BadRonald Interview with Evalena Marie: Watch Those Eyes!

The first thing you notice about Evalena Marie is her eyes. Wide and bright, and telling a story.  They grow big with fear, and then smolder with fire.  Just a glimpse from her and your imagination runs wild.  

The second thing you notice is that she can kick your ass!  Holy crap is this girl rock solid killer!!!  She's Joan Jett, all leathered up and raging with hot punk grrl angst.  She's Milla Jovovich, sleek and long and battle tested.  She's Audry Hepburn sweet and smart.  She's Rooney Mara, recondite, and quiet beauty. She's the whole deal. 

Born and raised in the Puget Sound area of Washington State, Evalena had no aspirations for the acting life.  It was while studying architecture in Boston that she happened on fashion photographer Kim Kennedy and became the subject for his work.  Once in front of his camera, she began to fall in love with performing.  Her modeling quickly led her to her first acting role in Kevin James Barry's femme fatale feature Serena and the RATTS.  In 2010, she was awarded BEST ACTRESS at the Los Angeles Cinema Festival of Hollywood for her role as Desiree in the short film Asleep in Child's Park.  Since then, Evalena has been busy acting, producing, and writing.  Her most recent role as Tori in the film adaptation of Steve Niles' (30 Days of Night) graphic novel Remains is on the Chiller channel.   

Evalena has enjoyed playing many unusual characters, and with several exciting projects in development for 2012, Evalena is looking forward to even more challenging roles. I know I'm keeping an eye out for her.

BadRonald:  You can now be seen in Steve Niles' Remains on Chiller TV, and you are featured in a number of other genre films this past year, including Exhumed, with Debbie Rochon.  Are you a horror fan?  And what is it about horror you enjoy?

Evalena Marie:  I am a horror fan.  I am a sci-fi fan.  I am an action fan.  Fantasy, comedy, drama, romance, I'm just a movie fan period.  I love a great story and a fun ride, and I love getting that from a horror film because the characters and the circumstances are usually intense and visceral, and I just happen to really enjoy playing those types of characters in those types of extreme circumstances.  I love imaginative people doing their thing, finessing their craft, and the horror genre in an excellent playground for them to dream bigger and really flex their muscles.  Everyone gets to work together to create something maybe only previously known in dreams.  And of course, if doesn't hurt that I happen to love chainsaws and shotguns and prosthetic skin!

BadRonald:  Whatever role you're playing, you have this vulnerability about you.  Of course it works well when you play a victim or a troubled soul, but it's most impressive when you're the tough tomboy ass-kicker.  Your performance in Serena and the RATTS, reminded me of what was so great in the performances in Le Femme Nikita, Run Lola Run, and the Lisbeth Salander movies.  Where does that vulnerability, juxtaposed with guts come from?

Evalena Marie:  First of all, wow.  Thank you for even mentioning me in the same sentence with those films.  That juxtaposition that comes through successfully is the result of a beautiful collaborative partnership between myself and a brilliant director, whether it be a photo shoot or a feature film.  It's that relationship between myself and my director that provides me sanctuary to approach and balance on the ledge with knowing I won't fall.  It's kind of like being able to fly while Superman is holding you up!

BadRonald:  You've now taken a role as producer.  What did you see in Serena and the RATTS that attracted you to the role, and how did you use your position as producer to pull it all together?

Evalena Marie:  Being a producer kind of just happened, but then again, so did being an actress.  I met Kevin James Barry (writer and director of Serena and the RATTS) on my first gig ever, playing a background concentration camp prisoner in Shutter Island just for fun.  He was a film student at the time, and thought it would be fun to make a skinheads short since he now had access to all these bald people, and he asked me if I wanted in on it.  Now, at the time I was studying architecture and had zero interest in acting, and was actually mortified by being on camera, but I would have agreed to anything to get to see him again, so I said sure!  We were waiting for the red line at South Station when he remembered his little script he had on the back burner, Serena.  We did some tests where he put me on camera in character, and then he offered me the role.  My first role, my dream role.  And producing the movie together was just a result of our partnership.  I promised him we would finish the movie, and producing the movie alongside him was the best way to ensure I kept that promise.  I never expected to fall in love with acting or producing but here I am, not able to imagine my life without it.


BadRonald:  Your modeling work stands out, as well.  There are a couple pieces that are very striking.  The first is a photo I've come across online with you in a punk role, your head is shaved (by the way, you look amazing bald!), and with those big beautiful eyes just sort of staring back into the lens.  What's going on in that photo?

Evalena Marie:  I know the exact photo you're talking about, it's one of my favorites.  I loved being bald, so it's great that it actually worked since I plan to do it again as soon as I can.  The photographer Peter Martin and I had ventured out into the streets of Boston that day, spring was just starting to take its first breath of the season, and as we lost the sun that day, we ended up in a dark back alley somewhere in Beacon Hill.  I crouched down against that coarse brick wall and just soaked in my environment.  The atmosphere is the real star of that photo, it was so thick and undeniable.  I just ingested it and made it everything I was for that moment.  And that's what you see in the photo.


