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The Collapsed

www.fangoria.com

Destroy youth in our culture

Glenn Hetrick

Rosamund Pikes speaks

Inside to the Judge of Faceoff

Megan is Missingfictational and authentic!

Wrath of the Titans

The Cabin in theWoods

MARCH 2012

Features

Departments

The Cabin in the Woods

Letter to the editor

Megan is MIssing

His Cabin Fever

The FX King

Book of the Month

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Queen of Wrath

Cover Story:

Blood Under the Boardwalk

Photography: Eduardo Rodriguez

Surfing the Internet is a deadly tip in Micheal Goi’s chilling cautionary tale.

The reason for the new look and style of the magazine

If you got the guts to redux a zombie classic, be careful they dont get ripped out.

In the one place where you really dont go for a picnic. It will leave you shaking for more.

Graveminder By Melissa Marr

Interview with Glenn Hetrick the judge form the show Face Off, and master at FX make up.

Actress Rosamund Pike essays a stronger heroine against mythical beasts

Letter from the editor

Editor: Eduardo RodriguezIn short: Horror film lover, under the radar, Colombian.

Features Editor: Mattew SnellIn short: Surfer, Trifter, Nothing but Coronas and limes, “Be yourself”.

Ad Manager: Jim McNeillIn short: Loves Ads, Deadlines? what dead-lines!, Rugby guy .

MARCH 2012

FANGORIA (ISSN 0164-2111, Canadian GST number: R-124704826) is published monthly except July and December by the Brooklyn Company, Inc. 250 West 49th Street, Suite 805, 8th Floor, New York, N.Y. 10019. This is issue# 311; entire contents are copyright 2012 by The Brooklyn Company Inc. All right reserved, Reprint or reproduction of any material in part or whole- including the reprinting or posting of articles and graphics on any Internet or computer site- without the publishers’ written permission is strictly forbidden. Periodicals postage paid at New York, N.Y. and additional mailing offices. Subscription rates: $54.47 for one year (10 issues) delivered in the U.S. Canadian and foreign subscriptions: $63.97 IN US FUNDS ONLY. Postmaster: Send address changes to: FANGORIA SUBSCRIPTION DEPARTMENT, 250 West 49th Street Suit 805, 8th Floor,New York ,NY 1019 .Fangoria accepts no reposibility for unsolicited manuscripts, photos, art or other material but free lance submission are accompanied by self-addressed, stamped envelope, the will be seriously considered and, if necessary, returned. Printed in the U.S.A. FANGORIA is a trademark of the Brooklyn Company,Inc. Publication Agreement #40725002

“Everything is designed. Few things are designed well.”— Brian Reed

There are different parts to this letter. Firstly the new design that the magazine has gone thru. Which is not only new and innovative, but also slick and more approachable to a wider audience. Making the on goer person grab a copy at first sight and flip through it, to then purchase it at its cheap price of $9.99 which makes it once again more accessible to the horror movie fanatic. The new layout it very modern and slick giving it a better feel to it and not making the viewer so overwhelmed with the gory and busyness that the magazine had before. So in the next pages you will find the new look of the magazine every part its tide up by elements, which are presented around the magazine.The second is the great amount of detail to create a friendlier feel to the magazine. The magazine needed it a big facelift, from its large history which started in 1979 it had the

same old look, well the challenge was that yes the magazine has a great history but as

film progressed the magazine had stayed the same. Films have a whole new feel to them; they

make you feel the agony, pain and suffering of its characters; and their journeys. Well the magazine has

to have the same feel to it but be able to keep up with the large competitor giving it the new look more modern and slick we are able to make look more up to date. Also we want to give gifts to our subscribers who have been loyal to us. From coupons for popcorn, candy and etc. To behind the scene DVDs of the new up coming films that will be featured in the issue. Also by changing the look of the magazine more companies will want to get ad space in it, so not only it will be special effect and costume companies but also much larger companies that will give the magazine more of a profit, so more issues like this one can me created. Enlarging the market will create more subscribers. As we show our love to our subscribers they can show their love to us by submitting their art to the magazine to the featured in the back cover of different issues. A Big change that was made to the magazine is the format of it that it went from horizontal to vertical, the design to this big change was made b g ecause since the magazine is about movie and they are played in the widescreen why not give our magazine that look as well. With this change the magazine has more of a cohesive feel to the widescreen format. The layout of the magazine will make the person keep every issue, as it will become a type of coffee table book. The choice of paper that the magazine it printed on lets the user not is scared to take it around and read it and worry about if it would mess up. From what we can make out there is more to come. Enjoy!

-Eduardo Rodriguez, Editor

[email protected]

A pair of TV veterans have cooked up the year’s most surpring fright feature

Written by: Sam

uel Zim

merm

anFilm

Still provided by: Lionsgate

So Cabin was a chance to specifically say that we’re debasing our culture by turning horror movies into a formula of ‘kill,kill,kill’

Joss Whedon, producer/co-writerPg.5

the cabin in the woods (opening April 13 from lionsgate) is total

punk rock in any number of ways: it’s fast and furious inception; the fun, aggressive tone; its

wealth of societal insight and inquiry; its championing of youth; and finally’ and apropos,

what director/co-writter Drew Goddard refers to as “Triumphant nihilism.”

As the film is arriving with the claims that “You think you know the story” and turn subgenre on

its head, you might be surprised to learn that The Cabin in the Woods isn’t exactly a meta deconstruction.

It’s got a lot on its mind, both argumentative and adoring, when it comes to horror (as well as many other

topics), but what it really feels like is a reaffirmation. and while, as you might imagine there’s a sizable chink

Fango can’t (and wouldn’t) reveal about the content of this cabin-given its secretive yet hype-inducing buss-

there’s plenty to say about what’s underneath it all.

Laying the Foundation

“Joss [Whedon, co-writter and producer] and i Got in the habit while doing Buffy the vampire

slayer and angle , of writing script very quickly,” Goddard says. “ We would get together at 8 n the morning

and write until late at night do it again the next day and over the weekend have an episode. there’s something

very sorry of garage-band-mentality to that. We started noticing that oftentimes, our best episodes would

come this way, so we were very interested in the idea of trying [a feature] we could do like that, because not

all films are going or lend themselves to it. Like a really complicated detective movie; you cant lock yourself

in a room and write that, you need time. I think we were drinking one night and said, “you know, we could do

a cabin movie” and Joss had had the big idea and said, “Would yo be interested it?” I was like, “Oh my God,

yes.” because thats right up my alley. “We started talking about what would be fun” he continues, “ and at

certain point we figured out the structure, we locked ourselves in a hotel and said, ‘We’re not coming out

until we have a script,’ and it worked. Everyday, waking up at like 7 a.m. and writing until 3 a.m. Of course, it’s

not like we then shot that script. We took that draft and revised and revised, but in terms of the garage-band

vibe we were looking for, the should of Cabin was created in those three days.”

Floor plansThe starting point of The Cabin in the Woods is a deceptively simple one: college friend Dana [Kristen Connolly], Curt [Thor’s Chris Hemsworth], Jules [Anna Hutchison], Holden [Jesse Williams] and Marty [Fran Kranz] set out in their RV for a weekend trip to a you-know-what. And the soul of Cabin is vibrant, inquisitive one, vey much born of the the filmmakers at hand- and at odds, as their own personalities and personal preoccupations shine thought the movie. “It’s funny,” Goddard notes, “Because in some ways it’s really conversation between Joss and I. Joss has some angry opinions about the horror genre, and I share those opinions, yet I really wanted to celebrate the genre.” “There’s a reactionary element that has always existed in horror.” Whedon says. “If you transgress.if you go near the dark side, or even into the woods, some thing bad will happen. I think is has really taken nastier tone in the last sort of generation of horror

movies, where it was more like these kids are party-driven assholes, and lets all just identify with the killer and take these suckers out. I find that attitude really nihilistic and to me, it undercuts the horror if I like the persons undercuts the horror if I like the person who;s trying to live. So Cabin was a chance to specifically say that we’re debasing our culture by turning horror movies into a formula of ‘kill,kill,kill’ “Along with the frustration, though, is an enormous love for

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horror movies; both Drew and I are real aficionados. He might like blood a little more than I do; he might like blood ma little more that anybody [laughs]. We have slight generational differences as well, since I’m the older fella, but we love those movies. WE love horror, we love sic-fi, we love fantasy, we love anything that out there that makes us insanely tense. we didn’t want to write a lecture. We wanted to write a fun horror films.” They also seem to be vested in how we feel about fright flicks, or more specifically, the age-old question of why we watch/create them. “It was far more important, for me at least, to take it further and not make it just about the genre,” Goddard notes. “I was far more interested in what horror, as a genre, says about us as people. That was much more interesting to me than, ‘What do I have to say about the horror genre?’ there’s something about why we create horror movie in the first place, and what that says about us and who we are. To me, that was the fundamental question of The Cabin in the Woods, or one of the fundamental questions that got me exited. So it really came from a place

of loving these movies, but also being interested in why the hell we feel the need to create them, as a culture. And not just horror movies; why do we feel the need to look at the horrific side of ourselves to entertainment in general? That;s a very interesting question.” It’s a loaded question as well-one that, as with any good, complex affair, only leads to larger concerns...

