“Fatal Attraction” production designer Nina Ruscio’s visual challenge was taking on an iconic movie, paying homage to it and finding a way to put her creative stamp on it by taking it into 2023.
In the eight-part Paramount+ series, Joshua Jackson stars as Dan Gallagher with Lizzy Caplan as Alex Forrest, roles originated by Michael Douglas and Glenn Close in the original film. And while it’s not a remake, the creative team stressed, it’s an expanded adaptation that provides more insight into Alex’s behavior after an affair with a married man drives her to obsession. The series covers Alex’s struggles with her mental health, but it’s also an erotic thriller.
To tap into Ruscio’s behavior and show her state of mind, Ruscio paid close attention to Alex’s apartment. In contrast, Dan’s world was rooted in the courtroom.
Here the production designer breaks...
In the eight-part Paramount+ series, Joshua Jackson stars as Dan Gallagher with Lizzy Caplan as Alex Forrest, roles originated by Michael Douglas and Glenn Close in the original film. And while it’s not a remake, the creative team stressed, it’s an expanded adaptation that provides more insight into Alex’s behavior after an affair with a married man drives her to obsession. The series covers Alex’s struggles with her mental health, but it’s also an erotic thriller.
To tap into Ruscio’s behavior and show her state of mind, Ruscio paid close attention to Alex’s apartment. In contrast, Dan’s world was rooted in the courtroom.
Here the production designer breaks...
- 6/13/2023
- by Jazz Tangcay
- Variety Film + TV
Exclusive: Chaz Bono (American Horror Story) and Bonnie Aarons (The Nun) have signed on to star alongside Randy Couture, Reid Miller, Mike Manning, Kathleen Kenny and Cathy Marks in the action-horror pic The Bell Keeper, from director Colton Tran (Snow Falls).
In the film, a group of friends travel to a secluded campsite to film a documentary. What they find is something much more sinister than they could have ever imagined. Artisha Mann-Cooper, Nick Theurer and Jonathan Cooper are producing, with Final Destination scribe Jeffrey Reddick exec producing alongside Martin Ngongo.
Bono is represented by Luber Roklin Entertainment and Mills Kaplan Entertainment; Aarons by Mills Kaplan Entertainment and Glaser Weil Fink Jacobs.
***
Exclusive: Atlas Distribution Company has acquired U.S. rights to writer-director Allen Wolf’s romantic comedy The Sound of Violet, based on his award-winning novel, with plans to release it theatrically in 20+ U.S. markets on April 29.
The...
In the film, a group of friends travel to a secluded campsite to film a documentary. What they find is something much more sinister than they could have ever imagined. Artisha Mann-Cooper, Nick Theurer and Jonathan Cooper are producing, with Final Destination scribe Jeffrey Reddick exec producing alongside Martin Ngongo.
Bono is represented by Luber Roklin Entertainment and Mills Kaplan Entertainment; Aarons by Mills Kaplan Entertainment and Glaser Weil Fink Jacobs.
***
Exclusive: Atlas Distribution Company has acquired U.S. rights to writer-director Allen Wolf’s romantic comedy The Sound of Violet, based on his award-winning novel, with plans to release it theatrically in 20+ U.S. markets on April 29.
The...
- 3/11/2022
- by Matt Grobar
- Deadline Film + TV
‘A Stage Of Twilight’ Starring Karen Allen And William Sadler Getting U.S. Release Via Cardinal Flix
Exclusive: Cardinal Flix said Monday that it has wrapped production on A Stage of Twilight, an drama written and directed by Sarah T. Schwab and starring Karen Allen and William Sadler. The New York-based indie company co-run by Schwab and Brian Long will release the pic in theaters in late 2022.
The film, shot last month in New Milford, Ct, centers on Cora and Barry, a retired couple enjoying life in their 70s. When Barry receives fatal news about his health, it prompts a challenging decision for them both that is complicated when a 17- year-old neighbor (Marlon Quijije) who acts as a surrogate son to the childless couple, enters the picture.
Alfredo Narciso, Alexander Flores, Yetta Gottesman and Emily Kratter also star. Quijije is making his film debut.
“As an independent filmmaker, it is important to hire established artists while providing emerging artists with an opportunity to be seen and heard,...
The film, shot last month in New Milford, Ct, centers on Cora and Barry, a retired couple enjoying life in their 70s. When Barry receives fatal news about his health, it prompts a challenging decision for them both that is complicated when a 17- year-old neighbor (Marlon Quijije) who acts as a surrogate son to the childless couple, enters the picture.
