but this new type of venue is the where the film community is also heading, so I have become a part of this new process. That doesn’t mean my work should suffer. If anything this knowledge now forces me to realize I can now promote my own work easier and still show it to mass audiences, right from the comfort of my own home. With online streaming there is much more competition so the market will flood making it even harder for not only independent filmmakers, but Hollywood, too. The world is changing radically through technology so are the audiences. If independent filmmakers want to thrive then they must become a part of this process. There will always be venues to get our work out there: Film festivals, conventions, midnight screenings, your own web site, even setting up your own makeshift theater to promote your movie. Plain and simple, we have to learn how to play the business game. Right now, Hollywood and even the music industry is learning like many of us are. They may have more money, but that doesn’t mean they have better stories to tell. I think Francis Ford Coppola said when he was making Apocalypse Now the future of filmmaking will be strapped onto a kid’s back. He was so right. If anything on-line streaming is just another outlet for independent filmmakers to showcase their work, BUT the artist must still maintain artistic integrity when creating work for all venues, including on-line streaming.


10.) Dave: What advice would you give to someone looking to enter the independent film industry?

Bart: Michelangelo said of his beautiful statue of David that David has always been in the marble, “I just had to chip away at it to get to him.” Be open-minded towards all art forms. Responsibility for making better movies is vital! Persistence! Determination! Believability within Self! Art and vision is what you will bring to the project, but remember this is an entertainment business that thrives on dollars and cents. You need to understand contracts and financial needs so don’t short change yourself in that regard. Outside of the business aspect, filmmakers have so much great equipment out there to tell stories. Making a movie can be an expensive at times and can be a tedious process, but the great independent filmmaker John Cassavetes proved that making an independent movie is very accessible. NO EXCUSES!

TALK IS CHEAP AND ACTION SPEAKS LOUDER THAN WORDS!

There is no room in this business for lazy people, especially lazy filmmakers. Sorry, but the bottom line is get UP off your ass, get the equipment to go out and shoot something special. Be creative! Think outside the box. Know your resources to learn how to utilize them. The more you keep making movies and learning about the equipment – whether animation, documentaries, shorts, avant-garde, commercials, genre pictures or even feature films - the more you will see your work improve with the next project. If you need money to make a movie – get a job, save up, sell a screenplay, and then go out and make the movie. Trust me this business thrives on talk, so shut up and make your vision a reality. Filmmakers shouldn’t get caught up in the “should I shoot it on film or video?” nonsense! It’s like great painters arguing over water color or pastels. It is up to you. Just get started. If you do great work that is all they need to see. Build YOUR reel. Filmmaker’s go out to film! Start to capture life the way you see then let that light shine through the lens of your choice. Figure it out! All the answers are out there. There are over one-hundred ways to become involved creatively. Overall, you already know you are the catalysts for your own life; therefore you are responsible for how you live and how you film. Filmmaking isn’t an easy way of making a living, but when you are involved it is great feeling.

Who knows what the future holds, but as you have read this interview it is clearly obvious the people I have surrounded myself with have helped me to get to this point, it is impossible to do it alone, but without the persistence of believing in oneself then nothing would have happened. Being a filmmaker and my love for movies has changed my life and to a major extent it has also saved it. Aristotle in his book Poetics states, “Action defines character.” Well then dear reader, take action to define you as a filmmaker! Vindication was made with a simple thought in my mind, which now has transformed reality into action, “I too am a filmmaker.”

Bart’ Favorite Thirteen Horror Movies (or creepy ass movies)
(No order and it the list changes every week)
Jaws
Friday the 13th pts: 1- 4, 6, Freddy VS. Jason are the best of the series
Halloween – John Carpenter
Frankenstein and Bride of Frankenstein
Nightmare on Elm Street: 1, 3 and New nightmare are the best.
Psycho – Hitchcock’s of course
Texas Chainsaw Massacre 1975 ( re-make was well done)
Seven
Requiem for a Dream
Grindhouse by Robert Rodriguez and Tarantino
The Last Winter – Larry Fessenden
The Mist – Frank Darabont
Taxi Driver

Thank you so much, Dave, for this opportunity to share some words with other fellow filmmakers, especially the horror crowd. I encourage all filmmakers to please let me know what they are doing. Contact me for any comments or questions. I welcome it.


I want to thank Bart Mastronardi for taking the time out of his busy schedule to answer my questions and for his extreme patience in waiting for them! A teacher, a filmmaker and a great guy on top of that, Bart's star is just beginning to fully shine and I appreciate getting to interview him before his talent turns into a supernova. Be on the lookout for this fantastic filmmaker and be sure to check out Vindication when it becomes available in the fall of ’08, but go the movie’s myspace for further details, too: http://www.myspace.com/vindicationmovie
For more information on Bart, visit his myspace page at http://www.myspace.com/mastropieceproduction.

DVD Review: Deadly End

As Deadly End begins, I start wondering is it is too late to hit the eject button. But, I bravely sit through the poor sound and not-exactly-pristine video and eventually, I am rewarded with a movie that's not too bad. The story finds us following a young couple as they move into their new home in a suspiciously barren neighborhood. But not long after Bob and Wendy Peterson move in, their overbearing and off-kilter neighbor, Adrian Trumbull begins taking his "friendly" tendencies a little too far. What ensues is sometimes funny, sometimes gross and overall kind of nonsensicle. Deadly End features decent acting, with Nick Searcy giving a truly "gut-wrenching" performance. See the film and you'll know what I mean. Deadly End is a nice little film, but I don't think a lot of people will like it as it does push the limits. I, however, am not most people, and while I thought there were a few loose ends not tied up or never explained in the first place, I thought Deadly End was rather decent. Deadly End gets *** out of *****.

CD Review: Cheat the Devil by The Young Werewolves

Philadelphia is probably best known in the music world as the birthplace of rhythym and blues, but don't let that fool you, it's also home to some of the best horror rock around, and no, I'm not talking about Richie Sambora's solo album. The Young Werewolves return with "Cheat the Devil," an album full of clawing guitars, snarling vocals and as if that weren't enough, the 'wolves grabbed Sid Haig! The legendary horror actor lends his deep baritone for the intro to "Dr. Jekyll and Mr. Hyde" and he also gets an executive producer credit.

