Exclusive Interview with AGE OF THE HOBBITS Director Joseph Lawson!

Without a doubt, one of the best Asylum films to date - not just this year, but ever - is Nazis at the Center of the Earth. This mindbending adventure-sci-fi flick commanded international attention and is often the first film mentioned when people (like me and my friends) talk about the Asylum-renaissance that's been transpiring this year: a blend of better stories, better effects, and better direction.

In the case of NATCOTE, the director in question was Joseph Lawson - supervisor of the studio's in-house VFX department - working off a script from Asylum producer Paul Bales (Sherlock Holmes, Legion of the Dead). The film was Lawson's first at the helm, and was quickly recognized as the work of a great new director. Lawson returns this December with the hotly-anticipated Age of the Hobbits, an old-world tribal epic from the pen of Eric Forsberg (MegaPiranha, Almighty Thor). He was kind enough to take time out of his scarily-hectic schedule to talk to Committed about his career, passion for filmmaking, and AotH.

COMMITTED: First of all - my readers are dying for any tidbits you can give about the concept or plot of Age of the Hobbits.

Joseph Lawson: Think Apocalypto meets Frank Frazetta by way of David Lean and Steve Spielberg with a healthy dose of John Carpenter and Sam Raimi... a fantasy and creature battle epic somewhat inspired by the true scientific paleontological Homo Floresiensis living in Indonesia of 12,000 years ago. It's all through the Asylum filter, of course, including scientifically accurate winged and flying Komodo dragons. It's a very exciting Eric Forsberg script with gorgeous cinematography by Richard Vialet and it was an adventure to shoot!

 
C: What drew you to visual effects? What steps did you take to turn your interest into a career?

JL: I've been interested in both VFX and directing since I was 10, easy. The kids in J.J. Abrams' Super 8? That was me. The first thing I committed to Super 8 film was a visual effect Star Trek Starship, rechristened The Hood, NCC 1707, and I directed the one reel film with friends in it as well. It was the first of many including a jungle war movie in the depths of Okinawa. Over the years, everything has been grist for that mill... making choices that allowed for opportunities to write, direct, act, edit, do visual effects. Commercials at KRTV-3 in Great Falls, Montana... my own animation business... working for Foundation Imaging on and CG directing an episode of Roughnecks: The Starship Troopers Chronicles... so many great opportunities to work with hundreds of people far more talented and capable than I to learn as much as possible.

The first thing, though, is you have to commit to the path. I truly believe that luck is where opportunity and preparation meet for those willing to grasp at the brass ring. It's not just about being at the right place at the right time... it's about training enough so that when you DO say "hey, give me a chance, please..."  to folks willing to take a chance on you, you've both earned it and are ready for it.

My wife forwarded me another saying shortly after taking on this film... "Don't just follow your dreams, lead them." I've been blessed to get that opportunity more than a few times.
 
C: How did you come to work with The Asylum?

JL: I was brought aboard in 2010 by another great artist and VFX supervisor, Mark Kochinski (now at Disney) to help start up the facility in-house. At the time, my only familiarity with Asylum was Pirates of Treasure Island, which I'd rented about a month before even KNOWING there was an Asylum. It took a bit of convincing to get me aboard. It was a challenging start with lots of technical and time hurdles to overcome but over the years we've been able to build an amazing little group of folks who accomplish far more with the resources and time than I think they'll ever get fair credit for. The producers, Latt, Rimawi and Bales, have given us a lot of support and patience as we've learned and grown with each new challenge. We strive to get better every show and, on the whole, I think our trend has been upward hopefully with good entertainment results.
 
C: What's been the hardest part about transitioning from VFX supervisor to director? What's been the best part?

JL: The hardest part is leaving behind such a great group of people in the department. We have a lot of fun in VFX while hunkering down to meet the deadlines. It's also hard to switch gears from juggling up to five films at once to suddenly concentrating on one exclusively and away from everything you know. And being away from my personal family on Age was a challenge, though my wife and kids, God bless them, are the biggest supporters of this crazy dream.

The best part, besides just the absolute "this is what I was born to do" joy of directing, is getting to know and respect even more than ever the folks in production and what THEY have to do to get an Asylum film done. Watching the dedication and artistry of people like line producer Anthony Fankhauser, the make-up work of Haley O'Neil, the stunts of Jerry Earr, the various folks on our Cambodian cast and crew and the amazing things sound man Alex Hutchinson has to do to get great audio is humbling and educational. It's probably one of the best and most challenging film schools on the planet, for those with the iron will to take it on. 

In post, working with Rob Pallatina a second time in editorial has been great because we've developed such a fantastic shorthand as a team. The Chris Ridenhour score is an emotional, orchestral and auditory powerhouse. The sound departments' creations are a wonderful ear loving canvas, the color correction by Mark Quod and his crew is rich and gorgeous, and the disc work by David Courtice is really cool.

One should also always remember behind the scenes folks like Judith, Kala, Courtney and Kendall who handle all the heavy lifting of getting the film distributed, seen and sold. There are so many more good folks at The Asylum giving them all their deserved kudos could fill THREE of these interviews!

So, it all comes down to storytelling and characters or situations you enjoy spending time with... and co-workers you enjoy spending even MORE time with.
 
C: How do you select the projects you direct? What draws you to a project?

JL: I select being involved with any project based on two sets of things... is the story cool/fun/exciting/emotionally compelling and does at least one part genuinely make me cry (and not out of pain) or laugh. If that happens... and my wife Kelly has been there when I cried as a result of character situations for both Nazis, Age and the next one... then I feel like maybe something can be drawn out that will similarly touch the audience. Ultimately, whether a film has an Asylum budget or a two hundred million budget, if you care about the characters then people will be entertained. 

