ACTOR’S CORNER – VICTORIA THAINE (THE LOVED ONES)
I am an unabashed fan of this film. I saw it at the Toronto Film Festival – all but forcing the programming staff of AFI FEST to see it with me: “Come on! It’s Australian…crazy prom girls with power tools and mirror balls… It’s gotta be great!”
And I was so right on this one. They still freakin’ owe me for leading the way to this demented goodness. We brought it to L.A. for Halloween and now we’ve brought it to Dallas. Happy, happy, “MISERY meets PRETTY IN PINK Aussie-style”, joy, joy. Seriously, Sean Byrne’s little bloody masterpiece is your basic cautionary tale about ignoring the fact that a psychotic high school girl with an equally crazy henchman for a father is crushing out on you before the big dance.
And Victoria Thaine, who plays the girlfriend of said crazy girl’s target dreamy boy does her part to add to the fun by being much more than your standard issue tie a yellow ribbon type while he deals with uhmmm…. things. Because she’s Australian. And beautiful. And she’ll kick ya’ if she has to.
How much training did you do to prepare for the stunts in THE LOVED ONES?
Myself and the girl in hot pink (Robyn McCleavy) had a couple of serious sessions of stunt choreography to prepare for our tussle in the car. It is definitely one of the more fun scenes I’ve ever had to do. It took about four hours to shoot and despite the training, both of us ended up covered in bruises and I had a swollen ankle that had to be attended to by the nurse. Kicking someone in the head while wearing a pretty apricot frock made me feel pretty tough. I’d like to do it again. Not to Robyn, maybe someone else!
What’s the main difference with working with an Australian film crew versus working with an American film crew?
We work much, much faster. There’s no fart-arsing around! I once sat in a trailer for three full days on an American production waiting for my scene to come up and I’m sure that’s not unusual. That would just never happen in Australia. We don’t have the money. I also think Australia film crews are probably very inventive as we cut our teeth on productions with such small budgets that we have to think outside the box. On the best productions there’s a real sense of everyone being in there together – there’s less hierarchy than on American sets.
In order for love to conquer all, does it help to have power tools at your disposal?
I always sleep with a drill under my pillow just in case I need to get my boyfriend to tow the line. A staple gun works too but a drill bit through the penis is better.
Now that Xavier Samuel is going to be part of the TWILIGHT universe, will you feel obligated to actually watch those movies?
It’s pathetic but I’ve now watched the first two films in the TWILIGHT series just to get up to date. Both times were on a long-haul flight under the mild influence of valium and I would highly recommend watching them in this manner. I find it amusing that literally overnight Xavier suddenly had fan pages on the net with paparazzi photos of him at LAX. I’m sure he’ll be fantastic in the film.
What’s your position on road kill?
If you’re going to eat it, braise it for a very, very long time.
THE LOVED ONES screens at the Landmark Magnolia 4 on Friday, April 9 at Midnight and on Sunday, April 11 at 10:00PM.
RP INTERNATIONAL ANNOUNCES HONOREES
FOR 36TH ANNUAL VISION AWARDS
AT THE BEVERLY WILSHIRE, SATURDAY, JUNE 27TH
LAWRENCE BENDER, JIM WALTON, MATTHEW WEINER,IAN SANDER & KIM MOSES, DIANE LADD, SHONDA RHIMES, JILLIAN MICHAELS AND STEPHEN NEMETH
AMONG THOSE HONORED
Los Angeles, CA, June 5, 2009 – Many of Hollywood’s best and brightest in film, television and music will descend upon the Beverly Wilshire Hotel, on Saturday, June 27 for the star-studded, 36th Annual Vision Awards ™. The gala fundraising event, which has become an annual Hollywood tradition, honors entertainment and business luminaries as well as medical professionals who have exhibited exceptional gifts of sight, foresight and insight in the creative arts, related technologies and medical research.
Presented by RP International, the nation’s leading non-profit fighting Retinitis Pigmentosa and other blinding eye diseases, this year’s awards will once again be led by legendary Daily Variety columnist, Army Archerd, and will feature a presentation by Larry King, Former U.S. Congressman from Iowa, Berkley Bedell, and a musical performance by actress and music artist, Taryn Manning (HUSTLE AND FLOW).
Honorees include Leader of Vision, Jim Walton, President of CNN Worldwide, Film Artist of Vision: Diane Ladd (RAMBLING ROSE, WILD AT HEART); Film Producer of Vision: Lawrence Bender (INGLOURIOUS BASTERDS); Producer of Vision – Documentary: Stephen Nemeth (FIELDS OF FUEL, FLOW: FOR LOVE OF WATER); Producers of Vision – Television: Ian Sander and Kim Moses (GHOST WHISPERER), Matthew Weiner (MAD MEN); Woman of Vision – Entertainment: Shonda Rhimes (GREY’S ANATOMY); Woman of Vision – Fitness & Motivation: Jillian Michaels (THE BIGGEST LOSER); Screenwriter of Vision: Grant Nieporte (SEVEN POUNDS); Lester Sill Award-Composer/Editor of Vision: John Ottman (VALKYRIE) and Film of Vision: TWILIGHT (producers: Wyck Godfrey, Greg Mooradian, Mark Morgan and Guy Oseary).
The 2009 Vision Awards also celebrates the ongoing work of RP International’s descriptive TheatreVision ™, which RP International founder and president, Helen Harris developed in 1994, to allow blind movie goers the ability to enjoy described films inside a motion picture theatre. The first such film was Paramount Picture’s FORREST GUMP. Since that time, Harris’ TheatreVision ™ has described nearly 500 programs via patented technology.