The CD starts off with the rollicking "Hollywood," a guitar-driven tune guaranteed to have you howling along with the chorus. Next up is "Mischief Night," and Shewolf Dana Kain sings this one like she'll just as soon stab you in the gut as soon as give you a wink. "Devil Dancer Girl" has the 'wolves showcasing their rockabilly tendencies and "Cheatin' the Devil" kicks it up a frenetic notch. I think I actually had flames coming out of my speakers when I cranked the latter tune up! Next up is "Run Away," one of the best overall songs on the album as far as lyrics and music are concerned, simply excellent. "Fire" starts like a slow burn and steadily heats up to an inferno of hellacious goodness! Following an ominous lead in by Mr. Haig, "Dr. Jeckyll and Mr. Hyde" slowly grows into a steady rocker. The eighth track, "Gala Monster Rally," is sure to be an instant Halloween party staple as it is purely groovy. "Satan's Daughter" finds the 'wolves back in their rockabilly groove with a little Reverand Horton Heat-esque attitude thrown in for good measure. "Touched by a Demon" and "Guns,Guns,Guns" are solid rockers and "Shapeshifter" has an instantly infectious groove that's primed for gyrating with your favorite wolf on the dance floor as everybody sings --"Everybody's howling, Everybody's howling in the moonlight!." The CD's final listed track is "Tattooed Aliens," and it's an enjoyable little ditty with some out-of-this-world guitar antics. There is a bonus track on the CD, and since it's not listed on the back of the disc, I'm not going to reveal it here. All I can say is it's a fitting song for these hungry 'wolves yet not a song I would have ever imagined them covering, but it just goes to show that when it comes to the Young Werewolves, they have plenty of suprises up their sleeves. Perhaps that's how they were able to Cheat the Devil!

The Young Werewolves are back! And they've brought with them a fantastic album full of diversity. From punk to rockabilly to pure rock-n-roll, the Young Werewolves show once again why they lead the horror rock pack in Philadelphia. Cheat the Devil is a hands-down winner - ****1/2 out of ***** aces!!

DVD Review: Catacombs

From the producers of Saw, we get the new DVD release, Catacombs. Featuring Alecia Moore (Pink) in a small role, the movie takes place in the underground catacombs of Paris, where all of the all-night parties are really happening. Except, it would seem as if the party-goers aren't the only ones having fun in the dark!

The plot follows Victoria (Shannyn Sossamon) as she heads to Paris to visit her fun-loving sister Carolyn (Pink). At the urging of her sister, Victoria finds herself at an underground all-night rave. The emotionally-unbalanced-to-begin-with Victoria is in for the time of her life, or death, whichever way you look at it. There is a twist thrown in at the end, a slightly overused one, but it does work well with this story.

The acting was actually pretty good as well as the direction. The film's look was rather grainy, but maybe that was their intention. The scenes in the catacombs were often very claustrophobic and well-shot. As pitch black as it was down there, the director did a good job of effectively using the light sources the characters had.

I thought Catacombs was a decent little movie overall. There were some loose ends that were never tied unfortunately, but that didn't stop the movie from being unwatchable. Catacombs gets *** out of *****.

See The Kimballs LIVE!! For FREE!!

Yeah, that's right! The Kimballs...for FREE!! As you can see in this killer poster above, the place is Otto's Shrunken Head Tiki Bar and Lounge on Sunday, March 2nd. If you're in the area around 6:45 pm, stop in and tell Tom Burns, "Dave sent me, man!" In case you didn't know, The Kimballs is the independent rock band headed by my main man and master horror composer, Tom Burns. Don't worry though, nobody usually dies at his shows...usually.

Before you leave, check out my interview with Tom by clicking HERE!!

10 Questions for...Jerry Murdock

When most people think about B-movies or low-budget movies in general, the last thing they typically think about is stellar acting. But one glimpse of my next guest will have you thinking differently if you catch one of his groundbreaking performances. Equally adept at playing a bit part or an incredible dual role, Jerry Murdock is nothing if not consistently great! His latest role, as Sheriff Brogan in The Blood Shed is just another fantastic portrayal for the epitome of versatility that is Jerry Murdock! Now, without further ado, here are 10 Questions for…Jerry Murdock.

1.) Dave: How long have you been acting and how did you break into it?

Jerry: I “broke into it” when I was 26, by accident. I was bartending at a restaurant in upstate New York as a summer job where the owners put on dinner theater productions. The woman who ran the production company asked me if I was interested in trying out for an upcoming play, SHIP’S AHOY. The character was an all-American college football player, and I seemed to physically fit the bill. Actually, I found out later I was a desperation choice. She couldn’t find anyone else to do it! She didn’t even know if I could act my way out of a wet paper bag. Fortunately, I guess I had a knack for performing and after that show I continued on, doing comedy, drama, improv, in the regional theater circuit, really testing my chops. After a few years, I thought I would head down to New York to see if I could do film, television, or anything else. You can only kick around the upstate theater circuit for so long before you become a bitter community theater has-been with a drinking problem, complaining about your missed opportunities.

2.) Dave: How do you prepare for a role?

Jerry: I read the script a few times, picking up on little clues, and then sit down with the director and toss ideas at them. My goal is to make it interesting, whether it is speech, mannerisms, physical appearance or whatnot, when I end up on set, I try to be under the character’s skin. I’m not an obsessive planner, but I do give it ample thought. The one thing I try to be very cognizant of is to never repeat myself. I try to throw some dynamic into the performance that is different each time. I really don’t want to end up being a one-trick pony, doing the same bit over and over again.

3.) Dave: Your dual portrayal of twin brothers Jake and Mitch Geraldi in I'll Bury You Tomorrow was incredible. I actually had to wait until the end credits to make sure that both characters were played by you. How did you manage that memorable performance?

Jerry: I’m flattered that people enjoyed that performance, because Alan Rowe Kelly will tell you that I never thought we could pull it off. You know, the wig, make-up, contact lenses and all that can only take you so far. The performances could have very easily fell into some bad characterization, and the whole thing would have made the film and myself look foolish, which is what I was convinced was happening while we were shooting it. Alan deserves a lot of the credit because he not only guided me on what was working and not working with the two characters; he was constantly re-assuring me that the whole concept would be effective. I didn’t believe it until it was finally screened and I realized we did fool people. I think all that doubt I had when shooting helped tremendously.

4.) Dave: What inspires you creatively?

