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Bruce Campbell on the ‘Dead Serious’ ‘Evil Dead’ Remake, Crowning A New Ash And ‘P-ssy Filmmaking’

Posted on October 14, 2012 by Benny Hollywood| Leave a comment

In a sea of lumpy Spandex, half-assed Harry Potter costumes and face paint, Bruce Campbell  set quite a sartorial standard at New York Comic-Con on Saturday.  The square-jawed actor — who’s currently seen in the USA Network cable TV series Burn Notice but built a hardcore following by playing the character of Ash in Sam Raimi’s  groundbreaking 1980s  The Evil Dead  comic-horror trilogy — wore a beacon-like red tuxedo jacket and complementary black-and-red patent leather shoes. The colorfully candid Campbell was on hand at the Javits Center to draw attention to the remake of Evil Dead that he, Raimi and Rob Tapert are producing.  (The three were producers of the original films as well.)  Set for an April 12, 2013 release by Columbia Pictures’ Screen Gems division, Evil Dead will mark the feature debut of Uruguayan commercial producer Fede Alvarez and feature young cast that includes Jane Levy ( Suburgatory ) and Jessica Lucas ( Cloverfield).   The screenwriters include Raimi and hyper-stylist Diablo Cody ( Juno ).    Like the original, the remake is about a group of young friends in a remote cabin who discover The Book of the Dead and, one by one, succumb to its evil.  But, as Campbell tells Movieline, the comparisons end there.  Read on to find out how the movies will differ, what Campbell really thinks of basketball shorts, actress Jane Levy’s performance,  CAA agents and George Lucas’ decision to tweak his Star Wars movies. And if you haven’t seen Panic Attack!, the short film that got Alvaraez the Evil Dead  job, it’s posted below. Movieline: Those shoes are something else. Do you own them or did you rent them? Campbell : These are mine, baby. They’re beautiful. It’s Comic-Con. C’mon, let’s step it up! I’m trying to encourage other people who go to Comic-Con: Put on a nice shirt –and pants, too. While you’re at it, could you press your fucking t-shirt? And what you think about the basketball shorts? Should we just get rid of those?  I’m trying to class this joint up a little bit. How will Fede Alvarez’s Evil Dead  compare to the original? Higher quality production, better actors, better special effects and a different telling of a similar story. You’ve still got your five kids and a nasty book in an isolated cabin. Is there an Ash? Nope. There are no similar characters whatsoever. And we wanted that. That was intentional. We didn’t want anything compared to anything. We didn’t want to put any burden on any actor to act like Ash or to imitate him. I hear you turned down a cameo in the movie. Nobody said “yes” or “no” to anything, so that’s false.  We discussed it as filmmakers: Would it be worth it? Should we do it? But the tone of the movie is dead serious. It’s not jokey enough. This not a funny movie. If there’s laughter, it’s nervous laughter. There will not be ha-ha laughter. None. It’s a full-on old-school horror movie with make-up effects. Alvarez got this gig because of his short film Panic Attack! That’s what got us started. Fede is a Uruguayan filmmaker. He made commercials, Pepsi commercials. He does Panic Attack! in his spare time.  He puts it out there on a lark. It went viral. Three weeks later, he was literally in Spielberg’s office. He met everybody. His agents are CAA now.  I can’t get those assholes on the phone. How did he get on Sam Raimi’s radar? Sam was one of his meetings. They liked each other.  Sam wanted to develop Panic Attack! into a feature, but that got bogged down. Fede was a big fan of Evil Dead , and so he pitched a story that we all liked.  The three of us — myself, Sam Raimi and Rod Tapert — decided to get back involved in this and support this guy. He’s a very smart, talented guy. I mean, he really is too smart for his own good.  [A man in basketball shorts walking through the conference room distracts Campbell.] See?  Basketball shorts. Would it kill him to put on a pair of pants? I hate how right I am. I’m glad I wore long pants. You were talking about how the Evil Dead remake came to be. So that’s how it was born. It could have gone either way, you know. The guy had never made a feature film before. He’s telling a story longer than a 60-second Pepsi commercial. That’s a big challenge, and he succeeded on many levels. His actors are good and solid and give great balls-to-the-wall performances when they have to. Fede was also very mature about the whole thing. He’s very respectful of the genre. He’s not making fun of it. He’s not punking it — he’s just telling his version of it. And he didn’t over-shoot it. He didn’t over-edit it. It’s such a well-edited movie, and that’s pretty rare.  Most movies — the editing sucks.  Like, they’ll never hang on a full sentence. They’ll come in halfway through. They’ll cut away after ten seconds.  There’s a lot of shitty work out there. Where did you shoot the movie? We shot it in Auckland, New Zealand because we did all the Hercules and Xena shows down there. The Kiwis are top-notch workers; great crew members. So, we just gave Fede all the support that we could possibly give him — a better budget, qualified crew members, good actors.  We liked his script and we left him alone.  You don’t need to sit over a guy’s shoulder. You turning up on the set would probably be pretty intimidating. I sat in on the auditions, and some of the actors that came in were like, Nyaaaaaa!   I felt bad because the idea was not to freak them out.  It was to let them know that we’re into it and we’re taking it seriously. And I just think we pulled the right actors. Jane Levy — I’m going to crown her the new Ash myself.  She’s got it. She’s got it.  You never know, either. We thought she was good in the room, but you get on a film set and what are they like?  Are they tough? Are they pussies? Are they assholes? Are they crazy? What were you? Tough. And Jane was a tough little shit, too. Really tough. I asked her in the room:  “How are you with extensive special effects for an extensive period of time. Have you ever done that?”  No. “Well, do you know what that’s going to be like?” What’s it like? It’s the fucking worst experience you can think of. It’s terrible for your skin. You’re an hour and a half, two hours putting it on.  You shoot a 14-hour day, and it’s a hour to take it off. Then you start the whole damn thing over the next day. This goes on for 10 weeks.  I wanted to hang myself after those movies. And we pushed every actor to the limit.  Jane, we pushed her over the edge. So, she’s the new Ash. You said it, not me. You said you were going to crown her the new Ash. If they want me to crown her, I’ll crown her — because I support her. I’m really impressed with what she did. Could this be a trilogy in the way that the original Evil Dead movies were? Easy, but you have to talk to Fede about that because I don’t know if he would do it.  He’s got lots of crazy ideas.  I want to go to double bills. The original Evil Dead paired with the remake. It would be a great midnight double bill.  Alamo Draft House, Austin, Texas.  Lines around the block — I’m telling you. I’ll go introduce it myself. If you could fix anything about the original Evil Dead movies, what would you do? I wouldn’t because that’s pussy filmmaking, man.  It is.  You see the garden hoses shooting shit?  Yep, that’s right!  We did the best we could, pal. In 1979, we got the movie in the can for $85,000.  You’re going to get what you get. We’re not George Lucas going back to fix our effects. Sorry man, you blew it. You got to get over it. You can’t obsess like that. That’s cheating. What’s next for you? I’m finishing Burn Notice . I’ve been six years on that spy show for USA. It’s been a fun show. That’s my day job, and it eats up seven months out of my life. So the other five months I don’t feel like doing anything. The last break I just worked on developing a bunch of new scripts because you can’t do stuff without scripts. I’ve got three new ideas that I got written up last year. I like all kinds of genres. I want to do a few more little low-budget movies. I love low-budget movies. Are there any recent horror movies that you like right now? I don’t watch movies — it’s the weirdest thing — because I feel like I’m going to work. I see actors looking at their marks. I see them cheating to the camera. I see out -of-focus shit.  I see a lousy shot. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.

