Tuesday, December 25, 2012

Robert A. Mitchell at the 2012 Toronto International Film Festival

Here are a collection of photos that photographer Ian Goring took of Robert A. Mitchell conducting interviews at the 2012 Toronto Intrnational Film Festival.

 
Intervieing America Olivo at the World Premiere of No One Lives
 
 
                                Talking with director J.T. Petty at the premiere of Hellbenders

 
With Clancy Brown at the premiere of Hellbenders
 
 
Chatting with Sheri Moon Zombie at the World Premiere of
The Lords of Salem
 
 
                               Interviewing Jeff Daniel Phillips actor in The Lords of Salem

 
Interviewing Rob Zombie at The Lords of Salem premiere
 
 
Talking with Eli Roth at the World Premiere of Aftershock
 
 
 
 
With Eli Roth and Midnight Madness progammer Colin Geddes
 
 
With Colin Geddes and director Jason Eisener at the
ABCs of Death premiere
 
 
Talking with Marcel Sarmiento director at ABCs of Death Premiere
 
 
With Adam Wingard & Simon Barrett at the premiere
of the ABCs of Death
 

                                  Talking with Todd Brown at the ABCs of Death premiere


                                        With Chase Williamson actor of John Dies at the End


                               Sharing a laugh with actor Rob Mayes of John Dies at the End

 
With actor Tai Bennett of John Dies at the End
 
 

                                 Interviewing director Don Coscarelli at the premiere of
                                                              John Dies at the End

All Photo taken by Ian Goring

Monday, December 17, 2012

Robert A. Mitchell at Midnight Madness 2011 A Photo Gallery

Here is collection of photos photographer Ian Goring took of me at the Midnight Madness Programme of the 2011 Toronto International Film Festival.


                                         Interviewing Gareth Evans director of The Raid


                                                 With Iko Uwais star of The Raid


                                                  With Joe Taslim star of The Raid


                              Talking with Bobcat Goldthwait director of God Bless America


                               Interviewing Tara Lynne Barr actress from God Bless America


                                   Interviewing Joel Murray actor from God Bless America


                               Interviewing Adam Wingard director of You're Next & Simon
                               Barrett writer of You're Next


                                       Interviewing actress Sharni Vinson from You're Next


                                Interviewing Alexandre Bustillo & Julien Maury directors of
                                Livd (Livide)


                                     Interviewing Alexandre Courtes director of The Incident

                          
  
                               Interviewing director Frederic Jardin & star Tomer Sisley of
                               Nuit Blance aka Sleepless Night

 
In conversation with Eduardo Sanchez director of
Lovely Molly
 
 
With Guy Danella producer of The Day
 
 
Doug Aarniokoski director of The Day
 
 
Interviewing Katsuhito Ishii director of Smuggler
 
 
Talking with Ben Wheatley director of Kill List
 
 
Robert A. Mitchell at the 2011
Toronto International Film Festival
 
 
 

Thursday, October 11, 2012

Harris Savides 1957 - 2012



"It's always in the service of keeping it natural and simple and not over-glamorizing it, not letting the photography stand forth too much. That's all it's about, I think, for me: what looks real. I think there's a certain artifice with the polished look. That works sometimes. It works a lot of the time. I certainly enjoy seeing movies that look photographically beautiful. But I think the natural approach somehow gives weight where it needs to be and things don't look overly contrived." Harris Savides


Wednesday, October 3, 2012

Cent Une Tueries De Zombies. 1001 Edits. A Conversation with Mike Lane on Editing.

 
I have known Mike Lane quite some time. He is a damn fine film editor and has an encyclopedic knowledge of film as you will see by the amount of italics of film titles in the interview below. Mike was recently commissioned by Toronto International Film Festival Programmer Colin Geddes to assemble a montage of zombie kills from various films for Toronto's annual Nuit Blanche aka White Night the night that celebrates contemporary art. Nuit Blanche begins at sunset and goes on until sunrise. The piece Mr. Lane assembled was called Cent Une Tueries De Zombies aka 101 Zombie Kills and was screened at the luminous Tiff Bell Lightbox. There is only one thing about Nuit Blanche a lot of what you see is presented that night and not seen again, so too maybe the fate of this project by Mike Lane. I thought a conversation about his work and editing was called for, and for my money there is not enough dialogues in the world about the fine art of assembling images, sound effects and music.

1) How were you approached to work on this project Cent Une Tueries De Zombies?

