Items filtered by date: April 2013
Wednesday, 10 April 2013 05:35

Spank!: Fifty Shades Of Parody

'I Will Survive' alum Stephen Mahy is relishing his new role as the hot male lead based on 'Fifty Shades of Grey' mega-hunk Christian Grey in 'Spank! The Fifty Shades of Parody'.

“I like being a man,” Mahy laughs. “'I Will Survive' was a fantastic experience. The fact that I had to get in heels was, I think, just a bit of a joke for everyone. When you're in heels your legs look better, so now I understand why women do that, but I don't understand the pain that you go through just to have good-looking legs. I appreciate how dressing in drag is gender illusion and the lifestyle, it's just being a man is fun too!”

And what a man, indeed. Mahy plays Grey-inspired leading man Hugh Hanson, and says that the initial pressure of immortalising such a character was intense. “Everyone was like 'oh my god, you're gonna play Christian Grey', and it was like 'well, in a way, yes'. But I play Hugh Hanson, and he's so far from being a real person really, that it's a little bit harder to play someone like that, because it's a joke.” Part of that joke is that the Grey character is based on Batman explains Mahy, referencing Grey's broken family, billionaire status and assortment of gadgets. “There's a burlesque dance that I get to do, and it's pretty much a male strip. And it's the whole joke of him being Batman, and I become Batman, and get down to my underwear and a Batman mask. And that's the whole joke about how funny this character is. As in, 'oh, he's so sexy and hot' but really he's a just the man behind a mask.”

Unsurprisingly, the response, particularly from the female population, has been very positive. “I think because the Christian Grey character is so prominent in their minds, and some people have changed their lives because of this book — they go 'oh my god, my sex life has been dramatically changed' — so when I walk out, that's their perception, they either like me or they don't (fingers crossed that they do!), but they all seem to scream,” Mahy says. “And I'm going 'ok, I'm just trying to get the steps right', but the ladies go off, and I think even the men are enjoying themselves as much. I think at first they're thinking 'oh my god, why am I coming to this play?' And then they see their partner or their wife just start to giggle and react, and their reactions are huge. I think they're trying to be a bit more reserved, but they certainly enjoy it.”

Mahy hints that readers of the 'Fifty Shades' series will find plenty of inside jokes throughout the piece, “but you don't need to read the book to understand it. Some of the people haven't even read the book. I have a photo with everyone after the show, and I say 'have you read the book?', and they say 'oh, no, we just know so much about it' or 'my girlfriend's read it and I think I'm gonna go home and read the book now'.” As for covering the often graphic subject matter, Mahy promises subtlety. “We get enough risque movement and scenes in there that we understand what's gonna happen. So people go 'yeah ok, we don't need to see a sex scene'. So, I tie [leading lady, Natasha] up with the silver tie; everybody loves the silver tie. As soon as they see the tie, they're like 'oh my god, he's got the tie on!'”

The Brisbane season has been extended to April 28, with the possibility of further shows if audiences demand them. “If people keep coming to see the show, then obviously they're going to keep it up here,” says Mahy. “We seem to be packing out the houses when we're performing. I hope the show continues, because I just think it needs to be seen. Fingers crossed!”

Stephen Mahy performs in 'Spank! The Fifty Shades Parody' Until April 28 at Twelfth Night Theatre.

Published in Theatre
Wednesday, 10 April 2013 05:30

Brisbane Queer Festival: Opening Night

Love, loss and Liza at the Brisbane Queer Film Fest. Hundreds of the lesbian, gay, bisexual and transgender community turned out on Friday night at the Powerhouse for the opening night of the Brisbane Queer Film Festival.

Now in its 14th year, this year’s BQFF promises to be greater than ever with a selection of 58 high calibre films from around the globe. The Powerhouse was heaving as festival-goers, dressed in their finest, gathered for a screening of the opening night films. The first, a short, 'Confessions of Father John Thomas', by Australian director Elka Kerhofs, was thrilling, down to earth, hilarious and extremely relatable. The second film, shot in New York City, 'Keep the Lights On', was poignant, real and raw and an honest and confronting journey through love and loss.

