Tag Archives: Interview

Ben Wheatley on pandemic-shot horror ‘In the Earth’

“We were the first people back and – whether it’s true or not – we really felt like the eyes of production were on us across the board.”

Writer-director Ben Wheatley is speaking to The Skinny over Zoom about In the Earth, the horror feature he wrote during the first few weeks of the COVID pandemic and shot with a small crew over 15 days in the early summer, as the UK came out of its initial lockdown period.

While Hollywood blockbusters with hired studio spaces – such as Jurassic World: Dominion – were able to resume shooting in the UK last summer after they had to hit pause, In the Earth was among the very first low budget productions to get going in late June 2020. And being first off the blocks had its pressures…

Full interview for The Skinny

The Legend Of The Stardust Brothers: Stardust Melodies

Originally published as a print-exclusive in SciFiNow #167, in January 2020

In 1985, a legend was born. Except, in the western world, it’s a legend you never encountered. And, to be fair, it wasn’t encountered much in the eastern world where it originated. 

Released in Japan that year, The Legend Of The Stardust Brothers is a terrific musical comedy, with horror and sci-fi trappings, that premiered to not-so-terrific critical notices and box office, seeing virtually no release outside of East Asia. In the 30-plus years since, the film has developed a cult following, to the extent that its writer-director was able to make a semi-sequel, The Brand New Legend Of The Stardust Brothers, in 2016. Thanks to the efforts of distributor Third Window Films, the original Legend is premiering on UK home media in a dual format, region-free Blu-ray and DVD set, having undergone a full restoration.

Director Macoto Tezka has gone on to a career of further live-action films, animation and teaching, but in 1985, he was primarily known for being the son of Osamu Tezuka, the man considered the Japanese equivalent to Walt Disney. Tezuka’s best known manga series include Astro Boy, Black Jack and Kimba The White Lion

Full interview for SciFiNow

Joe Dante: Master of Mischief

Originally published as a print-exclusive in SciFiNow #149, in August 2018

While his traditional feature film output has dwindled this century, Joe Dante still remains one of the most interesting American figures working in predominantly genre-based cinema. His films are rife with expressions of all-devouring cinephilia, which also comes through in his collaborative web series Trailers From Hell.

During his UK visit for the Edinburgh International Film Festival back in 2018, we spoke to Dante about projects old and new, and the state of modern mainstream genre films…

Full interview for SciFiNow

I can remember it for you wholesale: The making of ‘Total Recall’, 30 years on

Total Recall was one of my favourite experiences. When was it released? 30 goddamn years, my god.”

Michael Ironside may not immediately remember just how long ago it was that Total Recall was released, but few have been able to forget Paul Verhoeven’s slippery sci-fi action blockbuster since it came out in 1990, nor his memorably intense performance as Richter. The primary heavy in this adaptation of Philip K. Dick’s short story ‘We Can Remember It for You Wholesale’, Richter is in constant pursuit of amnesiac protagonist Quaid (Arnold Schwarzenegger) across both Earth and Mars, leaving a trail of devastation in his wake.

One of Canada’s most prolific actors, with more than 260 screen credits to his name, Ironside is perhaps best known to a certain generation for various antagonist and authority figure roles in fondly remembered films from the 1980s and 90s, including Verhoeven reunion Starship Troopers (1997), Tony Scott’s Top Gun (1986), David Cronenberg’s Scanners (1981) and Charles Burnett’s The Glass Shield (1994). 

Ahead of the release of a new 4K restoration of Total Recall, Ironside spoke to us via Zoom about both Verhoeven collaborations; his own lifelong affinity for science fiction; the on-set experience of making one of the last massive-budget movies based around mostly practical special effects; and how he thinks Cronenberg’s scrapped adaptation of the story might have turned out…

Full interview for the BFI

Henry Blake on ‘County Lines’

A thoroughly absorbing though deeply upsetting drama, County Lines is a remarkable debut feature from New Zealand-born writer-director Henry Blake. Inspired by his own experiences as a youth worker in East London, the film explores how personal and economic factors lead to 14-year-old Tyler (the magnetic Conrad Khan) being groomed for involvement in the eponymous drug-dealing networks that exploit vulnerable children into trafficking Class A drugs, primarily heroin and crack cocaine, from urban areas to rural or coastal towns.

Co-starring Ashley Madekwe and Harris Dickinson, County Lines is a vital empathy machine concerning a difficult subject sometimes prone to bad faith discussions when it comes to the young people who get caught up in the trafficking. But with genuine cinematic verve and complex characterisation, it’s far from a didactic tug on the heartstrings.

Speaking to us at the Glasgow Film Festival back in February, Henry Blake discusses some of his intentions for the project…

Full interview for The Skinny

Filmmaker Rose Glass on making this year’s best horror

Saint Maud, the acclaimed horror darling of the past year’s festival circuit, finally reaches British cinemas on a wave of hype – despite release delays owing to the COVID-19 pandemic. As the debut feature of British writer-director Rose Glass, the psychological drama follows Maud (Morfydd Clark), a reclusive, pious hospice nurse with a dark past, who becomes dangerously obsessed with a perceived higher purpose and her latest patient in a seaside town: Amanda (Jennifer Ehle), a hedonistic and embittered retired dancer who’s dying of cancer.