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Bruce Campbell on the ‘Dead Serious’ ‘Evil Dead’ Remake, Crowning A New Ash And ‘P-ssy Filmmaking’

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ARRIVALS: Martin McDonagh Takes On Tarantino With ‘Seven Psychopaths’

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

If there’s a case to be made that turning one’s dark, twisted fantasies into plays and movies is good for the soul, Martin McDonagh is Exhibit A.  The platinum-haired Irishman has given the world some breathtakingly black comedy, such as his 2003 play about a child serial killer The Pillowman and, as of Friday, the slightly lighter Seven Psychopaths . But if he’s nursing a tortured soul, there was very little evidence of it when I interviewed him at the Toronto International Film Festival in September.  McDonagh, who looks like a character actor from a Bond film, laughs easily when he talks, often at his own wit. He’s also cheekily confident about his writing, which he should be. His 2008 directorial debut, the hitman buddy flick In Bruges  was cinematic poetry, and his bloody but surprisingly deep follow up,  Seven Psychopaths,  easily propels him into Tarantino territory. I smell a Bond film in his future. There’s been plenty written about the plot of the movie, so I’ll get right to the interview in which McDonagh talked about the unwritten film-industry rule that it’s okay to kill women but not pets in movies, his plans to take a break from psychopaths in the near future and why the next project we see from him will likely be another play. Movieline: What a cast you have.  Were they hard to line up?   McDonagh: No, strangely I knew four of the boys from before. Obviously, I know Colin [Farrell], and Sam [Rockwell] and Chris [Walken] and I did a play two, three years ago in New York, A Behanding in Spokane .  Actually, I knew Sam for about five years before we did that. Woody, strangely, I’ve known for about nine or 10 years because he’s a big theater fan. We hooked up in Dublin about 10 years ago and have stayed in touch since. I’d known a couple of the other actors socially. I met Abbie [Cornish] a year or two before and Olga Kurylenko a year or two before. And they were all first choices. With Woody, there was a situation with someone else. He almost did us a favor really because he came in at the last minute and knocked it out of the park. And Tom Waits I knew a little bit before, too.  Chris and Tom have been heroes of mine since I was eight or nine. I got Swordfish Trombones when it came out. I was 11 or so. He’s more than a musician or an actor. He’s an idol and a icon of American letters. I agree. So, to make an offer and have Tom say, “yes” made me go ‘Fuck!  I’m going to have to direct these people!  What am I going to say? I know nothing! [Laughs]    RELATED: McDonagh talks about  revisiting the “creepy fucked-up musical” he was working on with Tom Waits called A Very Dark Matter. The role seem tailor made for each of the characters. Is that a function of  how good a writer you are? Yes, let’s go with that. [Laughs]  None of these parts were written for those boys because the script was written about seven or eight years ago.  It was written just after the script of In Bruges but before I made Bruge . I knew at the time that I didn’t have the wherewithal to make this as my first film because there’s so much going on in it and so many cinematic aspects to it.  I thought it was best to go with something small-scale like Bruges where you have three characters in one town.  It’s almost like a play really. I think it’s a credit to how good they are as actors. They just take it and make it feel like it’s completely natural, as if they’re making this stuff up on the spot. No one talks like Chris. No one breaks up a script like he does. Even with the play we did,  I can’t hear anyone else’s voice in that character ever again.  Unless the next actor broke it up exactly like he did, it would feel wrong,  But, you know, none of that is on the page. Seven Psychopaths is framed by two suicides:  You’ve said this movie is about the deranged and the spiritual, and one of the suicides is deranged. The other is spiritual — a sacrificial statement made in an effort to end violence. But isn’t suicide an act of violence?   No, I don’t. I mean, it’s horrible, but I could never — I guess lots of my heroes went that way: Kurt Cobain, Richard Brautigan, the Beat writer. But yeah, I could never criticize it. It’s terribly sad, obviously, but I guess there’s some aspect of me that finds something honorable about it. For a movie in which a woman gets shot in the stomach and a head explodes, the final scenes are quite surprising.  After all of this outrageous violence and black comedy, it’s quite spiritual and moving. That was the hope: to have all these crazy comic elements but still totally go to that place. I’m glad you felt that way. I kind of feel like we did get there, and I’m happy about that.  It’s a much crazier movie than In Bruges was. Bruges was more simple and funny but melancholic and it’s own thing. But this is a crazy bag of lizards — on fire — that had to be spiritual. [Laughs] I loved Sam Rockwell’s riff on Gandhi’s “eye for an eye” line. [See the trailer below.] Is that something you’ve been thinking about for a long time? No, That just came out on the day when I was writing the script.  I don’t think there’s anything I could have done about it, but the next line — the punch line almost — always gets missed because there’s a big laugh. Sam says, ‘Gandhi was wrong’ but then what gets missed is “but no one’s got the balls to come right out and say it.” I think that would be good to go on a poster. Violence is a big theme in your work.  Where does Gandhi’s pacifism fall into your worldview? I’m a big believer. I just saw Alex Gibney’s   Mea Maxima: Culpa Silence in the House of God, and I was thinking you’d be great to direct a dramatic movie or a black comedy about that subject. Can you make a black comedy about sexual abuse these days?  I think it’s almost impossible, although what’s that one with Phil Hoffman that Todd Solondz did?   Happiness .  It’s black and it’s funny, but fuck. That kind of stuff is just too horrific for me to ever want to fool with.  