BadRonald:  And the other is the rooftop photos with photographer Jackie Puwalski... there's some wild sci fi action girl costumes going on.  You have this feminine strength that breaks through, and it's not just from the sexiness of you and the wardrobe.  Many models demure to the camera, to try to seduce the viewer, but your shots are different.  There's a lot more going on.  You command attention from sheer will and strength, and your state of undress is as much a part of the wardrobe as the clothing.  You have a great confidence that comes through in these photos that's very engaging.  It seems to come natural to you.  How important is it to you to portray strength -- physical and emotional -- in your characters (whether in modeling or acting).

Evalena Marie:  I think strength comes in many forms and it is just compelling and engaging no matter how you serve it, so I believe strength is a crucial component for creating a fascinating and captivating character.  When I'm in the front of the camera (still or movie), the farthest things from my mind are trying to seduce or be pretty for the camera.  I mean, when I look in the mirror, I don't see pretty.  I see the same face I see every day; the same doofy, awkward girl I've always seen.  So when I'm on set, I'm just having a blast playing pretend.  I'm a super hero!  Or I'm a monster!  Or whatever sounds like fun at the time, just like playing Dungeons and Dragons or writing my stories.  I've always loved making new characters, long before I ever took on a role in a movie.  So that is still my favorite part. 


BadRonald:  What, to you, defines strength in a woman?

Evalena Marie:  My confidence in my imagination and my willing surrender of inhibition is where my strength in front of the camera comes from.  However, strength might just be one of those things that cannot be tamed with a definition.  I don't know that it has boundaries and defined edges, I think it may be more of a fluid concept that will be different in every woman.  But maybe the common denominator you can anticipate would be confidence.  Confidence in whatever form.  Maybe she's confident of her sense of humor, and that gives her strength.  Maybe she's confident in her kindness, and that gives her strength.  I'd like to think that once you achieve true confidence, it cannot be taken away from you (a goal I'm still working to achieve myself!).

BadRonald:  What are the films and art and artist that influenced you when you were young.  And who and what still make an impact?

Evalena Marie:  Most of my early artistic influences are actually musicians.  Harry Connick, Jr. is a huge influence.  Fiona Apple.  Stevie Wonder.  Otis Redding.  Without them I don't even want to think about how numb I would be to all the beauty that surrounds me.  Since falling in love with acting, two of my influences are Gary Oldman and Daniel Day Lewis.  Holy cow, if I ever become half the actors they are, I will blow my own mind.  My goal is someday to be completely unrecognizable in a role, that my own mother wouldn't even be able to see me.  But that's a long road ahead of me.  Got a lot of hard work to get to that point, and I cannot wait for the challenges that will help me grow to that level. 

The most influential person in my life, however, is not an actor or a filmmaker, but an artist of capturing moments of inconceivable beauty.  A photographer named Kim Kennedy.  Meeting Kim was a life long gift.  In front of Kim's camera, I felt beautiful in front of a lens for the first time.  And not because I felt pretty on the outside, but because he had the magical talent of really seeing me, making it safe for me to come out of my shell, and capturing that moment of emergence from deep underground.  Not only a huge source of inspiration and drive in my life, he was also a dear friend and creative partner.  Last May, he passed away from Lymphoma.  With an unmatched zest for life, he loved diving in the ocean, and wanted the Atlantic to be his final resting place.  Before we laid him to rest, I made a final promise to him that I would help him take care of his girls so he could enjoy the ride.  His best friend Tom Clancy set up a charity in his name, Everybody's Brother, to benefit his beautiful wife Marina and daughter Misha.  Anyone reading this can join me in helping him take care of his girls, helping me keep my promise to him, by making any amount of donation to www.everybodysbrother.com.  100% of the donations go straight to Marina and Misha and no donation is too small to make a difference.  Thank you, guys.


BadRonald:  You've made an impact in horror and genre films.  How do you see the role of women in horror and genre films growing, and what would you, as a producer and creator, like to do, or see done?

Evalena Marie:  I've had a lot of conversations with my friend and film director Mike Pecci about this actually.  We've talked about what we want to see in the modern heroine.  As a movie goer, actress, writer and producer, I look forward to seeing and portraying more female characters that are heroic without trying to be men.  There's certainly a charm to seeing a masculine chick kicking ass and taking names, but I'm really looking forward to seeing more roles where a woman is kicking ass and taking names as a woman; where the femininity is not only still intact but also remains valuable.

A BAD RONALD EXCLUSIVE

Evalena did a huge kindness for me by lending me some exclusive photographs from her latest photo shoot with Daniel Rosenthal.  If you thought you were having a good time on Oscar night, check out the wild time Evalena was having at the Beverly Hills Hilton... So nice.  So cool.  So smokin'.

Photography credit: Daniel Rosenthal

Makeup and hair credit: Keri Anne Shea

Cinematography credit: Kevin James Barry

Some behind the scenes footage of Evalena Marie's latest photo shoot!

EVALENA MARIE Oscar Night at the Beverly Hilton from Evalena Website on Vimeo.