Alfredo Narciso, Alexander Flores, Yetta Gottesman and Emily Kratter also star. Quijije is making his film debut.
“As an independent filmmaker, it is important to hire established artists while providing emerging artists with an opportunity to be seen and heard,...
- 8/9/2021
- by Patrick Hipes
- Deadline Film + TV
Chapter & Verse Paladin Reviewed by: Harvey Karten, Shockya Grade: B+ Director: Jamal Joseph Written by: Jamal Joseph, Daniel Beaty Cast: Daniel Beaty, Loretta Devine, Omari Hardwick, Selenis Levya, Khadim Diop, Gary Perez Screened at: Review 2, NYC, 1/30/17 Opens: February 3, 2017 Here’s a statistic that’s difficult to believe: one out of three Black […]
The post Chapter & Verse Movie Review appeared first on Shockya.com.
The post Chapter & Verse Movie Review appeared first on Shockya.com.
- 2/7/2017
- by Harvey Karten
- ShockYa
Jamal Joseph’s “Chapter & Verse” first premiered at the Urbanworld Film Festival in 2015 and now the redemption drama finally hits New York theaters today.
Read More: LatinoBuzz: 20th Anniversary Urbanworld Film Festival – Call For Submissions Open!
The film follows reformed gang leader Lance Ingram (Daniel Beaty) who re-enters Harlem after serving a ten-year prison sentence. Unable to find employment that will allow him to use the technological skills he gained in prison, he’s forced to take a job delivering for a food pantry. There, Lance befriends Ms. Maddy (Loretta Devine), a spirited grandmother, and soon he assumes responsibility for her 15-year-old grandson Ty, a promising student pulled into a dangerous street gang. The film co-stars Omari Hardwick (“Power”), Marc John Jefferies (“Treme”), Justin Martin (“Flight”), Gary Perez (“Crooklyn”) and more. Watch an exclusive clip below.
This is Joseph’s second feature film following the 2006 basketball drama “30 Days.” He is...
Read More: LatinoBuzz: 20th Anniversary Urbanworld Film Festival – Call For Submissions Open!
The film follows reformed gang leader Lance Ingram (Daniel Beaty) who re-enters Harlem after serving a ten-year prison sentence. Unable to find employment that will allow him to use the technological skills he gained in prison, he’s forced to take a job delivering for a food pantry. There, Lance befriends Ms. Maddy (Loretta Devine), a spirited grandmother, and soon he assumes responsibility for her 15-year-old grandson Ty, a promising student pulled into a dangerous street gang. The film co-stars Omari Hardwick (“Power”), Marc John Jefferies (“Treme”), Justin Martin (“Flight”), Gary Perez (“Crooklyn”) and more. Watch an exclusive clip below.
This is Joseph’s second feature film following the 2006 basketball drama “30 Days.” He is...
- 2/3/2017
- by Vikram Murthi
- Indiewire
The following is an interview with actor Gary Perez from Time Out Chicago, about his life, careeer and portrayal of Julio in Stephen Adly Guirgis's The Motherfucker with the Hat.
Stephen Adly Guirgis's The Motherfucker with the Hat is currently lighting up Steppenwolf Theatre Company with its dynamic characters and electric dialogue. Gary Perez is a highlight as Julio, the cousin of lead character Jackie who finds himself in the middle of a lovers’ feud between Jackie and his drug-addicted girlfriend Veronica. Perez, a Harlem native who studied ballet at the High School of Performing Arts, didn’t start acting until he was 25, and has built up a storied career despite never studying theater. A cofounder of Latino-based theater company LAByrinth, Perez has gone on to work extensively on screen and stage, appearing on TV shows like The Sopranos and Oz while working at theaters across the country. Perez speaks to us about how his dance background has informed his acting, the biggest challenge of this role, and how Chicago theater compares to New York.
You entered the world of performing as a dancer. Have you taken anything from the dance world and applied it to your acting?
Absolutely. You know, I never talk about the dance background because it is so very short-lived, although I was studying dance like five times a week because I’m just a competitive monster. I was taking ballet class up until a year ago when I was—I’m old, so you know, getting injured a lot. I’m highly competitive, so I was just running it right to the end. And I had to stop, and I found yoga, and I’m now a little bit better off. I’m still competitive, but it’s a gentle exercise. But to answer your question, every company I’ve been in, whether it be a film or a television show I’m shooting, I always know how to get to my mark a little bit differently than other people, and it’s always a point of talk, like, “Oh my god, you use your body so well.”