The video was the brainchild of Colin Geddes, who is the Midnight Madness programmer for the Toronto International Film Festival (amongst other TIFF programmes and other film festivals) as well as a repertory film curator, friend, bon vivant and overall homme du cinĂ©ma here in Toronto. He ran an all-night collection of 35MM grindhouse trailers at the TIFF Bell Lightbox building during Nuit Blanche 2010 and I think he was disappointed that they hadn’t followed it up with anything particularly noteworthy for Nuit Blanche 2011.

As the literal man on the street during that year’s festivities I can concur that I had walked past the Lightbox specifically to see if anything was happening and, from my perspective, the place seemed closed. After cutting together some ActionFest tribute reels for Colin last April he approached me with the idea of an installation that could play in one of the Lightbox’s cinemas during this year’s Nuit: it would be called 101 Zombie Kills and it would be as simple as the title, a collection of 101 gory zombie deaths that would loop endlessly all night from 7PM to 7AM.

Perhaps it would even have an on-screen counter keeping track of the carnage. I said that I could easily perform such a task but I don’t think he’d mind me telling you that I was also wholly disinterested by the idea – it didn’t sound much different than the plethora of artless super-cut compilation videos that ten-year-olds routinely post to YouTube; meanwhile Nuit Blanche is supposed to be an Art event with a capital "A". I told him as much but I still agreed to do it … I knew that I’d probably come up with something a bit more challenging but I had no idea what that could be.

2) It seems to me to be a daunting task to assemble such a montage. What film was your entry point?

I’m going to go nostalgic with my answer and say that whenever zombies are involved my entry point is the 1968 Night of the Living Dead, no matter what. I wasn’t allowed to watch horror movies when I was growing up, but this was the 1980s and the genre was insanely popular among the boys in the schoolyard. I would quiz my friends to learn the story lines to the latest Jason or Freddy movie, and I would scour the public library for books about horror films and thrillers as the next best thing to seeing them – I would have first read about NOTLD at the same time that I first read about the plot details of Hitchcock’s Psycho … when I was maybe seven years old. I was twelve when I finally caught it on TV one day.



It was on the A&E channel on a Saturday afternoon (I can still remember the date) and even then -- with the safety of sunlight, commercial breaks, the Guns ‘n’ Roses ‘90s and the Canadian suburbs -- it Messed Me Up. It was the first movie to really get under my skin. I watched it constantly during my teen years, from a $1.99 Blockbuster Video cassette. And to this day, while it may have lost its power to frighten me, its low-budget ingenuity inspires me whenever I think that making a film is a daunting, unreachable task. It makes me feel that anything is possible. For those personal reasons I knew it had to play a significant part in the project. I quickly determined that the only way to begin the collage was to begin with Night, to begin with its opening shot and its opening music cue, as instantly familiar to me as they were. It was the movie that started it all for the zombie genre as far as I was concerned. It was the zombie movie that started it all for me as a viewer. So it should also be the zombie movie that started this mad experiment. It just made sense. What would come after that, I had no idea.

3) What was your approach to this montage to make it different than this shot after shot of a kill after kill?

I’m not entirely sure where it all came from, just that I wanted to avoid the artless vibe of a homemade compilation video. I didn’t know that I would go full narrative with it. Originally I thought about the standard editing trickery of maintaining a consistent physical space within the frame – for example, if Ken Foree in Dawn of the Dead looks to his Right and we cut to a shot of Clu Gulager in Return of the Living Dead looking to his Left then it will appear as if the two are looking at each other in the same space even though they’re from two different movies.

That seemed like a way to add a modicum of complexity and it was the first suggestion that I made to Colin on that subject, but in the end I don’t think I ever did that once. Another common editing trick would be to match two films together using an obvious visual or textual similarity as a bridge, which I did a few times – a soccer mom speeding away in a mini-van from one film cuts nicely to a character driving through zombs in another film, or when Gulager asks “bring me the bone saw” and we cut directly to Jeffrey Combs firing up his bone saw in Re-Animator (1985). These are the easiest go-to building blocks for this sort of montage but overuse can render them very lazy very quickly, plus they don’t actually solve the whole compilation/super-cut dilemma … they would just make the compilation/super-cut feel a bit more assured on a technical level.



At this point it’s worth noting that it was already going to be a challenge to collide so many sources into a single piece based on their formats and aspect ratios without it being a visual distraction. Classics like Jacques Tourneur’s I Walked With a Zombie and the Lugosi flick White Zombie are full-frame and black-and-white, which would result in black bars on the right and left hand sides of the screen to maintain their composition.