If'n you're loving these photos as much as I know you are, here are some links to find out more about Evalena and about the fine work she'd done:

www.evalenamarie.com
www.horroblepictures.com
www.yellowlinephotography.com
www.kerishea.com

BadRonald Celebrates Demi Baumann for Women in Horror Month

The first thing I need to say about My Name is A by Anonymous is that this movie needs a distributor -- now!!  I can't say enough good things about it.  It's powerful and moving and disturbing.  Credit goes to director Shane Ryan for creating a poetic view of troubled youth that doesn't incite fear or distrust, but rather moves the audience more towards contemplation and debate.

The other credit goes to the ensemble of young actresses who all delivered subtle but penetrating performances. Each of the talented young ladies developed their own unique image of misspent youth. Earlier I got to speak with Alex Damiano about the brutal honesty she delivered in her performance.  This time I got to speak with Demi Baumann, who plays The Sidekick to Katie Marsh as Alyssa (based on Alyssa Bustamante, the 15 year-old who strangled and stabbed her 9 year-old neighbor to death). It was Demi's performance as the aimless sidekick that demonstrated the disconnect that many teenagers have when their is no guidance or inspiration in their lives.  She's the good girl who meets up with the wrong friend.  It's Baumann's hardened, emotionless expression that quickly became most unsettling. She shows a lack of concern for her BFF's rebellious and dangerous behavior, but then suddenly a wide, Chesire grin would break across her face. It happened only rarely, but when it did, her pretty smile clearly showed the audience just who these kids really were... kids.  Innocent, naive, lost, desperate... kids. 

How did you first hear about this project, and about Shane?

I first heard about it through my friend Katie Marsh. She was auditioning for it, and was working with my mom who is an acting coach. Katie was cast and asked to film some candid scenes running around and I happened to be in one of them and Shane saw the footage and asked if I would be interested in being part of the project.

Were you at all familiar with the story of Alyssa Bustamante?

I wasn't until Katie started studying the videos. Since my role was not that essence of her, I didn't watch many.

It was a courageous performance -- by you and all the girls. How did you (with Shane) develop your character, and was it difficult to try and relate to the character and her acts?

Thank you. Shane gave me the freedom to be this alternate personality as I felt it. Of course be part of murder is unfathomable and my personality had a disconnect. His made it more comfortable. The cutting was easier as I know a few people that do this and I have heard them talk about the mental pain.

How did this role compare to other acting jobs you've been involved in?

It is strange that I tend to play really dark characters. I seem to have this fierce mean look that I attribute to my Russian and Mongolian features. But I love these types of characters – I am more comfortable with these types of characters compared to bubble gum perky Disney type roles. This role was the toughest as it was a lot of improv. It was the most natural and raw feeling role for sure to date.

I see My Name is "A" as a true life crime story much less than it is a riveting coming of age story.  The end result (of murder) is the extreme of childhood troubles, but the other acts of cutting, eating disorders, depression... do you find these things more common or not.  Do you know or know of girls who act out like Alyssa did?

Here in Los Angeles you see so much. I have been exposed to all of those issues. Fortunately I haven't dealt with them personally. I think watching it around you, it can make you realize that bad path and helps you stay off of it.

What was most challenging for you in this role?  And how did you overcome the challenges to deliver such a great performance?

Again I would have to say the improv and not breaking character in scenes with Katie when she gets a bit out of control because it was so against her true self.

I have to applaud you and the rest of the cast and crew for making such a difficult and powerful film.  Was the impact of this story evident when you read for it?  I mean, was it clear that this would not be just an exploitation of a true crime, but something more resonant?

I never saw a script. Each scene was attacked as an idea and we used our thoughts and ideas as those characters. We knew after the first scene, that this was going to be raw and edgy.

You're fairly young, and some of the emotions and acts in this film may be beyond your years -- how do you explain this film to others, when they ask about it?

I grew up around older actors and nothing really shocks or surprises me. People think I am much older than I am. I did not grow up sheltered from reality. I haven't seen the film yet – just scenes and trailers. After I watch it I will have clearer thoughts on it as a whole.

The film was shot in a style of a documentary -- this is probably much different than you were used to.  How was it working like this, and how was it like working with Shane?

Shane is a really nice guy and an actors director. He lets you explore and try. The style of filming as a documentary seemed in some ways easier and much quicker.

Your IMDB page shows you've been doing a good deal of acting.  Will you be going after bigger roles, with this on your resume?  What's next for you?

Well, pilot season is about to start so I will be back in the 'game'. I hit a growth spurt, which is never good for female actors, so it may be slow until I am 18 and I can play older roles. No one wants to hire a 15 year old to play 18 which is what I would play now. But I am okay with that, because I am doing a lot of ballet and modeling now too.

BadRonald Celebrates Nicole Kruex for Women in Horror Month

Continuing in my WiHM celebration, I hooked up with Nicole Kruex and got her take on what it's like to be a woman in the horror scene.  I was pleased to find out that we had so much in common... Like I had, she grew up worshipping the genre idols of the day, while also enjoying the more goody goody child friendly fare  Her juxtaposing tastes would later guide her through her burgeoning career in front of the camera... and now behind the camera.

Nicole put her time in on low budget horror and genre gigs, where her body may have been more prominent than her other, developing talents.  She had her own understanding that she would pay her dues to get a foothold in the biz... and then, with the knowledge she'd acquired on the job, and the relationships she built in the Minnesota horror and film scene, she started developing projects under Triwar Films and Deadtime Productions.