And on stage especially, I don’t know if you remember the little bit that I have where I go around the “merry-go-round,” as we call it on set. I really use my body to convey, and I thought it was a great opportunity. I remember giving Anna [D. Shapiro, director] several options every time we did a run-through. I’d give her a new version, and this was during tech when they were trying to light that specific transition. I’d give her another option when we went around in terms of my body language and what we tried to convey, one was with me on my cell phone, perhaps writing to Marisol. The other was really kind of depressed, and the other was what you see, Gary’s been sitting there contemplating for a very long time. Is he lonely? Is he alone? Is Marisol in the other room? Just all these kinds of questions, but you fill it on your own based on what I’m giving off and what you deduce from the performance or the art that I have. That’s all sold on body language, and I feel the understanding of how my body can affect anything is really huge. So, yeah, I do use my body quite a bit and I think my dance background has paid off in great ways.
What was your first reaction when you read the script for The Motherfucker with the Hat?
It just sounded so alive and real to me. I’m from the hood, so these people are my neighbors, my family, my cousins. The ones you don’t want to visit. [Laughs.] The ones, when they come over, you hide the bottle. I remember my uncle coming over and being like, “We’re not leaving until that bottle of rum is done.” And it was guitar and singing and dancing, it’s just that alive. I know some people walk away thinking, “That can’t be real,” but it absolutely is on many, many levels and when I first read that script I just laughed with hilarity and with understanding at just how real and specific that is, almost like Stephen [Adly Guirgis, the playwright] is Latino. For all intents and purposes he’s been hanging out with LAByrinth for such a long time that he kind of is Latino. He’s from the Upper West Side, he’s not really from the hood, but he’s kind of like a hoodie.
What do you appreciate most about Stephen’s work?
What I appreciate the most about Stephen’s work is the real, layered humanity that exists in his writing. And I’m not just talking the characters, but the actual words that he uses are all very specific and geared toward a sentiment, a layered sentiment. And he also likes to challenge actors, I mean, in the same play he wrote Victoria and Veronica. Can you imagine what a challenge it is for an actor who’s just trying to fly on stage? (Laughs.) Who has to be aware that he’s not going to say Victoria when he’s talking about Veronica? I think that says a lot about Stephen wanting to get actors to get their muscles on. So it’s humanity, with challenge—with another underlying level of theme.
What are the differences you have noticed between Chicago and New York theater?
I hope you have time for this one. Since I’ve gotten here I had the pleasure of working on a couple of unfinished workshop pieces of Stephen’s that he brought to be read on our first day off here at Steppenwolf. So I arrived at 3pm for these readings and everyone was there already, I may have been the last one to arrive—and I wasn’t late. All these eager Steppenwolf actors sat down to read, and we read these pieces and I was blown the fuck away at the amount of talent that was here. It’s even been a point of conversation, the reason I was blown away was because it sounded like it had been rehearsed, these words were coming out of these mouths with so many levels that it just was rich. And I was like man, I know we didn’t rehearse this because I’m in the reading and nobody invited me to a rehearsal and I was just really thrown for a loop, and in that week I just noticed that Todd [Rosenthal, set designer] was from here, our wardrobe designer was from here, I finally had to ask Anna, “What is it about Chicago that attracts the talent that’s here?”
Then I went to go see something at the Goodman and I was thoroughly blown away. This was just a workshop production of Tanya Saracho’s piece [Song for the Disappeared], but the level of talent here is really incredible. I think the big difference is that, right at the end of the show, Steppenwolf has the discussion of the play and I heard that’s done in many theaters here in Chicago. That is not done in New York. And I wish that New York actors could come get a vibe of what’s going on here. I’m not trying to knock any actors in New York because I’m surrounded by really delicious actors, especially with a talent pool like LAByrinth. However, there’s something that’s lost. The grind that exists in New York is perhaps overbearing to some degree and you wind up losing the kind of love that you have, and I think that that’s what Chicago has, there’s a love for the art form on a huge scale.