Stuff like that is just too depressing to even get into. In the movie, Christopher Walken’s character Hans tells Colin Farrell that psychopaths “get tiresome after a while.” Since your work has dealt with quite a few psychopaths, is that you sending a hint that you’re thinking of moving in a different direction? Probably not!  Psychopaths are so much fun to write about.  Like Sam’s character in the film: if he doesn’t know what the fuck he’s going to say or do next, then you don’t.  That’s a joy as a writer.  Although I do want to get away from it a little bit. Gunfights and shootouts are exciting, but I think the next film is going to be much more of a quieter character piece and quite female based. There’s going to be a strong female lead — an older female lead, too. The script is already written. Do you have an actress in mind? Yeah, but I should talk to her first. [Laughs] What else can you tell me about it? I think that all I can say is that there’s a very strong female lead and two other male characters. Do you have a title? It’s convoluted deliberately:  Three Billboards Outside of Ebbing, Missouri You really seemed to be having fun with thriller movie conventions in Seven Psychopaths . Christopher Walken tells Colin Farrell that the his dialogue for women is so terrible. [Laughs] Yes.  I admire that.  My own plays have very strong women characters, so, thankfully, I know that the next movie is going back to strong female leads. I wasn’t accusing you of doing that. Well, you should. It’s true. [Laughs]  The female characters are terrible in this. The actresses are fantastic, but they all die.  They all have only a scene and a half. Rockwell’s character also a cites a rule that “you can’t let the animals die in a movie. Just the women.”  Is that an unwritten rule of movie-making? It is. There were [studio] notes about a gun to a dog’s head and killing or not killing the dog. Not a word about shooting a woman in the stomach.  That’s the way it works. How many dead animals have you seen in the last year in movies?  And how many dead women have you seen?  I know what I’m putting my money on. Did you put that line in before or after the notes?  After. You’ve worked with Colin Farrell twice now. Why do you like him so much as an actor? We have a shorthand — we don’t really have to speak. We hardly saw each other for the three years or so in between films, and when we got together to read the script for Seven Psychopaths at his house, it was like not a day had passed since the last day of shooting. He’s very honest and very open to going anywhere and being truthful. And he’s very supportive. With the last film, I came in not having made a feature before. And he was the star. But every day, he’d help me through it. He’s just a lovely guy as well. Not starry at all. Did you have as much fun off the set as you did on it? It was lovely. Colin drove Sam and I out to Joshua Tree about four or five weeks before shooting because you can sense it if people are playing friends or lovers and there isn’t any kind of chemistry.  So, I wanted to make sure. They didn’t know each other terribly well before the film, so I wanted to make sure that they were both safe with each other. So we went off for a little weekend. And Sam and I drank too much, but we worked through the script in these little cabins in the desert. It was quiet and real and proper work.  But it was also the drive out there. Colin went into a service station and he got Sam that hat he wears in the movie. Right, and the cheese puffs and chocolate milk.  Eating cheese puffs and drinking chocolate milk was Colin’s idea.  Even when we were doing the play, Sam loves acting and eating at the same time.  And there are like ten scenes of him doing that. At the Toronto premiere they had their arms around each other. It sure looked like they had bonded. Yeah, I think they’ve stayed in touch. I’d like to do something with them again, too. And Chris and Sam are the same way. They are really good friends.  I guess the play helped, too.   So, for me, it was just capturing that love and chemistry, and I hope it’s one of the main things that comes through. What’s your relationship to theater right now?  I remember you saying not so long ago that you “respect film and disrespect theater.” I used to say that because it was true. I grew fond of a type of theater that I or Tracy Letts or Mamet or Shepard do.  I was disrespectful of that snooty, shitty English type of theater — or shitty American theater. It’s so expensive and sometimes it exudes that snottiness from the stage. So, that was what I was always fighting against. But I won the fight. [Laughs]  And I’ll keep coming back to it because it’s fun.  It’s also  easier to write a play. Or it was.  I’m going to go off after this and not do anything for a bit and let whatever story comes to me come.  If it’s a play, fine.  The play I did with Sam and Colin was done after making In Bruges . It was very easy to do. The good thing about a play is you can get in and out and do one in the course of six months. A film is two straight years. But I kind of like the fact that, having finished a film, it will be there for good.  Some of the plays I’ve done in the past — as happy as I’ve been with them, or as well as they’ve been received, they’re gone forever. I could never show you Sam and Chris’s performance. It’s just gone. So, there’s that aspect of it. When you say “after this,” do you mean after the next movie you’re making? No, I’m going to be really lazy. [Terrence] Malick was always one of my heroes and not just for the movies themselves. He could just stop for ages.  And now he’s doing the opposite. So we could see a play from you next instead of a movie? Possibly. I think it will probably be the next thing I will write. I’ve probably got two films that are sort of ready to go. And at the same time, I’d like to write something again for all the guys in this film.  Whether it’s a pairing or three of them. When you’ve got a relationship like that, you want to keep  working with them. I’m dying to know. Have you and Quentin Tarantino ever met? No.  Never. That’s interesting.  Given that you share a lot of influences, like Sam Peckinpah, for instance, I’m guessing that you guys would either love each other or hate each other . Yeah. I wonder, too. [Smiles] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.