Jerry: People, all kinds of different people. I could sit in a park all day and just check out the way people act, talk, and carry themselves. You sit back and try to figure out their story. The couple arguing, the guy talking to himself, the girl crying, the old man laughing, they all have a story. I find it interesting to wonder why, which leads to all kinds of creative impulses when it comes time to “create”. Also, great films, great music, great art, it can all be inspiring.

5.) Dave: You've acted in soap operas, independent horror movies, commercials and a wide range of other projects. What is your favorite genre of work and why?

Jerry: Horror movies, by far. You really get a chance to let loose, and the more outrageous the character, the better. I have to say, though, that I really haven’t had too many opportunities to do a drama, or other serious pieces. I would like to tackle something like that, eventually. I do love comedy. I did a short film last year called DING DONG DATE, and it reminded me how much I loved comedy when I was doing the theater work. I would love to do more. The soap opera and commercial work were less gratifying because it was usually just minor scenes; say your few bit lines, hit your marks and take your check. No input, no creative freedom. The benefit, however, was the money!

6.) Dave: Are you more comfortable in front of the screen, or do you have a desire to work behind the camera at some point?

Jerry: I’m comfortable in front of the camera, but I’m one of those guys that would like to direct one day. Right now, I’m not sure I’m ready to take that leap. What I do when I’m on set is to watch and listen to the creative processes of the filmmakers that I work with. That’s the best film school there is, in my opinion. Whether it is Alan Rowe Kelly, Bart Mastronardi, Stolis Hadjicharalambous, or Anthony Sumner, I have learned something from each of them. So one day, I’ll try to tackle a project of my own, and try not to beat the actors with sharp sticks, like those clowns do.

7.) Dave: What are your favorite and least favorite parts of the acting process?

Jerry: Shooting with other amazing actors. When working opposite a strong actor, it really ups the ante and pushes me to be better. When they are right there with you, it makes me, the scene and the film better. Fearless actors; that’s the best part, and I’ve been quite fortunate to have had the pleasure of working with my share. The least favorite part of the acting process is actually finishing a project. If it’s a part I really enjoyed, I go through withdrawal when it’s all over.

8.) Dave: What will we be seeing you in next?

Jerry: Well, this is going to be an interesting year. It’s as if the floodgates have opened. I have two films I’ve appeared in and I’m quite proud of; Bart Mastronardi’s VINDICATION and Stolis Hadjicharalambous’s CROSSED which are going to be phenomenal. Be sure to keep your eye open for those.
I also finished Anthony Sumner’s BY HER HAND, which is going to be teamed with Alan Rowe Kelly’s long-simmering A FAR CRY FROM HOME for a yet-untitled anthology piece. Alan will be shooting the third chapter of the anthology, DOWN THE DRAIN, this spring, where I’ll appear as a nebbish down-on his luck teacher. Also, we have the web series THE HOLLOWS set to roll sometime this year, where I’ll play an alcoholic minister. There are a few other potential projects that aren’t confirmed yet, but it would be great if they panned out. As you can see, it will be a busy year, and will certainly keep me off the streets.

9.) Dave: If your life had taken another road, what do you think you would be doing if you were not an actor?

Jerry: Well, my life has taken another road. I’m a teacher, and consider myself an actor part-time. I essentially perform five times a day. Just imagine trying to make history entertaining for kids! I’ve got my bag of tricks, and the kids seem to enjoy my class, so it’s gratifying. Right now I’m finishing up my master’s degree and am considering going on to get my doctorate. Perhaps I’ll teach at the university level one day. So, first and foremost, I’m a teacher, but the acting aspect will always be with me. I look forward to doing it as I age rather gracefully, I hope.

10.) Dave: If someone was interested in entering the acting profession, what would be the best advice you could give that person?

Jerry: Get involved and just do it. That’s the only way to get ahead. I’m not a big supporter of acting schools and teachers to help you “act”. Granted, there are a few who are worth their salt, but most of them are scams, with bitter failed actors who are forced to teach to pay the bills. The problem is, there are so many of them, you’re more than likely to fall into a meaningless class with a failed “professional” actor as a teacher. They won’t give you an honest assessment of your talent or potential, because you pay their bills for all the priceless wisdom they bestow upon you.
The harsh reality of this business is: you’ve either ‘got it’ or you don’t. The only way to find out if you’ve got the chops to make a go at this profession is to get out there and audition for any kind of role you can get your hands on (except porn, the career killer!). You’ll find out rather quickly where you stand in the acting food chain. Be patient, thick-skinned and persistent. If you’ve got the talent, let the chips fall where they may.


I want to thank Jerry Murdock for taking the time out of his busy schedule to answer my questions. If you haven't had the pleasure to witness one of Jerry Murdock's performances, then you are missing out on the work one of the better actors in the industry. Memorable roles, remarkable performances and quite frankly, a hell of a guy, discover more about Jerry Murdock by visiting his Myspace page at http://www.myspace.com/jermrdk.

DVD Review: Primal

When my email inbox notified me that I was getting the new release Primal, I was excited to say the least. As you probably already know, I'm a Bigfoot freak. I try to see every film, every documentary or television program about the beast and I try to read every book I can find on him as well. And while I love researching the big guy, I cannot say that I'm an expert on him. But of this I am certain, the monster in Primal is about as far away from Bigfoot as the Loch Ness Monster is! I actually had to reverse the DVD to make sure I saw what I thought I saw!

That being said, the monster is not just the film's weak spot, but it's also what makes the film so endearing. No, I'm not smoking Bigfoot dung! You have to watch the movie to see what I mean. Upon first glance of the beast, I was ready to take a hammer to my DVD player for displaying such a contrived juvenile monstrosity such as this before my eyes. But alas, my garage is in such a shambles, I had no choice but to let the disc play (what, get up and turn the disc off manually? Never!).

Once I settled into the movie, I was surprised to discover that I was actually liking this thing. I wasn't loving it, but I was sitting there with a stupid look on my face like the look I make when I actually get a warm Big Mac from my local McDonalds. A rare, nice surprise.

Oh, as for the plot, a bunch of kids venture into an unchartered part of the forest as they are doing a survelliance mission for big oil, and they get knocked off one by one by you know who (in a series of repetitive attacks). A small film that's big on ambition, Primal won't be winning any awards, but it was fun nonetheless. I give Primal *** out of *****.