The amount of theaters that are here, the amount of theaters that are being supported, the talkbacks, I mean it’s unheard of that they do this everyday. You used to hear this during tech run and they’d do this announcement about no flash photography or whatever, and the last thing was “Meet us for discussion about the play.” And I thought that was a mistake, I thought they were using it as some track or testing it, but it’s on everyday and I’m like, that really happens. People want to talk about theater. And that’s the huge difference, the interest level. And you know there’s such a level of sophistication here with the theatrical eye that doesn’t exist in Los Angeles, where I’ve been living the last few years, and in New York I think people have taken it for granted. Everyone’s a theater snob and they’re like, “Ah, we don’t need to discuss it,” and I think it enriches the soul. You can’t be enlightened unless you look for enlightenment on a daily basis, you know? Same thing with theater, you gotta want to be a part of it and you gotta be interested in feeling the love on all levels. So it really took me by surpise and I’m so, so glad to be here amongst all these artists. The talent is just bubbling over here and I’d love to see more.
The Motherfucker with the Hat runs through March 3 at Steppenwolf Theatre (1650 N Halsted St, 312-335-1650). Read our review of The Motherfucker with the Hat.
Stephen Adly Guirgis's The Motherfucker with the Hat is currently lighting up Steppenwolf Theatre Company with its dynamic characters and electric dialogue. Gary Perez is a highlight as Julio, the cousin of lead character Jackie who finds himself in the middle of a lovers’ feud between Jackie and his drug-addicted girlfriend Veronica. Perez, a Harlem native who studied ballet at the High School of Performing Arts, didn’t start acting until he was 25, and has built up a storied career despite never studying theater. A cofounder of Latino-based theater company LAByrinth, Perez has gone on to work extensively on screen and stage, appearing on TV shows like The Sopranos and Oz while working at theaters across the country. Perez speaks to us about how his dance background has informed his acting, the biggest challenge of this role, and how Chicago theater compares to New York.
You entered the world of performing as a dancer. Have you taken anything from the dance world and applied it to your acting?
Absolutely. You know, I never talk about the dance background because it is so very short-lived, although I was studying dance like five times a week because I’m just a competitive monster. I was taking ballet class up until a year ago when I was—I’m old, so you know, getting injured a lot. I’m highly competitive, so I was just running it right to the end. And I had to stop, and I found yoga, and I’m now a little bit better off. I’m still competitive, but it’s a gentle exercise. But to answer your question, every company I’ve been in, whether it be a film or a television show I’m shooting, I always know how to get to my mark a little bit differently than other people, and it’s always a point of talk, like, “Oh my god, you use your body so well.”
And on stage especially, I don’t know if you remember the little bit that I have where I go around the “merry-go-round,” as we call it on set. I really use my body to convey, and I thought it was a great opportunity. I remember giving Anna [D. Shapiro, director] several options every time we did a run-through. I’d give her a new version, and this was during tech when they were trying to light that specific transition. I’d give her another option when we went around in terms of my body language and what we tried to convey, one was with me on my cell phone, perhaps writing to Marisol. The other was really kind of depressed, and the other was what you see, Gary’s been sitting there contemplating for a very long time. Is he lonely? Is he alone? Is Marisol in the other room? Just all these kinds of questions, but you fill it on your own based on what I’m giving off and what you deduce from the performance or the art that I have. That’s all sold on body language, and I feel the understanding of how my body can affect anything is really huge. So, yeah, I do use my body quite a bit and I think my dance background has paid off in great ways.
What was your first reaction when you read the script for The Motherfucker with the Hat?
It just sounded so alive and real to me. I’m from the hood, so these people are my neighbors, my family, my cousins. The ones you don’t want to visit. [Laughs.] The ones, when they come over, you hide the bottle. I remember my uncle coming over and being like, “We’re not leaving until that bottle of rum is done.” And it was guitar and singing and dancing, it’s just that alive. I know some people walk away thinking, “That can’t be real,” but it absolutely is on many, many levels and when I first read that script I just laughed with hilarity and with understanding at just how real and specific that is, almost like Stephen [Adly Guirgis, the playwright] is Latino. For all intents and purposes he’s been hanging out with LAByrinth for such a long time that he kind of is Latino. He’s from the Upper West Side, he’s not really from the hood, but he’s kind of like a hoodie.
What do you appreciate most about Stephen’s work?