Festival producer Jody Haines welcomed us to 2013 “where gays still can’t get married, where AIDS is on the rise, the Queensland Government has stripped IVF services for lesbians, and gay hate crime is also on the rise. It’s time to stop making the protest palatable for comfortable society,” Jody said. These deeper issues, as well as the simple celebration of gay love, in all its forms, will be explored through the films on show at this year’s BQFF. And following the screening of both films on Friday night, it was certainly time for a celebration. The crowd spilled out onto the Powerhouse dance floor to continue their ‘fling’ with the city that never sleeps for the opening night party aptly titled, New York, New York — featuring the iconic Liza Minnelli impersonator Liza (On an E). This year’s BQFF opening night showcased two great films, put on an awesome party; and if the scene witnessed on Friday is anything to go by, BQFF should be in for one very successful run over the next week and is not to be missed.

BQFF is running at the Brisbane Powerhouse until Sunday April 14.

Published in Film
Wednesday, 10 April 2013 05:25

The History Of Future Folk

Performing at the opening night of the Gold Coast Film Festival are a couple of bucket-head aliens about to take over the world.

Ok, so maybe they're not literally taking over the world but the musical duo of Jay Klaitz and Nils d'Aulaire are heading down under, space suit and all, for the Australian premiere of their latest film ‘The History of Future Folk'.

Jay, the Spanish-speaking, guitar-playing crappy assassin, says he can’t wait for Aussies to experience something new.

“What really works for the film is that people expect it to be one thing and find it to be very different. I think because it’s such a silly film about space aliens playing bluegrass and folk music, people go in expecting a slapstick comedy and something a little ridiculous and are pleasantly surprised (not that I think there's anything wrong with slapstick and ridiculous comedy) to find something that’s a little sweeter and softer.”

Not only did he get to play his space alien alter ego, Jay says that in such a tough industry, it was great to be able to work with his mates on set.

“I would say that my number one favourite thing was that it was a real family affair. Many of us lived in the same neighbourhood in Brooklyn so we were buddies and it was like going to work with your best buddies every day for six weeks.”

So how did two grown men end up dressed as bucket-head aliens playing bluegrass and folk music? Jay says it was a combination of beers and basement jamming. “One day I had an idea in my head that I wanted to write an alien-themed album and make it folk and acoustic, and then Nils started playing the banjo along with me. How exactly we became space aliens is unknown because it was quite a while ago; I guess it was one of those ideas that came from sitting in a basement drinking one too many beers, playing our instruments.”

Surprisingly playing a space alien still isn’t Jay’s most unusual character to date, as he talks about other unique roles he’s played in his career.

“Once I had a guest role on an episode of ‘Rescue Me’ where I played a chronic masturbator. It's a weird thing to call your parents and say 'hey mum i'm going to be on a really popular show playing a chronic masturbator.' It was really a funny scene and I had Dennis Leery cracking up a little bit on set, so that was fun. I like to think I have a healthy appreciation for the absurd and well somebody has got to fill those shoes.”

Pacific Fair hosts the 2013 Gold Coast Film Festival from April 18 – 28. Check out the full program on their website

Published in Film
Wednesday, 10 April 2013 05:17

Signature Series: Hip Hop Sinatras

With the imminent release of their new single ‘Down Low’, West End’s Signature Series is set to perform an eclectic amalgamation of gangster horns and sampled back-alley twang.

“I often get quite inspired by cinematic ideas, a lot of my songs are story-based regarding what the feeling would be like if you were on the run and had to go to Mexico,” frontman Chico Mendez says about his creative process.

Signature Series formed around the thriving West End musical scene, and are now regular performers at a swag of local venues.

“I was playing music in Brisbane and moved to West End and had a lot of friends in the scene in West End... I started playing soul and hip hop music in that region which there wasn't a lot of. It was pretty reggae heavy at the time and still is but that introduced people to me who were interested in that genre and we started playing a few shows locally.

“The way West End works, everyone is in about 14 bands. Everyone is really tight and friends outside of music, so I suppose when you're doing something that is a little bit different you tend to pull in a lot of different types of people with different backgrounds... so I suppose there is a bit of an incestuous family vibe.”

Citing Muddy Waters and The Black Keys’ Blackroc project as inspiration for their latest single, the recording process for 'Down Low' was a long-distance collaboration between Mendez and Grim Tilla of Laneous & The Family Yah fame.

“I wrote the whole thing on my own, but Grim Tilla lives up on the Sunshine Coast. I sent him the lyrics and a voice recording from my phone of me singing the chorus. We collaborated but we collaborated remotely, which was a new thing for me. In the studio it was the idea of taking all sorts of different drum sounds from around the room and trying to create a kit from that again with sampling — live sampling by recording all different sorts of sounds and then creating the beats from that.”

