Interview: Adrián García Bogliano on Scherzo Diabolico (2016)

Daniela Soto Vell and Francisco Barreiro in Scherzo Diabolico
Daniela Soto Vell and Francisco Barreiro in Scherzo Diabolico

There’s a running joke that Adrián García Bogliano is heading north in the Americas, and every film gets him closer to Canada. The Spanish-born director had worked on multiple low-budget films in his adopted home of Argentina before his breakout festival success, 2010’s Cold Sweat. He followed that with the supernatural Penumbra, before heading to Mexico for Here Comes the Devil, and the US with werewolf thriller Late Phases. For his latest, rather than heading to the great white north, takes him back to Mexico, where Arran (Francisco Barreiro, Here Comes the Devil, We Are What We Are) kidnaps a teenage girl. However, his

(A version of this interview previously appeared at AustinChronicle.com)

Richard Whittaker: So far, you’ve directed films in Argentina, Costa Rico, Mexico, and the US. What’s the difference between working in those different countries?

Adrián García Bogliano: There are so, so many differences A lot of things in common, but I think that the biggest differences, industrywise, in terms of how actors approach tha metarila, in the United States I think the actors are a lot more used to working in cinema. So it’s easier for them to do movies, but at the same time I think that they risk less than Latin American actors do. I think that’s something that Francisco is very good at. He really risks a lot. You see that he;s putting a lot intyo everything that he does, and I think that American actors tend to be safe. Also, the difference in terms of how to make a horror movie there and here, is that I think that Americans are maybe a little too self-aware. Which is good in some things, because I think that they have a lot more perspective on the history of horror and where they are standing. Where the Latin Americans, we don’t have a lot of history of horror. Mexico is probably the country with a bigger tradition, but many of those horror films that were produced here are very difficult to see. So people are not really aware of the tradition of horror in Latin America, so you have to make the rules while you do the films. That gives you some freedom that, when you come from a very specific tradition, I think you don’t have.

RW I was talking to Paulo Biscaia Filho about his new film Virgin Cheerleaders in Chains, and as a Brazilian, he’s got Coffin Joe and that’s it. There isn’t the tradition, so while there are Brazilian horror directors coming through, they’re feeling their way.

AGB: Absolutely, absolutely. When we released Cold Sweat in Argentina, it was the first release for an Argentinian horror film in 50 years. It was scary to have to full that void.

Continue reading Interview: Adrián García Bogliano on Scherzo Diabolico (2016)

Interview: RWBY Creative Team

RWBY Volume III

Richard Whittaker: RWBY Volume I introduced characters, Volume II broadened the world, and Volume III is where the plot really fits together. The Twitter response when everything came together – and started falling apart for the characters – was basically ‘what the hell?’ Where you prepared for the response from the fanbase?

Kerry Shawcross: When we started off with this story, it was important to us to pull a Lost. We didn’t want to start in a cool place, not know where it was going, and then try to figure it out as we went. When we came up with this initial story, we tried to think years and years ahead. We knew the events of Volume III were going to happen before the show even started, so it’s really been a case of biting our tongues and not letting anything slip. We really wanted to hit the fans hard, in the same way that the characters were hit really hard with all this. We wanted them to share in these emotions.

Miles Luna: When it came to introducing the characters in volume I, the thing that we tried to do with them is that you think you know the archetype at face value. A great example is Yang: when the audience first meets her, she seems like that party hard kind of girl, the popular preppy girl, and that’s what you get the first time you see there, and then you learn she’s like a mother figure to Ruby, she has this very compassionate side, she has this history with her mother. We wanted to do the same thing with the tone of the show, whereby it’s introduced as a Hub anime, it’s this fun show where it takes place in a magic school, but then we wanted to do an about face and pull the rug out from under the audience as say, no, this is not what the show is about. It’s just as intrusive to the audience as it was to the characters, that suddenly, woah, everything that was going according to plan is suddenly out the window.

Gray Haddock: And Rooster Teeth has never put a parental advisory on its videos in the company’s history, and we didn’t want to start now, but halfway through this season was a good time to remind all the parent andf babysitters and uncle and aunts who would have been sharing the videos with the much younger end of the audience that, hey, we’ve been trying to make as much noise whenever possible in the behind-the-scenes supplements on the DVDs, or at panel appearances at conventions, that there was more to this story than what they had seen in the first couple of volumes, and the full story of RWBY is going to involve a lot of changes and emotions. So halfway through volume III was a good time to re-start the conversation with the audience, just to let them know, hey, no reason, but if you’re sharing the world of RWBY with the most extremely young members of the audience, maybe you want to start watching the episodes first and seeing whether it’s suitable for them.

Continue reading Interview: RWBY Creative Team

Interview: Andrew Neel and Luke Meyer on Darkon

Skip Lipman, star of Darkon: The Movie
Skip Lipman, star of Darkon

When Ian McKellen pretends to be a wizard, he gets $8 million and an Oscar nomination. When a bunch of ordinary working people get together to pretend to be barbarians, warriors, and trolls on the weekend for fun, they get called geeks. Call them instead LARPers – live action role-players – and the subject of Darkon, an overwhelming favorite on the 2006 festival circuit.