Glass has pointed to Taxi Driver as a specific influence on Saint Maud’s structure, with both sharing narration by the increasingly volatile protagonist. She also pays homage to Martin Scorsese’s film with at least two specific shots. “Generally any stuff that I felt that, in some way, I shouldn’t be watching, I wanted to watch,” she says of her burgeoning enthusiasm for left field cinema in her early teen years in the 2000s, which included films by David(s) Lynch and Cronenberg, Hideo Nakata (Ring), Takashi Miike (Visitor Q) and Fruit Chan (Dumplings).

To mark Saint Maud’s UK release, Huck spoke to Glass at this year’s Glasgow Film Festival – in an interview that originally took place back in March – about making an empathetic genre movie concerning mental illness, body horror, and the extreme places the human mind can take us…

Full interview for Huck

“I used the cinema to learn about the world” – ‘Daphne’ director Peter Mackie Burns on making his second film, ‘Rialto’

Following a decade’s worth of award-winning shorts, Glaswegian director Peter Mackie Burns made his fiction feature debut in 2017 with Daphne, a lauded character study concerning a pessimistic and hedonistic young woman (Emily Beecham) living in south London and undergoing an existential crisis after witnessing a stabbing. 

Second feature Rialto, supported by the BFI Film Fund, sees the director collaborating with writer Mark O’Halloran and heading to Dublin. Colm (Tom Vaughan-Lawlor) is a married dock worker with 2 teenage children. Still grieving the death of his destructive father, and with his job threatened by a recent takeover, he struggles to share his vulnerability with wife Clare (Monica Dolan). Where he finds solace, while threatening his family’s stability, is in his encounters and growing infatuation with Jay (Tom Glynn-Carney), a 19-year-old who intermittently works in prostitution.

Speaking to us at the Glasgow Film Festival in February, Mackie Burns discussed his tips for second feature success…

Full interview for the BFI

Koko-di Koko-da: Don’t Loop Now

Fans of grim but strangely uplifting films but who also happen to love Groundhog Day, will have a new horror fable to prioritise in 2020 with Koko-di Koko-da.

This second feature from Swedish director Johannes Nyholm really does do something inventive – and frequently disturbing – with a time loop storytelling device.

Koko-di Koko-da follows a grieving married couple taking a holiday, stopping off in the woods on the way to camp for the night, only for their tent to come under siege from a group of figures straight out of the circus of your nightmares. We talk to Nyholm about his film…

Full interview for SciFiNow

Mulan: Made of Honour

It’s early January 2020 and SciFiNow is among what’s apparently the first audience to see select full scenes from one of the year’s most intriguing blockbuster prospects. We’re very impressed by the thrilling scale and tender, moving intimacy of the wildly different sequences we’re shown. And this is somewhat surprising because this film is one of those oft-dreaded propositions: a remake.

Well, yes and no to it being a strict remake of another movie. Disney’s new Mulan is definitely a live-action update of its own animated film from 1998, but the character of Hua Mulan originates in a famous story first told over 1,500 years ago, in which a young woman, disguised as a man, took her aging father’s place in the army. In paying tribute to various versions of the story, as well as the character’s importance for Chinese audiences, the new Mulan is a very different beast from its Disney predecessor…

Full interview for SciFiNow

‘She Dies Tomorrow’: Amy Seimetz on her timely contagion film

Writer-director Amy Seimetz’s She Dies Tomorrow isn’t the first 2020 release to gain unexpected layers by arriving during the COVID-19 pandemic, but it’s perhaps the most prescient. A visually vivid absurdist thriller that’s unsettling and darkly funny in equal measure, it concerns Amy (Kate Lyn Sheil), a woman consumed by the notion that she will die tomorrow.

Her’s isn’t a suicidal inclination, rather an unwavering conviction of her imminent demise. She vocalises this belief to her friend Jane (Jane Adams), with Jane then gripped by the same doom-laden anxiety. Jane then talks of her own death tomorrow to her brother (Chris Messina) and his party guests, and an increasing number of characters become ‘infected’ by this emotional contagion, the effects including transcendental visions and varying degrees of either panic or acceptance.

Whether consciously or not, much of the multi-talented Seimetz’s work has concerned mortality in various ways. Her striking first feature as director, Sun Don’t Shine (2012), is a Florida noir that resembles what you might get if Lynne Ramsay adapted a Jim Thompson story – like Ramsay’s Morvern Callar (2002), it involves the attempted discreet disposal of a body. As an actor, Seimetz’s credits include several key horror films of the last decade, from independent breakthrough You’re Next (2011) to studio spine-chillers Alien: Covenant (2017) and Pet Sematary (2019). Her fee for the latter reportedly funded She Dies Tomorrow.

Speaking to us via Zoom, Seimetz discussed the film’s existential dread and eccentricities…

Full interview for the BFI