Signature Series plays The Joynt Saturday April 13 and The Beach Hotel, Byron Bay, Friday April 26.

Published in Urban
Wednesday, 10 April 2013 05:09

DJ Krush: By Request

Without doubt one of the most influential figures within hip hop and electronica of all time, Japan’s DJ Krush is headed back to Australia for another series of live shows that will once more defy imagination.

Hope you’re well, Krush ... what’s new for you in 2013?
This year I am working on my album! Other than this, I have some interesting plans in action, including releases and projects of various forms, but I cannot say too much. Please stay tuned and look forward to it!

There’s talk of a Krush solo album... how is this progressing?
That’s right. It’s been a while since I released an album, and it is satisfying to slowly create something good over time.

What sounds are you exploring with this record?
This is a secret! Although I can tell you that I’m aiming to create a new sound while at the same time making sure to stay true to the distinct Krush style.

Sonically, what’s caught your interest; that’s motivating you at the moment?
In general, I try to limit outside sounds and influences when creating new music. However in daily life, sounds, smells and the atmosphere from life are experienced and can be reflected in the sound that I am creating.

What other projects are you focused on throughout the year?
Aside from the album, this year I would like to do many sessions with other musicians. In February I performed live in Milan with Bill Laswell and Bernie Worrell. That was a really exciting and interesting experience, and I’d like to do that with other people as well.

How much does the world around you, both locally and globally, influence your music?
It’s difficult to tell you how many different things have influenced my music style. However if people are influenced by my style, then this should be a hint for them to create their own style of music. In fact I was influenced by many different things and eventually I made my own style that you can hear now.

In a digital age, is it nice to retreat to the vinyl world every now and again?
Honestly, I am rarely conscious of whether it is vinyl or digital. The most important thing is to do what you have to do, or use what you have to use, to realise what it is that you want to achieve.
Of course I love vinyl and play vinyl, however recently I use Serato a lot for my live sets. I have used the same mixer for more than 15 years now. These days the newest and most convenient are not the only things that matter. I am always open to finding the information which matches to the current need.

Is there an average week for you, or is there something new happening constantly?
These days I am trying to spend less time on tour and more time at home relaxing with my family. Since the big Japanese earthquake of March 2011 I make an effort to live each day to its fullest. The warmth and support received from Australia and the rest of the world is deeply appreciated from the bottom of our hearts. Thank you!

Constructing a set live; how much do you pre-program prior compared to mixing on the fly?
It really depends on the situation and how things feel at the time. However, I always put some thought into the base of my sets.

As someone who’s been in the music industry for as long as you have, how do you manage to keep the passion burning, and to move with the times?
I try hard not to lose my personality, instead I try to polish [improve] myself. When you live on the earth, there are hardships that can be encountered, however it is important not to run away, but instead move forward. Since you are born on this earth, there are so many opportunities and experiences to get motivation from.

You’ve played more than 300 cities across 50 countries. What territories are you yet to explore that’s on your bucket list?
I want to go anywhere that my sound is requested!

Dj Krush plays Coniston Lane Friday April 19.

Published in Urban
Wednesday, 10 April 2013 04:59

Record Store Day: Get In The Groove

Vinyl junkies nationwide are eagerly counting down to their next big hit, Record Store Day.

The annual event held April 20, now in its sixth year, encourages people to support local bricks-and-mortar record stores and independent retailers. As part of the celebrations, limited edition vinyl reissues of some of the world's favourite and forgotten records will be available at participating stores.

From modern masters to retro classics, there's something for just about every taste, including a hot pink 12” of Gotye's single, 'State Of The Art', and a special edition of Pink Floyd's 'See Emily Play', complete with Colombia bag and poster.

It's not just reissues either: Ryan Adams' new punk band, Pornography, will release their debut seven inch EP, 'Seven Minutes In Heaven', on the day via Adams' own label, PAX-AM.

The event takes place worldwide and Australian record stores have jumped on the bandwagon in droves, including Brisbane's Record Exchange on Adelaide Street. Boasting an inventory of over 200,000 new and pre-loved records, the Record Exchange will be running 'buy three, get two free' and 'fill a bag for $5' offers on the day.

EMI and Universal Music have published lists of the reissues they will be releasing, including an exact replica of Nick Drake's 1971 self-titled album, which was previously only available in the United States.