BadRonald:   You've been featured in a number of films, as an actress, but now you're also producing and writing?

Nicole Kruex:   Certainly!!  Acting is my first love and will always be my goal, but stability in acting is fleeting and often unless you have great contacts or are born into the craft, you have to make your own future.  One of the best ways to do that is to become a producer/writer.  In some ways it seems very narcissistic to be the facilitator to your own future. But then how else are you as a creative able to work your way into bigger and better projects?  I love producing, though.  I love being on set and standing behind the camera just as much as in front of it.  It a great opportunity to learn things from all angles and gives me greater understanding of things I need to do as an actor.  Currently I've produced several projects, one I can link to is a 3 min short entitled, 'The Initiation' directed by Mitchel A. Jones (see below).  That film was fun.. It unfortunately had to be 3 mins, and feels too fast paced to me?  But we are working on a longer cut in our down time. As you can see in the credits, I also edit and run camera, and soon --  Direct!

BadRonald:  The role of women in horror is ever changing. What are your views on the role of women in horror? And how do you envision women excelling in the field?

Nicole Kruex:  I hope more women take a business savvy course and more production roles.  Acting is the great platform for ego and narcissism and as of late seems less about the craft then about how many films one can pile under their belts and how many half nude pictures they can pile onto facebook. There is nothing wrong with that!  But I'd love to see women change the portrayal of what we are in context of a story.  Leave the porn to the porn stars and really learn how to act.  Demand quality from the productions they attach themselves to and help to raise the bar on what gets produced.

But some are so desperate to just "get a role" we agree to anything from anyone...  Instead, enter a $200 flip phone, iMovie editing, and a script written by a boob obsessed 12 year old.

BadRonald:  Who are your influences, and what films inspire in you in your work?

Nicole Kruex:  Oh gosh, Guy Ritchie, Danny Boyle, Christopher Nolan, J.A. Bayona, Guillermo del Toro, Stanley Kubrick, Roman Polanski, and Neil Marshall are some of my favorite directors.  Heath Ledger, Gary Oldman, Cate Blanchett, Audrey Hepburn, Alan Rickman, Geoffrey Rush... I love horror desperately!  But I'm influenced by the incredible careers of those I consider some of the best in the acting business.  I've found it difficult to find an influence in acting that is strictly horror... but maybe there is a reason for that.  I think the best shoot higher then just horror, but hundreds of them got their start there... look at Jamie Lee Curtis!

As for films, in the horror genre I am most inspired by films with a clever edge or a rawness that translates into something more then "Five teenagers go into the woods".  28 Days Later, The Orphanage, The Descent, The Shining, Rosemary's Baby, The Omen, Poltergeist.  Movies with incredible stories and incredible cinematography.  Movies that create a world for you to disappear into with details you may not catch on the first or second watch.  A lot of films don't reach that pinnacle today because they are too interested in body count, twist endings, found footage, boobs, blood, and gimmicks.  Give me Hitchcock and real people over GQ drunken frat boys "actors" and loose porn star "actresses" any day.

BadRonald:  You had started your acting career taking parts where your body was exploited more than your creative talents.  But then you made the decision to take a vested interest in the business and art of the genre, with writing and producing. How did you balance the two, presenting an image that will attract, while taking control and producing and creating?

Nicole Kruex:  Well, the first step for me was picking and choosing roles and films that made sense for who I want to become. I've made mistakes just to get in the game and quickly realized that wasn't who I wanted to be or how I wanted women to be viewed. I have great respect for doing what it takes... but being smart about it. A lot of girls fall into stripping naked for films with no future. The guy with camera, and zero budget, and no plan beyond getting a pile of girls naked and covered in blood idea... problem is if you really want to be Jamie Lee Curtis, you have to look further then that,.  You have to work, fight for better roles, and do your research on what is going to push you forward vs. hold you back. For me, that meant seeking out things bigger then myself and learning what I needed to do to get there. The balance comes in deciding what was really sexy and what was just slutty.

BadRonald:  I liked the humor and commentary of the "Arrested After a Girl Fight" pics on your FB page. What was that all about?

Nicole Kruex:  Honestly? I was having a bad day... but I turned it into a positive thing by finding some humor in my sadness. It became a fun photo shoot.. but in truth, those were real tears.

BadRonald:  Like me, you grew up with horror stars as your idols.  Stars like Robert Englund and Doug Bradley.  And you loved films like Texas Chainsaw Massacre.  But also, you were equally fascinated with the sweeter side of film, enjoying the films of Shirley Temple, Audry Hepburn and Great Garbo. I'm the same way in that I really love performers with sort of duel personalities -- balancing darkness and light. I love Johnny Cash for his soul, but also his demons. I loved Burl Ives and Andy Griffith for their child friendly work, but also the twisted turns they gave in movies. Also Jimmy Stewart.  Do you also enjoy those dark shadow you see in the "goody" entertainers?

 Nicole Kruex:  Absolutely! As an entertainer you can't be just one thing... All actors have just as much light as they do demons, it's those demons that cause the changes in attitude needed to give a realistic performance on camera.

BadRonald:  Thank you Nicole.  Best of luck on all your projects.

Nicole Kruex:  Thank you BadRonald!!  