What I appreciate the most about Stephen’s work is the real, layered humanity that exists in his writing. And I’m not just talking the characters, but the actual words that he uses are all very specific and geared toward a sentiment, a layered sentiment. And he also likes to challenge actors, I mean, in the same play he wrote Victoria and Veronica. Can you imagine what a challenge it is for an actor who’s just trying to fly on stage? (Laughs.) Who has to be aware that he’s not going to say Victoria when he’s talking about Veronica? I think that says a lot about Stephen wanting to get actors to get their muscles on. So it’s humanity, with challenge—with another underlying level of theme.
What are the differences you have noticed between Chicago and New York theater?
I hope you have time for this one. Since I’ve gotten here I had the pleasure of working on a couple of unfinished workshop pieces of Stephen’s that he brought to be read on our first day off here at Steppenwolf. So I arrived at 3pm for these readings and everyone was there already, I may have been the last one to arrive—and I wasn’t late. All these eager Steppenwolf actors sat down to read, and we read these pieces and I was blown the fuck away at the amount of talent that was here. It’s even been a point of conversation, the reason I was blown away was because it sounded like it had been rehearsed, these words were coming out of these mouths with so many levels that it just was rich. And I was like man, I know we didn’t rehearse this because I’m in the reading and nobody invited me to a rehearsal and I was just really thrown for a loop, and in that week I just noticed that Todd [Rosenthal, set designer] was from here, our wardrobe designer was from here, I finally had to ask Anna, “What is it about Chicago that attracts the talent that’s here?”
Then I went to go see something at the Goodman and I was thoroughly blown away. This was just a workshop production of Tanya Saracho’s piece [Song for the Disappeared], but the level of talent here is really incredible. I think the big difference is that, right at the end of the show, Steppenwolf has the discussion of the play and I heard that’s done in many theaters here in Chicago. That is not done in New York. And I wish that New York actors could come get a vibe of what’s going on here. I’m not trying to knock any actors in New York because I’m surrounded by really delicious actors, especially with a talent pool like LAByrinth. However, there’s something that’s lost. The grind that exists in New York is perhaps overbearing to some degree and you wind up losing the kind of love that you have, and I think that that’s what Chicago has, there’s a love for the art form on a huge scale.
The amount of theaters that are here, the amount of theaters that are being supported, the talkbacks, I mean it’s unheard of that they do this everyday. You used to hear this during tech run and they’d do this announcement about no flash photography or whatever, and the last thing was “Meet us for discussion about the play.” And I thought that was a mistake, I thought they were using it as some track or testing it, but it’s on everyday and I’m like, that really happens. People want to talk about theater. And that’s the huge difference, the interest level. And you know there’s such a level of sophistication here with the theatrical eye that doesn’t exist in Los Angeles, where I’ve been living the last few years, and in New York I think people have taken it for granted. Everyone’s a theater snob and they’re like, “Ah, we don’t need to discuss it,” and I think it enriches the soul. You can’t be enlightened unless you look for enlightenment on a daily basis, you know? Same thing with theater, you gotta want to be a part of it and you gotta be interested in feeling the love on all levels. So it really took me by surpise and I’m so, so glad to be here amongst all these artists. The talent is just bubbling over here and I’d love to see more.
The Motherfucker with the Hat runs through March 3 at Steppenwolf Theatre (1650 N Halsted St, 312-335-1650). Read our review of The Motherfucker with the Hat.
- 1/30/2013
- by Oliver Sava
- Sydney's Buzz
Performances of Steppenwolf Theatre Company's highly anticipated production of The Motherfker with the Hat by Stephen Adly Guirgis began last month. Ensemble member Anna D. Shapiro directs following the Tony Award-nominated Broadway premiere, with an all-star ensemble cast featuring Sandra Delgado, Sandra Marquez, Gary Perez, John Ortiz and Jimmy Smits and members of the original design team scenic designer Todd Rosenthal, lighting designer Donald Holder and composer Terence Blanchard. Get a first look at the actors onstage in the photos below...
- 1/5/2013
- by BWW News Desk
- BroadwayWorld.com
Performances of Steppenwolf Theatre Company's highly anticipated production of The Motherfker with the Hat by Stephen Adly Guirgis start today Ensemble member Anna D. Shapiro directs following the Tony Award-nominated Broadway premiere, with an all-star ensemble cast featuring Sandra Delgado, Sandra Marquez, Gary Perez, John Ortiz and Jimmy Smits and members of the original design team scenic designer Todd Rosenthal, lighting designer Donald Holder and composer Terence Blanchard.