10 Questions for...Tom Burns

Have you ever noticed how a film's score can add to the experience of watching a memorable movie? With subtle undertones, skin-crawling crescendos and light melodies composed to get the hair on the back of your neck to stand, Tom Burns has been stamping his fingerprint notes on many award-winning independent films like The Blood Shed and I'll Bury You Tomorrow as well as with his indie rock group, The Kimballs. A musician since the tender age of five, Tom Burns is also the founder of his own music production company, Really Horrible Music. It's truly my pleasure to give to you, 10 Questions for…Tom Burns!


1.) Dave: How did your career in music begin?

Tom: My Dad worked as a double bass player, and my Mom had done some singing, so music and musicians were regarded very highly in our house. When my aunt bought me a tiny drum kit for my fifth birthday, I realized that making music was what I wanted to do.

I played music in school every chance I got, and in my teens I played in bands with my friends, including drummer Michael Mark, my partner in THE KIMBALLS.

I also studied privately with the late Jack Winters, a brilliant percussionist and composer from the Manhattan avant-garde music scene. He introduced me to great 20th Century composers like György Ligeti, Krzysztof Penderecki and Iannis Xenakis, whose works inspired me to write and record my own compositions.


2.) Dave: Can you explain your process of scoring a film?

Tom: I start by watching a final cut of the film, and I talk with the director about what stylistic direction he or she wants to take the project in. We make notes regarding specific cues. Then I decide on the instrumentation and sound design, write some parts and record the music.

When I work on film projects with Alan Rowe Kelly, the process starts a lot earlier. I often go location scouting with him, so I start to get ideas for the score by walking through the “movie” in real-life!


3.) Dave: What inspires you creatively?

Tom: Listening to great, recorded music and watching great musicians perform always helps.


4.) Dave: What musical composition (either in film or outside of it) are you most proud of?

Tom: I’LL BURY YOU TOMORROW, “Main Theme. ” Orlando Wells is a world-class violinist and violist, and is also a good friend. He performed all of the live string playing on the recording. His virtuoso technique and his knowledge of extended techniques gave my score the balance of pretty/scary that I was shooting for.


5.) Dave: What is your all-time favorite film score (not your own) and why?

Tom: Max Steiner, KING KONG, 1933. The vivid musical themes make all of the characters bigger than life; the instrumentation is so rich, from Manhattan to Skull Island and back. It’s the template for the modern Hollywood blockbuster score.


6.) Dave: In most B-movies, the audio typically suffers, but not in the films where your music appears. How does your music remain so crisp in these films?

Tom: I was fortunate to learn from some of the best recording engineers in the industry, when I worked as an assistant engineer at Axis Studios in New York City. Pioneer, dance music producer Francois Kevorkian owned the studio, and his attention to detail is legendary!

After Axis closed and I started working as a freelance editor/engineer, I was able to put together a good project studio of my own, which is how I started Really Horrible Music. My dear friend Alan Rowe Kelly was my first client, and the first project we did was his film I’LL BURY YOU TOMORROW.


7.) Dave: Do you ever find yourself creatively blocked and if so, how do you get over it?

Tom: Get out of the studio! This weekend I went to a punk rock show with my wife, scream queen Katherine O’Sullivan and my good friend actor Jerry Murdock – we had a blast! After I’ve had some fun, I’m usually ready to get back to work.


8.) Dave: When you score a film, how much musical direction do you get from the director?

Tom: I think a good director knows he or she is working with a good composer when they can give you a final cut, tell you what they’re aiming for and then leave you to it.

Working with Alan Rowe Kelly is a special situation for me, because we’ve been friends for so long, and we have a lot of the same ideas about what’s cool in a horror film!


9.) Dave: What upcoming projects do you have in the works?

Tom: I just finished the score for Alan Rowe Kelly’s upcoming horror short, A FAR CRY FROM HOME. I used all vintage, analog equipment to convey the 1970’s grind-house feel that Alan had in mind. Now we have to sync everything to picture and mix the sound, so there’s plenty of work ahead.

I’m also expanding my Really Horrible Music studio to include post-production services, which is exciting but requires a lot of planning.

In March, I’m recording a free improvisation session with my old friend Richard Kimball; that should be fun. His band, Panic Attack Pills, has a terrific song in A FAR CRY FROM HOME.


10.) Dave: If you were able to pick a project, any project, what would your dream project be?

Tom: My dream project is always my current project. I hope they keep coming!



Between composing films, writing or performing with The Kimballs and managing Really Horrible Music, Tom is incredibly busy, so I am truly honored that he has taken the time to spend with us here today. To learn more about this magical composer, check out his Myspace page at http://www.myspace.com/reallyhorriblemusic. For more on The Kimballs, visit http://www.myspace.com/thekimballs or the band's official website at http://www.thekimballsrock.com/.

*Photo by George Schaller

DVD Review: Boogeyman 2

Ghosthouse rolls out the second installment in its Boogyman franchise and while it's definitely better than the first, it still has a way to go. Boogeyman 2 features the talent of one Tobin Bell, who is better known as Jigsaw in the Saw films and while his acting is good, it's not really that far of a stretch for the actor. Here's what I liked about this film: the "boogeyman" was a little more effective in this film, expecially since it wasn't a CGI character, there were a few "jump" instances and the sound was quite good. Plus, the plot was a little better this time around, although it's not what you would call robust.

The plot follows a brother and sister, who watched as their parents were brutally murdered when they were young. After the brother finally gets out of the psychiatric hospital, his sister decides to go in to fight her fear of the boogeyman. Unfortunately, it looks like the boogeyman followed her in and one by one, people start to die.

The characters in this film are all rather annoying and you really don't feel too bad when they bite the dust. Boogeyman 2 plays like a cross between Boogeyman and the Freddy Krueger films, and while it doesn't really work, it was at least watchable. There is a third Boogeyman in the works, so it will be interesting to see if it can advance on the series the way this one did on the first. As for Boogeyman 2, I give it **1/2 out of *****.

Short Film Review: The Pod

Jeremiah Kipp's well-received short film The Pod came across my desk the other day and I have to say, once I watched it, I immediately had to watch it again. The film has been making its way on the indie movie circuit and has been granted many good reviews and has even been selected as One of the 10 Best Unseen Films of 2006 by Film Threat, so needless to say, my interest was piqued.

My first reaction was, "This isn't a horror film." But once you let the film set in, you begin to realize the layers and the complexities that the film encompasses. It is only then that you realize, while it's not horror in the traditional sense, it is horror on an emotional level. The Pod stays with you long after the 19 minutes are up and it's one of those films that can instigate some good movie conversations.