Check out more on Discursion here.

BadRonald Celebrates Roxsy Tyler ~ Women in Horror Month

From the graveyard of horror hosts rises Roxsy Tyler and her Carnival of Horrors.  Wait!  Wait!!  Don't run.  She's cool.  Nothing to be scared of.

Roxsy has created a name for herself on the Interwebs as one of the most happening horror hostesses around.  Hosting her show somewhere in the dark and creepy outskirts of Philly, in a dilapidated circus tent, Roxsy and her gang of misfits watch and comment on old scary movies, and crack the funny bone with their comedy skits.  When  Ms. Tyler isn't haunting the carnival, she's busy acting and producing.  She also distributes genre films at Mr. Potent Media.  Busy busy!  So glad she was able to take a few moments out to speak with me.

BadRonald:  I wanted to take you for a little trip in my Wayback Machine so I could see the origin and emergence of the Horror Hostess superstar Roxsy Tyler... but sadly I don't have one. So, could you tell me the brief history of Roxsy, please?

Roxsy Tyler:  I guess we should go back to 2006 when "Roxsy Tyler" the character was first introduced in the book 'Big Boots and Black Hair Dye" a collective of short stories and poetry. Roxsy was the star of three short stories in which she left a drug-ridden Philadelphia neighborhood to work at a carnival but her history followed closely behind her and had to be confronted with the help of some eccentric friends. The stories were quite violent and dark in comparison to who you see hosting Roxsy Tyler's Carnival of Horrors. The Carnival of Horrors viewers are used to a light-hearted free spirited Roxsy Tyler who just wants to have fun. For a book put together in a hurry it was more successful than I could imagine and Roxsy Tyler's stories were reader's choice.

In 2009, Roxsy Tyler made her first on-screen performance on Midnite Mausoleum. The director, Blake Powell, was very familiar with the Roxsy Tyler character and he and Marlena Midnite agreed Roxsy could be a special guest on the show. I expected nothing out of this. I only to have fun but after the show there was a demand for a Roxsy Tyler show. Being that I work for a movie production company (Potent Media) I decided to use the resources available to me and "Roxsy Tyler's Carnival of Horrors" debuted in the Spring of 2010.

BadRonald:  The phenomenon of the horror host flourished in the heydays of television, but you're a fairly young gal. How did you discover the old creepy hosts?

Roxsy Tyler:  I actually knew very little about horror hosting. I knew who Vampira was. I adored Elvira. That's as far as my knowledge went. I missed a lot of good entertainment when I was just a girl!  I only knew of the veterans of horror hosting through friends and acquaintances who were doing their own horror shows. I even learned that my own home of Philadelphia was enriched in horror hosting history.  From there I did my research-- mostly on Zacherley (Rolland) and Stella. I can't say I'm embarrassed that I didn't know much about horror hosting history before I started my show because upon all the research I've done on other hosts it would seem quite a few of them didn't know much either. Some were actors hired to do this as a job and others fell backwards into it. Then there was the sum of hosts who knew the history
of horror hosting, loved it, and wanted to do it themselves. I don't think it matters how you get into it but whether you know nothing or know everything about horror hosting it's something well worth our respect.

BadRonald:  What are your major influences -- not just on your hostess persona, but in horror in general?

Roxsy Tyler:  It's hard to say. Most things I am heavily influenced by have nada to do with horror. I'm a Marx Brothers fan which is a major influence to the comedy in my show. Hostess-wise Stella has become a big, positive influence on me. Her butler Hives as well. They've both been very encouraging about what I'm doing and the fact that they still work their butts off is very inspiring. But horror in general-- it's still a mystery to me. I've often said that I want my show to look like a Rob Zombie music video but it doesn't. So, that hasn't influenced me just yet .

BadRonald:  You are not just a horror hostess, but an actor and a producer. What are your thoughts about the emergence of women in horror as a creative force?

Rozsy Tyler:  Women's creative force in horror has always been there just not often as recognized. I don't know why it is this way. I won't presume it's at fault of men. There's a lot of men out there who don't get their due either. Perhaps it's the fault of assumption. Though my show has end credits people still had no idea that I write, edit, and direct my own show. Hell, there's tons of things I do in the film industry that I'm sure no one knows about. As for creative force, I don't care who is in charge of it. Man or woman, I don't care as long as they put out something exciting. If these are men releasing one horrible remake after another I think they should sit in the back for awhile and let their wives drive.

BadRonald:  What are some of the female-centric films you've found empowering?

Roxsy Tyler:  There aren't enough female-centric films. Could you recommend me some? I happen to enjoy Serial Mom! We need more female serial killer movies! I'm hoping to make that my contribution to horror someday. Let me play your lady serial killer!

BadRonald:  Your persona of Roxsy Tyler is a strong female presence, a woman who fends for herself, and is not defined by the men around her. How important was that strength, when you developed the character? What motivated the origins of Roxsy?

Roxsy Tyler:  It was always important to me to have strong female presences to look up to. It'll always be important to me. It's so important to me that I try to embody that as much as possible. She has a male dominance about her that makes it ironic because she is a woman. I think sometimes she isn't defined by men because take away the female attributes she practically is one. It hasn't quite dawned on Roxsy Tyler that she's a girl. She doesn't define herself as a gender, or an age, or even a stereotype. She just is what she is and whether anyone can accept it or not she doesn't care. We can learn through her that you are you're ultimately your own boss and you shouldn't be defined by other people's expectations.