Despite a huge portion of music being purchased online these days, there’s still a large contingency of people that actively support local record stores. Frontman for The Bamboos, Lance Ferguson, speaks about the importance of independent record stores for local bands and those trying to make a name for themselves.

“Without support from local record stores at a grassroots level, bands like The Bamboos would be lucky to get off the ground,” he says. “Sure you can buy everything online: but nothing beats hearing something LOUD through the speakers in a record store and thinking: 'What the fuck is this?! I MUST own it!’”

A large number of Australian artists will also be releasing a selection of their albums. Tame Impala’s 2008 debut EP will be reissued on a red 12”, and will include two tracks previously unavailable on vinyl: ‘Forty One Mosquitoes Flying In Formation’ and ‘Wander’. Cut Copy’s debut LP, ‘Bright Like Neon Love’, will be available for the first time on vinyl, with cover art redesigned by frontman Dan Whitford.

All genres and tastes are covered and accounted for, from rock and punk to dance and electronic artists. Australian Music Prize winners, Hermitude will have a six-track 12” of their ‘Parallel Paradise’ EP, including the highly sought-after Flume remix of ‘Hyperparadise’.

For the hardcore collectors out there hoping to fill those oh-so-annoying gaps in their collections, Snapper’s debut self-titled EP will be available both on limited edition 12” and also as a digital copy, which is an exact replica of the original recording. The Dunedin band released the album in 1988 and it quickly went out of print; and for the first time in 30 years, The Bats’ debut EP, ‘By Night’, will be on shelves again.

Because many of the releases are special and limited editions, unfortunately not all will be available at all stores, so organisers are urging people to check out the website to avoid missing out on the day.

Record Store Day takes place Saturday April 20.

Published in Rock
Wednesday, 10 April 2013 04:55

Barsoma: End Of An Era

After delivering underground techno and house music to Brisbane for the past decade, local clubbing institution Barsoma is set to close this weekend.

“We've had our fun with all of our friends and everyone we've worked with and we're all starting to slow down a bit as we get older,” says owner Nick Braban of the decision to renovate and revamp the Fortitude Valley venue.

“The time is right to do it properly rather than have to change, again, what we do and find new crowds and things. We've just come to the decision that it's the perfect time to pull up stumps and celebrate what's been a great time for us.”

Given that most nightclubs have a very limited shelf life, Barsoma's lengthy history has defied the odds in a fickle industry where the demand for entertainment is constantly changing.

“I guess we've just been super lucky to work with some really committed promoters at the venue who have done an excellent job programming and bringing people in for us. On top of that we've offered a bit of a wider offering that your average nightclub with a strong focus on food and cocktails and that’s helped as well.”

Nick is confident the gap Barsoma leaves will quickly be filled because of consistent demand for live music and diverse acts.

“I have no doubt that there will be other spaces becoming available for the types of music that we've hosted over the years... Punters are much more open-minded now about the sound they hear, which is a really positive thing. We've seen types of music become popular now that two or three years ago was really hard to push. so that’s been a really good thing to have happened in the past few years.”

Across a decade’s worth of shows, Nick is confident of his favourite booking.

“My biggest highlight was booking James Lavelle of Unkle fame, he's probably one of my favourite producers and DJs ever, so that was really massive for me. Some other big ones were having some of the originators of Detroit techno in the building, people like Carl Craig and Derek May.”

So what can punters expect when Barsoma reopens? Those expecting to dance the night away will be disappointed. The club’s next incarnation will involve a shift away from its electronic roots with emphasis instead upon the bar and dining experience.

“We'll still be booking a lot of the locals we currently work with but it's not going to be a dance oriented vibe. We won’t be booking big acts or having big events like that any more. It'll just be nice tunes to listen to while you have a drink and a bite to eat.”

The new venue will be the result of a partnership between Nick and Adrian Mezzina and Steven Papas of Arcade Creative, who are behind popular dance venue Oh Hello.

“We've all known each other for years, we all came up at about the same time professionally, so it just really made sense. We were looking to do something different with the space and those guys were also looking to do something different away from our nightclub style things. It all just happened really organically. I’m really excited to join up with some guys who have been friends of mine for years and do something a bit different from what we’re known for.

“We're really happy to have fostered a place for underground music to occur in Brisbane and we're really proud of the groundwork laid by us and the people we work with and all the clubs that came before us. I just hope that we continue to see a place for those styles of music to be played.”

Barsoma witnesses one last Friday and Saturday before closing its doors on April 15.