What draws me to it in the first place is the ability to create good, strong visuals and weave a story no matter what the limitations. That and for Age, Latt handed me a piece of notepaper with this list: 1. You  2. Direct 3. AotH  4. Cambodia. Both Rimawi and Bales also seemed pretty excited by the prospect. Who can resist that? 
 
C: Who are some of your favorite/most inspirational directors?

JL: David Lean. Steven Spielberg. Peter Jackson. James Cameron. Robert Wise. J.J. Abrams. John Landis. John Carpenter. Robert Rodriguez. Peter Weir. Ridley Scott. I could honestly go on and on but those would be the folks whose films have most affected my vision and approach over the years. Ultimately, every director has had an effect whether it's in the inspirational vein or the Mystery Science Theatre school of how NOT to make movies. I just hope when my turn comes at the bigger bat, I'm qualified to hold even a tiny little candle to their amazing creations.

C: You shot AotH on location in Cambodia; what sort of challenges did you face shooting in a foreign country with a presumably small crew?

JL: Snakes. Land mines. Goats. Dangerous pot-hole filled travel. Rugged hikes.  Monsoons. Sketchy food. A very long plane flight. Lots of shots. Wait, why DID we do this?  Simple: at age 49 David Lean shot Bridge on the River Kwai just north in Burma... so while it's a huge bar to aim for in 15 days, it's also the fulfillment of a personal lifelong dream... to shoot with epic scope in a far off land not seen by many western cameras for a feature style film. Cambodia is one of those last best places so we have a GREAT and enthusiastic crew with a mix of Asylum vets and new eyes. We've gotten some fun stuff to see and the hope is that the end result of a cool action movie makes all the challenges worth it.

 
C: Anything you can tell us about the release?
 
JL: It's a feature packed disc, this DVD/Blu Ray.  There's a gag reel, a really sweet making of by Cody Peck, the really-sells-it-but-doesn't-tell-it kick-butt cool trailer by Brian Brinkman, four deleted scenes and a commentary where I get to sit in with editor Rob Pallitina and the wonderful Christopher Judge (who played Amthar) to have a lot of fun... with a surprise appearance by Richard Vialet, our DP. It'll also be on VOD and at Redbox (under a different title, I believe) all on December 11th.
 
C: Any Joe Lawson dream projects or people you're dying to collaborate with?

JL: I have a ton of personal story ideas and projects I'd love to do, as any writer/director does, and world building of places we HAVEN'T already gone would be a great opportunity and challenge. Playing in other folks realms, though, I'd be thrilled to get to direct a Game of Thrones episode (or five or ten), or to be part of a Star Wars live action series... and I'd actually love to have the chance to revisit a very familiar place with a different take on NATCOTE... but beyond that, someday I look forward to having the chance to pitch, write and direct the ideas and stories that I've gathered over the years.

As far as collaborating, well...  it can be the most fun part of the job and there are so many talented and creative folks in so many disciplines here at the Asylum and elsewhere. To work with any of the living folks on my director list would be a dream of a lifetime.

Heck, if Peter Jackson saw fit to take some time to watch this latest little film, THAT would be truly amazing... and he could return the favor of putting an arrow through MY chest in some future film. Consider him humbly and respectfully invited to do so. 

More importantly, though, in the spirit of encouraging folks to take a chance on their own dreams: get out there and get that ball rolling because the filmmakers I most look forward to collaborating with someday are, Mr., Miss and Mrs. Reader:  YOU!



Lawson's next feature is Age of the Dinosaurs: "Age of Dinosaurs, which is now in post, stars Treat Williams (Prince of the City, Deep Rising, 1941, Hair and TVs Everwood), Ronny Cox (Robocop, Total Recall, Deliverance) and Jillian Rose Reed (Awkward, Weeds) and was written by northwesterner Hank Woon. Set to release in May, 2013, it's the simple tale of a father and daughter rediscovering their love for each other in a city filled with rampaging dinosaurs. For his third film in one year Joe reteams with cinematographer Richard Vialet (AotH), editor Rob Pallatina (NATCOTE and AotH) and composer Chris Ridenhour for this action adventure through the streets of Los Angeles. We like to think of it as Jurassic Park 3.5."


Age of the Hobbits, as Mr. Lawson said, is out on DVD, Blu-Ray and VOD December 11th. Get your hands on a copy for what promises to be a truly epic adventure.

Time Again for the Asylum's Toys For Tots Toy Drive!

If it's the holiday season, that means it's time to roll up our sleeves, give thanks for what we have, and reach out to those who have less, starting with the most important people out there, the children.

Each year The Asylum holds a massive toy drive in support of the U.S. Marine Corps' Toys For Tots program, and this time, the studio's looking to rake in the biggest haul ever, with our help, of course. Here's the info straight from the man himself, producer David Michael Latt:

"Hello!

The holidays are right around the corner -- and you know what that means -- 

Our Annual Toys For Tots Toy Drive!!!!

What is T4T?: A charity founded by the US Marines that gives toys to less fortunate kids under 12 during the holidays.  And this year that's going to include victims of Hurricane Sandy.  

...and all we need is 1 (or more) Unwrapped New Toy.  So easy -- and tax deducible! 

Mail it, or drop it off by December 5.  (And if you drop it off, I'd love to say Thank You in person!)

And even though I know you don't need the incentive...the person(s) who brings in the most toys will get their choice of an Asylum DVD and a 15 Year Anniversary Shirt (while supplies last).  

