Editorials
Set Report Part 3: ‘The Walking Dead’ Casting and Prepping Production
Our ongoing The Walking Dead set coverage continues this afternoon as Jeff Otto writes in about what it took to get the AMC zombie series off the ground, and how the casting came together. With the trailer premiering yesterday, AMC announced that the live-action adaptation of the popular Robert Kirkman comic series will premiere on Halloween with the Frank Darabont directed pilot clocking in at a feature-length hour and a half!
PREVIEW | PART 1 | PART 2 | PART 3 | PART 4
Casting believable undead is an important aspect of any zombie show, but if you don’t have a great hero blowing off their heads, you might just end up routing for the zombies. Kirkman crafted a great protagonist in the venerable Rick Grimes, so finding the right man to breathe life to him on screen would be a challenge to be sure. In the end, it was a Brit who had the goods.
“We never thought we’d find our Rick Grimes in the U.K.,” admits executive producer Gale Anne Hurd. “[Andrew Lincoln] was in the U.K. at the time and he submitted his audition and we were all blown away.”
“I read it and I thought it was well written and I put myself on tape just for one scene,” says Lincoln. “I didn’t know who was involved at this point. Then the following day my agent called me and that’s when I got very excited. It’s kind of like a dream list. Then I filmed myself in my bedroom and then Frank Skyped me that night. So we spoke for about 40 minutes about his ideas for the project, about what I liked about Episode One and then he asked would I fly over to come and test. I flew out a couple of days later and screen tested in his garage. It was brilliant, it was very intimate.”
“The second he opened his mouth and started reading the scene, I knew it was him,” says Jon Bernthal, who plays Grimes’ buddy Shane. “There was no question. I saw Frank and I knew it. He’s the guy. He’s a wonderful actor and he’s going to kill it in this role.”
Bernthal’s Shane is one of the most complex parts of the series. We don’t want to give anything away, but fans of the series will understand when I say that Shane ultimately goes through some rather, ahem, disturbing changes. “When I first read the script,” says Bernthal, “I had no idea about the comic. I responded so organically to the script that I didn’t want to be colored by anything else. When I did read the comic I was shocked. Look, I’m not going to sit here and regret. One of the great things about doing TV versus film is to be surprised yourself, to not let where you’re going color where you are.”
Bernthal read the script amongst a stack of potential television pilots. WALKING DEAD quickly stood out from the rest of the pack. “[It was] pilot season and I read everything that was out there,” says Bernthal. “I still remember the day that I got this script. I told my agent that I’d be thrilled to be an extra in this, it’s so good. It just blew the rest of them right out of the water.”
“I love the way that he feels about Rick,” the actor says of Shane. “I love the friendship there. I love the way he uses this unbelievable dialogue that Frank wrote to be a good friend to Rick and to be by his side. Any time you can have a character that starts in one place and go somewhere completely different, that’s the journey that we’re mostly hungry for.”
Darabont and Hurd were encouraged by the fact that AMC gave WALKING DEAD six episodes to start off rather that just a single pilot. “It’s fantastic,” says Darabont. “These folks committed to production and air and gave us six episodes to prove ourselves. Usually you just get a shot at doing one episode, you shoot the pilot [and] there’s no on-air commitment. At some point they decide whether or not they’re going to air your show or toss it in a dumpster and it’s never heard from again.”
“I’m glad the first season isn’t 13 quite honestly because there’s a learning curve in how to prep for x number of episodes,” says Darabont. “I’m glad we’re getting sort of the half measure to start. I’d be feeling a little overwhelmed. But, you know, if there is a second season, which I believe there will be. I hope I don’t eat shit having said that. I hope I haven’t tempted the fates, but we’ll be on the hook for 13. Now I’ll know really how to get started for that.”
One last part of the puzzle for any good horror show is the right mix of creepy, atmospheric music. DEAD doesn’t disappoint in their choice there either. “Bear McCreary is our composer,” Hurd confirms. “He’s from Battlestar Galactica.”
The show will also mix in some contemporary music, but Hurd promises it won’t be gratuitous. “It’s not going to have a bunch of Linkin Park. No, we are in a post-digital, post-electronic world and when there is music, there’s a reason for it.”
Editorials
‘Bloodstone: Subspecies II’ Revisited: A Bigger, Bolder Follow-Up to Full Moon’s Vampire Cult Classic
Horror sequels are a peculiar thing. In most cases, follow-ups to scary movies tend to retread the same formula with different victims and more over-the-top scares. This is because audiences tend to be more interested in the antagonists of these pictures than anything else, with even main characters becoming disposable when the time comes to produce a sequel.
That’s why some of the most memorable horror sequels are the ones that actually manage to hold onto interesting survivors from previous films while also pushing the story forward instead of having the same thing happen again to a different group of people. From Scream 2 to Dream Warriors (and arguably even The Exorcist III: Legion), there are quite a few of these innovative sequels to go around.
However, if there’s one franchise that deserves more attention when discussing bigger and better continuations that make the most of episodic filmmaking, it has to be Ted Nicolaou’s Subspecies.