Published in Electronic

British India guitarist/ lead singer Declan Melia is a man of his word. In an interview last month he promised two things: they would never bring a keyboard on tour, and they would give the same rock-solid live show fans have come to expect from the band.

The lads delivered the goods on both fronts when they took the stage on Saturday night; there certainly wasn’t a keyboard to be seen anywhere and more importantly it was an hour and a half of loud, sweaty rocking out.  After rousing support sets from trios Horror My Friend and Love Junkies, British India opened their act with crowd-pleaser, ‘March Into The Ocean’ which had the audience jumping and singing along right from the start. Their set list was dominated by songs from their new album, ‘Controller’, but they managed to fit in some old favourites as well, such as ‘Run The Red Light’ from their first album and ‘Tied Up My Hands’. As if that weren’t enough, they also belted out a fantastic noise-rock cover of Flock Of Seagulls’ classic ‘I Ran’, which had one patron declaring, “I didn’t think this song could get any cooler!” Declan has an enigmatic stage presence,while all four British India lads command complete control of their respective instruments and can work the crowd both individually and as a group. They rounded out the evening with their staple live track, ‘This Ain’t No Fucking Disco’, demanding everyone sing along, and were chanted back to the stage for a one-song encore.

To see photos from the gig head over to Scenestr

Published in Rock
Wednesday, 10 April 2013 04:44

Rodriguez: Live Review Tivoli Apr. 1

A couple of Monday nights ago (April 1 to be precise; this was no elaborate joke either), and after waiting so many years for the elusive Rodriguez to materialise on stage, The Sugar Man finally appeared, aided by The Break — comprised of three founding members of Midnight Oil: Rob Hirst, Martin Rotsey and Jim Moginie as well as Brian Ritchie (Violent Femmes) and Jack Howard (Hunters & Collectors).

Although looking frail as he was guided to his microphone stand by a helper, his garb resembling that of a homeless person, once Rodriguez opened his mouth, the magic of the ‘Cold Fact’ and ‘Coming From Reality’ records (circa ‘70 & ‘’71 respectively) entranced those in attendance — this was the biggest crowd I’d seen at the Tivoli since Wilco more than half a decade ago as well. ‘Climb Up On My Music’, ‘I Wonder’, ‘Inner City Blues’ and ‘Street Boy’ were special while a cover of ‘Blue Suede Shoes’ had the place rocking - even Rodriguez had his two-step on! While ‘Sugar Man’ received a cool psych-rock rub from Rodriguez. He even dropped a Mickie and Minnie marriage joke for good measure. It was an honour to spend an hour in the company of such an amazing performer as Rodriguez. I can only wonder what it would have been like to stumble across a Sixto Diaz Rodriguez performance during the late ‘60s in snow-capped Detroit. BTW, the plaudits documentary ‘Searching For Sugar Man’ has received baffle this scribe. An incomplete film that didn’t ask all the important questions.

Published in Rock
Wednesday, 10 April 2013 04:15

Warm Bodies: New Age Zombies

There’s a scene in ‘Warm Bodies’ where our protagonist, known only as R, is trying to work out how to strike up a conversation with his new acquaintance, Julie; he hasn’t had a girl over in a while and is kind of struggling for an opening line.

In voiceover, we hear him pleading with himself: “Don’t be creepy, don’t be creepy, don’t be creepy.” It’s a scene that’s relatable for anyone over 13 with a pulse – despite R’s lack of one. Talking to girls was hard enough even before the zombie apocalypse.

R (Nicolas Hoult) spends his days shuffling around an airport with a few hundred others, occasionally exchanging grunts with his only ‘friend’ (Rob Corddry) and joining packs to go in search of delicious brains. When they come upon a group of young humans on one of these missions, R sets dead blue eyes on Julie (Teresa Palmer), a girl about the same age he was when he died, and in the amygdala-munching melee that inevitably ensues he manages to save her from being lunch for his undead cohort. While she can’t hear the wry, self-flagellating inner monologue that endears R to the audience from the first scene ("What am I doing with my life? I'm so pale. I should get out more. I should eat better. My posture's horrible. I should stand up straighter. People would respect me more if I stood up straighter"), the selection of grunted syllables he can manage are enough to show her there’s a little humanity left in him. To complicate matters, her father (John Malkovich) is the uncompromising leader of a large human enclave he’s helped keep safe from the undead hordes for the past eight years.