Here's what you need to do:

-Find a toy.

-Don't wrap it!

-Mail it, or drop it off to:

Santa Elf

c/o The Asylum

72 East Palm Ave.

Burbank, CA. 91502

All toys must be received at the office by December 5, 2012.

Good Toys:

-Books  

-Anything that doesn't require batteries

-Nothing wrapped

-Lots of little toys are better than 1 big toy

Bad Toys:

-Missiles

-Lint balls

-Romney/Ryan for 2012 Signs"

Last year saw an amazing amount of contributions, which means that the pressure's on this year to provide even more kids with an even merrier Christmas. The way I figure it, since The Asylum keeps putting out bigger and better films each year, we can match their output with a greater showing of support. 

So like the man says, let's round up some toys, get them to The Asylum by December 5th, and spread the word on all our social media outlets, tell passers-by on the street, post flyer, skywrite - whatever it takes to get the word out. 

 

Dig This Asylum Article From the L.A. Times

This past weekend the venerable L.A. Times published an article spotlighting the success of independent studios who draft off the popularity of larger studio titles, and of course The Asylum was mentioned; two of the studios three partners, David Michael Latt & David Rimawi, are quoted. An interesting and informative read on the mockbuster business model. Enjoy!

Asylum Bits and Pieces

It's been a newsworthy week for everyone's favorite independent studio, as they've turned up a couple of times in popular media. Check out these links:

CNN's Outfront Blog spoke with Asylum producer Paul Bales on mockbuster moviemaking.

Then there was this list of the Greatest Shark Attacks in Film as compiled by Complex Magazine. Not only does Mega Shark vs Giant Octopus occupy two of the 31 spots, number 29, 30, 31, come courtesy of The Asylum and yours truly, from 2 Headed Shark Attack. 


And last but certainly not least, here's Asylum producer David Michael Latt conversing with American Airlines' American Way Magazine about, you guessed it, making these wild and wonderful movies.

Take This Lollipop - Trust Me!!!

I'm not going to say too much because I don't want to spoil any of this, but take a minute and head over to www.takethislollipop.com for one of the most frighteningly-interactive uses of the internet I've ever seen. The site, designed by the older brother of Asylum producer David Michael Latt, features Bill Oberst Jr. (A Haunting in Salem, Princess and the Pony, Born Bad) in a role he was born to play and is absolutely perfect for. So go, check it out, but you've been warned...

Asylum Producer Gives Australian Interview

Pretty rad interview here with Asylum Producer David Michael Latt for Australia's Universal Channel. Seems the Aussies are airing something awesomely entitled Mockbuster Mayhem, in which they'll be airing a handful of Asylum titles, and they wisely thought an interview with one of the head honchos would be the perfect icing on the cake.

Check it out for yourself, but the most interesting part, to me at least, is the revelation of two new titles soon to enter production: Celebrity Sex Tape and Air Disaster. Now, Celebrity Sex Tape speaks for itself, but Air Disaster I'm curious about. Of course, there's the obvious title similarity to Airline Disaster, and presumably a similar premise, but who knows? It could also be a thriller concerning threatened oxygen or a live-broadcast catastrophe. Stay tuned for details as they emerge...

From The Asylum Library: H. G. Wells

I'm officially starting the rumor Wells was a vampire. Dig those eyes.

Every now and again, as is true of most motion picture studios, The Asylum will look toward the world of letters for inspiration. The public domain offers an array of spectacular, action-packed, thrilling, and - most importantly - free works ripe for the updating. In this occasional column, I'll take a look at the literary giants from which The Asylum has borrowed. Today, we look at the man responsible for two Asylum films to date (the second one less-so, but I'll explain...), as well as the man who is often credited, alongside Jules Verne (the O.G.), as the creator of science-fiction, Mr. Herbert George Wells, known to history as simply, H.G.


H.G. was born in Kent, England in September 1866 to a gardener and his wife. Times were lean in the Well's household, but young H.G. was an aggressive reader, and through books acquired the knowledge and skills that would elevate him out of his humble beginnings and into the eternal literary canon.

Though he also wrote in the areas of history (including the three-volume magnum opus The Outline of History), politics, social commentary and mainstream fiction, it's H.G.'s science fiction he is most remembered for. His early novels read like a roster in the sci-fi hall of fame: The Time Machine, The Invisible Man, The Island of Doctor Moreau, When the Sleeper Wakes, The War of the Worlds and The First Men in The Moon. A political socialist, Wells also wrote a number of what he deemed "Utopia novels," in which he applied his political views to a reorganization of society, leading to a (often deceptively) more perfect future; notables in this category include A Modern Utopia and The Shape of Things to Come.

To date, the works of H.G. Wells have been adapted into more than 80 films and television series and episodes over the last 110 years, by everyone from Georges Melies to Alexander Korda to George Pal to Bert I. Gordon to Steven Spielberg to David Michael Latt, who directed War of the Worlds for The Asylum in 2005, the same year Spielberg's adaptation came out (and largely credited for launching the "mockbuster" phenomenon). The other Asylum film based on the works of Wells, and this is the one I referred to as "less-so," is War of the Worlds 2: The Next Wave, naturally, and while not based on any actual Wells' text - his story has no sequel - it's based on characters inspired by a situation in Wells' novel, and that's close enough for me.