In their debut documentary feature, co-directors Andrew Neel and Luke Meyer enter Darkon, a high-fantasy world in which orcs rampage across nations, mages cast arcane conjurings, and dark elves plot in caves. In reality, Darkon is a set of gaming rules, a map of fictional countries, and a series of weekendlong live-action events on borrowed farmland. Players come in homemade costumes, and vie for power and hexes on the map through negotiations, treachery, and intrigue. When that fails, they battle with padded maces and foam swords.

Continue reading Interview: Andrew Neel and Luke Meyer on Darkon

Interview: John Dean

 

(In 2008, former Nixon administration counsel John Dean was in Austin for the Netroots Nation convention. I sat down with him to discuss the state of American politics).

There’s a famous story of heavyweight Republican consultant Karl Rove brushing off poor GOP poll numbers just prior to the November 2006 election, telling a reporter, “You have your numbers; I havethe numbers.” Former White House counsel John Dean argues that the Republicans have taken the same approach to basic freedoms. “I think it’s probably true with all provisions of the Constitution,” explained Dean. “They pretty much read them the way they want to.”

Before his panel appearance at the Netroots Nation convention, the onetime White House counsel to President Richard Nixon and, in recent years, constitutional commentator, appeared at a July 17 fundraiser for Austin’s North by Northwest Democrats at the North Lamar Waterloo Ice House. Much of the Net­roots community has reacted strongly against the July 9 U.S. Senate vote passing the new Foreign Intelligence Surveillance Act. The law effectively rewrites the Fourth Amend­ment, the protection against unreasonable search and seizure, to fit the administration’s world-view – that national security trumps the Constitution and the president makes his own law. Dean decried the decision and said, “It’s just amazing that the weakest president since Nixon can get through the amendments to the FISA bill he just did, when most Amer­i­cans who know anything about it are horrified by it.” But he added that the Internet community shouldn’t feel singled out by the administration in its spinning of the Constitution. “With the Second Amendment, long before the Supreme Court ruled that [the right to bear arms] was about personal rights, they’ve been reading it that way,” he noted.

Continue reading Interview: John Dean

Interview: Bill Moseley (2015)

Bill Moseley and friend at Housecore Horror Film Festival in 2014
Bill Moseley and friend at Housecore Horror Film Festival in 2014

(Horror stars tend to be the polar opposite of their on screen persona, and none more so than Bill Moseley: the star of The Texas Chainsaw Massacre 2, House of 1000 Corpses, The Devil’s Rejects, Repo! The Genetic Opera, the remake of Night of the Living Dead, and dozens more, is infamously one of the nicest, softest-spoken members of the horror community. I had the chance to talk to him at the Housecore Horror 2015 festival about his career.)

Richard Whittaker: The first time I saw House of 1000 Corpses, it was at a midnight screening at the Leeds International Film festival, and it was immediately clear that Otis was a hit. What do you think it is about him, and what you were able to bring to the part, that really affected people?

Bill Moseley: I don’t really know. It’s something that Rob saw in me that I did not necessarily see in myself, which was a sinister, sexy quality. There’s that element that I never saw. I was more of a Chop Top guy. I always differentiated the two from centers of gravity. With Chop Top, it’s all up in the shoulders. There’s more of a sketchy feeling. There’s the coat hanger and the lighter, I’m scratching my head. It’s all shoulder stuff. With Otis, it’s all in the balls. It’s thumbs under the belt, sitting back, ‘fuck you.’ I didn’t really see that in myself, Rob did, which was very fortunate.
Continue reading Interview: Bill Moseley (2015)

Interview: Bob Ray and Werner Campbell on Hell on Wheels (2008)

hellonwheelsIt was a big few weeks for Bob Ray of Crashcam Films: A second child, a “Best of Austin” award for best emergent filmmaker, and the DVD release of his Roller Derby documentary Hell on Wheels.

The film tells the story of how modern-day rollerderby in Austin almost didn’t happen. For the 300-plus leagues around the world, it’s a lesson in the potential problems and internal politics of getting to the first bout (it’s amazing how many leagues have gone through very similar problems, and how many survive to thrive like both the flat track Texas Rollergirls and the banked track Lonestar Rollergirls.)

Continue reading Interview: Bob Ray and Werner Campbell on Hell on Wheels (2008)

Interview: Scott McClellan (2008)

(In 2008, President George Bush’s press long-time press secretary Scott McClennan published his autobiography, What Happened: Inside the Bush White House. I talked with him in the middle of the press furor that it caused.)

sm-sm
Scott McClennan as a young boy, casting his first ballot. His mother, future Austin mayor and Texas State Comptroller Carole Keaton Strayhorn, used it to introduce he and his brothers to politics. Image courtesy of Scott McClennan.