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ARRIVALS: Martin McDonagh Takes On Tarantino With ‘Seven Psychopaths’

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ARRIVALS: Martin McDonagh Takes On Tarantino With ‘Seven Psychopaths’

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

If there’s a case to be made that turning one’s dark, twisted fantasies into plays and movies is good for the soul, Martin McDonagh is Exhibit A.  The platinum-haired Irishman has given the world some breathtakingly black comedy, such as his 2003 play about a child serial killer The Pillowman and, as of Friday, the slightly lighter Seven Psychopaths . But if he’s nursing a tortured soul, there was very little evidence of it when I interviewed him at the Toronto International Film Festival in September.  McDonagh, who looks like a character actor from a Bond film, laughs easily when he talks, often at his own wit. He’s also cheekily confident about his writing, which he should be. His 2008 directorial debut, the hitman buddy flick In Bruges  was cinematic poetry, and his bloody but surprisingly deep follow up,  Seven Psychopaths,  easily propels him into Tarantino territory. I smell a Bond film in his future. There’s been plenty written about the plot of the movie, so I’ll get right to the interview in which McDonagh talked about the unwritten film-industry rule that it’s okay to kill women but not pets in movies, his plans to take a break from psychopaths in the near future and why the next project we see from him will likely be another play. Movieline: What a cast you have.  Were they hard to line up?   McDonagh: No, strangely I knew four of the boys from before. Obviously, I know Colin [Farrell], and Sam [Rockwell] and Chris [Walken] and I did a play two, three years ago in New York, A Behanding in Spokane .  Actually, I knew Sam for about five years before we did that. Woody, strangely, I’ve known for about nine or 10 years because he’s a big theater fan. We hooked up in Dublin about 10 years ago and have stayed in touch since. I’d known a couple of the other actors socially. I met Abbie [Cornish] a year or two before and Olga Kurylenko a year or two before. And they were all first choices. With Woody, there was a situation with someone else. He almost did us a favor really because he came in at the last minute and knocked it out of the park. And Tom Waits I knew a little bit before, too.  Chris and Tom have been heroes of mine since I was eight or nine. I got Swordfish Trombones when it came out. I was 11 or so. He’s more than a musician or an actor. He’s an idol and a icon of American letters. I agree. So, to make an offer and have Tom say, “yes” made me go ‘Fuck!  I’m going to have to direct these people!  What am I going to say? I know nothing! [Laughs]    RELATED: McDonagh talks about  revisiting the “creepy fucked-up musical” he was working on with Tom Waits called A Very Dark Matter. The role seem tailor made for each of the characters. Is that a function of  how good a writer you are? Yes, let’s go with that. [Laughs]  None of these parts were written for those boys because the script was written about seven or eight years ago.  It was written just after the script of In Bruges but before I made Bruge . I knew at the time that I didn’t have the wherewithal to make this as my first film because there’s so much going on in it and so many cinematic aspects to it.  I thought it was best to go with something small-scale like Bruges where you have three characters in one town.  It’s almost like a play really. I think it’s a credit to how good they are as actors. They just take it and make it feel like it’s completely natural, as if they’re making this stuff up on the spot. No one talks like Chris. No one breaks up a script like he does. Even with the play we did,  I can’t hear anyone else’s voice in that character ever again.  Unless the next actor broke it up exactly like he did, it would feel wrong,  But, you know, none of that is on the page. Seven Psychopaths is framed by two suicides:  You’ve said this movie is about the deranged and the spiritual, and one of the suicides is deranged. The other is spiritual — a sacrificial statement made in an effort to end violence. But isn’t suicide an act of violence?   No, I don’t. I mean, it’s horrible, but I could never — I guess lots of my heroes went that way: Kurt Cobain, Richard Brautigan, the Beat writer. But yeah, I could never criticize it. It’s terribly sad, obviously, but I guess there’s some aspect of me that finds something honorable about it. For a movie in which a woman gets shot in the stomach and a head explodes, the final scenes are quite surprising.  After all of this outrageous violence and black comedy, it’s quite spiritual and moving. That was the hope: to have all these crazy comic elements but still totally go to that place. I’m glad you felt that way. I kind of feel like we did get there, and I’m happy about that.  It’s a much crazier movie than In Bruges was. Bruges was more simple and funny but melancholic and it’s own thing. But this is a crazy bag of lizards — on fire — that had to be spiritual. [Laughs] I loved Sam Rockwell’s riff on Gandhi’s “eye for an eye” line. [See the trailer below.] Is that something you’ve been thinking about for a long time? No, That just came out on the day when I was writing the script.  I don’t think there’s anything I could have done about it, but the next line — the punch line almost — always gets missed because there’s a big laugh. Sam says, ‘Gandhi was wrong’ but then what gets missed is “but no one’s got the balls to come right out and say it.” I think that would be good to go on a poster. Violence is a big theme in your work.  Where does Gandhi’s pacifism fall into your worldview? I’m a big believer. I just saw Alex Gibney’s   Mea Maxima: Culpa Silence in the House of God, and I was thinking you’d be great to direct a dramatic movie or a black comedy about that subject. Can you make a black comedy about sexual abuse these days?  I think it’s almost impossible, although what’s that one with Phil Hoffman that Todd Solondz did?   Happiness .  It’s black and it’s funny, but fuck. That kind of stuff is just too horrific for me to ever want to fool with.  Stuff like that is just too depressing to even get into. In the movie, Christopher Walken’s character Hans tells Colin Farrell that psychopaths “get tiresome after a while.” Since your work has dealt with quite a few psychopaths, is that you sending a hint that you’re thinking of moving in a different direction? Probably not!  Psychopaths are so much fun to write about.  Like Sam’s character in the film: if he doesn’t know what the fuck he’s going to say or do next, then you don’t.  That’s a joy as a writer.  Although I do want to get away from it a little bit. Gunfights and shootouts are exciting, but I think the next film is going to be much more of a quieter character piece and quite female based. There’s going to be a strong female lead — an older female lead, too. The script is already written. Do you have an actress in mind? Yeah, but I should talk to her first. [Laughs] What else can you tell me about it? I think that all I can say is that there’s a very strong female lead and two other male characters. Do you have a title? It’s convoluted deliberately:  Three Billboards Outside of Ebbing, Missouri You really seemed to be having fun with thriller movie conventions in Seven Psychopaths . Christopher Walken tells Colin Farrell that the his dialogue for women is so terrible. [Laughs] Yes.  I admire that.  My own plays have very strong women characters, so, thankfully, I know that the next movie is going back to strong female leads. I wasn’t accusing you of doing that. Well, you should. It’s true. [Laughs]  The female characters are terrible in this. The actresses are fantastic, but they all die.  They all have only a scene and a half. Rockwell’s character also a cites a rule that “you can’t let the animals die in a movie. Just the women.”  Is that an unwritten rule of movie-making? It is. There were [studio] notes about a gun to a dog’s head and killing or not killing the dog. Not a word about shooting a woman in the stomach.  That’s the way it works. How many dead animals have you seen in the last year in movies?  And how many dead women have you seen?  I know what I’m putting my money on. Did you put that line in before or after the notes?  After. You’ve worked with Colin Farrell twice now. Why do you like him so much as an actor? We have a shorthand — we don’t really have to speak. We hardly saw each other for the three years or so in between films, and when we got together to read the script for Seven Psychopaths at his house, it was like not a day had passed since the last day of shooting. He’s very honest and very open to going anywhere and being truthful. And he’s very supportive. With the last film, I came in not having made a feature before. And he was the star. But every day, he’d help me through it. He’s just a lovely guy as well. Not starry at all. Did you have as much fun off the set as you did on it? It was lovely. Colin drove Sam and I out to Joshua Tree about four or five weeks before shooting because you can sense it if people are playing friends or lovers and there isn’t any kind of chemistry.  So, I wanted to make sure. They didn’t know each other terribly well before the film, so I wanted to make sure that they were both safe with each other. So we went off for a little weekend. And Sam and I drank too much, but we worked through the script in these little cabins in the desert. It was quiet and real and proper work.  But it was also the drive out there. Colin went into a service station and he got Sam that hat he wears in the movie. Right, and the cheese puffs and chocolate milk.  Eating cheese puffs and drinking chocolate milk was Colin’s idea.  Even when we were doing the play, Sam loves acting and eating at the same time.  And there are like ten scenes of him doing that. At the Toronto premiere they had their arms around each other. It sure looked like they had bonded. Yeah, I think they’ve stayed in touch. I’d like to do something with them again, too. And Chris and Sam are the same way. They are really good friends.  I guess the play helped, too.   So, for me, it was just capturing that love and chemistry, and I hope it’s one of the main things that comes through. What’s your relationship to theater right now?  I remember you saying not so long ago that you “respect film and disrespect theater.” I used to say that because it was true. I grew fond of a type of theater that I or Tracy Letts or Mamet or Shepard do.  I was disrespectful of that snooty, shitty English type of theater — or shitty American theater. It’s so expensive and sometimes it exudes that snottiness from the stage. So, that was what I was always fighting against. But I won the fight. [Laughs]  And I’ll keep coming back to it because it’s fun.  It’s also  easier to write a play. Or it was.  I’m going to go off after this and not do anything for a bit and let whatever story comes to me come.  If it’s a play, fine.  The play I did with Sam and Colin was done after making In Bruges . It was very easy to do. The good thing about a play is you can get in and out and do one in the course of six months. A film is two straight years. But I kind of like the fact that, having finished a film, it will be there for good.  Some of the plays I’ve done in the past — as happy as I’ve been with them, or as well as they’ve been received, they’re gone forever. I could never show you Sam and Chris’s performance. It’s just gone. So, there’s that aspect of it. When you say “after this,” do you mean after the next movie you’re making? No, I’m going to be really lazy. [Terrence] Malick was always one of my heroes and not just for the movies themselves. He could just stop for ages.  And now he’s doing the opposite. So we could see a play from you next instead of a movie? Possibly. I think it will probably be the next thing I will write. I’ve probably got two films that are sort of ready to go. And at the same time, I’d like to write something again for all the guys in this film.  Whether it’s a pairing or three of them. When you’ve got a relationship like that, you want to keep  working with them. I’m dying to know. Have you and Quentin Tarantino ever met? No.  Never. That’s interesting.  Given that you share a lot of influences, like Sam Peckinpah, for instance, I’m guessing that you guys would either love each other or hate each other . Yeah. I wonder, too. [Smiles] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.