BadRonald:  Recently, you did something that sent your fans into a tailspin -- a lingerie shoot. What inspired that idea? And what was the reaction from fans? Many liked it, and some didn't...

Roxsy Tyler:  I promised to do a lingerie shoot if I won "Gore Hunny of the Year". I didn't quite win and I didn't quite lose. I was named co-winner. The winner was determined by votes. Hundreds of people committed themselves to voting for me everyday and I wanted to do something to show my appreciation. I didn't think I'd win beings tat some of those ladies were either i their panties are known for being in their panties. I can be sexy if I want to be! Truth be told, I usually never want to be... so this boudoir shoot presented the opportunity to do something different.

I was very nervous about it at first but it was actually quite fun! I think every woman should do a boudoir shoot at least once in their life even if it's for their own eyes only. It felt empowering. Most people seemed to like it. A couple of my guy friends were against it but it was painless for them when they saw the photos. They were tasteful, not pornographic and alas those guy friends of mine were relieved. Even women were patting me on the back because even though it wasn't my "thing" I still conjured the courage to do it. I'm proud of it. Special thanks to Melissa at http://www.newgirlphotography.com/ for doing the photos!

BadRonald:  Roxsy Tyler is certainly a sexy character. But sex does not define her, like it defines so many other women/girls in horror. How do you strike that balance of wit, intelligence and femininity?

Roxsy Tyler:  Effortlessly is my guess. I'm certainly not trying. I think the sexiest part of a person is their personality. If someone has an interesting personality you tend to want to be around them, talk to them, have fun with them. I'm very lucky if I have that kind of personality. My looks (if any) won't last forever but I want to keep acting and doing my show for as long as I can. If I have the personality I might actually survive long after my looks fade. I don't think women think about that. What are you going to do when you don't look good in a bikini anymore? You can either retire or be Betty White.

Even your boudoir pics found the great balance between sexy and sensible. What are your thoughts on sex and the horror hostess persona?

Sex appeal is important for a horror hostess to have. You need the men to want you and the women to want to be you. Sex sells. There's no doubt about that. If I had huge boobs people would want to look at me more but who's to say for how long? What would make me different from any other woman with huge cans? Well, if there was anything that would decipher me from the rest not many would notice because they're too busy looking at my cleavage! So, I'm glad I don't have big bulging breasts. I need more attention than my chest does. I mean, come on, Elvira has huge cans and a huge personality... but even I can't stop staring at her chest. Having sex appeal when you're a horror hostess is essential. I find it ironic because we represent horror. For a genre so full of monsters and macabre there certainly are some good looking creatures walking around.

BadRonald:  So, what's next for you? Go ahead and plug!

Roxsy Tyler:  Right now we're working on getting our film "Deer Crossing" out there. I recently won Best Supporting Actress for the D'Ment"d Cinema Reader's Choice awards for my role in the film "Booley" (on sale on amazon.com and mrpotent.com). Our first Carnival of Horrors DVD is available everywhere now on the internet. I'm currently in talks about some more film projects (fingers crossed) and as always we are releasing new episodes of Carnival of Horrors for free viewing online at http://vimeo.com/carnivalofhorror

BadRonald:  Roxsy, yer great!  Thanks for the chat.

Roxsy Tyler:  Thanks so much for having me!

Go visit her blog, too!

BadRonald Talks to Alex Damiano of My Name is A by Anonymous

As part of my ongoing Women in Horror Month celebration, I want to introduce a very talented young performer, who delivered a powerful and bold performance in the indie flick My Name is A by Anonymous.  As part of an ensemble cast Alex Damiano plays the role of The Angst, a teenager with an abusive father, and a troubled self image. 

The yet to be distributed My Name is A by Anonymous is shot with the immediacy of a documentary film, telling the story based on the true crimes of Alyssa Bustamante, a fifteen year old girl who confessed to the thrill kill murder of a 9 year old neighbor girl.  Director Shane Ryan turns the camera inward, onto the accused, focusing on the events that lead up to the murder, following a group of four teenage girls (Alyssa, the Sidekick, the Performer, and the Angst), all from different backgrounds, and with different interests, and whose paths will lead them to stand over the dead body of the little girl, holding the knife that killed her.  My Name is A is a raw and honest and poetic portrayal of life gone wrong, with performances from some great talented young women.  As part of a series of interviews for the film, Alex Damiano took some time out to talk about the work she id on My Name is A by Anonymous.

BadRonald:  First off, I have to say that I was greatly impressed with this film -- not just with Shane's filmmaking talents, but with all the young women in the film. All the performances were fascinating and genuine. How did you come to this project?

Alex:  Well, as far as how I came to find the project, it’s honestly foggy (what with the amount of submissions going back and forth in any given week), but I want to say Shane found me on Backstage West. Or vice versa. Either way, his people set up the audition and we just hit it off immediately. He explained, abstractly, the intended direction of the project and what I considered a fantastic opportunity for showcasing the furthest most extremes of human emotion, the addressing of the absolute unpredictability of human response to any array of factors; the commonalities and completely randomized, personal methods of “dealing” (mostly seeking some sort of control, be it pain, food, life or whatever else).