A third-generation child of a family always in the public spotlight. A frat boy who went into the family business of living on the campaign trail. A veteran of Texas bipartisan politics who traveled from the Governor’s Mansion to the White House, a journey few early observers expected to see.

The similarities between George W. Bush and Scott McClellan, who served as Bush’s spokesman when he was governor, candidate, and president, are sometimes greater than the differences. But now the schism between the two over his memoir, What Happened: Inside the Bush White House and Washington’s Culture of Deception, has put the Austin-born and -raised McClellan at the heart of the debate about the current and future presidencies.

But when McClellan called from Washington, D.C., his first thought was about someone else from his White House years. “I don’t know if you’ve just heard about Tim Russert,” he asked. The NBC News Washington Bureau chief’s death had been announced only hours earlier. “Reality sinks in when something like that happens.” Of course, McClellan is back in the public arena because of the self-contemplation in his new book, which he will be discussing at BookPeople this Saturday. “I was born in politics. Most people choose it, but I was born into it,” he recalled. “I dedicated this book to those who serve, and none more so than those who want to get involved in politics. They will be able to learn some lessons from my painful experiences.”

Continue reading Interview: Scott McClellan (2008)

Review: Grimm Love aka Rohtenburg (2006)

GrimmLoveDirected by Martin Weisz

Starring: Keri Russell, Thomas Huber, Thomas Kretschmann

When Armin Meiwes, a German computer technician, was found guilty of cannibalism, the world was shocked. Yet what was most shocking was not that he ate someone but that someone willingly volunteered to be eaten. Shooting this semifictionalized account of the crime in the washed-out blues of a German winter, debut director Weisz uses American grad student Katie Armstrong to coolly unravel this conundrum. Played by Russell, who has come a long way since Felicity, she reconstructs and tries to comprehend the incomprehensible. In flashbacks, veteran German actor Kretschmann is Meiwes’ analog Oliver; Huber is willing victim Simon. Both bring a dark, disturbing understanding to their characters.
Continue reading Review: Grimm Love aka Rohtenburg (2006)

Interview: John E. Hudgens on Star Wars Fan Films

"Crazy Watto," the fan film that made John E. Hudgens famous  among Star Wars fans.
“Crazy Watto,” the fan film that made John E. Hudgens famous among Star Wars fans.

John E. Hudgens is the foremost historian of one of the strangest sub-genres of modern cinema: the fan film. He began his career in entertainment making music videos for Babylon 5, but found greater success when he created three of the most successful Star Wars fan films ever made: “Crazy Watto” (which won the Lucasfilm Official Fan Film Awards in 2000 and was shown at Cannes), “Darth Vader’s Psychic Hotline,” and “Jedi Hunter” (which were runner-up and winner of the Luscafilm fan audience awards in 2002 and 2003 respectively.) As a documentarian, he directed Backyard Blockbusters, a history of fan films that played at the Other Worlds Austin Film Festival. I talked to him just before Star Wars Day, May the Fourth, in 2016, about the history of fan films, and what the recent fight over who owns the rights to Star Trek mean for the genre (parts of this interview previously appeared at www.austinchronicle.com.)

Richard Whittaker: As a maker of fan films, hat’s the appeal for you of playing on someone else’s sandbox?

John E. Hudgens: The great thing about fan films is that there’s a short hand. You don’t have to explain the set-up of Star wars. If you’re going to tell your own original story, you have to set up everything, but if you don’t need to explain Darth Vader, you don’t have to explain lightsabers, it’s all already there. It’s all already there, people get it, and that’s one less thing you have to do.

Of course, I say that talking more about parodies, which is more what I’ve done. I’ve not done anything like Star Trek: New Voyages. But a lot of people want to play in that universe, and the only they can get certain things, or see certain things done, is to do it themselves. So “Jedi Hunter” was such a great idea, but the only way to see it was to go make it. Luckily, we were able to pull that off.

Continue reading Interview: John E. Hudgens on Star Wars Fan Films

Interview: Joe Berlinger on Crude and Some Kind of Monster

crude-docThere aren’t many celebrity documentarians, but Joe Berlinger is probably on that short list. He established a reputation as director of the groundbreaking crime investigations Brother’s Keeper and Paradise Lost: The Child Murders at Robin Hood Hills and became globally known for his warts-and-warts-and-more-warts-‘n’-all rockumentary, Metallica: Some Kind of Monster. But his follow-up documentary, Crude, drops him into the middle of geopolitics, following the complicated battle over pollution in the Amazon fought between the massed corporate power of the U.S.-based Chevron oil company and the lawyers representing the Ecuadorian tribes whose ancient lifestyle and homelands face devastation. Berlinger describes it as a return to his filmmaking roots, with a minimal crew and almost no external financing. Traveling from Chevron’s corporate headquarters to remote villages in what he called “an area of border disputes and drug runners,” he charts the seemingly endless court case and the ecological genocide that devastates the region.

Continue reading Interview: Joe Berlinger on Crude and Some Kind of Monster