So there you have it, a cursory and haphazardly-researched look into the life and writing of on H.G. Wells, godfather of sci-fi and inspiration for two Asylum films to date. As for the future, who knows? I for one would loooooove to see an Asylum Island of Doctor Moreau, or a loose adaptation of First Men on the Moon, substituting perhaps the Red Planet, Mars. Until then, enjoy yourself a healthy heaping of Wells, Asylum-style, with the best double feature in the studio's catalogue (in the sci-fi genre, at least).

observation notes: Wildflower

For this one we've got to get in The Asylum Way-Back Machine, and return to the year 2000 and the studio's early days when original productions were far fewer than they are now. This film - a steamy and twisting erotic thriller - is of particular note, as it was directed by Asylum producer David Michael Latt (Megafault, War of the Worlds).

After the death - by a prostitute-induced heart attack - of a wildly successful L.A. businessman, his three grown children - a cuthroat and selfish son (Dean Stapleton), a snarky and empowered daughter (Kim Little) and an unraveling alcoholic/gambling addict younger son (Chris Hoffman) - head for the family's remote cabin to negotiate the division of Daddy's empire. When the youngest son picks up a nympho hottie fleeing a dickhead boyfriend (despite having his lady on the trip), she helps incite a spellbinding and sensuous struggle for power, control and - most importantly - money. Intrigue, eroticism and peril ensue.

On the surface, this might come across as just another low-budget flesh fest, a flimsy story to support ample displays of nudity. And don't get me wrong, there's a lot of nudity in this, a Solid A for nudity, but the story is anything but flimsy. The script, by one Angel Orona, his only effort to date, is intricate, thrilling and sound, a story with hints of Basic Instinct, Indecent Proposal, The Last Seduction, Double Indemnity (I said it) and, of course, Daddy's Dying, Who's Got The Will? There are twists and turns (that I won't reveal) that while sensational are not at all outlandish or contrived, and help to deliver a solid and in fact superb B-thriller. 

Another element helping elevate this above the pack is a capable cast with good chemistry, especially among the three siblings. Dean Stapleton plays egomanical douchebag "Ethan" as a stern and dickish philandering asshole you can't help but hate, while at the same time strangely respecting his will and ambition; Kim Little (Supercroc, Princess and the Pony, Killers 1 & 2) as "Audrey," the sister, undergoes an intense and surprising character arc, an evolution pulled off flawlessly by Ms. Little, who reminded me here of an actually intelligent Bridget Fonda; and Chris Hoffman as weakest link "Dennis" does an excellent job making us believe he is the sort of young, rich sleaze with drinking and gambling problems who would pick up an extra chick for the weekend then try and get his other girl to sleep with her (which, SPOILER, she does), while simultaneously making the same character sympathetic and even endearing.

Other notables include CC Costigan as the nympho hottie that joins the team - sultry and sinister, the film's femme fatale, oozing wicked sensuality - Kristina Edlund as Ethan's embattled and embittered trophy wife, "Jackie" - a rigid, modest, cold woman, the result of a debasing marriage and the realization she may not be the only trophy in the case - and Tammie Sheffield as Dennis' original girlfriend, "Zooey" - the film's sweetest eye candy.

Overall then, allow me to reiterate what I said earlier: this is a tense erotic thriller, heavy on the "erotic," rife with impassioned performances that elevate this above the usual D2DVD fare. Is it campy? Yeah, sure, a little bit. Is it low-budget? Oh hell yes. Is it exploitative? Absolutely. And in addition to all this greatness, there's an actual film here, with a strong, intriguing narrative that doesn't fall apart at the end, quite the opposite, it keeps escalating, raising the bar, each level more thrilling than the one before. I'm not just whistling Dixie here, puffing smoke or kissing ass. This is a solid movie, an actual thriller, erotic, yes, but more than that, it's intelligent, effective, suspenseful and just plain fun. 

And that's all I'm ever looking for.

Birthday Wishes!!!

Just a quick note today to extend birthday wishes to Asylum founding partner and executive producer David Michael Latt, a.k.a.one of the three dudes that makes every single Asylum film happen, a.k.a. one of my personal heroes.

So we here at Committed - that is, me - offer our many happy returns of the day.

Check Out Video of Asylum Heads on CNN Money!

I'm no studio executive, but I'm wiling to bet if I was one, and CNN Money did a story on my studio, the best-case scenario headline would be: "This Movie Studio Never Loses Money." I mean, doesn't that sound just about as good as it gets? The only thing that could make that better would be, "This Movie Studio Never Loses Money, and Cured Cancer." That's it. And who knows what the guys have planned for 2012?

Anyway, CNN Money did do a story on The Asylum, a video story, and they did title it, "This Movie Studio Never Loses Money." Check out the video here and PLEASE GOD rent or buy A Haunting in Salem when it's released August 23rd.

Unique Mega Shark T-Shirt Opportunity

Marco Brunello, one of our fellow faithfully-committed and the biggest Asylum fan in Italy (if not mainland Europe), was inspired so much by the films of our favorite independent studio that he created a couple of minimalist poster designs for Mega Shark vs Giant Octopus and Almighty Thor.

The story goes that Asylum partner David Michael Latt was so taken by the design for MSvGO, that he asked Marco to make it into a t-shirt. So that's just what Marco did, and they're available to us, the general public, right here.

Marco runs an excellent Asylum fanblog called Going to the Asylum, and while Google Translator isn't the best, it's still a great read.

Support the Asylum's legion of worldwide fans and their dedicated creativity! Buy a t-shirt! Kudos to Marco on art well-made!