The Full Moon classic spawned an indie horror icon, but bizarre sequel Bloodstone: Subspecies II is even more beloved than its predecessor.
Building a Bigger Vampire Saga
While the film itself takes place almost immediately after the events of the first movie, Bloodstone only entered production a couple of years after the release of the original as both Charles Band and Nicolaou weighed the pros and cons of returning to Romania to continue the series. In an effort to maximize efficiency, the team decided to invest in a trilogy where parts II and III, now fully written by Nicolaou, would be filmed simultaneously over the course of a single grueling shoot.
Much like the first Subspecies, Bloodstone’s low budget meant that the filmmakers once again had to cut corners and re-use as many of their resources as possible. Thankfully, the process was much easier this time around as Nicolaou, with the help of Romanian cinematographer Vlad Paunescu and his wife Oana, became more acquainted with local customs and made new friends. Shooting abroad still came with its own unique set of challenges due to a lack of translators and the occasional safety concerns, but the crew managed to make things work by filming things guerrilla-style and setting up shop in abandoned caves and real medieval ruins.
The director’s newfound contacts, coupled with the relative success of the first movie, meant that he was basically given free rein over an assortment of shooting locations usually considered off-limits for indie horror. That’s why Bloodstone features insanely ambitious lighting and effects work even during scenes shot in the middle of a bustling Bucharest. The filmmakers went so far as to project Radu’s Nosferatu-like shadows over local monuments as if he were a Romanian boogeyman, an idea that was actually encouraged by local cinephiles.
In fact, many of the more elaborate scenes here had originally been planned for the first movie before being discarded due to the lack of available resources. It was only with the support of Romanian fans and filmmakers that Bloodstone was able to give Radu a chance to be even more menacing the second time around.
Michelle’s Transformation Takes Center Stage
However, when it came to the American part of the crew, not everyone was able or willing to return for another round of Romanian adventuring. That’s why Radu’s human-loving half-brother Stefan (Michael Watson) is unceremoniously killed off at the beginning of the film while the role of Michelle had to be recast. Denice Duff took over for Laura Mae Tate, with the character now being joined by her sister, Rebecca, played by Melanie Shatner (yes, that Shatner).
In the finished film, we follow Michelle as she awakens to her new life as a vampire and discovers that Radu has murdered her lover. Struggling with grief and her newfound bloodlust, Michelle contacts her sister overseas, with Rebecca soon travelling to Romania on an ill-advised rescue mission. Meanwhile, Radu (Anders Hove) reaches out to his undead Mummy (Pamela Gordon, underneath heavy layers of impressive makeup effects) and promises to deliver her the coveted Bloodstone artifact while also making Michelle his eternal consort.
Revisiting the movie, I was impressed with how introspective this story is when compared to the original. The sequel assumes that you’re already familiar with the previously established characters, so the story wastes no time in exploring the immediate aftermath of the previous film’s events. From Michelle’s reluctant transformation into a creature of the night to Radu’s obvious mommy issues, Nicolaou is way more interested in pushing these characters into new and uncharted territory rather than recycling existing plot points.
Practical Effects and Gothic Atmosphere Still Impress
Yet, much like the first film, it’s Romania itself that makes the movie worth watching. The ruins of Castle Vladislav are even more majestic now, and visiting the moody streets of Bucharest with its surprisingly punk-rock nightlife made for a nice change of pace when compared to the original film’s quiet village setting. Once again, the abundance of interesting locations makes the movie feel much more expensive than it really is, with the filmmakers surrounding our characters with a living, breathing environment that would be impossible to recreate in a studio.
The increased freedom also allowed Nicolaou to flex his filmmaking muscles and tackle more ambitious blocking/composition in the sequel. The low budget and tropey script mean that the visuals don’t always work, but it’s consistently clear that this neo-expressionist style could only come from a passionate team attempting to pay homage to the shadowy horror classics of yesteryear. If the retro atmosphere isn’t enough for you, there’s enough practical gore here to satisfy even the most demanding of horror hounds!
Radu himself is also far more interesting now that Hove is more comfortable working alongside an international crew, with the actor having gone on record explaining that, while he spent more time drinking vodka than working while shooting the first movie, the sequel was a much more creatively satisfying experience for everyone involved. The character’s relationship with his abusive Mummy is also a highlight of the expanded mythology, especially since the practical effects that bring her to life are just as freaky now as they were back in ’93.
My only real gripe with the horror elements of the picture comes from the glaring absence of the diminutive stop-motion minions from the first film, though I guess the surprisingly entertaining addition of Professor Popescu (Michael Denish) and his archeological antics mostly make up for that.
Bloodstone: Subspecies II is obviously the middle chapter of a trilogy, with the ending feeling a lot less definitive than its predecessor as several plot threads are left to dangle in the wind, but I appreciate how the flick explores new ground while remaining faithful to nearly all the ideas that made the original such a good time. While I don’t think it’s as big of an improvement over the first movie as some fans make it out to be, Bloodstone is definitely worth revisiting if you’re a fan of old-fashioned vampire yarns.
Tune in next time for the thrilling conclusion to this initial trilogy, Bloodlust: Subspecies III!
You must be logged in to post a comment.