Was the element of anorexia a part of the script, or did this come about after you were cast?  And was it a subject that you worked into your performance with ease, or with difficulty?

The prevalence of the eating disorder, melding that into the character was by my own election. It’s rare to have as much creative input into the inner workings, the actual soul of a character, and while not a purely method actor I saw my own familiarity and truth in relation to anorexia as a fit to the beginning strains of an even greater madness. A unique spin to one of the showcased personalities. It was “easy” only to the point of being, again, familiar. To actually address it was, at the start, suddenly daunting. The first “rule” as an anorexic (bulimic, or otherwise specifically disordered person) is secrecy, whether completely or just of the lesser glamorous points.

I’m not a classic bulimic, I should point out, however I think the dramatic points of that disorder are so immediately overwhelming, the feast and famine and fear and love relationship of it; I think most eating disordered people (and I generalize) do not so much “hate” food as they come to “resent” it. Sort of a mutually abusive relationship; I love the idea of you and I want all of you and with no uncertain simultaneity wish you were dead.  Something like that. It became, in third person, cathartic, and while I didn’t realize it at the time it led me to realize another point of purpose for my existence and eventual larger successions in this industry: to shine a light on all that darkness in a very real way. To just pull back the curtain and, as a functional, accomplished human being, explain in truth— deep, progressively more personal truths to humanize a subject largely unaddressed beyond Lifetime-movie-style films, commercials and definitions. The really ugly side, and then the light at the end of the tunnel.

There really isn’t a point of absolute “recovery”, mentally speaking; it’s always there. I apologize if I’m being vague; I truly dislike mass generalizations, as the greatest factor in the difficulty in treating disorders is the very personal manner in which each is planted, nurtured and allowed to essentially consume the grounds. That same very “ungeneral” quality is also that which makes a strict definition, even of my own experiences so.. inconsistent. I could compare it to the unpredictability of a storm, but metaphors are like cats, or lawn gnomes: one is enough (same goes for similes).  

BadRonald: One of the scenes that left a great impression on me was the one where you were examining your reflection in a window. Suddenly you pound yourself in the torso.  It made me jump, literally.  The pain you seemed to be inflicting on yourself was such a cathartic image, and showed, in no uncertain terms, the angst of your character.  Shane had told me that he came running after he heard the commotion you were making while filming this scene, off on your own.  The moment is brutally honest, but also very moving, at the same time. Can you tell me about this scene, and how you built it?

The reflection scene was both random and real in the sense of visually drawing out the strain of logic, the part of self that knows that the parasite, the disorder is something wrong, unnatural. The illogical act teaming up with sensibility in a brash act of revolt. Against what? Itself? Simply, constantly aware of my own reflection, and during these days of previously uncharacteristic honesty, allowance, request to speak and literally “act out” without consequence, I just allowed “The Madness”, the picture of disorder to take over, to just go into a full on battle with its assumed nemesis, its own shell which it purely distrusts as a thing that, left unchecked, would certainly become something awful and overgrown and sickening. So it’s two very contradictory ideas, two separate religions (feast, famine; mortal, ethereal; filth, purity) thrown into a temporary ring, a quick spotlight, provoked and allowed to have a full go at each other to no point or purpose but to stand their ground. Their unyielding, unmoving ground until death do they part, followed by the deafening silence the follows any real, epic battle. As for all of this, I think Shane has a great sense, desire to capture honesty in its best and worst lights, whether from experience or drawn to life from observation and an even more intense drive to allow his own vision to intertwine and develop rather than forcing a direction to the point of hollow emotional chords.

BadRonald: Watching the ritual of vomiting, and the scenes in the shower were strikingly honest, and the scene where your character is raped by her father – these scenes are bold and harrowing. Baring yourself to the camera, both inward and outward -- was that difficult?  Shane had commented to me that he nearly stopped shooting a scene at one point, because he was worried the "father" was going too far, and maybe upsetting you.  How did these scenes play out for you, and what went through your mind?

Alex: Now, for the scene between Mr. Arcangeli and I, that was equal part invention and method, going to that very dark, dark unknown place, feeling those feelings and carefully giving them leave to possess the scene. Definitely, on more than one occasion in the span of this production, I had the whole of the production team worried over the affect the subject matter might be taking on me. I have a strong hold on the line to pull me back to the surface (which I assured all those involved) and so I really have no qualms with exploring the darker, more treacherous waters of the human condition. I think, having really skipped a great lot of the bourgeois, petty, conformist rituals of teenagehood (between the dramatics inherit of being a young, aspiring theatre actress, model, and the more constantly present illness), self-appointed solitude gave me the basis for an incredible sense of self, and, in that, a bold willingness to lend myself to artistic analysis of all things outside of me (be they extremes of melancholy or absurd giddiness in any character outline, the space between the apparent, more Freudian layers is what turns me on.)