 

Hodge-Podge Post (assorted ephemera)

No real theme to today's post, just a couple of things I thought my fellow faithfully-committed might be interested in:

First item: the third round of SyFy's Monster Madness bracket challenge opened for voting yesterday, and our hero Mega Shark is still in it, this week facing off against dumb old Dinoshark (who by the way comes out on DVD in a week or so). If we can get through this round, there will be only the semi finals then the finals between The Asylum and creature feature domination. As of 10 a.m. PST today, Mega Shark trailed Dinoshark 41% to 58%, so get the word out, vote early and often, and help Mega Shark assume its rightful place as the nastiest of the SyFy original monsters. The link's right here.

Next up: a really great article from a Mr. Gareth Rees-White (a writer's name if ever I heard one) over at City on the Hill Press, the student-run newspaper of the University of California at Santa Cruz (go banana slugs! send me a shirt, Gareth!), about everyone's favorite independent studio. Dude got face time (or at least phone time) with producer/director/writer David Michael Latt, producer/actor Jude Gerard Prest, actor/writer/director Shane Van Dyke and line producer Mary E. Brown. Not only is the article informative, it gives a real nice sense of what it's like working with The Asylum, the kind of enthusiasm and dedication they bring to each picture. Honestly, it's the best Asylum-centric article I've read in a long while; do yourself a favor and check it out.

And finally, just a reminder that I am now on Twitter, discussing not only all things Asylum, but also offering my unique and jaded insights into other films and elements of pop culture. A particular highlight is the nightly live screening, in which I - often times after a drink or two - will pop in whatever DVD's closest and talk about it in 140 characters or less for the duration of its running time. It's probably only entertaining if you're me, but drop by sometime and find out.


Well, that's all I have today. Enjoy your weekend!

observation notes: Countdown:Jerusalem(Armageddon)

Don't let the headline confuse you: most often this film goes by its proper name, Countdown: Jerusalem, although on occasion, especially when a part of a multi-pack DVD, it can be found as Countdown: Armageddon. The name change is the only difference between the two. 

Another in the Faith Films line, this one opens with a montage of news footage beginning with the creation of the State of Israel in the late 1940's, and progressing from there forward through the decades, tracing natural, climatological, economical and social disasters right up until the present day, our modern era, when, as a stunning miracle to oppose all the horror we've just seen unfold, that ever-elusive Peace in the Middle East has just been declared. As though commentary on the improbability of this pax, instantly there begins from every corner of the globe earthquakes, tornadoes, explosions, mass destruction and carnage. Caught in the middle of this inexplicable, cataclysmic turmoil is TV reporter Allison (Kim Little). When her young daughter Mary (Ms. Little's real-life daughter Audrey Latt) disappears from a single-entrance bathroom following a sonic boom of sorts, escalating catastrophes worldwide lead her to Israel and the discovery of an apocryphal conspiracy set to eradicate all of humankind, a.k.a. the end of days.

Kim Little as the lead - arguably her biggest role since Killers 2, and certainly since Supercroc - plays her as highly-motivated, equal parts workaholic divorcee and devoted mother, driven and concerned; the result is the portrait of a skilled professional with an emotional impetus to get to the truth. Ms. Little here reminds us why she's the original Queen B and the First Lady of The Asylum: she's emotionally versatile, intelligently formidable, erudite and utterly relatable. 

Another notable in the cast is Clint Browning (Street Racer, The Terminators, Mega Piranha), who plays a sort of holy warrior; that is, a man with a fighter's disposition but a faithful soul. As a guardian figure of sorts to Ms. Little's character, he's an almost-angelic figure. I half expected him to sprout wings at a point, so effective was Mr. Browning's portrayal, an effective juggling of soft-spokenness and unflinching capability. Also handing in a convincing performance is Russell Reynolds (Dragonquest, The Terminators) as the head of an Israeli underground sort-of spiritual brigade, more military than CB, a nice balance in the spectrum of fervency to the other actor's position of thoughtful warrior.

Overall, I found this to be an intense, interesting film, part political thriller, part religious disaster flick woven into a winding plot with twists both secular and holy, creative an effective adventure rife with a multitude of massive FX courtesy of Tiny Juggernaut that include seas turning to blood, a slew of natural disasters, helicopters, crumbling buildings, mass panic and all sorts of other goodies. The tornadoes were especially impressive.

C:J(A) was directed by A.F. Silver, whose only other credit comes as the cinematographer of Sherlock Holmes (which leads me to believe it could be a nom de plume), and written by Jose Prendes (Haunting of Winchester House) from a story by David Michael Latt. The former gentleman's use of light and exquisite framing really elevates this above your run-of-the-mill direct-to-DVD actioners, while the latter gentleman's delicate handling of the script manages to turn in a religious film whose message, while apparent, isn't too heavy-handed, and in fact comes across no different from any other hero's personal philosophy in any other action film - e.g. Bruce Willis' die-hard devotion to a wife he isn't with anymore, Spiderman's great power/great responsibility spiel - only with, you know, 2,000 years of context backing it up. Make no mistakes, whatever the title, this is definitely a religious film; its enjoyability, however, is not exclusive to religious viewers.  

Countdown: Whichever You Call It is built upon a layered story expertly brought to life by a competent and impassioned cast and all overseen by a sharp direction that ties it all together. Definitely worth a watch.

Check Out This Interview (not mine) w/ David Michael Latt

David Michael Latt, Asylum partner from day one and a producer on every film ever released under that mantle, gave an interview to The Examiner on Battle of Los Angeles and other-things Asylum. It's a rare, in-depth conversation with one of the guys who makes our favorite independent studio just that. Drop mad hits on it here.