The Occupants When asked if he found what we was look for, Goddard quickly retorts, “No [laughs]. I mean, yes and no, much of what I have to say is in the film, but I also recognize its not an easy answer. There’s plenty a push/pull that happens in The Cabin in the Woods. there are two sides, very clearly, and at the end of the day, both sides are correct. So it’s not just about the horror it’s about what its is about us as a culture that need to destroy youth. If you look at most horror films. at least the ones we’re dealing with, its all about taking youth and subverting them and destroying them. That’s very much what has been going on in our culture. It’s

pretty what what happens in a war. It’s all about the callousness of how we celebrate youth, built it up and

then destroy it. That has been happening since the dawn of time, an its very interesting to me, in terms of what that

says about us a people. I feel like that question is at the heart of Cabin.”

Today’s youth are no no strangers to the work of Whedon, who has famously never been one to count them out. “I tend to write kids as heros, because my experience of being young was very much of being frighten and bullied,” he says. “Not scary, heavy PSA bullies, just not every really feeling safe or accepted, so I like to write kids who do. But then you have horror movies, and you know what’s going to happen to kids in a horror movie, and the chance to bridge those two things was a lot of what was fun about Cabin.”What’s great about the kids in Cabin is their outright rejection of being

Pg.7

told who they are (the details of which can’t be expanded upon at the moment). This particular plot point feels like an extension of the current conversation and a pointed look at how Hollywood is more than a little misguided in its representation of the young. “I would take it a step further and says its not just Hollywood, it’s everywhere,” Goddard notes. “We do it all the time with out even realizing it, and as I get older, I start to notice it much more. I watch The Breakfast Club now, and for the first time in my life, I start to sympathize with Paul Gleason’s character. Now I’m like “These kids are going to take care of me in an old age home, and that’s scary.” “As I get older,” he continues, “I start to realize there is a pull in society to do there sort of things- to marginalize, to undercut, to act, like we know what kids are going through, when we don’t; it doesn’t happen. And there’s something very primitive about that. I think that has happened although the course history, in there of the marginalization of youth, and its fascinations. I grew up in

Los Alamos, New Mexico, this town the exists only because its where they set up the lab to design and build the atomic bomb. It’s strange. I feel, as much as anything, that seems like Cabin in the Woods, particularly the downstairs aspect, because it invoice very, very smart people designing weapons that are going to destroy the world. There’s something fascinating about that area to me, and every way, at the end of the day, is slaughtered. Because that;s still going in our culture, I think that as much as anything influenced

Cabin in the Woods and where our heads were at.”“It’s also nice to be able to make a movie and talk openly to the youth of America and say to them, pot will make you smarted,” Whedon laughs.

ConstructionGoddard makes his feature directing debut on Cabin in the Woods; between credits like Buffy the Vampire Slayer, Angle, Lost and Cloverfield as a writer and producer, it might be easy to forget that. And when you witness Cabin in the Woods scope, it’ll be even

easier. “One of the thing I’m proud of its that whenever people guess that budget, they invariably guess triple what it actually was, which is nice,” he says. “I think a big part of that was I was so naive, I just didn’t know any better. It’s funny; right before I started, I read a great interview with Danny Boyle, and he was talking about and I’m paraphrasing there’s no experience like your first movie, because

It’s not just about the horror, it’s about what it is about us as a culture that needs to derstroy youth

Drew Goddard, director/co-writer

you’re so naive that you’ll do thing because you just don’t know better, and you just don’t know that you shouldn’t be able to do them. You’ll never have that again, because once you’re no longer naive, you won’t attempt to do those things.“That is so true for Cabin in the Woods. There were so many situations where I just didn’t know any better, so I broke the first rule of everything. I just got tired of CGI, and frankly, we wouldn’t afford it, not too much, So [I said] lets do it practical; if we can great a monster physically, we’re doing it that way, and if we can do the stunt for real, then we’re going do that, and only go digital when we absolutely have to. It seems like an easy decision at the time, and then once you do it, but oh my God, it makes like so much harder. But I believe the movie really benefits from that. I feel it was the right choice. “Luckily, I had such a good team. That was the other

thing: As a first-time director, the best thing to do is surround yourself with the people who are smarter and way more talented than you in every department, and then suddenly you life get way easier. That was really the secret. I had an incredible crew” including cinematographer Peter (Evil Dead II) Deming, production designer Martin Whist of Cloverfield and Super 8 and double Oscar-winning (for Men in Black and The Nutty Professor) makeup FX supervisor Dvid LeRoy Anderson.

Grand Opening It’s kind of miraculous that The Cabin in the Woods will be coming to theater near you. It was filmed three years ago, with an initial realize fate of February 2010, then delayed for a 3D post-controversion that ultimately never came to pass. MGM financial woes subsequently held the film back, leaving it on the

Pg.8

’ve always thought the movie had element of the old hating

the young, or resenting the young for whatever reason,”

says actor and The Cabin in the Woods scene-stealer Fran

Kranz. Adding to the sentiments discussed by director

Drew Goddard in the preceding pages, and, well, being a

youth himself. Kranz has a ground-lever view of the subtext of this

show stopping horror film. “They’re young, they’re beautiful, they’re optimistic,” he

says of his character Marty and his onscreen pals. “They have their

lives ahead of them. [Others in the film] are, literally, trying to control

these kids, trying to make the stock type that we know, but these

kids aren’t. They’re develop in such a way that they’re not what they

appear to be or what we’ve seen in the past. The adults in the film are

trying to put them in that kind of box.” And Marty is not one to be contained. The seeming “requi-

site stoner” of the group, Marty finds himself at odds with his friends’

actions, rapidly catching on to the fact that something isn’t right. “I’ve

always took it as that kind of idea of controlling the young, but out’s

interesting to think about it in term of Hollywood, and how they want

to market movies just as a product to get you to buy them, which is

sort of the ultimate goal of most mainstream films these days. It’s

just about selling a product, and Cabin in the Woods is a horror film

that, from the title, looks like a movie that been made before. That in

itself seems like a comment on the typical marketing of movies, even though Cabin is a completely original, crazy film and I’ve seen noth-ing like it, and read nothing like it. “When I first read it, I honestly though it was one of the best scripts, I had ever read,” he continues. “I hadn’t gotten the part yet. I was close-or what ever they say, ‘in the mix; and whatnot. Son that made it much more brutal a process, because I knew what I potentially had. It was such an amazing script that I couldn’t stop thinking about it. It completely consumed my life, just the anticipa-tion of having or not having, the role.

HisCabin

Fever

Departam

ent

I

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Poster by: Jon Smith

he second season of SyFy’s make up competition reality program Face Off will have recently concluded when this issue comes out, and another contestant will have won and be on the way to presumed prosthetic glory. To do s, he or she will have had to impress a though roster of judges with many years of experiences

in the field. One of this demanding trio is Gleen Hetrick who over the last decease has been responsible for some of the nastiest illusion to grace other small-screen projects. The owner of Optic Nerve Studios, Hetrick first contributed to the television terror scene crafting demon and other fiends for Buffy the Vampire Slayer and Angel. A number of features followed before the NBC crime drama Crossing Jordan opened the door for the artist to contriver to the new level of graphic realism on the networks. Hetrick and The Optic Nerve team would go on to work on Three Rivers, Heros and CSI: NY, while continuing to fit features like Legion and this month’s eagerly anticipated The Hunger Games in between seasons. And of corse he has made separate prep for himself as the toughest judge on Face Off, where the critiques the show’s hopefuls alongside fellow veterans Ve Neill and Patrick Tatopoulos.