Based on Isaac Marion’s YA novel, ‘Warm Bodies’ was adapted for the screen and directed by Jonathan Levine, whose previous films include cult coming-of-age indie ‘The Wackness’ and ‘50/50’. His next project is adapting Marie Lu’s Hunger Games-esque YA hit ‘Legend’, about a pair of teenagers on opposite sides of the law in an oppressive post-apocalyptic Los Angeles. It’s clear that Levine’s drawn to stories about young people trying to find their way through intimidating and strange new worlds.

“For some reason I’m very intrigued by that time in someone’s life. Things are so charged, emotionally, and everything is so intense,” he explains. “And that’s what I really like about this movie – it’s a great allegory for the emotions of becoming an adult.”

R might be undead, but his role as our narrator means we’re privy to the thoughts that occupy him as he shuffles through his days, unable to remember what life was like before. Despite the signs of decomposition, he’s presented from the first scene as more human than any other zombie in recent memory.

“A guiding light for me throughout the movie was just trying to make [R] a regular awkward teenager, and using the zombie thing as a metaphor for that,” says Levine. “And as we got to the post process, we did more and more stuff like that, we crystallised that comparison. And the more we did that, the more it made sense. So for me, I could identify with that character quite a bit because I always felt awkward and creepy around girls. Inarticulate,” he laughs. “And the more neurotic we made him, the more his character came to life.”

While technically ‘Warm Bodies’ fits under the ‘young-adult paranormal romance’ umbrella, there’s none of the moping of ‘Twilight’ here. Fans of hard-science backstories might be a little disappointed, as Levine acknowledges, but anyone who enjoyed ‘Shaun Of The Dead’s pairing of hilarous one-liners and gory, stumbling spectres of death will find it a welcome addition to the rom-zom-com sub-genre. The romance between Julie and R, far from being tacked-on, is central to the plot – which is where Hoult’s shy charm and cheekbones come in handy. The former child actor, known as the ‘About A Boy’ kid in the beanie before starring in UK series ‘Skins’, grew up very nicely indeed; he even modelled for Tom Ford after being cast in the designer’s directorial debut, ‘A Single Man’.

“There was a pretty high barrier to convincing an audience that someone might find him attractive,” admits Levine with a chuckle. “So only someone as overwhelmingly attractive as Nick could pull it off.”
Zombies, as you might have noticed, are having a serious pop-culture revival, meaning audiences now are particularly well-acquainted with a broad range of zombie tropes. Along with new BBC series ‘In The Flesh’ (set in a civilised post-apocalypse Britain where former zombies, or sufferers of ‘Partially-Deceased Syndrome’, are rehabilitated back into society), ‘Warm Bodies’ might be part of a next wave in zombie storytelling – one where hope sits alongside the gore, an antitode to relentlessly grim interpretations of the genre like ‘The Walking Dead’.

“It’s awesome that there’s this zombie renaissance, or whatever you want to call it,” Levine says. “Because I think they’re smart, and that the best zombie movies are better than the best vampire movies.”
In preparation, he adds, he watched “every single zombie movie I could get my hands on” – from the Godfather of Zombies George Romero to Lucio Fulci’s ‘Zombi 2’ and Danny Boyle’s groundbreaking ‘28 Days Later’ – “because I knew that hardcore zombie fans were going to beat the shit out of me,” he says with a laugh. “I wanted to be very cognisant of the tropes, and to be aware of the rules even when we were violating them – to know that we were violating them, rather than just ignoring them.”

Apart from a brief poke at humanity’s pre-apocalypse condition as smartphone-obsessed proto-zombies, ‘Warm Bodies’ doesn’t go all-out on the social commentary. But Levine feels it’s impossible to make a zombie film that doesn’t contain some sort of message about what makes us human.

“I think with the best ones – and certainly Romero – it was always there,” he says. “Whether it was ‘Dawn Of The Dead’ in the mall, or ‘Night Of The Living Dead’ – which is kind of about tolerance, I think – there’s the individual versus the collective, and all kinds of other stuff, especially in the Romero [films]. And that’s when I think it punches best … But even in ‘Day Of The Dead’ there’s that [zombie] character who can talk, who is semi-articulate. And in ‘Walking Dead’ – I haven’t seen all of it, but they certainly play off on the idea that these people were people. There’s a range of emotion. I think that was certainly something that people responded to in our movie, the notion that it wasn’t about a plague, it was about a cure; it was about hope.”

Warm Bodies’ Opens Nationally April 11.

Published in Film
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