As for the plot, the film follows the crumbling relationship of Caroline and Jonas. In an act of desperation to regain their connection, Jonas purchases a dose of the new relationship drug, the pod. The only thing is, you can't take the drug separately from your lover. If you do, look out. Needless to say, Jonas does.

The film is masterfully directed by Kipp, and he increases the tension with each passing minute. In addition, his actors do their jobs perfectly. Especially noteworthy was the performance of Mary Remington, who played the character Caroline with ruthless abandon. Another thing about the film that struck me as significant was that the film's soundtrack was absolutely perfect. At times hectic and crazy, it totally set the mood for the film without you even knowing it.

This is a short film that I can definitely see being expanded into a feature-length film at some time. I think that the premise is excellent to support it, and I would definitely welcome another dose of The Pod. I give it ****1/2 out of *****.

DVD Review: Hack!

Pop question, hotshot. What do you get when you combine the former good girl next door from the Wonder Years, a former soap-opera heartthrob, Duke and Paulie from the Rocky movies, the former vampire queen from Buffy, Kane Hodder and William Forsythe? Well, you get one hell of a fun movie, that's what! The horror/comedy Hack! takes you back to the good old days of slasher films.

All throughout the movie, you are treated to honorable nods to horror's past. For instance, if you look closely, you'll notice the name of the boat that takes to the co-eds to the island is Orca. Plus, with character names like Bates, Argento and Q, you know that writer/director Mike Flynn appreciates that which he pokes fun.

The film starts out brilliantly with Kane Hodder cast in the unenviable position that his victims are normally in. From there, we tag along with a group of co-eds as they travel to a remote island, the guests of the filmmakers who live there, for a weekend of studying nature. One-by-one, the co-eds begin to fall in traditional and enjoyable fashion. In terms of plot, Hack! is anything but surprising, but what is truly surprising is that you won't even care, because yes, it is well made and quite funny. I give Hack! **** out of *****. C'mon, if you don't laugh when the girl in the cage yells to William Forsythe, "Free us, Willy!" then you don't know what's funny.

10 Questions for...Mike Lane

Today, I get the immense pleasure of interviewing one of today’s most versatile actors on the independent film scene, Mike Lane. Currently, Mike is receiving critical acclaim for his portrayal of Hubcap Bullion in the unabashedly brilliant film, The Blood Shed. An actor whose subtleties speak volumes, he has the uncanny ability to steal any scene that he’s a part of, even if he’s slightly off center (screen, that is). I’m thrilled to give you 10 Questions for…Mike Lane!

1.) Dave: What was your first role and how did you land the part?

Mike: I played an up and coming mobster in an independent movie shot on Long Island. I think the original actor had bailed and I was called and given the part really close to the shooting day. It might have been the night before.

I was really sick that day and my face looked was really pale. More pale than usual. I had no lines but I got to beat up the lead character. Alas, I was then killed by a baseball bat.

I never received a copy of the movie and don’t even know if it was finished.

That was eight years ago.

Another one of my early gigs was an extra in a Verizon commercial. Times Square in New York City was closed off overnight and I along with hundreds of actors stood in the middle of the street making “V” signs with our hands. I don’t do extra work anymore.

2.) Dave: When did you know that you wanted to be an actor?

Mike: I had always enjoyed acting as kid and I used to make movies at home and school with friends.

What triggered my desire to pursue acting as a career was when I saw Star Wars Episode I :The Phantom Menace. I looked at Anakin at the end and thought “Wow he looked like me when I was his age. Wouldn’t it be cool if I had a part in a Star Wars movie?” After that thought, I had an epiphany that I wanted to be an actor. How’s that for a thought process?

I’m sure something else would have triggered this urge to act but it just happened to be Star Wars. I wrote about this experience in detail at: http://www.lightanddark.net/MikeLaneCommentary.htm#Star_Wars_and_Me

3.) Dave: What does your family think about your career choice and the films you’ve been in?

Mike: They are extremely supportive regarding my career. They were naturally worried at first due to the competitive nature of the business but they knew that I knew the risks involved.

My dad has watched everything I’ve done. My mom can’t watch me in any of my horror movies though since they’re not her thing.

I do feel very awkward when they watch a scene I’m in that has any kind of sexual content. It’s weird that I can watch movies I’m in with my Dad where I’m hacking people to pieces or getting killed, but if a naked woman is next to me in a scene I feel strange. What a society we live in.


4.) Dave: How do you prepare for a role?

Mike: It all starts with the text. I take the lines off the page and respond instinctually to each line at the moment. I follow a lot of the guidelines in How to Stop Acting by Harold Guskin which is the best acting book I’ve read. Starting with the text is one of them.

I’ve recently read the book so I look forward to putting Guskin’s approach into action. I had a much different approach in the past.

I also do some research on the characters I play but I don’t go too crazy with it. For example in my next movie, Scott Perry’s Insatiable, I play a wannabe vampire who is a serial killer. I have read a bunch articles about why real wannabe vampire serial killers do what they do just to get into their head. My research does sometimes creep in the scene at the moment. It’s all about the moment and I don’t want to force anything while acting. I sound, like, so Zen, man.

Guskin’s technique stresses that the actor still explore the possibilities of the character even during the performance. This makes the acting spontaneous, unpredictable and exciting. I strive for those qualities in any performance I give.

5.) Dave: Who or what inspires you creatively?

Mike: I am inspired by failure. When I hear of a person who had success and then lost it or never had success but tried, I feel better. This inspires me since there is someone worse off or in the same boat as me. This makes me feel better about myself, more comfortable and inspires me to work in a creative capacity. Misery certainly loves company.

I hate hearing success stories because they present a false sense of reality. Not everyone who tries to succeed will succeed. It’s a fact of life. A lot of shows and products try to convince you that anything is possible and this is not always the case. Plus I get jealous and envious of really successful people flaunting their wares around.

I certainly hope for the best but expect the worst.

On a more positive note, almost anything and everything is inspiring to me. Music, books, movies, talk radio, great debates, looking outside my window, people watching etc. Sometimes the simplest things get my creative juices flowing.

Some of my favorite movies deal with an underdogs fight against the establishment. Movies like Dead Poets Society, Glory and the original Star Wars trilogy come to mind and that is very inspiring.

6.) Dave: Did you have any input into your character in The Blood Shed, Hubcap Bullion, and whose idea was it for you to wear the hair clips (genius, by the way)?