When you’re on a show [without] a lot of sexual issues or curse words, you can get away with a lot of scientific gore.

By: Micheal Gingold

he second season of SyFy’s make up competition reality program Face Off will have recently concluded when this issue comes out, and another contestant will have won and be on the way to presumed prosthetic glory. To do s, he or she will have had to impress a though roster of judges with many years of experiences

in the field. One of this demanding trio is Gleen Hetrick who over the last decease has been responsible for some of the nastiest illusion to grace other small-screen projects. The owner of Optic Nerve Studios, Hetrick first contributed to the television terror scene crafting demon and other fiends for Buffy the Vampire Slayer and Angel. A number of features followed before the NBC crime drama Crossing Jordan opened the door for the artist to contriver to the new level of graphic realism on the networks. Hetrick and The Optic Nerve team would go on to work on Three Rivers, Heros and CSI: NY, while continuing to fit features like Legion and this month’s eagerly anticipated The Hunger Games in between seasons. And of corse he has made separate prep for himself as the toughest judge on Face Off, where the critiques the show’s hopefuls alongside fellow veterans Ve Neill and Patrick Tatopoulos.

FANGORIA: You’ve been referred to as “the Simon Cowel” of face off..

GLENN HETRICK: Yeah, I’d like to say I haven’t heard that before [laughs].

FANG: How did that “personality” for want of a better word, evolve during your participation in the show?

HETRICK: Well, really, what I’m doing there is analog to what I do with new [Optic Nerve] crew members. When people come into your shop, it’s this extremely complex dynamic; they have their art skills and goal s et, and you have what it is you need, and your name’s going on the work. And whether it’s features or, even worse, episodic TV, there’s so little time today. So it’s very important to get incised the head of someone who’s working for you, and one of the ways Ido that is

by pressing to see how committed and disciplined they are. At the end of the day,

there are people who have artistic skills and there are people who have the passion to actually do what we do for a living. As anybody who’s

When you’re on a show [without] a lot of sexual issues or curse words, you can get away with a lot of scientific gore.

You can’t show how a victim got this way on a series like CSI:NY, but you can linger on the results.

In the realm of macabre makeup, Hetrick has a fine eye for detail.

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ever worked in the effects industry will tell you, 18-hour days, seven days a week are no uncommon. So a lot of what I do on Face Off it trying to, as well as possible, emulate the pressure of having a director or p producer changing thing and being extremely critical of your work, where nothing is good enough and it isn’t right until it’s exactly what they’re looking for. I don’t ride my existing core crew like that all the time. of corse. But when someone’s new to this job, I really put them thought their paces to make sure that when I go home to get some sleep before I have to go to set, what’s happening in the middle of the night at the studio is up to snuff, and the only what know that is to push these people to their limits and make sure they really want to be there. i think Ve’s pretty hard on them, too; we’re just trying to emulate what happens in a shop and what happens on the set.You have to e able to handle that and now when to stand up for yourself, how to make subtle changes and how to assuage the ego of whoever it is who’s making the change. I think that’s important on the show, because if we just aback-slap these kids for varying they do and are super-nice to them, they’re going to be very ill-prepared for what’s coming in their real careers.

FANG: Some viewers have noted hat few contestant on both season were fairly seasoned professional with a number of credits. Hoe do you feel when people ask if it’s fair for them to be competing agains others who don’t have a similar background?

HENTRICK: You know, the people who had some credits, a lot of them were really low-budget indie films, so it’s not like they’e been working for a major block-buster and had the advantage of all this knowledge of the highest tech. The producers knew some of these kids were coming straight out of school, and some had worked in the industry in different functions, but they weren’t talking, like, a Steve Wang or a Miles Teves and putting them up agains kids who were new. They were looking at the level of work the contestant could accomplish in their audition with very limited amount of time, and making sure that playing field was fairly even. So if someone got their experience at a shop to opposed to at a school, so long as it;’s not a critically debilitating difference between Contested ‘s skill level and Contestant B’S skill level it’s fair

FANG: Over the years your own TV work, the networks have become much freer in term of what you can show makeup-FX-wise; it seems in some cases hat you cant get away with perhaps a little more certain features can.

HETRICK: That’s absolutely true. I can distinctly remember there was a turning point when we were working on Crossing Jordan. I think in season two, if I’m not mistaken, they shifted time slot on us. And the studio and producers said “What cam we do to make the some more interesting, because we’re taking a time-slot hit, which always hurts ratings a bit, and we’re looking for ways to up the ante.” That was right when I’d taken over the show, so I pitched the idea of trying to makeup effect; it was great way to add producing value, because we were over bodies all the time but not really showing anything. It was around then that [basic-cable] series like, I believe, The shield or early

seasons of Nip/Tuck were tarting to do extremely visceral effect in term of the forensic aspect, so all the rules started to evolve right at that time. I was very fortunate to be there, and three episodes later we were doing full body builds and getting into major autopsies to reveal cause of death in, like, every episode! It was one of the biggest shows I’ve ever been on, and we were getting ways with it because each studio has its own way of making sure they get throughout Standards and Practices, to make sure they’re not paying for things that will get cut out. There are all these very strange Rules about edits. For instance, we cant show an actor getting shot in the face in prime time and have blood spurting out, which you might be able to do in a feature. However, if you just see the bullet wound occur without running blood, then we cut to an insert shot of that wound- and we did this is on CSI:NY all the time-without trying it in to the actors face, and then we cut back out, it’s totally acceptable, because it’s not on the actor. And especially, when it come to a scientific perspective-when we’re in a lab the person is deceased- we’re not allow to open the body up, root through organs, pull out a diseased liver... it’s incredible. And they do less sex and cursing, which is sort of weighed against the overall impact. When you’re on a show where there aren’t a lot of sexual issues or curse words, you can get away with a lot of scientific gore.

FANG: When you of those shows, do you undertake a lot of research on real crime scenes and cadavers?

HETRICK: Yes, and each of the three forensic shows we’ve done has had their forensic expert; one of them actually worked in the LA coroner’s office. We do a ton of research on-line, but we almost get fresh crime-scene picture that the general public doesn’t have access to, to research the specific look of specific cause of death. For instance when we want to see hemorrhaging of the eye due to asphyxiation or hanging, we’ll actually look at a photograph of a person who died that way. Therese are extremely graphic, high-resolution pictures, and it’s disturbing; you end up with this sort of clinical detachment from it.Tome. at this point, a lot of real death photos look fake, It’s interesting,because what we building has to more closely match what the director wants, because of what the audience will expect it to look like, rather than what it actually looks like in teal life. For instance when somebody falls from a greater height and the body endures all the physics go hitting the concrete from 20 stories up- when the bones don’t break, a lot of it doesn’t tear out, so it stretch the skin in bizarre ways, and when you see these real photographs, they’re are far more excessive than anything you could. If you build that and put it on screen it would look so fake that everyone wold say, “Boy that was a horrible effect.”

FANG: What can you tell us about your work onThe Hunger Games?

HETRICK:[Laughs] I think ninjas will come jumping out of the corners of my room and take my head off if I break the nondisclosure agreement on that movie. I can tell you I had not read the book when Ve gave me the script and asked me to do it. She and I had worked together a few years back- and it’s sad that this ended- on a huge-budget movie versions of the video game BioShock for Universal. I was so, so happy to be working on that because

Special FX make up for the show

Face Off

I’m huge fan of the game, but it turned out that there was some artistic conflict at the top lever. and eventually the production shut down. But we had built quite a lot of the main effects for it, like the Splicers, the genetically altered zombie villain from the game. So I’d been look for another opportunity to collaborate with Ve- we work extremely well together- when Hunger Games came along. I read the script, and I gotta tell ya, by the time I was done, there was no saying no. It’s a great story, it’s rife with social metaphor and I knew the cast was all these brilliant up-and-coming actors. We did a lot of effect for that, any one who has read the books knows the basic premies, and that it lend itself to tons of makeup. But I have to say, it was one of the smoothes shows I’ve ever worked on, Even though we had a tight prep. We just had one big teleconference about general aesthetic and ideas, and went to work. It was the smallest amount of meeting I’d ever had. It was a nice smooth show.