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Producer Jason Blum Talks ‘Sinister’ & The ‘Paranormal Activity’ Recipe For Success

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

Jason Blum had produced a dozen projects before he hit upon 2007’s sleeper phenomenon Paranormal Activity , a micro-indie horror pic with no stars that in turn became the model for Blumhouse Productions, his own genre-leaning multimedia label. Fast forward just five years and Paranormal Activity 4 is set to continue the series’ low-budget thrills (with webcam technology!) next week, while the Blum-produced Sinister , about a writer (Ethan Hawke) contending with a house haunted by insidious forces, opens today. (For a third new venture, The Blumhouse of Horrors, Blum & Co. take over a historic theater in downtown Los Angeles. More info here .) Movieline caught up with the man behind many of the most profitable — and cost-effective — horror hits in recent memory for a peek behind the curtain: What’s the Blum secret to success? What was it that first interested you in Sinister , these filmmakers, and this story – and given your past horror projects, how do you think it fits into your portfolio? I’m super happy with the movie. I think it works because very simply [writer C. Robert] Cargill and [director Scott Derrickson] did a terrific job on it. They first pitched it to me a year and a half ago and the movie they first described to me in my office and the movie you’ll see are very close, they’re virtually the same thing. All I did was give these guys the creative freedom to make what they wanted to make. Your name has been so closely associated with the Paranormal Activity franchise and its success – how do you feel about being known for these particular films? I love genre movies. I’ve made a handful of other ones in addition to the Paranormal movies, and my favorite thing about what Paranormal allowed our company to do is that the company is based on this idea of betting on yourself. That’s what Oren Peli did on Paranormal Activity , that’s what James Wan did on Insidious , and that’s what Scott and Cargill did on Sinister . It’s given birth to all these movies and I’m really pleased that our company is associated with them. I’m really interested in genre, but I’m also doing TV shows and a haunted house in L.A. Having Paranormal and it allowing my company to expand in all things genre, I feel really lucky. Has the Paranormal franchise gotten a bad rap, a reputation it doesn’t deserve? It’s been so successful and the more these sequels charge on the more complaints you hear about found footage, or sequel fever, and all that. I’m sort of proud of the way the franchise has evolved. We’ve taken directors with very specific visions – Kip Williams was a real art house director and Henry and Rel who did 3 and 4 did Catfish . All the directors of the sequels of Paranormal , none of them had ever done genre movies before. And not that we would do that or not do that specifically going forward, but I feel that’s kept it fresh. The way each sequel has built on what’s come before and evolved the mythology has been fresh, but how much can you keep innovating? How much more difficult does it then become to find a new angle for the next one? The cool thing about Paranormal is now we have a real built-in mythology, of the demon and the family that the demon has upset, so it allows for a lot of places to go. And obviously technology changes so fast, so found footage can shift. Paranormal Activity 4 uses Skype webchat technology, which is new to movies – but it was also used recently in V/H/S . I did see that in V/H/S . It’s an interesting coincidence, that both of these films picked up on that same emerging technology at the same time. Sure. And I think I’ve seen it in some other movies too. I think because Skype is becoming so much more prevalent and you’re looking at someone else on a screen it’s going to work its way into movies and TV shows in all different ways, which I think is really cool. Where do you go from there? In this franchise alone you’ve gone through film, video, home movies, now Skype – are cell phone cameras and iPads and the rearview camera on my Prius next? I hope so! I think surveillance, and cameras are so prevalent everywhere that it allows for different possibilities for found footage. I wish I could see the future but I can’t, but I do think that cameras are everywhere now, and they’re so inexpensive. That’s a great thing. I read an interview where someone said “It’s a shame that anyone can make a movie now” and I feel the exact opposite. It’s much less cost-prohibitive… and to answer your question, that will allow Paranormal hopefully to grow and be different each time out. You came across Paranormal Activity early on, and that was a case in which the film was almost curated and then brought into the mainstream consciousness. The idea of discovering a micro-budget independent film and having that platform to bring it to audiences, is that a formula that’s easy to replicate — and is that even your plan at this stage? A hundred percent. I saw Paranormal as a rough cut, but I felt my job on Paranormal and my job on Sinister weren’t wildly different. I’m proud of Sinister because Scott and Cargill did a great job on the movie and I set up a framework for them to make what they wanted to make. They gave me the idea and I figured out how to get it out into the world. Oren did the same thing. I don’t have any aspirations to be a writer or director; I really like identifying a story or a pitch, whether it’s a script or a rough cut of a movie that resonates with me, and trying to get it out into the world. That’s what our company does and that’s what, personally, I’m passionate about. That’s kind of our mission. This is a big question, but: What is the state of horror cinema now, in your eyes? The realm of independent horror and studio-released mainstream horror are divided, with independent original stories balancing against studio-released sequels and remakes. Where do you feel you stand in the grand scheme of it all? I feel the state of horror cinema is the same as it’s been for the last ten or 20 years. When there’s a great horror movie, people are like, “Horror’s back!” And when there’s a series of not so good ones, “Horror’s dead.” I think it’s all about the quality. When there are one or two good horror movies in a row, people come out interested again. I think our company’s specific role is that we straddle both of those worlds. We make all of our movies independently – with the exception of the sequels of Paranormal – but Sinister , Insidious , and the first Paranormal Activity were made completely outside of the studio system but then distribution is through the studio system. Paranormal Activity was the model for what my company does, from that experience. For me, and I can’t speak to other people, it’s the best of both worlds. We get to make these movies with the director’s vision and a singular vision, and to me that’s the definition of an independently made film – it’s one person’s vision. The movies that our company is involved with have the director’s vision, and then we get the great benefit of studio distribution – which no one has figured out a way to compete with. Maybe in five years someone will but at the moment it’s virtually impossible to compete with the studios in terms of distribution. You’ve used the word “independent” to describe your films, but when I think of indie horror I think of the You’re Next and V/H/S filmmakers. They seem to be in a separate camp within the world of indie horror, while you tend to bring in directors from outside the genre community and work with studios. Do you see that as a distinct separation? From a consumer’s point of view I don’t think there’s a separation. You’re Next is going to come out wide from Lionsgate. I loved the movie, I think it’s a terrific movie. I think it’s a very commercial movie. It’s going to be released by a studio and was made independently, so I don’t think from a consumer’s perspective it’s radically different from the movies we’re doing. You have identified something; we tend to work with directors who have a few movies under their belt. You’re opening a haunted house attraction in L.A. – The Blumhouse of Horrors. Where did that concept come from? It’s a great extension of what we’re doing in movies and TV – almost all of our movies shoot in L.A. and we work with the same crews, so we approached the haunted house as if it was a movie production. We got a big crew of people who’ve been prepping for about as long as it takes to prep a movie and we took over a building in downtown L.A. It’s going to be a really cool live experience that’s scary, and hopefully great. That sounds like a clever extension of horror culture, taking it off the screen. But horror cinema has been going increasingly meta in recent years – look at Cabin in the Woods , for example – and it already feels like the serpent is eating its tail. What happens after horror comes all the way full circle ? Boy, I wish I had the answer to that. I just love that people are into it and I’m just really passionate about exploring all different media to scare people, whether it’s a haunted house or a reality show or a scripted show or a movie, it’s a really fun, creative place to be playing in. But what eventually happens… your guess is as good as mine. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Producer Jason Blum Talks ‘Sinister’ & The ‘Paranormal Activity’ Recipe For Success