Mike: Yes I had input on Hubcap. What’s great about Alan Rowe Kelly is that he is so receptive when it comes to creative input from anyone involved in his movie.

The character description for Hubcap was that he is “a lazy eyed sloth.” I immediately thought of the trick I can do with my eye which is usually the face I make when I’m just waking up.

When I read “sloth” I thought of slow and lazy so I started speaking Hubcap’s lines really slow. During the first table read, my lines were spoken even slower than they are in the movie. After discussing Hubcap with Alan we tweaked the character and decided to speed up my delivery.

The character of Hubcap also evolved during the shoot and I threw in some improvised rambling and other actions during some scenes.

The Blood Shed was a truly collaborative effort with Alan having the final say. Most of the time, however, he just let the actors do what we wanted but was always there if we had a question. This is one of the reasons why the movie was incredibly fun to shoot, why it turned out as great as it did and why Alan is one of my favorite directors to work with.

The hair clips as well as Hubcap’s wardrobe and look were all from the beautifully demented mind of Alan Rowe Kelly. Let’s not forget my tattered fishing vest and arm full of watches.


7.) Dave: What do you like to do when you’re not acting?

Mike: I’ve been getting into eating a raw vegan diet. I’ve been a vegan for over seven years but I’m slowly trying to transition to eating more of a raw diet since it’s one of the healthiest ways to eat. It’s a pain in the ass since to prepare some of the food because it’s a complete lifestyle change but I am enjoying the health benefits.

I also like going to raw vegan restaurants, hanging with friends at bars that play great music, reading, going to movies, spending time with family and friends, playing guitar and listening to Howard Stern, music and other kinds of talk radio while I work. Sirius satellite radio rules!

There must be a balance between my professional and personal life. If there is not, I will go insane. I recently figured this out. It took me long enough.


8.) Dave: What are the best and worst things about being an actor in independent films?

Mike: Let’s save the worst for last.

One of the best parts is that a lot of the work is edgier since there is rarely any compromise. I’m attracted to that kind of work regardless of the genre. Taking that kind of risk is exciting.

The camaraderie is great in indie film. The actors and crew are all together since there is usually no budget for separating everybody into trailers so a family atmosphere is created. The Blood Shed was one of the best sets ever because of this camaraderie.

The Worst:

The money is not good for anybody. Everybody is roughing it from the actors to the crew.

Since the money is not good there are sometimes not the most professional people involved. I’ve seen and experienced loads of incompetence. Some examples are::

-Actors and/or crew being late or not showing up
-Not receiving a finished movie after working incredibly hard on it
-Movies not being completed and not receiving a copy after working incredibly hard on them.
-Not being paid when promised I would.

I can go on and on. If I did this only for the money I would have quit a long time ago.

9.) Dave: Your talent has been widely recognized in films like The Tenement and The Blood Shed. Have you ever considered making the leap to Hollywood?

Mike: No. I’m a New Yorker. I have friends and family here. I would go to Hollywood if the work was available though. I would go anywhere to work but I would not like looking for a job in an unfamiliar place.

I would like to have Hollywood come to me instead of the other way around. With the advent of digital filmmaking and the internet making the world smaller, it’s not a necessity to go there. I know most film and TV work is found in Hollywood but if I’m going to “make it” it will be on my terms.

10.) Dave: What will we be seeing you in next?

Mike: Bill Zebub’s The Worst Horror Movie Ever Made will be premiering February 21st at The Clash Bar in Clifton NJ at 9pm. I play the Muslim Bartender and Gay Witness which are both principal roles. The movie will most likely be distributed since all of Bill’s movies land some kind of distribution. It’s a wildly offensive comedy that, believe it or not, does contain a positive message.

I recently had my whole face and body cast for an exhibit at the Civil War Museum in Kenosha Wisconsin. My likeness will be used to portray a hungry soldier.

I can also be seen as the focal point of a print ad for Dentek.

I’m currently the lead role Scott Perry’s Insatiable and a supporting player in the audio drama The Age of the Swords from Lion’s Mouth Entertainment. I also have a role in Alan’s The Hollows shooting in March.

I have other projects lined up but I won’t announce them until they are definite. Fortunately I’ve been keeping busy.

Without a doubt, Mike Lane is one of the most talented and versatile character actors of our time and with his incredible ability, he’s sure to get the notoriety he deserves. I want to thank Mike for taking a few moments out of his busy schedule to answer my questions. For more information about Mike, visit his website at http://www.lightanddark.net/MikeLane.htm, and then check out the website for his most recent film, The Blood Shed at http://www.thebloodshed.net/.

DVD Review: I'll Bury You Tomorrow

This much I now know. Alan Rowe Kelly is a genius. Hey, I'm not just saying that because I loved The Blood Shed (read the review HERE) and I was also granted a great interview him (click HERE to read it). I'm saying it because I just watched his first movie, I'll Bury You Tomorrow, and for a first-time director, it was very, very good. Why? How about the fact that even though it took three years to complete, the film is seamless. How about the fact that he has actors in his films who quite simply are amazing. Or, how about the fact that his films have a professional look, sound and feel to them that you simply don't get from many other independent films. I'll Bury You Tomorrow features a brilliant cast - Katherine O'Sullivan, Zoe Daelman Chlanda and perhaps most noteworthy, Jerry Murdock, as he takes on the challenge of dual characters effortlessly.

The plot follows a young, mysterious woman who takes on a job at a small town funeral home. To say that she has some skeletons in the closet is an understatement! Anyway, here's what ensues - corpse stealing, black market organ selling, murder, high drama and oh yeah, necrophilia. No, Alan Rowe Kelly doesn't play by the rules. In fact, this little independent thriller even breaks the rules by clocking in at a minute shy of two hours! I have to admit, while watching this film, I was transported back to the glory days of campy horror. The tone of the film, the angles, the acting, the design, the Hitchcock-esque score - they're all indicative of an Alan Rowe Kelly film. Watch this film very closely and you will quietly see a great filmmaker being born right before your eyes. I give I'll Bury You Tomorrow **** out of *****.

10 Questions for...Alan Rowe Kelly

Boy, are we in for a treat today! I was recently able to grab a few minutes with one of independent film’s busiest and most talented people. One of horror’s most glamorous scribes, Alan Rowe Kelly not only writes his films, but he acts, produces and directs them as well. His latest film, The Blood Shed, recently won the Best Feature award at the Dark Carnival Film Festival. A true talent in the industry, and one who Next Tuesday Magazine voted Best Director and Best Writer for his debut film I’ll Bury You Tomorrow in 2003, I am extremely pleased and incredibly honored to give you 10 Questions for…Alan Rowe Kelly!