Modern spectacles like the 2004 Dawn remake and an abundance of 1970s Italian zombie films are in colour 2.35:1 “Scope” format (with their tell-tale letterboxing on the top and bottom of the screen) and the remaining majority utilize the “Flat” 1.85:1 ratio which fits nicely into the 16x9 anamorphic frame that I was working with. So do you reformat them all to fit a uniform size? What about cutting from colour to black-and-white? How would that affect the audience’s experience? This led to my first major decision: any full-frame B&W films should only be seen on a television screen, as though the characters within the video are watching the classic movie on TV. This was limited even further when I made the decision that everybody would only be watching Night of the Living Dead, so the older films were abandoned. A notable exception is the moment from Night of the Creeps where you can see Plan 9 From Outer Space within the scene – what little time and special-effects experience I had didn’t permit me to matte something else onto that particular TV with its rounded edges, but thankfully it’s the scene were Eros is talking about reviving the dead “with our electrode guns” so thematically it fit.

Once I made the decision to keep certain films only on television that opened up an entirely new realm of possibilities: what if I were to keep pulling back the curtain so that the audience would lose track of what was fiction and what was “real”? We start inside “Night of the Living Dead”, then we pull back to the world watching it on TV as a zombie epidemic erupts (all in 2.35:1 widescreen). Once we’ve gotten settled into that world we pull out even further to reveal that these are all just events from some other zombie film that a group of people are watching in a movie theatre. They leave the theatre and then the zombie epidemic erupts in that “real” 1.85 world. This allowed me to maintain certain Scope aspect ratios without sacrificing the overall vibe of the piece – if you see it you’ll see that’s the key to everything that’s happening (barring two deliberate mis-directions, if it’s a 2.35:1 aspect ratio then you’re watching a fabrication).

By this point the final step was apparent: if I wanted to play around with levels of reality then the whole project needed to have some sort of overarching narrative, something to establish the reality that I was hoping to disrupt, because if the images lacked a storyline then any attempt to subvert that non-existent storyline would be pointless.

So I began to construct a beginning, middle and end to the tale based off the source material, and if you’ve ever seen a zombie movie before you can quickly list the options: the first waves of zomb attack, people barricading themselves indoors, the news reports, the barricades being breached, the involvement of the military or the militias, the inevitable apocalyptic clusterfucks and, more often than not, a pessimistic ending where everybody dies.

Then the challenge becomes telling that story using as many sources as you can cram together but in a precise enough manner so that you don’t bore the viewer with repetitive information. I still permitted some long sequences of zombies being killed en masse lest I totally confound the expectations of the people who were expecting a super-cut. Thankfully, Colin had the inspiration to change the 101 Zombie Kills title into French months before I started, for no other reason than to make it sound classier. Very prescient. If we had used the blunter English title I think the public reaction to this wildly different approach might have been one of bitter disappointment. Instead everyone seemed to really dig it.

4) You have very strong musical choices in Cent Une Tueries how did you arrive at these music choices?

Gee, thanks! I guess it all traces back to my own personal musical tastes and sense of humour because the choices were instantly apparent to me. I knew I wanted the video to end with the entire world being nuked into oblivion and if you’re gonna nuke the world into oblivion what could be better than Bob Marley’s Three Little Birds or Louis Armstrong’s What a Wonderful World? I started with the ending first, in fact, and actually constructed it *twice* -- once to the Marley song and once to the Armstrong song. In the end the latter won out, but I moved the Marley tune immediately beforehand and both got a lot of knowing chuckles from the Nuit Blanche audiences so I guess I made the right call there.

The real surprise for me was Goin’ Back Home by John Fogerty, the melancholic piece that I used to lead into the apocalyptic climax. It shuffled onto my iPod a few days prior, and sounds nothing like typical Fogerty so even if I had recalled the tune in my head I never would have properly identified it. Little miracles. The one that seems to have struck a chord with most people is Prisencolinensinainciusol, the gibberish song by Adriano Celentano which was rediscovered as an Internet meme a few years ago. It’s boisterous, it’s carefree and it sounds like it’s from another planet, so why not use it during a sequence where boisterous, carefree people from around our planet are attacked?

I knew I wanted something that sounded vaguely foreign and I took a stab at incorporating Plastic Bertrand’s vocoder-heavy Tout petit la planete during that sequence but it just didn’t take. I was shocked – shocked! – to see how well Bobby McFerrin’s Don’t Worry Be Happy lined up with the pick-axe scene from Return of the Living Dead, and I needed some light-hearted grooves after the pounding suspense of the sequence that preceded it, set to Fabio Frizzi’s Paura Viventi from the Fulci film City of the Living Dead. I wish I could take credit for using those Frizzi/Fulci tunes (also Voci Dal Nulla from The Beyond) but they were purely from a practical standpoint – their use overwhelms the soundtrack of their source material and maintaining those songs was necessary if I hoped to salvage some of the sound effects or dialogue.