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Producer Jason Blum Talks ‘Sinister’ & The ‘Paranormal Activity’ Recipe For Success

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

Jason Blum had produced a dozen projects before he hit upon 2007’s sleeper phenomenon Paranormal Activity , a micro-indie horror pic with no stars that in turn became the model for Blumhouse Productions, his own genre-leaning multimedia label. Fast forward just five years and Paranormal Activity 4 is set to continue the series’ low-budget thrills (with webcam technology!) next week, while the Blum-produced Sinister , about a writer (Ethan Hawke) contending with a house haunted by insidious forces, opens today. (For a third new venture, The Blumhouse of Horrors, Blum & Co. take over a historic theater in downtown Los Angeles. More info here .) Movieline caught up with the man behind many of the most profitable — and cost-effective — horror hits in recent memory for a peek behind the curtain: What’s the Blum secret to success? What was it that first interested you in Sinister , these filmmakers, and this story – and given your past horror projects, how do you think it fits into your portfolio? I’m super happy with the movie. I think it works because very simply [writer C. Robert] Cargill and [director Scott Derrickson] did a terrific job on it. They first pitched it to me a year and a half ago and the movie they first described to me in my office and the movie you’ll see are very close, they’re virtually the same thing. All I did was give these guys the creative freedom to make what they wanted to make. Your name has been so closely associated with the Paranormal Activity franchise and its success – how do you feel about being known for these particular films? I love genre movies. I’ve made a handful of other ones in addition to the Paranormal movies, and my favorite thing about what Paranormal allowed our company to do is that the company is based on this idea of betting on yourself. That’s what Oren Peli did on Paranormal Activity , that’s what James Wan did on Insidious , and that’s what Scott and Cargill did on Sinister . It’s given birth to all these movies and I’m really pleased that our company is associated with them. I’m really interested in genre, but I’m also doing TV shows and a haunted house in L.A. Having Paranormal and it allowing my company to expand in all things genre, I feel really lucky. Has the Paranormal franchise gotten a bad rap, a reputation it doesn’t deserve? It’s been so successful and the more these sequels charge on the more complaints you hear about found footage, or sequel fever, and all that. I’m sort of proud of the way the franchise has evolved. We’ve taken directors with very specific visions – Kip Williams was a real art house director and Henry and Rel who did 3 and 4 did Catfish . All the directors of the sequels of Paranormal , none of them had ever done genre movies before. And not that we would do that or not do that specifically going forward, but I feel that’s kept it fresh. The way each sequel has built on what’s come before and evolved the mythology has been fresh, but how much can you keep innovating? How much more difficult does it then become to find a new angle for the next one? The cool thing about Paranormal is now we have a real built-in mythology, of the demon and the family that the demon has upset, so it allows for a lot of places to go. And obviously technology changes so fast, so found footage can shift. Paranormal Activity 4 uses Skype webchat technology, which is new to movies – but it was also used recently in V/H/S . I did see that in V/H/S . It’s an interesting coincidence, that both of these films picked up on that same emerging technology at the same time. Sure. And I think I’ve seen it in some other movies too. I think because Skype is becoming so much more prevalent and you’re looking at someone else on a screen it’s going to work its way into movies and TV shows in all different ways, which I think is really cool. Where do you go from there? In this franchise alone you’ve gone through film, video, home movies, now Skype – are cell phone cameras and iPads and the rearview camera on my Prius next? I hope so! I think surveillance, and cameras are so prevalent everywhere that it allows for different possibilities for found footage. I wish I could see the future but I can’t, but I do think that cameras are everywhere now, and they’re so inexpensive. That’s a great thing. I read an interview where someone said “It’s a shame that anyone can make a movie now” and I feel the exact opposite. It’s much less cost-prohibitive… and to answer your question, that will allow Paranormal hopefully to grow and be different each time out. You came across Paranormal Activity early on, and that was a case in which the film was almost curated and then brought into the mainstream consciousness. The idea of discovering a micro-budget independent film and having that platform to bring it to audiences, is that a formula that’s easy to replicate — and is that even your plan at this stage? A hundred percent. I saw Paranormal as a rough cut, but I felt my job on Paranormal and my job on Sinister weren’t wildly different. I’m proud of Sinister because Scott and Cargill did a great job on the movie and I set up a framework for them to make what they wanted to make. They gave me the idea and I figured out how to get it out into the world. Oren did the same thing. I don’t have any aspirations to be a writer or director; I really like identifying a story or a pitch, whether it’s a script or a rough cut of a movie that resonates with me, and trying to get it out into the world. That’s what our company does and that’s what, personally, I’m passionate about. That’s kind of our mission. This is a big question, but: What is the state of horror cinema now, in your eyes? The realm of independent horror and studio-released mainstream horror are divided, with independent original stories balancing against studio-released sequels and remakes. Where do you feel you stand in the grand scheme of it all? I feel the state of horror cinema is the same as it’s been for the last ten or 20 years. When there’s a great horror movie, people are like, “Horror’s back!” And when there’s a series of not so good ones, “Horror’s dead.” I think it’s all about the quality. When there are one or two good horror movies in a row, people come out interested again. I think our company’s specific role is that we straddle both of those worlds. We make all of our movies independently – with the exception of the sequels of Paranormal – but Sinister , Insidious , and the first Paranormal Activity were made completely outside of the studio system but then distribution is through the studio system. Paranormal Activity was the model for what my company does, from that experience. For me, and I can’t speak to other people, it’s the best of both worlds. We get to make these movies with the director’s vision and a singular vision, and to me that’s the definition of an independently made film – it’s one person’s vision. The movies that our company is involved with have the director’s vision, and then we get the great benefit of studio distribution – which no one has figured out a way to compete with. Maybe in five years someone will but at the moment it’s virtually impossible to compete with the studios in terms of distribution. You’ve used the word “independent” to describe your films, but when I think of indie horror I think of the You’re Next and V/H/S filmmakers. They seem to be in a separate camp within the world of indie horror, while you tend to bring in directors from outside the genre community and work with studios. Do you see that as a distinct separation? From a consumer’s point of view I don’t think there’s a separation. You’re Next is going to come out wide from Lionsgate. I loved the movie, I think it’s a terrific movie. I think it’s a very commercial movie. It’s going to be released by a studio and was made independently, so I don’t think from a consumer’s perspective it’s radically different from the movies we’re doing. You have identified something; we tend to work with directors who have a few movies under their belt. You’re opening a haunted house attraction in L.A. – The Blumhouse of Horrors. Where did that concept come from? It’s a great extension of what we’re doing in movies and TV – almost all of our movies shoot in L.A. and we work with the same crews, so we approached the haunted house as if it was a movie production. We got a big crew of people who’ve been prepping for about as long as it takes to prep a movie and we took over a building in downtown L.A. It’s going to be a really cool live experience that’s scary, and hopefully great. That sounds like a clever extension of horror culture, taking it off the screen. But horror cinema has been going increasingly meta in recent years – look at Cabin in the Woods , for example – and it already feels like the serpent is eating its tail. What happens after horror comes all the way full circle ? Boy, I wish I had the answer to that. I just love that people are into it and I’m just really passionate about exploring all different media to scare people, whether it’s a haunted house or a reality show or a scripted show or a movie, it’s a really fun, creative place to be playing in. But what eventually happens… your guess is as good as mine. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Producer Jason Blum Talks ‘Sinister’ & The ‘Paranormal Activity’ Recipe For Success