FANG: The movie obviously deals with violence directed towards young people, and yet they are aiming for a PG-13 rating. did that affect your work at all?

HETRICK: I have to wait to se the final edit to be able to answer that question in full, but it didn’t affect what we built. The weren’t really restrictive about, “Hey, let’s not do that because of the rating,” It was more old-school in terms of, this is what the story is, this is what the make should look lie. A few effects were scaled back in term of ever it on the set. There were a couple of wounds and things that were a bit too big and egregious for the director’s [Gary Ross] persona taste once he saw it. So they pulled back on a couple of things, but not much. We’ll see what ends up in the movie, once they actually gotten the rating board to sit down and watch it.

If we just back-slap these kids [on Face Off] for everything they do, they’re going to be ill-prepared for theur real carrers.

Special FX make up for the show Face Off

hile Gleen Hetrick and other artist have made thing more macabre on the basic networks, premium cable stations have continued to take advantage of their freedom to be as explicit as they want to be. One

of the most celebrated series is HBO’s Boardwalk Empire, a saga of Prohibition-era crime and punishment that has offered ample oppor-tunities for on screen bloodshed. That has meant steady work for a ground of talented art-ist among them Mike (Black Swan) Marino, Craig Linberg, Steven Lawrence and department head Michele Paris. Also part of a few of the grisliest moment of Boardwalk’s second season (coming soon on DVD and Blu-ray) was Jermey Selenfriend, whose credit include such East Coast fright feature as Blood Nights: The legend of Mary Hatchet and The Bleeding House.“The work I did on Boardwalk came out of nowhere thank to a meant in the field, who dropped my name to Michele,” Slenefriend recalls. “Having never met me, she gave me a chance on an effects heavy episode involving a scalping and a head-bashing with a giant 1920’s wrench. The budget was very decent and, once sent it, was approved in a matter of hours. This was a nice change of pace from the back-and-forth dickering that often take place in features- though this is of course due to television incredibly fast-pace schedule.” Further on that note, he recalls “When I took the job, they wee already in the middle of shooting one episode, and I was on for the next, That one hadn’t yet been schedule, so I had to begin work under the assumption that either effects needed to be ready for day one. I spent the first four days working nearly around the clock, nap-ping only a critically necessary.

Blood under theBOARDWALK

Departam

ent

W U n minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a i n c l i n a r s e peligrosamente a

estribor. A través de los altavoces se repitió la

orden de la noche anterior: "Todo el personal

ponerse al lado de babor", Ramón Herrera y yo no

nos movimos, porque estábamos de ese lado.

Pensé en el cabo Miguel Ortega, a quien un

momento antes había visto a estribor, pero casi en el

mismo instante lo vi pasar tambaleando. Se tumbó a

babor, agonizando con su mareo. En ese instante el

buque se inclinó pavorosamente; se fue.

Aguanté la respiración. Una ola enorme reventó sobre

nosotros y quedamos empapados, como si

acabáramos de salir del mar. Con mucha lentitud,

trabajosamente, el destructor recobró su

posición normal. En la guardia, Luis Rengifo estaba

lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se

está yendo y no quiere volver. Era la primera vez que veía

nervioso a Luis Rengifo. Junto a mí, Ramón Herrera,

pensativo, enteramente mojado, permanecía

silencioso. Hubo un instante de silencio total. Luego,

Ramón Herrera dijo: -A la hora que manden cortar cabos para

que la carga se vaya al agua, yo soy el primero en cortar. Eran

las once y cincuenta minutos. Yo también pensaba que de un

momento a otro ordenarían cortar las amarras de la carga.

Es lo que se llama "zafarrancho de aligeramiento". Radios,

neveras y estufas habrían caído al agua tan pronto como

hubieran dado la orden. Pensé que en ese caso tendría que

bajar al dormitorio, pues en la popa estábamos seguros

porque habíamos logrado asegurarnos entre las neveras y

las estufas. Sin ellas nos habría arrastrado la ola. El buque seguía

defendiéndose del oleaje, pero cada vez escoraba más. Ramón

Herrera rodó una carpa y se cubrió con ella. Una nueva ola,

más grande que la anterior, volvió a reventar sobre nosotros, que ya

estábamos protegidos por la carpa. Me sujeté la cabeza con las manos,

mientras pasaba la ola, y medio minuto después carraspearon los altavoces. "Van

a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz

segura y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis

Rengifo sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como después de

cada ola grande, yo sentía primero un gran vacío y después un profundo silencio. Vi a

Luis Rengifo que, con el salvavidas puesto, volvió a colocarse los

auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi

reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía. Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir,

sosteniendo los auriculares en

a l t o . Entonces el agua m e cubrió por

completo y empecé a nadar

hacia arriba. Tratando de salir

a �ote, nadé hacía arriba por

espacio de uno, dos, tres

segundos. Seguí nadando hacia

arriba. Me faltaba aire. Me

as�xiaba. Traté de amarrarme a la

carga, pero ya la carga no estaba

allí. Ya no había nada alrededor.

Cuando salí a �ote no vi en torno mío

nada distinto del mar. Un segundo

después, como a cien metros de distancia, el buque surgió

de entre las olas, chorreando agua por todos lados, como un submarino. Sólo

entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me

preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se i n c l i n ó pavorosamente; se fue. Aguanté la

respiración. Una ola enorme reventó sobre nosotros y quedamos empapados , como si acabáramos de salir del mar. C o n m u c h a lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba l í v i d o . Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y n o quiere volver. Era la primera v e z que veía nervioso a Luis

Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y c i n c u e n t a minutos. Yo también pensaba que de un momento a otro o r d e n a r í a n cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas habrían caído al agua tan pronto como hubieran dado

la orden. Pensé que en ese caso tendría que bajar

al dormitorio, pues en la popa estábamos seguros porque

habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos

habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez

escoraba más. Ramón Herrera rodó una carpa y se cubrió con ella. Una nueva ola, más grande

que la anterior, volvió a reventar sobre nosotros, que ya estábamos protegidos por la carpa. Me

sujeté la cabeza con las manos, mientras pasaba la ola, y medio minuto después carraspearon los

altavoces. "Van a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura

y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo sostuvo con

una mano los auriculares y se puso el salvavidas con la otra. Como después de cada ola grande, yo sentía

primero un gran vacío y después un profundo silencio. Vi a Luis Rengifo que, con el salvavidas

puesto, volvió a colocarse los auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi

reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía.

Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir, sosteniendo los auriculares en alto. Entonces el agua me cubrió por completo y empecé a nadar hacia arriba. Tratando de salir a �ote, nadé hacía arriba por espacio de uno, dos, tres segundos. Seguí nadando hacia arriba. Me faltaba aire. Me as�xiaba. Traté de amarrarme a la carga, pero ya la carga no estaba allí. Ya no había nada alrededor. Cuando salí a �ote no vi en torno mío

nada distinto del mar. Un segundo después, como a cien metros de distancia, el buque surgió de entre las olas, chorreando agua por todos lados, como un submarino. Sólo entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, po rque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un

momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando

c o n su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración.

Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos

de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su

posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué

vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a

Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía

silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que

manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y

cincuenta minutos. Yo también pensaba que de un momento a otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas

habrían caído al agua tan pronto como hubieran dado la orden. Pensé que en ese caso tendría que bajar al dormitorio, pues

en la popa estábamos seguros porque habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos

habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez escoraba más. Ramón Herrera

rodó una carpa y se cubrió con ella. Una nueva ola, más grande que la anterior, volvió a reventar sobre

nosotros, que ya estábamos protegidos por la carpa. Me sujeté la cabeza con las manos, mientras

pasaba la ola, y medio minuto después carraspearon los altavoces. "Van a dar la orden

de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura y reposada:

"-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo

sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como

después de cada ola grande, yo sentía primero un gran vacío y después un

profundo silencio. Vi a Luis Rengifo que, con el salvavidas

puesto, volvió a colocarse los auriculares. Entonces

cerré los ojos y oí perfectament

U n minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a i n c l i n a r s e peligrosamente a




















































































manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y cincuenta minutos. Yo también pensaba que de un momento a

otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas




















































































































































































































Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y cincuenta minutos. Yo también pensaba que de un momento a otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas habrían caído al agua tan pronto como hubieran dado la orden. Pensé que en ese caso tendría que bajar al dormitorio, pues en la popa estábamos seguros porque habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez escoraba más. Ramón Herrera rodó una carpa y se cubrió con ella. Una nueva ola, más grande que la anterior, volvió a reventar sobre nosotros, que ya estábamos protegidos por la carpa. Me sujeté la cabeza con las manos, mientras pasaba la ola, y medio minuto después carraspearon los altavoces. "Van a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como después de cada ola grande, yo sentía primero un gran vacío y después un profundo silencio. Vi a Luis Rengifo que, con el salvavidas puesto, volvió a colocarse los auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía. Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir, sosteniendo los auriculares en alto. Entonces el agua me cubrió por completo y empecé a nadar hacia arriba. Tratando de salir a �ote, nadé hacía arriba por espacio de uno, dos, tres segundos. Seguí nadando hacia arriba. Me faltaba aire. Me as�xiaba. Traté de amarrarme a la carga, pero ya la carga no estaba allí. Ya no había nada alrededor. Cuando salí a �ote no vi en torno mío nada distinto del mar. Un segundo después, como a cien metros de distancia, el buque surgió de entre las olas, chorreando agua por todos lados, como un submarino. Sólo entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y cincuenta minutos. Yo también pensaba que de un momento a otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas habrían caído al agua tan pronto como hubieran dado la orden. Pensé que en ese caso tendría que bajar al dormitorio, pues en la popa estábamos seguros porque habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez escoraba más. Ramón Herrera rodó una carpa y se cubrió con ella. Una nueva ola, más grande que la anterior, volvió a reventar sobre nosotros, que ya estábamos protegidos por la carpa. Me sujeté la cabeza con las manos, mientras pasaba la ola, y medio minuto después carraspearon los altavoces. "Van a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como después de cada ola grande, yo sentía primero un gran vacío y después un profundo silencio. Vi a Luis Rengifo que, con el salvavidas puesto, volvió a colocarse los auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía. Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir, sosteniendo los auriculares en alto. Entonces el agua me cubrió por completo y empecé a nadar hacia arriba. Tratando de salir a �ote, nadé hacía arriba por espacio de uno, dos, tres segundos. Seguí nadando hacia arriba. Me faltaba aire. Me as�xiaba. Traté de amarrarme a la carga, pero ya la carga no estaba allí. Ya no había nada alrededor. Cuando salí a �ote no vi en torno mío nada distinto del mar. Un segundo después, como a cien metros de distancia, el buque surgió de entre las olas, chorreando agua por todos lados, como un submarino. Sólo entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego,

Un

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ismo instante lo vi pasar tam

baleando. Se

U n minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse

peligrosamente a estribor. A través de los altavoces se repitió la orden de la

noche anterior: "Todo el personal ponerse al lado de babor", Ramón

Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo

Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en

el mismo instante lo vi pasar tambaleando. Se tumbó a babor,

agonizando con su mareo. En ese instante el buque se inclinó

pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó

sobre nosotros y quedamos empapados, como si acabáramos de salir del

mar. Con mucha lentitud, trabajosamente, el

destructor recobró su posición

n o r m a l . En la

Un

minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había

visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la

respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el

destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente:

-¡Qué vaina! Este buque se está yendo y no quiere volver. Era la

primera vez que veía

nervioso

a Luis

Rengifo.

Junto a

mí, Ra

món

Herrera

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Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y cincuenta minutos. Yo también pensaba que de un momento a otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas habrían caído al agua tan pronto como hubieran dado la orden. Pensé que en ese caso tendría que bajar al dormitorio, pues en la popa estábamos seguros porque habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez escoraba más. Ramón Herrera rodó una carpa y se cubrió con ella. Una nueva ola, más grande que la anterior, volvió a reventar sobre nosotros, que ya estábamos protegidos por la carpa. Me sujeté la cabeza con las manos, mientras pasaba la ola, y medio minuto después carraspearon los altavoces. "Van a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como después de cada ola grande, yo sentía primero un gran vacío y después un profundo silencio. Vi a Luis Rengifo que, con el salvavidas puesto, volvió a colocarse los auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía. Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir, sosteniendo los auriculares en alto. Entonces el agua me cubrió por completo y empecé a nadar hacia arriba. Tratando de salir a �ote, nadé hacía arriba por espacio de uno, dos, tres segundos. Seguí nadando hacia arriba. Me faltaba aire. Me as�xiaba. Traté de amarrarme a la carga, pero ya la carga no estaba allí. Ya no había nada alrededor. Cuando salí a �ote no vi en torno mío nada distinto del mar. Un segundo después, como a cien metros de distancia, el buque surgió de entre las olas, chorreando agua por todos lados, como un submarino. Sólo entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y cincuenta minutos. Yo también pensaba que de un momento a otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas habrían caído al agua tan pronto como hubieran dado la orden. Pensé que en ese caso tendría que bajar al dormitorio, pues en la popa estábamos seguros porque habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez escoraba más. Ramón Herrera rodó una carpa y se cubrió con ella. Una nueva ola, más grande que la anterior, volvió a reventar sobre nosotros, que ya estábamos protegidos por la carpa. Me sujeté la cabeza con las manos, mientras pasaba la ola, y medio minuto después carraspearon los altavoces. "Van a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como después de cada ola grande, yo sentía primero un gran vacío y después un profundo silencio. Vi a Luis Rengifo que, con el salvavidas puesto, volvió a colocarse los auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía. Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir, sosteniendo los auriculares en alto. Entonces el agua me cubrió por completo y empecé a nadar hacia arriba. Tratando de salir a �ote, nadé hacía arriba por espacio de uno, dos, tres segundos. Seguí nadando hacia arriba. Me faltaba aire. Me as�xiaba. Traté de amarrarme a la carga, pero ya la carga no estaba allí. Ya no había nada alrededor. Cuando salí a �ote no vi en torno mío nada distinto del mar. Un segundo después, como a cien metros de distancia, el buque surgió de entre las olas, chorreando agua por todos lados, como un submarino. Sólo entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente: -¡Qué vaina! Este buque se está yendo y no quiere volver. Era la primera vez que veía nervioso a Luis Rengifo. Junto a mí, Ramón Herrera, pensativo, enteramente mojado, permanecía silencioso. Hubo un instante de silencio total. Luego, Ramón Herrera dijo: -A la hora que manden cortar cabos para que la carga se vaya al agua, yo soy el primero en cortar. Eran las once y cincuenta minutos. Yo también pensaba que de un momento a otro ordenarían cortar las amarras de la carga. Es lo que se llama "zafarrancho de aligeramiento". Radios, neveras y estufas habrían caído al agua tan pronto como hubieran dado la orden. Pensé que en ese caso tendría que bajar al dormitorio, pues en la popa estábamos seguros porque habíamos logrado asegurarnos entre las neveras y las estufas. Sin ellas nos habría arrastrado la ola. El buque seguía defendiéndose del oleaje, pero cada vez escoraba más. Ramón Herrera rodó una carpa y se cubrió con ella. Una nueva ola, más grande que la anterior, volvió a reventar sobre nosotros, que ya estábamos protegidos por la carpa. Me sujeté la cabeza con las manos, mientras pasaba la ola, y medio minuto después carraspearon los altavoces. "Van a dar la orden de cortar la carga", pensé. Pero la orden fue otra, dada con una voz segura y reposada: "-Personal que transita en cubierta, usar salvavidas". Calmadamente, Luis Rengifo sostuvo con una mano los auriculares y se puso el salvavidas con la otra. Como después de cada ola grande, yo sentía primero un gran vacío y después un profundo silencio. Vi a Luis Rengifo que, con el salvavidas puesto, volvió a colocarse los auriculares. Entonces cerré los ojos y oí perfectamente el tic-tac de mi reloj. Escuché el reloj durante un minuto, aproximadamente. Ramón Herrera no se movía. Calculé que debla faltar un cuarto para las doce. Dos horas para llegar a Cartagena. El buque pareció suspendido en el aire un segundo. Saqué la mano para mirar la hora, pero en ese instante no vi el brazo, ni la mano, ni el reloj. No vi la ola. Sentí que la nave se iba del todo y que la carga en que me apoyaba se estaba rodando. Me puse en pie, en una fracción de segundo, y el agua me llegaba al cuello. Con los ojos desorbitados, verde y silencioso, vi a Luis Rengifo que trataba de sobresalir, sosteniendo los auriculares en alto. Entonces el agua me cubrió por completo y empecé a nadar hacia arriba. Tratando de salir a �ote, nadé hacía arriba por espacio de uno, dos, tres segundos. Seguí nadando hacia arriba. Me faltaba aire. Me as�xiaba. Traté de amarrarme a la carga, pero ya la carga no estaba allí. Ya no había nada alrededor. Cuando salí a �ote no vi en torno mío nada distinto del mar. Un segundo después, como a cien metros de distancia, el buque surgió de entre las olas, chorreando agua por todos lados, como un submarino. Sólo entonces me di cuenta de que había caído al agua.Un minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega,