I also wanted to make sure that I was balancing the ironic pop music with reverential odes to zombie history so the Frizzi stuff fit perfectly with that intention, as did the stock-library standards from the original Night of the Living Dead that we use a few times. Similarly, I knew that I would definitely feature Goblin’s “L'alba dei morti viventi” somewhere in the piece as is it perhaps the most memorable and ominous piece of score from Romero’s Dawn but its use in the background of the United Nations sequence of “Hell of the Living Dead” dictated that it accompany that section. I thought I might use Dead Kennedys’ “Kill the Poor” but that never came around. X’s Some Other Time was another. The The’s This is the Day was another. Flaming Lips’ Bad Days … I had options. And I really wanted to use something from John Carpenter’s Prince of Darkness, either in music or in image because I really believe that to be the best horror movie of the past thirty years, but sadly it just didn’t fit.

Lastly, I always thought it would be cool to use the “oh no, what are we gonna do?” line from Blondie’s Union City Blue as a reflection of a character’s internal struggle when things go from bad to worse, but I had abandoned that when I finally saw Oliver Stone’s The Hand a few years ago and, sunnuvabitch, they did that exact same thing – Michael Caine is driving around after possibly committing a murder and listening to Union City Blue on the radio. So in keeping with the collage nature of this project I thought I could finally get away with it scot-free and if anybody complained I’d just say it was an obscure reference to The Hand. Hence Sarah Polley driving her car, listening to Blondie on the radio.



5) You have been an editor for a long time, what did you learn about the art of editing from this project?

Well, I suppose you learn from every experience no matter what – all work accumulates toward those fabled 10,000 hours that it takes for an amateur to become an expert – but I don’t think that I’ve come out of this project knowing anything that I didn’t already know a week ago. If anything, it’s what I had learned beforehand that allowed me to put this monster together in seven days: the speed at which I know I can edit to music, the precision of the cuts and the economy of shots required for storytelling, et cetera.

You need to be tremendously obsessive-compulsive to reach the level where your cuts seem invisible and proper, and it’s a skill you gain with time. The personal triumph is that this feels like the first professional project I’ve ever completed that was 100% my “vision”, if I can be permitted to sound like some arrogant douchebag director. There was never any outside influence or interference -- Colin trusted me that much -- and as a result it feels like a purer representation of the ideas bouncing around in my head than anything I’ve ever done.

It’s ironic that this all resulted from working on a project that I was initially quite skeptical about, so I’ve got to give all praise to Mister Geddes. If it wasn’t for him and his concept and his unwavering enthusiasm, then I would have *never* thought to attempt something like this in a million years.

6) At what point into assembling all of this footage does one begin to lose their mind?

Surprisingly quickly. I mentioned that I edited it over one feverish week but there was quite a bit of prep beforehand, mostly sorting through all of the zombie movies that we had. There were 76 films on hand so even if you were to assume each film to be only ninety minutes long that still means that you have 114 hours of zombie movies to go through.

So that’s about five whole days of non-stop watching, if you don’t ever sleep. And half of them I hadn’t seen before. I would zip through them at three or four times their normal speed but you can’t be consistent that way – you might miss a great piece of dialogue or a non-zombie scene that you want to use as set-up – so at best it was probably two-times normal speed, approximately 57 hours of zombie movies. By my final count, 48 films made it into the 42-minute video. However it wasn’t the numbers that were driving me mad, it was the subject matter.

Most zombie flicks are quite tedious, punctuated by outrageous mutilation – often against humans, at least until the modern zombie era directed its violence toward the undead instead – and the Italian stuff in particular can be so gleefully sadistic that it churns your stomach. You can only watch so many movies in two-times speed where a woman has her nipples or breasts chewed off by a zomb before you start to really hate this shit. And you’re tied to using some of it, unfortunately, because you know that’s what the history of the genre is. You just hope that you can find a way to give it a meaning or a purpose beyond exploitation and titillation.

7) What are some of your favorite zombie kills?

If you mean that the zombie is being killed, I really dig that moment in Planet Terror (2007) when Freddy Rodriguez storms into the infected hospital with a knife in each hand and street-fights the attacking zombs, narrowly dodging the arcs of blood in the air. And does the celebrity cameo in Zombieland (2009) count? If, however, you mean that the zombie is killing somebody else then you can’t get more traumatic than the little girl killing her mother with the trowel in Night of the Living Dead. Gawd, those synthesized screams …

You can see a small peak of audiences saw Cent Une Tueries De Zombies here.