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On October 6, 2012 I became the second African-American OLLG in…

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

On October 6, 2012 I became the second African-American OLLG in Justin Bieber concert history. It all started at about 11:30 A.M when my sister, cousin, and I arrived at the arena. We waited and waited and eventually we saw the beautiful chocolate meechy ass man who goes by Kenny Hamilton! He was on a segway directing the man who ended up delivering the OLLG crown. It was so beautiful. Then we waited some more and some dancers came out, so we all took pics. An hour later, THE WHOLE BIEBER CREW JUST CAME OUTSIDE AND LIFE WAS AMAZING. We all got to meet Scooter, Dan, Kenny, Scooter’s Mom, Nick Demora, and more. We finally decided to head inside at about 6-ish. There was so many people inside the arena. We got to our seats and they were closer than we thought so we flipped out. I went to go get merch and I was back by the time Cody Simpson came on. HOLY JESUS DID CODY GET SEXY. Yas and I did NOT expect that at all. We were falling out all over the place. After he was done, Scoot Scoot, Dan, and Fredo introduced Carly and she was so adorable. After Carly went off, we waited for the countdown to start. Finally, it started and Yas and I FLIPPED OUT again. In just 10 minutes, my idol would be in front of my face. Before the clock ran out, I decided to take a chance and tweet Justin and Allison and ask if I could be the OLLG. I tweeted, “@justinbieber @AllisonKaye Wanna make me the second black OLLG EVER(:? Section 112. Row 9. Seat 2.” After that, I turned my phone off and got ready to have the best night of my life. The concert started and were were instantly having a blast! Yas was falling on the floor and I was screaming my head off and dancing/singing along to every song. Every time he did something extra sexy (which was like 95% of the time) Yas and I grabbed on to each other and tried to stay standing. At some part during the concert, Allison and Fredo had walked past us. I freaked out because at first, I didn’t know it was them, but when I noticed Yas and I were like, “THAT WAS ALLISON. OH MY GOSH AND THAT WAS FREDO TOO. FREDO COME BACK”. We couldn’t get their attention, so we kept jamming out to Justin. Allison and Fredo passed us AGAIN, but this time I decided to say Hi to Allison. I tried to say Hi to Fredo, but lots of girls were asking him for hugs and he couldn’t hear me. They left again, and after two songs, they came back. I was looking at Allison when she suddenly stopped in front of me and asked, “Do you want to be the One Less Lonely Girl?” My mind went blank. All I heard was “LG?” My eyes widened when I finally pieced it all together and I said to Allison, “ME?” and she said “YES” and started to walk me down to the floor. Yas stopped me to ask if I was going to be the OLLG and I screamed “YES!” to her and she freaked out. I started walking and I looked back to see if Fredo and Allison were following me. Fredo suddenly grabbed my hand I was like, “OH MY GOSH I AM TOUCHING ALFREDO”. We got down to the floor and started walking to the stage. Some security lady tried to stop us, and after arguing back and forth for a bit, Allison was like, “NO. MAM. I HAVE PASSES. THANK YOU”, and we pushed past the lady. I was like, “Damn Allison!” Then we finally got backstage and OMG it looked like Never Say Never back there.  Allison told me to give her my hat because Justin was going to give me a crown, so I did and that’s when I knew this was all real . I was freaking out. Fredo and Allison were just smiling at me and I think Fredo was taking pictures. Then he asked me, “What’s your name?” “Zaria” “NO! What’s your name?” “Zaria!” “No no! What’s your name? “….OmahaMauhlin?” Then Fredo was like, “NO! What are you right now?” “The One Less Lonely Girl?” Fredo and Allison were like “YESSS!” Fredo kept saying, “WHAT ARE YOU? “THE ONE LESS LONELY GIRL” “WHAT. ARE. YOU.” “THE ONE LESS LONELY GIIIIIIIIIRL” Then I started screaming and Allison told me to look up and guess who was there? JUSTIN. HIS PANTS WHERE LOW AND UNF I SAW HIS BUTT. Fredo was like, “DID YOU SEE HIS ARMS?” and I screamed,”YES. THEY ARE PERFECT”. He fangirled with me. He was like, “THEY’RE SO BIG AND MUSCULAR!”  Then Nick came over and we said hi again and Allison told me it was time for me to step up on the platform. I went up there and he said, “I’ll see you out there, k?”. I met Kenny once more and Dan threw down a guitar pick for me. Allison took my phone because she said it would mess with Justin’s mic and she put it in my hat. Allison was so cute because she was doing the dance moves to OLLG. Allison said, “I think this is you. Go up to the arrow”. My heart started beating SO FAST and my mouth went dry. All I could do was smile and the next second, a dancer lead my out onto the stage. People were screaming and the lights were bright, but all I saw was Justin. I got lead to the chair and all of a sudden, Justin was in front of me grabbing my hand as I sat down in his throne. Then he reached down and started putting the crown on my head. All I could do was smile and try not to faint or die. At first, he put the crown the wrong way, so he fixed it and sat down next to me. I immediately hugged him and said, “Ohmygosh HIIII” in such a high-pitched tone that it made the mic mess up for a second. SORRY JUSTIN. Then he got up to sing to he crowd, I didn’t know what else to do so I just started waving my arm, thinking that Justin was going to do it too like usual, but he didn’t, so I just started swaying and singing along to the song. THEN HE CAME BACK AND SAT BESIDE ME. I looked into his eyes and he was singing to me. Then he switched sides and I grabbed his waist and like, held on to his shirt. I rubbed his waist, he must of thought I was a creeper omg. Then he kept singing to me and soon the song was over. We hugged again and he accidentally knocked off the crown, so I had to rush to pick it up. He reached out his hand and I grabbed it so quick. HIS FINGERS ARE SO SOFT. AHH. Then we ran off backstage. When we got there, we were so close to each other. He looked down at me and smiled as he said, “Thank you so much” in just about the sweetest voice on this earth. I smiled back so hard and I instantly gave him a tight hug and yelled into his chest, “I LOVE YOU SO MUCH”. I was going to tell him my name, but he ran off to go get changed. When he left, Allison gave me back my stuff and asked me how it was. “AMAZING”, I yelled, “I’M GOING TO DIE ALLISON”. She told me not to die because they try to avoid that. She started walking me back to my seat and so many people were staring at me and giving me high-fives. I saw my step-sister and suddenly, all of my emotions came flooding out. I ran up to her yelling,”DID YOU SEE THAT KENNEDI. DID YOU SEE IT? OMG OMG OMG. KENNEDI HE WAS FLAWLESS”. Then I ran back down to Allison and she was laughing at me. I was walking up the stairs to my seat and girls were congratulating me and telling me how they hate me. LOL.  Once I saw my cousin, I ran up to her and fell into her arms and we started SOBBING. I was screaming, “AHHHHHH. YAS DID YOU SEE IT. OH MY GOOOSHH YASSS”. We couldn’t even stand, we started sobbing on the FLOOR. Like, we COULD NOT contain any emotions. We looked up and Fredo was taking pictures of us crying. Eventually we got off the floor and started to jam out to Justin again. Then, people randomly came up to me asking for pictures with me, and with he crown. I said sure, but then more started coming and I was like, “OH GOD”. They were blocking Justin and I missed 95% of him performing ALAYLM, so after that song, I told people I would take pics and stuff after the concert because I didn’t want to miss any more of the show. We took pictures for like 10 minutes and my cousin’s were like, “Oh Zar! You famous now? You famous now?” Eventually my mom’s boyfriend was like, “ZARIA. WE NEED TO GO”. I took a few more pics, but then we left to go to the tour busses. We got there and we stood on the fence and stuff. Fredo came out and started taking pics. Yas was like, “Fredo, she was the OLLG!” I’d like to thank all of you guys who tweeted me whit your congrats. It means a lot to me and I CANNOT thank Allison enough for actually finding me in the crowd. I lived out every girl beliebers dream and I’m so thankful I had the opportunity to do that. My life was made in ONE day. October 6, 2012 will forever be a special day to me. I will NEVER forget what happened backstage. Of course I will remember being on stage and having Justin sing to me for the rest of my life, but backstage was so special to me because we were secluded from everyone else. It felt like there was only Justin and I standing right there, even though I knew Allison was watching. I will never forget the way he said “Thank you so much” to me. He’s so sweet and you could tell he meant it. I hope that every OLLG appreciates every moment they have with Justin. Like I said, I could never thank Allison enough for actually finding me in the crowd. She’s so sweet for answering a simple tweet that made my life change forever. I cannot thank her enough. So, I hope you all enjoyed reading my long experience. -@OmahaMauhlin My video being OLLG  Excerpt from: On October 6, 2012 I became the second African-American OLLG in…