Observation Notes Catch-Up: Horror

I know not all my readers have been with me from the beginning, and I also know given the amount of postings I've made, things can get lost in the shuffle. I also know that I'm not the best at tagging uniformly, so there might be a few things, specifically Observation Notes, that go unread. As such, periodically I like to remind you - with links! - of the films I've reviewed, and I think a good way of grouping these is by genre. So here, for your catching-up or even revisiting pleasure, are the Horror films produced by The Asylum that I've reviewed thus far, along with links to the original posts. Enjoy!










Death Racers
directed by Roy Knyrim
story by Roy Knyrim & Patrick Tantalo
screenplay by Andrew Helm
(not technically horror, but enough blood that it counts)

8213 Gacy House
directed by Anthony Fankhauser
written by Reality

The Beast of Bray Road
written and directed by Leigh Scott

I Am Omega
directed by Griff Furst
suggested by a novella by Richard Matheson
screenplay by Geoff Meed

When a Killer Calls
directed by Peter Mervis
written by Steve Bevilacqua &  Peter Mervis

Legion of the Dead
written and directed by Paul Bales

Killers
directed by David Michael Latt
written by Steven Ramirez

Killers 2
directed by David Michael Latt
written by Paul Bales
based on characters created by Steven Ra

observation notes: The Apocalypse

Another from The Asylum's Faith Films subdivision, and one of three religious-based global-catastrophe spectacles - along with Meteor Apocalypse and 2012: Doomsday - The Apocalypse is, generally speaking, the story of one family's attempt to survive - physically and spiritually - the widespread chaos referenced by the title. And be certain, "apocalypse" here isn't some catch-all, rote end-of-the-world scenario; it's the full-on, soul-shattering brouhaha that makes Revelations easily the most popular book in the Bible.

Our film opens with a group of campers - among them cameos by Sarah Lieving and Leigh Scott - enjoying campfire conversation beneath a sky beautifully streaked with shooting stars. By "shooting stars," of course, I mean "meteorites," one of them fuc-, sorry, bleeping huge and heralded by a barrage of smaller projectiles that fall from the sky and rip this bucolic scene and its inhabitants to shreds. Thus the apocalypse begins.

Cut to a rugged park ranger (Rhett Giles) on the scene of a massive housefire. While he and his partner are stumped, we know it was a rain of hot rocks from the sky that torched the home. Soon enough they'll know it too: on the drive back to town, they discover said town has been eradicated, turned into a mass of molten rubble, courtesy of the heavens. Panicked now, it is revealed that RG has a daughter (Kristen Quintrall) he hasn't spoken to in quite a while living in Los Angeles; when the end is finally nigh, grudges and bygones are the first things to go.


Cut to said daughter, playfully frolicking with her boyfriend (Tom Nagel) while the world outside, unbeknown to them, is going to utter shit....sorry..."crap." This blissfully ignorant moment soon passes, however, when a roommate of the daughter (she has three, one of whom, not this one, is played by Erica Roby) calls them out to witness news footage of the widespread damage. The daughter freaks because the epicenter of the damage, Big Sur, is near where her mom, RG's ex (Jill Stapely), now resides. She's ready to run out the door into the heart of the devastation when a convenient phonecall comes from her mom: she's okay, she's coming to L.A., stay put til she gets there. It's at this point, maybe thirteen minutes in, that we get the first direct reference to God, made by another of the daughter's roommates, (still not Roby, but Shaley Scott, who may be related to Leigh Scott, as all four films she's acted in have been his) in reference to the entity with whom those lost in the day's holocaust now reside. This opinion is quickly shot down by the daughter, who seems a little too defensive to be idly philosophizing. But more on this to come.


Back to RG, who's watching the news, trying to get some idea of what's going on where. There's no big scientific explanation here, no scenes full of techno-garble, only raw data: a massive meteorite has shattered nearby and its shards are battering the planet, not just in California but everywhere in the country, in the world. At this point the Ex pops in on her way to see the daughter, finds RG and his partner amidst these startling discoveries. Well, she's got one more for them: this isn't going to be the only barrage, there's another meteorite coming, bigger, "the size of Texas" (aren' t they always?) and thus much more destructive, "an extinction starter." Call it what you will, use as many colorful nicknames as you can, but make no bones about it: the world is ending, real quickly, too, so the Ex demands that RG puts his bullshit - dammit, dam- "malarkey" behind him and accompany her to see their daughter before it's too late. While RG is pensively mulling this over, his partner makes the decision for him, saying that he is leaving them to reunite with his estranged father. Somehow this is the final straw that snaps the camel's back of RG's hesitance, and he realizes that it's all real, that it's really happening - the end. Make your peace and smoke 'em if you got 'em.

Meanwhile, in L.A., the daughter further ups the religious content by taking her boyfriend to a nearby church, understandably overrun with the frightened faithful. Contrary to what I was expecting - any time someone bothers to make an overtly Christian film, I naturally expect a fair amount of persuasion - this scene is very non-judgmental, non-dogmatic, and instead of painting the Christian faith as a self-righteous, all-powerful judging force, it is depicted as being a communal spirit of comfort, something the faithful make to support each other, the best, truthfully, one can hope organized religion to be: flexible to the needs of its flock while providing a constant base of faith and hope for salvation, physical or spiritual. At least, this how I see the daughter sees it. The boyfriend, on the other hand, is still skeptical, pointing to the perspective of most contemporary young folk that it isn't particularly fashionable or "groovy" to be a practicing Christian. Ultimately, however, it seems this line of passive questioning has only been inserted to make the point to any watching youths with their own doubts that such things are necessary, and in fact planted by God to test our faith, and therefore are further, stronger proof of his existence. I think. Religious rhetoric, perhaps purposely, confuses me. They (the producers) are embracing the youth's ambiguous stance toward faith and turning it to faith's advantage, is what I mean, is what I think they mean. Or maybe I'm just analyzing out of my ass - sorry, "rear-end," parting seas inside puddles. Either way, on with the mayhem, which kicks into high gear here.