Monday, October 1, 2012

Caroline Williams Talks About Acting, Dennis Hopper and Horror Films

It was an honor to meet and talk with the actress Caroline Williams.(Texas Chainsaw Massacre 2, Days of Thunder, Halloween 2) Caroline is very engaging, has an impeccable sense of humor, a great story teller and very much a talented actress.

Friday, September 28, 2012

Eli Roth Interviewed At World Premiere of Nicolas Lopez' Aftershock


At the world premiere of Eli Roth's latest film AFTERSHOCK -- which saw him produce as well as star in the Nicolas Lopez directed film -- I had the opportunity to speak with Mr. Roth.

Monday, September 24, 2012

The ABCs of DEATH World Premiere Interviews with Robert A. Mitchell

Here are my interviews from the world premiere of The ABCs of DEATH Anthology Film. This was one fun night. Assemble some of the most talented genre directors working today and watch the chaos in sue.

Monday, August 20, 2012

In Memoriam Tony Scott

Upon learning of the tragic passing of Tony Scott I decided as a way of tribute to collect all of the trailers for the feature films he directed.


Tony Scott
1944 - 2012






Sunday, August 19, 2012

Into The Mouth of Madness


I am pleased to announce that I will be returning to the Midnight Madness program of The Toronto International. I'll be back on the red carpet talking to many creative and talented folks who worked hard to bring their films to life. This will be my eleventh year attending the festival and sixth year as a Midnight Madness blogger and I felt it would be cool to put together some of my favorite moments over the years at TIFF.

One of my favorite red carpets was in 2010 for the World Premiere of John Carpenter's The Ward. The great director was unable to attend but in talking to the cast the resulting video became a tribute to one of the great genre film makers.



One of my all time cherished memories of Midnight Madness was in 2009 writing an inscription for an award presented to George A. Romero celebrating his recent Canadian citizenship and subsequently meeting him after the ceremony.


The inscription on the C.N. Tower being clutched by a zombie hand reads as such, "In recognition of the Canadian citzenship of George A. Romero, his status as a Torontonian and his efforts to bridge the understanding between the living and undead through the cinematic arts September 12, 2009." It still amazes me that words I wrote reside in the home of Mr. Romero.

Here is the video we shot of the ceremony in Yonge and Dundas square in downtown Toronto.


One of the things that make the Midnight Madness programme so special is watching the emergence of amazing talent emerge upon the world stage. There have been many, the amazing screening of Ong-Bak in 2003 immediatley comes to mind. As I have said before not many can lay claim to seeing the first screen appereance of Bruce Lee but myself and my fellow film goers sitting in the long gone but not forgotten UpTown cinema at Yonge and Bloor saw the emergence of Tony Jaa. Last year Midnight Madness attendees witnessed the makers of one of the best action films in a decade arrive on the scene of world cinema. Not many knew the names of Gareth Evans, Iko Uwais and Joe Taslim but I am sure many people will know who these very talented folks are ten years from now. Here is my video from the 2011 World Premiere of The Raid.



The 2012 edition of the Midnight Madness program at The Toronto International Film Festival is about to heat up. Here is a link to the ten films that will be rocking the Ryerson theater in September. LINK. There will be many more stories, great memories and cinematic thrills.

Here is a link to the home of the old Midnight Blog with my posts. LINK.

Here is the link to the current Midnight Madness at TIFF Blog which will be heating up for the 2012 program. LINK



Saturday, August 18, 2012

Long Live the New Flesh. .


I am extremely happy to announce that an interview I conducted with David Cronenberg a couple of years ago at The Festival of Fear in Toronto will be on the special features of the Koch Media reissue of Cronenberg's seminal masterpiece Videodrome. Here is a link to a website to order the DVD/Blu-ray. Link. One of many cool things about this German reissue is the fact that they will be releasing the director's cut with four more minutes of footage as well as the original theatrical version. Plus there are a slew of special features with the film.



                                     Here I am with David Cronenberg August 29th, 2010.

Monday, May 7, 2012

Goodbye Cumberland Cinema

Last night the Cumberland Cinema located in Yorkville in Toronto went dark. One of the first memories that comes mind was standing in line there during the Toronto International Film Festival and buying a copy of the documentary Loose Change of some dude -- which I think is the perfect way to buy a conspiracy documentary, off of some guy hocking blank DVDs with the title Loose Change written on the silver disc with a sharpie -- and than buying Sushi off the cart the Cumberland would wheel outside during TIFF. There was also that great walk down the alleyway from Bloor street and the movie posters hanging above as you walked towards the theater. Here are some photos I took of the theater in the Summer of 2008.