Un m

inuto de silencio Luis Rengífo m

e preguntó la hora. Eran las once y m

edia. Desde hacía

Un minuto de silencio Luis Rengífo

me preguntó la hora. Eran las once y media. Desde hacía una

hora el buque empezó a escorar, a inclinarse peligros

amente a estribor. A través

de los altavoces se repitió la orden de la

noche anterior: "Todo

el personal ponerse al lado de babor",

Ramón Herrera y yo no

nos movimos, porque

estábamos de ese lado. Pensé en el cabo Miguel Ortega, a

quien un momento antes

había visto a estribor, pero

casi en el mismo

instante lo vi pasar

tambaleando. Se tumbó a

babor, agonizando

con su mareo. En ese

insta

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peligrosamente a estribor. A través de los altavoces se repitió la orden de la

noche anterior: "Todo el personal ponerse al lado de babor", Ramón

Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo

Miguel Ortega, a quien un momento antes había visto a estribor, pero casi en

el mismo instante lo vi pasar tambaleando. Se tumbó a babor,

agonizando con su mareo. En ese instante el buque se inclinó

pavorosamente; se fue. Aguanté la respiración. Una ola enorme reventó

sobre nosotros y quedamos empapados, como si acabáramos de salir del

mar. Con mucha lentitud, trabajosamente, el

destructor recobró su posición

n o r m a l . En la

Un

minuto de silencio Luis Rengífo me preguntó la hora. Eran las once y media. Desde hacía una hora el buque empezó a escorar, a inclinarse peligrosamente a estribor. A través de los altavoces se repitió la orden de la noche anterior: "Todo el personal ponerse al lado de babor", Ramón Herrera y yo no nos movimos, porque estábamos de ese lado. Pensé en el cabo Miguel Ortega, a quien un momento antes había

visto a estribor, pero casi en el mismo instante lo vi pasar tambaleando. Se tumbó a babor, agonizando con su mareo. En ese instante el buque se inclinó pavorosamente; se fue. Aguanté la

respiración. Una ola enorme reventó sobre nosotros y quedamos empapados, como si acabáramos de salir del mar. Con mucha lentitud, trabajosamente, el

destructor recobró su posición normal. En la guardia, Luis Rengifo estaba lívido. Dijo, nerviosamente:

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la noche anterior: "Todo el

personal ponerse al lado de babor",

Ramón Herrera y yo no nos movimos,

porque estábamos de ese lado. Pensé en el cabo

Miguel Ortega, a quien un momento antes había visto

a estribor, pero casi en el mismo instante lo vi

pasar tambaleando. Se tumbó a babor,

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posición normal. En la

guardia, Luis Rengifo

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nerviosamente: -¡Qué vaina!

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H e r r e r a ,

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instante de silencio total. Luego, Ramón

Herrera dijo: -A la hora que manden cortar

cabos para que la carga se vaya al agua, yo

soy el primero en cortar. Eran las once y

cincuenta minutos. Yo también pensaba que de

un momento a otro ordenarían cortar las amarras de

la carga. Es lo que se llama "zafarrancho de

aligeramiento". Radios, neveras y estufas habrían

caído al agua tan pronto como hubieran dado la

orden. Pensé que en ese caso tendría que bajar al

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Pg.18

Written by Chris AlexanderBy: Chris Alexander

audience to feel like they had seen this before in their own homes on the news; then I would take them to the reality to what happens in many of these cases. I was interested in making a Hollywood movie on the topic, where the police show up in the nick of time to save the day, or things like the rape child are presented as soft-focus shots of the sun streaming thought trees. I wanted the audience to feel what was happening.” Mission accomplished. The film uses webcam and mobile device footage to chart the friendship between damage teen Megan (Rachel Quinn), deeply immersed in a sexual, drug-fueled social scene, and her sweet, awkward best friend Amy (Amber Perkins). One night while surfing a chat-room, Megan meets “Josh,” a surfer who can never show his face because his webcam is broken (varyingly attributed to his little brother, his dog...) After Megan tells Amy she’s going to meet “Josh,” she promptly vanishes, launching a media frenzy that only escalates when Amy goes missing as well. This gripping bit of verity suddenly free falls into stomach-

wrenching horror when a fetish site reports photos of the missing Megan in a torture device. We see the pictures. Our blood runs cold. and then... were shown footage detailing the fates of both girls. “I’ve heard those photos describe by viewers as ‘the point of no return,’”Goi says. “It’s such a shocking jolt of reality

that any lingering disbelief just goes right out the window. Those are recreation of two photos that were posted by someone on a friend’s website of a young girl who shoot them on the next to last day of filming, I was trying to convey to Rachel what we were going to do, so she wouldn’t be taken by surprise. She kept insisting that I should let

he see the real photos, and in a massive lapse of judgment I regret to this day, I agreed to let her see one of them on my computer just for a moment. She immediately froze, then started crying and couldn’t stop for 20 minutes. I had been living with all these images of horrific evil for years, but she was having fun making a movie until this point.” Megan is missions is certainly many things, but “Fun” isn’t one of them. It couldn’t be. It’s once of the few genre related pictures that has a responsibility to damage its audience, not for exploration proposes (though not everyone feel this way; the move was recently banned in Australia), but to shock people and parents about the realties and accessibility of evil in contemporary tech-obseed times. Perhaps no more telling is the endorsement of Mark Klaas, whose daughter Polly was abducted, raped and murdered in a heavily publicized case in 1993. On the DVD special features, an intimate interview with Klass closes with him urging the audience to

Pg.21

...deeply immersed in a sexual, drug-fueled social scene...