RG and the Ex are on the road to L.A. and their daughter, racing a mega meteor hell-bent on sending them all to heaven. This is when the actual Rapture begins. The Actual Rapture, people disappearing and stuff. From here the film becomes a battle between faith and tragedy, both overwhelming, and what The End means to each individual character - the regretful father, the faithful ex, the headstrong, independent daughter and fearful boyfriend - and how they rectify their lives in the face of certain death. Spoilers beyond, so I relent.

 Overall, I found this film to be powerful, chilling and painfully realistic in its depiction of modern society's reaction to such a cataclysm: the chaos that compiles into anarchy, the muddle of fear and faith and hope and despondency and love that would naturally accompany total global annihilation is present and palpable here, thanks to wonderful FX - decapitation by meteorite, dudes melting in lava, waterspouts, tornadoes, mass structural damage and explosions galore, all courtesy of Tiny Juggernaut - that were pretty brutal for a Christian film, a string-based soundtrack (that was the highlight of pretty splotchy sound editing, especially when it came to vocals vs. explosions) that eerily set the mood between dismal and righteous, and a taut script from David Michael Latt and Carlos de los Rios that is both powerful and provocative, religious without being overbearing, and presents logical questions I think most of us - regardless of religious background, if any - would ask ourselves in the face of certain, inescapable oblivion. And of course, all these elements are brought together and anchored into a cohesive story by the intense, claustrophobic - I mean that as a compliment - direction of Justin Jones (Invasion of the Pod People) and the startlingly authentic performances by the trio of actors that seem entirely submerged - mentally, emotionally, spiritually - in the final moments of all our lives. Rhett Giles (Frankenstein Reborn, Way of the Vampire) plays his regretful park ranger as skeptically concerned, viciously brooding, and the tense center of the film. As a contrast, Jill Stapely (nothing else of note) inhabits the role of his ex-wife with ruthless faith, making her the spiritual anchor of the film, the unwavering light. 

But the most powerful performance of a powerfully-performed film - one of the best-acted in The Asylum's filmography, I dare say - belongs to Kristen Quintrall, who, as the wavering candleflame between her parents' viewpoints, the balance between their beliefs, raised faithful but with independent questions of her own, serves to represent the rest of us, those of us lacking the certainty of either philosophical extreme and who would find ourselves in the face of such a trauma just plain scared. Quintrall is an emotional juggernaut in this film, showcasing some big-time chops that could make her a veritable star in the genre. Plus, oh yeah, she edited the film too, pretty well, I'll point out. So, yeah, what did you do today?


All in all, while I typically don't go in for the rhetoric of these things - I was raised religious in the rural South, so I've had a good helping of all that stuff and find myself, well, stuffed - I still found this to be an engaging, exciting, thought-provoking and eerily resonant film. 

And I got through this whole post without an R.E.M. quip. It might not sound like much to you, but I'm proud of myself.

A Committed Exclusive Interview with Geoff Meed!

Geoff Meed is, as I have referred to him many times, the Bo Jackson of The Asylum. A true double-threat, Meed has carefully molded himself from his beginnings as a stuntman into one of the most intense actors in The Asylum's stable, as well as one of its brightest, liveliest, and most well-received screenwriters. For The Asylum, Meed helped pen Unviersal Soldiers with some uncredited assistance from David Michael Latt, then went out on his own for the incredible I Am Omega, and the rough-and-tumble vengeance flick 6 Guns. Both of these latter scripts, while action-flicks, are bolstered by Meed's focus not only on the action and violence in these characters' lives, but also the emotional motivations behind their responses. In I Am Omega, Meed's script calls for actor Mark Dacascos to play the role of the supposed last man on Earth as a fragile warrior, a survivor at equal odds with the world outside and inside; in 6 Guns, it isn't the method of vengeance that is the heart of the film, it's the madness that fuels that method, the injuries sustained and not seen that guide our heroine. In a market where story isn't valued near as much as FX or cleavage, The Asylum has always stood apart as one company who still puts a value on narrative. The continual use of Geoff Meed is one such example of this commitment.

As an actor, Meed 's early career is peppered with appearances on various well-known television shows including "Renegade," "Walker Texas Ranger," "Babylon 5," "CSI," "ER," "Buffy the Vampire Slayer" and more. For The Asylum he has appeared in five films, including his latest two scripts. Mr. Meed continues to act outside The Asylum as well, keeping up his vigorous TV work and foraying into more major motion pictures, including the upcoming fifth installment of the Fast and Furious franchise. But as his career continues to climb to new heights, Mr. Meed stays close to home, revealing below, among other things, an upcoming project that has him back in familiar confines with pen in hand.



977: When did you first decide you wanted to work in the movies?

Geoff Meed: "I got kicked out of the University of Texas at Austin, and my parents finally realized what kind of trouble I was creating, so they brought me home to El Paso, where they had recently relocated. There was nothing to do, so out of pure boredom, I started acting at a community theatre my mom was a part of, and it kind of started from there."


977: Who came first? Geoff Meed the writer, or Geoff Meed the actor?

GM: "Geoff Meed the actor."


977: Tell us your first "I-made-it" moment in the business.