1.) Dave: How did you get your first start in film?

Alan: A total accident! 1999 is when I began my 4-year journey of getting I’ll Bury You Tomorrow written, filmed, edited and distributed. Previous to that, my experience began as a make-up artist in the film and television industry – which I still work at it steadily today. Becoming a filmmaker happened quite by accident. My partners on IBYT had their own film & video production company and I worked many jobs for them as a make up stylist. We discussed our love for the genre and how fun it would be to make an old fashioned B-horror film and 'Bingo' - a fire alarm went off in my head. “Free equipment!” Once we realized how much money we would save on equipment, rentals, etc., we decided to go for it! They had the technical know-how and I had the writing talent and organizational skills for producing. We figured once we got started, we would quickly know if filming a horror movie would be 'a go' for us or not.

I’ll Bury You Tomorrow was not an easy shoot. It took three years to make, primarily shooting on weekends. My biggest challenge was to simply complete it! It took its toll on the cast and crew and, for some time, it looked as if it was never going to happen. Leads dropped out and had to be replaced. Scenes had to be shot over, money ran out, and the interest from partners dwindled. But like most low-budget movies, we made it through and the completion itself is a testament to the tenacity and support of my cast and crew. I never skimped on time or rushed through something to get it done. Since it was my first time as a director – and that was only because the “original director” never showed up for the first days of shooting - I aimed for an amount of professionalism on screen and behind-the-scenes, and, quite fortunately, everyone involved believed in it too. The film did very well on the indie circuit, won awards and was my initiation into this crazy world of independent horror.

2.) Dave: What is your writing routine like?

Alan: It’s a daily thing. At least 2 to 3 hours a day/night – whenever it comes to me. There is no rhyme or reason to the way I write but I love to tell a good story. I still type like a newspaper reporter in an old movie! I don’t use the script programs, or format my pages, or utilize any of the easier methods available for a writer on a computer. I am very old fashioned that way.

But at least when I’m done, every actor, cameraman, editor and producer who reads my script always comes back knowing exactly where the story, the characters, the setting, and look of the film is going. My scripts are part novella, part production notes all in one. It just works for me and my crew that way, so why fix it if it ain’t broke?

It excites me even to know that my point of view on paper can look exactly as written on film – if not better. So when its time for cast readings, rehearsals, and the actual filming, everyone knows and understands exactly where they have to be – yet still have plenty of room for improvisation.

I am totally glued to my scripts until that very moment when I call “Action”. Then everything tends to change, and usually for the better. I use my scripts only as a template the work day – so if changes have to be made, we make them right there at that very moment. I’m not overly attached to my words, just the point they get across on camera. And if an actor has an easier and more beneficial way of conveying that point – I’m all for it! As long as it looks good and the story moves smoothly.

The Blood Shed was a very different script than what I normally write. It was mostly a series of vignettes like many foreign films follow. A sort of “a day in the life of…” storyline. The Blood Shed was originally written as a short for the horror anthology Hung By A Thread. But it became so much bigger when filming it that we had to make it a feature. I found it very interesting that a lot of American critics really liked the film – but felt it totally lacked a plot of any kind. I always thought it had a strong beginning, middle and end. But then, a lot of folks expect a film to be only one way in structure without deviation of any kind. In the end, I’m the one who is happy with the results. If I can’t look at that film and like it – no one else is going to either.


3.) Dave: What are your favorite and least favorite parts of the filmmaking process?

Alan: All the aspects of filmmaking are my favorite part! From conception, to pre- production, to filming, to post and it’s release. Each step is a different job where I get to wear many different hats and thrive in each department. I just want to know ALL there is to making and completing a film. I want be knowledgeable of what everyone does. That’s a director’s job. That’s my favorite part, creating with other talented minds and making movies. I have learned SO much and continue to learn more and more. It’s been a remarkable education. My least favorite part about filmmaking is Financing! It is the hardest part and the dirtiest. Always an uphill battle!

4.) Dave: What inspires you creatively?

Alan: A good scare. A great horror movie. Anything that is offbeat or bent.


5.) Dave: Where did the idea for The Blood Shed come from?

Alan: It was originally slated as a short for the Hung By A Thread horror anthology that I’m producing with filmmakers’ Michael Todd Schneider and Tyler Tharpe. I knew the “cannibal family” theme had been used to the umpteenth power and I didn’t want to copy all of the Mother’s Day-American Gothic-Hills Have Eyes-TCM films, so instead we parodied them. We knew the film would be vulgar, loud, tasteless and nutty – but I never thought it would be so hilarious until we started editing. Then we began laughing our asses off! We could have taken the film it to a total serious level if we wanted, but I thought we had sort of a unique hybrid here and wanted to go for something entirely different. Everyone compares it to a John Waters’ film, simply because there is really nothing else to compare it too and you have a large man in a dress! We knew from the beginning that viewers would either love it or totally hate it. It’s just that kind of movie and I wasn’t afraid to take that chance because I loved the finished product so much. And the reviews have been very good indeed, considering!


6.) Dave: As a writer, director, producer and actor, your talents are evident and quite impressive. Do you have any artistic or non-artistic endeavors outside of filmmaking?

Alan: No! LOL! I’m such a nerd! My fun is driving, scouting and photographing film locations, writing, and watching bad B-horror! And I’ll never say no to drinks at a bar with friends! But I have to admit that my favorite thing to do is hike and climb in the woods.

7.) Dave: Jerry Murdock, Joshua Nelson, Katherine O’Sullivan and Zoë Daelman Chlanda have been in a number of your films. Where did you all meet and what’s it like working with them?

Alan: I’m more than happy to talk about how special these people are! Jerry, Katherine and Zoë I met while auditioning roles for I’ll Bury You Tomorrow.

They have been my great friends ever since and just recently Katherine married my dear friend and music composer Tom Burns. They met on the set of IBYT! I will always work with these talents and try to put them in every film I do. And now following The Blood Shed with my next (and best!) completed piece A Far Cry From Home for Hung By A Thread, I have added the great talents of Joshua Nelson, Terry M. West, Mike Lane, Susie Adriensen, Don Money, Robert Norman, Sandra Schaller and Benzy to my acting roster! I have to admit I have been extremely fortunate in the acting department as far as the talent I have been able to assemble. They give their all, believe in my projects and are pretty fearless in the chances they take once the camera rolls. I think they trust me enough to know that I would never let anything less than their best takes appear on screen. We’ve really become quite a close-knit family. That’s the best reward.