Michael Goi, director/writer

here are monster out there. Real ones. They’re walking among us, standing in lines at stores, gripping the same subway poles we do, laughing

a the same movie in the same theaters... and that’s a reality more horrifying than any pithy pulp fiction could ever detail. In writer/director Micheals Goi’s devastating docudrama Megan is Missing, the audience is treated to a one such story of the hollow void that is human evil-and, in this case, how that evil uses technology to manipulate and destroy its vulnerably prey. The movie was quietly realized on DVD by Anchor Bay last year without fanfare-much to the mixed feeling of Goi, who pored every ounce of conviction into creating a real “dead teenager” film, an authentic horror feature that shows the unglamorous consequences of sexual murder and serves as warning to the parents to carefully monitor what their children are doing on their laptops,in their rooms, alone. “This is a movie born out of rage.” says Goi, a celebrated cinematographer whose recent assignments include, appopritatly , the hit teen TV series Glee and the far darker American horror story. “The tech advisor on an action movie I was working on was also a professional forensic pathologist, and he was assigned to a case I had seen on TV about a missing girl who had gone to meet an Internet buddy. I started to ask him about it, and he poured out his soul on the topic. I asked him about other cases I had heard about, and he put me in touch with the investigations. They showed me file photos, surveillance videos, court transcripts, and all of it was horrifying. It was like looking into the face of evil. I felt like I need it to do something. Around this time, my producing partners Mark Gragnani

and Melanie Harrison were anxious for me to direct a movie for them, so I decided to make it about this subject. I ended up doing two years of research into seven specific

cases that formed the basis of the script. “I purposely made the victim cute white girls,” he continues, “because I wanted the

watch the film and be aware that “ what happened to me does not happen to you” It’s dose of reality that further hammers home Goi’s unsparing fiction.“Marc asked to see a copy of Megan is Missing very soon after I had completed editing,” Goi recalls. “I sent him a DVD and flew out to San Francisco to meet him. I was very nervous, because here was a man who lived through the kind of evens that the movie depicts. Marc told me that he and his wife watch the film twice, and thought they felt emotionally devastate, the immediately recognized what I was trying to do in term of shaking people up and making the subject of Internet predators and abducted children a topic at the forefront of the public’s mind. He pledged his support for me, and has traveled with me to screening to speak about how people can individually do

Pg.22

I wanted the audience to feel like they had seen this before in their own homes on the news.

Michael Goi, director/writer

Every 2 minutes a woman is raped in the USA

75%

of r

apes

are

com

mite

d by

a m

an th

e vi

ctim

kno

ws.

25% of rapes take place in a public place

Every day 4 wom

en are killed during a rape

Pg.23

Released without payment

Rescued

Escaped

Ransom Paid

Killed

Outcomes After a Kidnap

2%

9%7%

15%

67%

Pg.25

thing to safeguard their families. Marc Klass is,my hero; he has taken a personal tragedy, the endortmity of which I cannot even begging to comprehend, and turned in into a vehicle to do good though his organization the Klaas-Kids Foundation. Which is dedicated to child-search activities and increasing awareness of child protection methods” And even thought Goi, who spend two years researching and preparing Megan is Missing , is immensely proud of the impact his work has had upon the audience slowly discovering it, he still has trouble separating the craft form the movies ultimate power. “ I myself find it hard to watch. Some of the more emotionally gut wrenching moments are not thing you want to relieve over and over. The filming was actually fun and relaxed for the actors and crew, but the final product is pretty disturbing. I want people to experience the movie, not just watch it and forget about it. If they remembered how it made the m feel, perhaps they will look at those news broadcast a bit differently, or think about checking out registered Sex-offenders sites to see who living in on their blocks , or just to sake more interested in how their kids are using social-networking media to communicate. I guarantee you that kids know more about there thins than their patents do.”

would like to

start off b

y tellin

g you what a huge

giggle I got o

ut of th

e “Is Hallmark behind th

is?

Do they profit o

ff gettin

g cards, maraschino

cherries and black ro

ses?” rant in

Fango #320

I h

ave been one of the backers of th

e

Women in Horro

r Moth campaign since conceptio

n a

few years back. I and m

any other women to

ok to th

e

streets and used our w

ebsites/blogs, columns, ra

dio/

podcast shows, etc. T

o spread the word about ta

king

one month of th

e year to showcase th

e contributio

ns

of women in

the horro

r genre, and celebrate each oth-

er in a communal, h

armonious way. A

lthough some

people have gotten it

twisted around over th

e years,

it was not –

as I understood it,

and hold true to

this

day- supposed to

be a period where everyone needed

to stop what they were doing and give fre

e press to

every owner of a

set of o

varies who had eith

ers acted

in or wanted to

act in a film

. It was a group of p

eople

who looked deeper in

to the in

dustry and re

cognized

the female write

rs, film

makers, FX creator, actre

sses

and artist in

every other horro

r-themed field who

contributed to

the genre.

Celebrating February as W

omen in Hor-

ror Month should be a choice, and not e

xpected of

anyone. I know FA

NG

ORIA

showcases w

omen’s talent all the tim

e,

and its fully aware of their im

portance in the genre. I personally use

this month as a tim

e I can get a bunch of amazing talent, w

omen

together who w

ill donate their time to a charity that need a boost

of cash, materials or even blood w

hile obeying able to network and

celebrate each other. It is an amazing tim

e to make new

friend, re-

connect with old ones, find new

projects you maybe w

ouldn’t have

in the big scheme of thing and have the venues it w

ork together in a

space to help each other and noble causes out.

I

Departam

ent

ThePOSTALZONE

Pg.26

British Actress Rosamund Pike brings her beauty and talent to a world of gods and monsters in Warth of the Titans.

Written by: Chris AlexanderFilmstills Proived by Warner Bros.

Pg.30

The 2010 remake of the classic Ray Harryhausen fantasy spectacle The Clash of the Titans was a surprise box-office hit, though very few critic embrace it as enthusiastically. Its converted 3D and simplistic plot nonplussed film journalist, while devout dans raised on the charms of the stop-motion original scoffed at the lack of magic and model FX on display. What some of those fans may have forgotten was the previous generation’s monster-movie buffs desires the first pictures for it assimilation do a studio enforced post-Star Wars sensibility

(what is Bubo the owl if not a fowl R2D2?) and critic were also indifferent, both set pining for the

own chid hoods Sinbad and Jason and the Argonaut Harryhausen adventures

But the only audience that really mattered the

and now-the kids- spoke loudly enough

to ensure that Warner Bros., would mine the dusty annals of Greek mythology again for a follow up, that even more epic Wrath of the Titan (opening march 30). Under director Jonathan Liebesman (of Texas Chainsaw Massacre: The Beginning and Mattle Los Angeles, taking over from Clash’s louis Letterrie, sam (Avatar) Worthington reprises his role as Persus, the half-god son of Zeus. After battling all manner of creatures and killing both Medusa and the Kraken in the first picture, he has now retired to a quiet life as a fisherman and father, living humbly and keeping his powerful lineage a secret.

Taking over ht role of the beautiful Queen Andromeda is the British actress Rosamund Pike, a classically trained veteran of UK stage and television who made a massive pop-cult impact after appeared in-at age 21- as a bond girl in the final Pierce Brosnan 007 adventure Die Another Day. Since then, Pike has evolved her craft while straddling two worlds: classic period picture (Pride and Prejudice) and glossy genre epics {she played Samantha Grimm in Doom and Opposite Bruise Willis in the underrated Surrogates). Like many f the actor filling the roles of gods and mortals in

PIKE: Thats a question better suited for Luam and Ralph, as a their characters dialogue and persona call form much more grandiose oration. I tried to keep’m my performance grounded in smoothing as immediate as as contemporary as possible

FANG: Clash of the titans was post-converted into 3D. Was wrath actually shot in the process?

PIKE: No, it wasn’t shot in 3D. That’s because Jonathan instead that we film on 35MM, and to do the proper digital 3D you obviously have to shoot digitally. But we did have the 3D conver-sion people on set converting as we went. Jonathan was well aware how disappointed people were by the 3Din the film. so the paid very special attention to ensure they got it right this time.

FANG: You’ve said that you’re a fan of classic Hollywood and how you pine for the loss of the glamour and mystery that were part of those earl, golden years. Do you think that myth so much more the mechanism of movie making now recoiled, some of the magic is lost?

PIKE: You mean, because magazine like your tell people how monsters are made?

FANG: Thats part of it. but i mean on every level...

PIKE: No way I don’t think that at all. I believe that when it come to the mystery surrounding actors craft and personal lives, that has been lost, yes, but when you have productions like Wrath and you see it all, it blows you away. You can look at some of these pictures and see how much effort went into each shot. In Wrath we had so many different thing in front of us, and we were in constant stat of awe all the time it doesn’t detract when you know the secrets, it accentuates it.

FANG: As far as the art is concerned, is acting in something as massice and fantastical as Wrath as rewarding as , say , a movie like The Liberine or Bareny’s version?

Wrath-also including Liam Neeson as Aeus, Ralph Fiennes as Hades, etc- Pike has a grandiose gravitas (it’s no surprise that her father was a celebrated opera house singer.) that elevates the monster-riddle ho-kum above the realm of B-flick into something approaching serious theater. Well, sort of... Fangoria spoke with the intelligent and focused Pike about her wild, and steadily accelerating, Hollywood ride.