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Hi I’m Maryann and I’m 15, I CANNOT believe…

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

Hi I’m Maryann and I’m 15, I CANNOT believe I’m writing my Bieber Experience. I’ve been a fan since literally the day the One Time music video went out on YouTube. I live near Justin, so I thought it would be easy to meet him! But I was wayyyy off.  After almost 5 years of being a fan, I never once came close to meeting him.  I started getting pissed, getting jealous, doing ANYTHING I can to meet him. Finally, on August 15, 2012, someone tweeted Justin’s rehearsals were in LA. After begging 12345678 different Twitter accounts, an amazing girl finally gave me the address. I was so nervous and scared to go, but I went with my 2 cousins that were planning on going also.  I showed up and all the girls there were starting to whine and get annoyed. I asked why and they say “Usually Justin come in at 2 PM but it’s 4 PM and he’s not here yet. My heart broke.  I thought he wouldn’t show up. Literally 2 minutes after the girl said this, Justin’s van pulled in. We started freaking out and crying. A mom started giving us directions about standing in a line because Justin’s claustrophobic and we can’t crowd him, so we stood in a line.  Justin started running across the street almost 2 hours later to meet all of us . Is it weird I recognized his shirt from the Kiis FM interview and the Disney interview? I’m not a creeper, haha. Well anyways I was so surprised how well I kept my crying in until I met him. When I saw his van, I was bawling, when I saw him, I held it in. I was proud I didn’t embarrass myself. I met him, took a picture, asked for a hug (I didn’t let go, I think he was creeped out lol), and he left. I cannot believe the person I had on my wall, bought the CDs for, cried over, fangirled over, and watched the movie for just hugged me. I started crying, hugging random Beliebers I didn’t know, and handing out tissues.  It was the best day of my life. Even though Justin was so busy and tired, he still had the time to come meet his fans. He really is an idol. -@biebersplatinum Follow this link: Hi I’m Maryann and I’m 15, I CANNOT believe…

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Fall – Justin Bieber (Lyrics)

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

Follow me on Twitter! @StayStrongJuju Song: Fall by Justin Bieber. From his new album Believe. I really love this song, it kinda reminds me of A Walk to Remember, if you’ve seen the movie or read the book.(: This is definately one of my favorite songs on Believe, I think it’s absolutely beautiful. If you haven’t bought Believe yet, you won’t regret it if you do. We’re converting the haters! (: Yes, this is sped up a bit. I hadn’t listened to the album yet so I didn’t notice until right after I posted it. But it’s cool, now there’s no copyright.(: I OWN NOTHING. DAMN UMG. Update: 9/8/12 90000+ VIEWS?! THANK YOU SO MUCH. Update: 10/11/12 — 132 thousand views! http://www.youtube.com/v/ftkcLnln0bs?version=3&f=videos&app=youtube_gdata Go here to see the original: Fall – Justin Bieber (Lyrics)

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Fall – Justin Bieber (Lyrics)

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Fall – Justin Bieber (Lyrics)

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

Follow me on Twitter! @StayStrongJuju Song: Fall by Justin Bieber. From his new album Believe. I really love this song, it kinda reminds me of A Walk to Remember, if you’ve seen the movie or read the book.(: This is definately one of my favorite songs on Believe, I think it’s absolutely beautiful. If you haven’t bought Believe yet, you won’t regret it if you do. We’re converting the haters! (: Yes, this is sped up a bit. I hadn’t listened to the album yet so I didn’t notice until right after I posted it. But it’s cool, now there’s no copyright.(: I OWN NOTHING. DAMN UMG. Update: 9/8/12 90000+ VIEWS?! THANK YOU SO MUCH. Update: 10/11/12 — 132 thousand views! http://www.youtube.com/v/ftkcLnln0bs?version=3&f=videos&app=youtube_gdata Go here to see the original: Fall – Justin Bieber (Lyrics)

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Fall – Justin Bieber (Lyrics)

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Justin Bieber – Tell me lyrics.

Posted on October 12, 2012 by Benny Hollywood| Leave a comment

Thank you all for watching. Subscribe =D &&’ follow me, i know you want; @AsenaJustin_ http://www.youtube.com/v/wBbbHENRnlI?version=3&f=videos&app=youtube_gdata Link: Justin Bieber – Tell me lyrics.

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Justin Bieber – Tell me lyrics.

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