8.) Dave: With the positive reviews for The Blood Shed pouring in, will we be seeing you and the gang at any upcoming horror conventions in 2008?

Alan: I will be attending Chiller this May as a vendor and hitting a lot of film festivals to promote Hung by A Thread. But I’ll be quite honest Dave, for the years I’ve been in this business and for all the press I get, I have yet to be invited as a guest to ANY of these big convention events with all the other indie directors and stars. If I don’t pay for a vendor table, I have to stand on line for hours to get a ticket to see people I know and work with – so go figure! It’s a bit tired.

9.) Dave: With Pink Eye and Hung by a Thread hopefully being released soon, what can we expect next from the twisted mind of Alan Rowe Kelly?

Alan: I just finished producing a fantastic short thriller called By Her Hand for award-winning director Anthony G. Sumner (W.O.R.M.). I loved working on this project and especially being asked to produce it, cast it, art direct it and use my aesthetic throughout the film. Presently I am completing a script for a web series called The Hollows that will begin shooting this March. Zoë, Katherine, Jerry and myself will be in it, as well as Raine Brown, Keith Fraser, Jessie May Laumann, Miguel Lopez, and Blood Shed’s Susan Adriensen, Josh Nelson and Mike Lane. There’s a few more ‘special guests’ whom I still need to confirm, and once that’s in place we’re ready to go! It will be five 24-minute episodes in the vein of Twin Peaks and Dark Shadows. It’s a new medium and I want to try it out!

I also have a ton of screenplays ready to film! Unhallowed Ground, SPORE! A Murder of Crows, Sudden Fear and a Xmas horror tale called You Better Watch Out! There is also a Blood Shed sequel floating around, just in case we decide to go really crazy! So as you can see I have a lot of stories to tell and each one takes on a different category or theme in the horror genre. I never wish to write or make the same film twice.

As for acting, I’ll appear in the The Hollows this March/April and a bunch of films I co-starred will be debuting throughout 2008 such as Bart Mastronardi’s Vindication, Stolis Hadjicharalambous’ Crossed, Michael Todd Schneider’s Opening The Mind and Tate Steinsiek’s The Devoured.

10.) Dave: Where do you see both yourself and your film career in five years?

Alan: I hope I’m still right here David! LOL! Only in five years I’d like to have all the screenplays mentioned above as completed films and expand my production company to support and produce not only films I want to make, but also the works of other talented filmmakers as well. I want to be the Roger Corman of my day and always remain independent. I love this genre and all the changes it goes through. I’ll always work extremely hard to maintain a strong sense of production value and tell a good story. I just want to continue to make movies as best as I can, and my way.

I want to thank my guest, Alan Rowe Kelly, for giving us a brief glimpse into his life as one of today’s most important independent filmmakers. For more information about this incredible talent, visit his website at http://www.alanrowekelly.net/ or check out the website for his recently released film The Blood Shed at http://www.thebloodshed.net/.

CD Review: The Traveling Vampire Show by Calabrese

They're baaaack! One of the best, hell, THE best horror rock band has returned with their second serving of hot, steaming intestinal tracks! Yes, I give you Calabrese! The boys, after winning the award for best horror rock band last year, could have settled for a mediocre sophomore effort, but what they did was completely the opposite. As awesome as 13 Hallowe'ens was, in many respects The Traveling Vampire Show is superior! The recording is better, the playing is crisper and the lyrics are bloodier! The CD features 12 hard rocking tunes and it sounds unbelievable when cranked! The band wastes no time in getting back in your face as the CD kicks off with the gruesome "Death Eternal." Over the course of the disc, you're treated to some of the best rock you've ever heard! My favorite track is "Vampires Don't Exist," or it could be "Night in the Lonesome October," hell, I'm not sure! Like I've said before, I don't care if you love or hate horror rock, Calabrese cannot be denied! Before this band is through, all will bow before their shadow. Just like 13 Hallowe'ens before it, The Traveling Vampire Show gets ****** out of *****. That's not a typo. It gets 6 out of 5 stars! Grab a copy today! Click the banner at the bottom of the page to visit the band's website and while you're at it, check out their video for "Voices of the Dead" immediately below.

DVD Review: Werewolf: The Devil's Hound

Hmmm, nice title, nice box design, could this be a diamond in the rough? No doubt about it, I love werewolf movies, when they're done right that is. Films like Dog Soldiers and the Ginger Snaps series have been some of the better movies on the subject, but boy have there been some crappers too. Wolf and Cursed anyone? Anyway, when I came across this flick, I just had to check it out, and in truth, it wasn't as bad as it could have been, but it wasn't as good as it should have been. Werewolf: The Devil's Hound is like watching three films in one. It starts off as an action movie, then tranforms into a serious melodrama and ultimately ends up as a slapstick comedy. The amazing thing - when taken individually, they each work, but as a whole, it leaves you feeling bewildered. The plot follows a female werewolf who is boxed up and shipped on a tanker to parts unknown when the shipment accidentally ends up on American soil. She escapes and bites a young pyrotechnic named Kevin. What ensues is pretty good as the drama unfolds and the Kevin's girlfriend gets pissed that this other woman is around all the while the guy is undergoing the "change." But it's the end of the film that really surprised me. When VonBunsen enters the picture (where he came from, I don't know) things get silly. Suddenly, it turns into a martial arts/werewolf farce and yes, I was laughing through it all. As far as the werewolf makeup is concerned, Kevin's make-up was great, as he never fully "changed," but the female werewolf? Where did they come up with that design? I've never seen so much puffy hair on a werewolf! Overall, it was entertaining, if not certainly off-balance. I believe most people wouldn't care for it, but I appreciate the filmmaker's attempt. That's why I give Werewolf: The Devil's Hound **1/2 out of *****. It's no Ginger Snaps, but it's not Cursed either. Check out the trailer for Werewolf: The Devil's Hound below.

The Blood Shed Trailer

Here's the trailer for one of my favorite films of 2007! Check it out, then read my review of the film directly below and then, go rent this film and see for yourself why it gets 5 Stars!!