This year’s Theatre Vision Description Awards honorees are:
THE CURIOUS CASE OF BENJAMIN BUTTON
TWO AND A HALF MEN
The primary medical award being given out at the Vision Awards this year will be the Jules Stein Living Tribute Award, which goes to Dr. Shalesh Kaushal, MD. Chair of the Department of Ophthalmology at the University of Massachusetts, Kaushal was the first investigator in the world to use complement inhibitor molecules to treat patients and is a principal investigator for a complement inhibitor research study for wet age-related macular degeneration. Most recently, he has published research on the use of gene therapy to treat a type of congenital human blindness known as Leber Congenital Amaurosis.
The Vision Awards is produced by RP International, the nation’s leading non-profit fighting degenerative eye diseases. RPI was founded by blind activist, Helen Harris, a Woodland Hills housewife who, in 1972, was diagnosed with Retinitis Pigmentosa (RP), a degenerative blinding disease, along with her two young sons. Physicians told Harris that there would be no hope, no help and no cure. Harris and her family set out to prove them wrong, and to prove that a cure for blindness could become a reality. Today, due to Harris’ ongoing efforts, the international organization that she founded works year round to assist in the march toward a cure, help those afflicted with Retinitis Pigmentosa and bring awareness to the plight of those suffering with RP.
RP International raises funds to support facilities that specialize in all degenerative eye research, including Retinitis Pigmentosa, Macular Degeneration and Usher’s Syndrome. Previous Vision Awards honorees include James Cameron, Todd Field, Wes Craven, Andy Garcia, Malcolm McDowell, George Romero, Roone Arledge, Phil Collins, Jim Carrey, Robert Halmi, Sr., Katie Couric, Bob Hope, Norman Jewison, Stephen King, David Letterman, Oliver Stone, Gene Roddenberry, Martin Landau, Stacy Keach, Vin Scully, Aaron Spelling, Lorne Michaels, Matt Damon, Robert Wise, Jon Voight, The Blind Boys of Alabama and Jim Henson.
For ticket information and contributions, please visit http://www.VisionAwards.org, call 1-800-FIGHT-RP, or write to P.O. Box 900, Woodland Hills, California 91365. Fax 818-992-3265.
Zombie movies inspire a lot of passion – both from fans of the films and people who view them with enthusiastic distaste. The idea of fighting for your own survival against something that used to be one of you (basically) opens up so many avenues of horrific implications that it’s no wonder the genre (ironically) is evergreen. And that thought is one of the reasons that make ZOMBIE GIRL: THE MOVIE an absolute delight. Directed and produced by Aaron Marshall, Justin Johnson and Erik Mauck, the film follows 12-year-old Emily Hagins as she sets out to make a feature length zombie movie. She is determined, she is creative, and she is learning countless life lessons beyond the practical knowledge of how to get a shot with distracted classmates before you lose your light or how to effectively do zombie brains effects (with the help of her mom). And all right before our eyes. It’s fun to watch the young auteur-in-training and not only do you root for her to have a successful debut, you look forward to that eventual Hollywood epic in her near future.
What was the most difficult thing about making your movie, PATHOGEN?
Re-shooting after we lost footage from one of our biggest days of filming.
Did you ever feel like “firing” your mom (and if so, why)?
Occasionally, yes. Our mother-daughter relationship would sometimes interfere with our working relationship, which created a few problems. I’m glad we were able to share the experience together though. Her support really helped me persevere.
Was there any moments when you asked Justin and Erik to stop filming you?
There was one I remember in particular. I was having trouble getting the tripod plate back on the tripod, and Erik was filming from a couple feet away. I called my dad over to help me, but he couldn’t get it either. I turned to Erik and said, “If you have enough footage of us struggling, can you help us get this part back on?” I don’t remember anything else, though.
What was the biggest lesson you learned during the course of filming?
Perseverance is key to finishing any project, especially because things are bound to not go exactly the way you plan.
What was the biggest difference between making PATHOGEN and your feature-length follow up, THE RETELLING?
We had a crew for The Retelling, which was made up of about 10 people (8 of which were under 18). They all worked incredibly hard, and the production value was a lot better as a result.
You have said the only film genre that doesn’t appeal to you is “chick flicks”. So, why not a “zombie chick flick”?
That would be awesome! I’d love to see one. It reminds me of the tagline for SHAUN OF THE DEAD: “A romantic comedy…with zombies”
Give your honest assessment – Was TWILIGHT cool or lame?
I really enjoyed the books (like every teenage girl on the planet), but I thought the movie was okay. Having heard a bit about the production, I understand why certain things I didn’t care for turned out the way they did. I’m looking forward to seeing what changes they made for the sequel.
What’s the status of THE RETELLING?
It is in the process of being scored by a local composer, Brian Satterwhite.
In your opinion, can 28 DAYS LATER or 28 WEEKS LATER be considered “zombie” movies?
I think they’re good movies (bigger fan of 28 DAYS LATER), but I’m not sure if they are zombie movies. Even though zombies aren’t very logical, it does seem to make sense that being dead should prevent them from running. Maybe they’re “running dead people” movies?
Name your top three zombie movie and why.
NIGHT OF THE LIVING DEAD: Set the standards for the modern zombie movie.
UNDEAD: First zombie movie I saw, very silly and fun.
SHAUN OF THE DEAD: Combined comedy and horror in a unique and clever way. One of my favorite movies.