FANGORIA: You came from British TV and stage work and fell right into the middle of the Hollywood whirlwind a with Die Another Day. How did Wrath of the Titans stack up again that shoot?

Rosamunds PIKE: I felt much more on the top of ting making Wrath than on the Bond film, because Im so much more experienced and with fill, experiences serves you in good instead. You understand camera angle and positions and how it all works.

FANG: You’d replaces Alexa Davalos as Andromeda in Wrath. How was the character changed?

Pike: Well she’s far more empowered. I mean, after all the humiliatin things she went through in Clash of the TItan- she was tied up to be sacrificed to a monster all because of soothing her mother said, an offend prashe, and had to be rescued. Son ow she’s very different. I stood on a cliff over looking an army of 500 men in Tenerife, in Canrary Islands, where we filmed.It was unbelievable. And Andromeda leads those men. She’s not a victim and refuses to be one.

Fang: like that you said “an army of 500 men” and not “500 digital men...”..

Pike: Oh, absolutely. The islander of tenerife were so excited about the movie, and they all came out to be in it. It was fantastic. I was like a sort of Henry V. The director, Jonathan Leibesman, was adamant that we shoot as much of it practically as possible. there was some green screen but the movie is not ruled by it. FANG: Epic fantasy films like clash and Wrath always employ theatrically trained actor, and you yourself aren to stranger to the Bard. You just mentioned Henry V. Do you call on that Shakespearean training when playing in a picture like this?

Pg.31

PIKE: AHHHH. Barney’s version was lots of fun. It was such rich material, and Paul Giamatti- well, I wouldn’t of as far as say he’s is my hero,but certainly he is one of the people I mist admire in this busi-ness. But moving from that to the action world, especially in film like Wrath of the Titans... It;s total chaos, it fires all your sense, as opposed to your mental and intellectual faculties. The first scene we shot awes set in the under world, and there were rocks falling on use from the celling, rivers of fire, pillars of flame being busted by guys in boiler suits wind turbines, you walk into it and you just try to survive it. You’re thorn into a maelstrom and you;re tying to run from point A to B; there sort of a primitive skill thats required.

FANG: It’s interesting how one person can common two very desisting audiences. The audience that files out the Barney’s Version will appreciate it, Talk about the movie, critics will view it well. The kids who come out of Wrath of the titans....it might actually change their livers!

PIKE: What? Do you thinks so?

FANG: Yes. when i saw Clash theatrically upon exiting, two 12 year old boys were being picked up by their dad, and when he asked how they like it they said, “That was the best movie we’ve ever seen1” If you’re the right ager, films like this have an important effect.

PIKE: Thats hilarious. Well, this one has even better point of entry for the kids because Persus has a 10 year old son who is oblibliouse to who his dad is, and when he finds out, he’s blown away by all these gods and monsters, and as far as my role,the hope with Andromeda, girls will want to be like her, that she’s a strong role model. And that the boys, well... I hope thy’ll enjoy her too!

FANG: I was a going to ask you if you were still having fun in this acting adventure of yours, but I think my question has been answered!

PIKE: [Laughs] I am. Im having a great time, and I think as I from and learn more and become more confi-

dent in what I can do, I’ll have an even better time.

Pg.32

Jonathan was aware of how disappointed people were by the 3D in the first film, so they

paid very special attetion to getting it right this time.

10.6 | PARADISE ROCK CLUB | BOSTON MA

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-don; this one overs a lot of the same ground, but offer more practical

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcas-

ing their abilities. The result is something much more; an accom-plished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-



he cimmentrier and making-of featurettet accompany-ing ABSENTIA on Phase4’s DVD emphasis that the

project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The

result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie super-natural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-don; this one overs a lot of the same ground, but offer more practical

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the proj-

ect began as a simple side project a group of firmed com-ing together become and behind the camera in hoe of

showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-


he cimmentrier and making-of featurettet accompanying AB- SENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of

showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcas-ing their abilities. The result is something much more; an

accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-


he cimmentrier and making-of featurettet ac-companying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-





he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming to-gether become and behind the camera in hoe of showcas-ing their abilities. The result is something much more; an

accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-

he cimmentrier and making-of featurettet accompany-ing ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The result is something

much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-

he cimmentrier and making-of featurettet accompa-ny- ing ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of

firmed coming together become and behind the camera in hoe of showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-



he cimmentrier and making-of featurettet accompanying AB-SENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The

result is something much more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-don; this one overs a lot of the same ground, but offer more practical

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed com-ing together become and behind the camera in hoe of showcasing their abilities. The result is something much

more; an accomplished, deeply chilling and movie supernatural drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs become deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos accompanying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one com-mentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject explored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gor-

he cimmentrier and making-of featurettet accompanying ABSENTIA on Phase4’s DVD emphasis that the project began as a simple side project a group of firmed coming together become and behind the camera in hoe of showcasing their abilities. The result is something much more; an accomplished, deeply chilling and movie supernatu-

ral drama. Real-life friends Courtney Bell and Katie Parker bring natural chemistry to their onscreen roles as sisters Tricia and Callie, the former preparing to have her long-missing husband officially cleared faded, the latter trying to put her own life back together and after long stint in rehab. Writer/director Mike Flanagan makes the toe women’s individual life concern feels real that when the uncanny err the picture, it becomes scared and concerned for out heroines. Even the discs be-come deleted scenes, while perhaps superfluous to the main feature, reflected a deeper commitment to character than one often finds in homegrown horror features. The half-hour “Abstentia: A Retrospective” chart the movie’s history from beginning (with funny clips from pledged pitch videos ac-companying the Kicstrates financing campaign) to the end (winning awards at festivals), reveling much about how Flanagan and co. pulled off this impeccably crafted low-budget on a 15-day schedule with a tiny crew. The filmmaker is joined on one commentary by Bell, Parker and co-stars Dave Levine and Doug Jones to flesh out subject ex-plored in the featurette, with fun and intriguing extra details throught. A second commentary feature Flanagan and fellow producers Morgan Peter Brown, Joe Wicker and Justin Gordon; this one overs a lot of the same ground, but offer more practical









in for on how A

bsentia was pulled off on a m

icro budget. The result looks and sounds fully pro on disc, w

ith plenty of spooky atmosphere

in the widescreen transfer and 5.1 Surround Sound.

Departam

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Phase 4’sABSENTIA

T

Pg.33

elissa Marr is a terrific storyteller. Her waddle popular Wicked

Lovely series of YA urban faerie stories (a genre I’m not normally

crazy about) clearly shows off her skill at hooking readers. Grave

minder is her first “adult” urban fantasy, a fresh take on zombies

and American Gothic that Marr says is rooted in her love of

cemeteries and the lore of the dead.

When Reebekkah Barrow’s grandmother Maylene dies, Rebekkah is

pulled back to the home and the man she’s been avoiding for years. The town,

Claysville, is a unique place with very unusual funeral laws. Only handful of people

know the details, but long ago, the town founders made a pact with an entity

named MR.D (Death? Devil?). According to the agreement, everyone born there

must be buried there, and chosen Barrow woman-the Graveminder- in consort

must carefully tend his or her graves with a companion Undertaker. In returned,

the citizens remain healthy and the head stay in the ground. But once in a while,

the deceased return, hungry, and it is a Graveminder’s job to lead of the dead.

Something has gone terribly wrong and an undead teenage gurk named

Danish shows no and start taking baited out off the population. Now that she has

inherited the role form her grandmother, Rebekkah and is the new Graveminder,

and her Ex-boyfriend Byron the one Undertaker. It is up to you to find Daisha (and

any other who have popped up) and put things right. Quick visit with the denuzens

of the land of the dead barely prepare them for these roles they previously knew

nothing about. Despite her reluctance to be trapped by fate, family per feelings

Rebekkah start to come alive, as she becomes a caregiver to the deceased.

Melissa Marr’sGRAVEMINDER

M

Departam

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$14.99 $14.99$14.99 $14.99$14.99 $14.99

Illustration by:Eduardo Cardenas

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