- 12/28/2012
- by BWW News Desk
- BroadwayWorld.com
Sandra Delgado, John Ortiz and More Star in Steppenwolf's The Motherf**Ker With The Hat, Beg. Dec 28
Performances of Steppenwolf Theatre Company's highly anticipated production of The Motherfker with the Hat by Stephen Adly Guirgis start in just two weeks. Ensemble member Anna D. Shapiro directs following the Tony Award-nominated Broadway premiere, with an all-star ensemble cast featuring Sandra Delgado, Sandra Marquez, Gary Perez, John Ortiz and Jimmy Smits and members of the original design team scenic designer Todd Rosenthal, lighting designer Donald Holder and composer Terence Blanchard.
- 12/13/2012
- by BWW News Desk
- BroadwayWorld.com
Gillian (Kelli Williams) convinces Cal (Tim Roth) to go on his planned vacation to Mexico with Emily (Hayley McFarland) and he finally relents. Gillian doesn't believe he can leave her in charge and for everyone else to do their jobs without him around. Cal and Emily agree that he will let her do her own thing and more importantly trust her ,if he treats her like an adult. She stops him from spying on the office back home, it causes stress. But not for long. Clearly Cal has trust issues, not just with Emily but with his staff. A man from the American Embassy, Lou Nemenoff (Patrick J Adams) asks Cal for help in locating a missing woman, Marla, (Nicole DuPort) who has left her daughter Tyler (Mary Matilyn Mouser) on her own. Emily watches the videos of the police and the bartender with Cal and feels empathy towards Tyler.
- 1/20/2012
- by mhasan@corp.popstar.com (Mila Hasan)
- PopStar
Fango heard from filmmaker Jason (Tales From The Dead) Cuadrado, who let us know that the official website for his new feature Monstrous Nature, with a trailer and more, has gone live here. He also sent along an exclusive pic of the movie’s werewolf, seen below.
Monstrous Nature stars War Of The Worlds’ Camillia Sanes as Angela, a nun who is kidnapped by Paul (Gary Perez), who takes her into the woods in hopes she can free him from his lycanthropic curse. “The special makeup effects artist, Graham [Midnight Meat Train] Schofield, and I decided to approach the werewolf mythology a little differently to match what happens in the story,” Cuadrado tells us. “Instead of the usual physical transformation, the character of Paul is really dealing with an inner beast that robs him of his humanity. We decided that he should strip off his human skin to reveal the werewolf underneath. So instead of the body changing,...
Monstrous Nature stars War Of The Worlds’ Camillia Sanes as Angela, a nun who is kidnapped by Paul (Gary Perez), who takes her into the woods in hopes she can free him from his lycanthropic curse. “The special makeup effects artist, Graham [Midnight Meat Train] Schofield, and I decided to approach the werewolf mythology a little differently to match what happens in the story,” Cuadrado tells us. “Instead of the usual physical transformation, the character of Paul is really dealing with an inner beast that robs him of his humanity. We decided that he should strip off his human skin to reveal the werewolf underneath. So instead of the body changing,...
- 11/19/2008
- Fangoria
Jason Cuadrado, the Los Angeles filmmaker who made one of the most impressive indie films I’ve seen in a long time, Tales From the Dead (review) dropped me a line last night with some exclusive pics from and news on his latest venture, the short film called “Monstrous Nature”.
The film is about a nun who is kidnapped and wakes up in the woods with a very disturbed man who she soon comes to learn, quite contrary to her faith, is a werewolf, and he’s got some very twisted plans for her. Oh, I’m so there.
For a short film, the cast and crew are pretty impressive. Camillia Sanes (War of the Worlds, “The Shield”) is in the role of the nun, and Gary Perez (“The Sopranos”) is the disturbed lycanthrope. Aj Raitano (Final Destination 3) was the cinematographer, and makeup was handled by Graham Shcofield (Midnight...
The film is about a nun who is kidnapped and wakes up in the woods with a very disturbed man who she soon comes to learn, quite contrary to her faith, is a werewolf, and he’s got some very twisted plans for her. Oh, I’m so there.
For a short film, the cast and crew are pretty impressive. Camillia Sanes (War of the Worlds, “The Shield”) is in the role of the nun, and Gary Perez (“The Sopranos”) is the disturbed lycanthrope. Aj Raitano (Final Destination 3) was the cinematographer, and makeup was handled by Graham Shcofield (Midnight...
- 9/4/2008
- by Johnny Butane
- DreadCentral.com
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