GM: "I had been out in L.A. for about a year and had done a couple of non-union acting jobs. I used to sneak onto the studio lots - something you can't do anymore - and I got a meeting with a casting director. He had me in the next day, and I got the job. That job got written out, so they paid off another actor and gave me his job...I got Taft Hartley-ed into SAG."


977: What got you into stuntwork, and how did you transition from that into acting and writing?

GM: "I came out to L.A. about 1990. I did the waiter/bouncer jobs for about a year, then found out about Universal Studios Theme Park hiring for their stunt shows. I went and auditioned and got hired. I learned how to do high falls, and further learned from all the real stuntmen up there, you basically lie when you get on set, and that's how you learn to do things like air ramps, ratchet pulls, etc. I've done a majority of my own stunts as an actor. Writing was something I started doing just to stay creative between acting jobs. My father was a writer. He had nine books published. Guess it was in the genes."


977: How did you come to work with The Asylum?

GM: "[Asylum partner and screenwriter] Paul Bales had been one of the stunt show managers up at Universal Studios. I was sort of notorious for being a loose cannon up there. Several years after he left, and I had left, I remembered his name when he was working at SAG. He remembered me too, but not for the same reasons. He introduced me to The Asylum, but nothing came from it until he went over there as a partner. They bought one of my scripts, and it started from there."


977: Speaking of scripts, how did you approach the script for I Am Omega, knowing that it would tie-in to not only a current film (I Am Legend), but also two previously-filmed versions (The Last Man on Earth, The Omega Man) and an original novel ("I Am Legend")? How did you seek to make it original, to make it yours?

Jennifer Lee Wiggins and Mark Dacascos, on-set Omega

GM: "I tried to show the character actually losing his mind. I don't think either Omega Man or ...Legend really showed that. But in I Am Omega, Renchard hallucinates - the clock and the news broadcast - he pops pills, he thinks he hears a woman calling to him. There was more in the script, but it didn't come across given the time constraints in filming. Ideally, what I had intended was that Renchard saw Brianna as a mirror image of his wife. It wasn't because we were so cheap that we hired one actress [Jennifer Lee Wiggins] to play both parts! Renchard hadn't seen a woman in so long, except for the image of his wife in his nightmares and videos and photos and such, he missed her so much, and he was losing his mind, so he saw Brianna looking exactly as his wife did."


977:  Let's move to your most recent Asylum script, 6 Guns, a western; where did that idea come from?

GM: "That was an idea Mark Dacascos came up with."


977: Were there any particular westerns that influenced you while writing 6 Guns?

GM: "All of Sergio Leone's spaghetti westerns. Once Upon a Time in the West is my favorite western, and I tried to think of that when I wrote 6 Guns. That, and all of Clint Eastwood's Man-With-No-Name trilogy [Fistful of Dollars, For a Few Dollars More, The Good The Bad and The Ugly]."

977: You've acted in two out of three films you've written for The Asylum; do you know which role you'll be playing when you write it? If so, how does that effect the way you design the character?

GM: "Well, I always put a role in for me... Asylum is always really cool to let me play the bad guys. I just basically write a role that I think is something I haven't done before."


977: Have you ever considered upping your ante to triple-threat, and directing?

GM: "Yes. I'm supposed to direct something for Asylum eventually. I'd like to do a John Woo-type of action script."


977: What's you favorite among the work you've done for The Asylum?

GM: "I guess I'm most proud of 6 Guns. If we'd had millions, the script I originally wrote for I Am Omega would have been really cool."


977: Any scripts in progress now?

GM: "Yes, after working for a year on the treatment, I have just turned in the first draft to Asylum for a SyFy original movie. It's sort of Air Force One meets The Abyss."



For more info on Geoff Meed, check out his website.

Calling on the Committed for Help

 

So this is kind of last minute, which only makes it more imperative we lend a hand. A post went up on The Asylum site today asking for we, the committed Asylum fans, to lend a hand for a good cause. Seems Asylum partner/writer/director/producer David Michael Latt heads up his local Toys for Tots drive, and this year, with a deadline fast approaching, they're woefully under quota. Last year's drive brought in 2,000 gifts for needy and deserving children, while the total thus far this year is a paltry 120 items, far too few. So, it's up to us to help him out and get those numbers boosted by THIS FRIDAY, DECEMBER 3rd, at 4PM. 

It's super-easy to help out: all we have to do is get a new toy - unwrapped, not requiring batteries, books are okay so long as not damaged - and get it to The Asylum offices by the deadline. Plus, for every toy donated between now and FRIDAY, Mr. Latt will donate one American dollar to an orphanage in Africa. How much helping can one man do?

I know times are tough and the leash is tight for most of us - believe me, I earn below the poverty line, I know - but they could always be worse, and for many people, many children, they are. It's amazing how far 5, 6, 7, 15 dollars worth of kindness can stretch. And it's sponsored by the Marine's, for Pete's sake; regardless of your political or philosophical standpoints, you know you owe them.

So c'mon gang, let's repay a tiny fraction of the enjoyment we've derived from The Asylum by helping them help those who truly deserve it this holiday season. One gift, a bunch of tiny gifts, anything you can do I'm sure would be appreciated. But remember, we only have until THIS FRIDAY, DECEMBER 3rd, at 4PM to get our toys to the address below:

Latt

c/o The Asylum

72 East Palm Ave.

Burbank, CA 91502 

You can also help by passing this info on, posting this link or The Asylum's on your Facebook and Twitter accounts, even your MySpace if you still have one, though no one will see it (zing!) and let all your friends know what's going down. And if you want to know more about the program itself, jump over to http://www.toysfortots.org

Thanks!