BadRonald:  I see this film as an important piece that shows, quite honestly and openly, the secret lives of particular girls in our society.  They may not end up doing the crimes that Alyssa Bustamante has been charged with, but still, that veil of truth is there.  The hokey Lifetime movies always show these tragic events from the pity end of the parents, but never delve into what makes the troubled girls unhappy, or unsettled, or bored or whatever they may be.  No one ever wants to see the story from this angle... and we should!  I have two little girls, and I, as a father, worry about how hard it is to be a girl today -- what with Disney and Hannah Montana and Bieber-spazzoids controlling the image market.  What were your influences?

Alex:  The “spazzoids”-- as you put it – and their position of leadership and emulative qualities to American youth, it all comes down to exposure. We’re all collaborations of acquired knowledge, so in the instance of a girl growing up with absolutely no other outlet to culture beside Disney-MTV-Teen Vogue Magazine, then she has no choice. But that’s such an extreme idea; in this day and age, we have the entire world and its history and its artistry literally at our fingertips. The issue is, for all the focus on ideas like “different” and “unique”, there seems to be an underlying feel of mass conformity. “Gee, [Lady Gaga] sure is unique. Let’s all wear dresses of luncheon meat!” And so it goes down the line to the Miley-Cyrus-whoevers, which is just that much more regrettable given, again, the great, much more timeless characters available to take leads from. We all emulate; the goal is not to become a cheap copy of an already substandard document. I was lucky enough to grow up in a home in which culture, art and intelligent expression were things of consistency, with a brilliant father (himself an actor turned lawyer) who, to this day, I’m convinced knew absolutely everything worth knowing, engraining in me an equally unquenchable thirst for knowledge and great desire to leave infectious positivity, genuine peace and love as my toppermost lasting influences on the world.

The distractions will always, have always been there; it goes back a strong sense of self, the absence of fear in being a little bit alone in your own generation for sake of a greater purpose. Be Yourself; Work Hard; Be Nice to People. And balance. Balance is key, between Love, Career, Knowledge (Study) and Meditation. If you get those in order, everything else falls into place. Your best self becomes natural. Young people, especially, need to have knowledge of balance in theory. Specifically, as for my direct popular influences, my inspirations are equal parts Audrey Hepburn and John Lennon, with a hint of Marlon Brando for quirk and dry wit, and Harpo Marx as a reminder that powerful silence speaks incredible volumes.

BadRonald:  You’be been pretty busy since filming  My Name is A.  What's next for you? 

Alex:  The past six months for me, beside modeling as the constant aside, were spent exclusively in traditional, live theatrical performances with little desire for self-promotion (to the point of using a handful of different, invented stage names. Temporary removal from self and necessary reset.) I needed to remind myself of my roots, my first love and reason in this industry, to feed off the energy of a live audience. Lots of Shakespeare, a musical, a bunch a tiny independent pieces. Currently, I’m working on a handful of commercial endeavours and just beginning to step back into film, with newly invigorated, polished, passionate, less frantic energy. I’m always superstitious to speak of specific eggs before they hatch, but suffice to say the reasons for optimism and tangible fruits of labor are palpable. The best is yet to come.

BadRonald:  Thank you very much for talking with me, Alex.  I appreciate the time, and congratulate you on a great performance.  I'm hoping that Shane can get this film seen, because I think you al deserve to be recognized for the brilliant performances all of you put out.

Alex:  Thank you.

BadRonald: Date Night w/the Soskas (and breaking Dead Hooker news!!)

Thank goodness for Al Gore!  Seriously, what would we do without his Interwebs!!  How else, in this crazy skittyskat world, would I have been able to sit on my own couch, in my own home, and watch a killer hot movie like Dead Hooker in a Trunk with the very people who made the film, the killer hot Soska Sisters.  OMGD!  Why is Gore not President?  Or king of the world!!

Stand by for some Dead Hooker news!!

You may want to sit down for this

To kick off Women in Horror Month, Jen and Sylvia Soska, of Twisted Twins Production, invited their fans to join them for a viewing party of their film (just released on DVD by IFC Midnight), to be held on Twitter.  Participants started their DVDs at 8pm PST, and twattled their thoughts, while being treated to a unique, personalized directors commentary track.  Twitter had apparently blown up, at some point, and couldn't handle the pile up of #deadhooker hashtags, so everyone was invited over to Jen's FaceBook page to continue the party.

Throughout the cyber-party, Jen & Sylv laid down a continuous trail of twits -- and then FB posts -- commenting on what inspired particular scenes, lines of dialogue, casting choices, music tracks -- all as the movie played on the audiences own DVD player.  They even answered questions from the audience.  What a killer party.

Thriller!  A Cruel Cool Picture

But, the best was saved for after the movie was over...  Everyone hung around, as the Sisters fielded some Q&A, and gave some updates on their upcoming American Mary (now in post-production).  And then, the announcement came, that no one was really anticipating, but flipped out for... news of a sequel to Dead Hooker in a Trunk!!  What a killer idea.

I hadn't even considered the idea for a sequel, but hell -- the more I think about it, the more I like it!  The original was such a satisfying movie, and, with a second viewing at the party, I saw so many things I didn't see on the first looksee -- most notably, the genuine heart of the script.  I had been so wow'd! by the spectacular blood and well played action... and, of course, stunned by the twins themselves, that some things just slipped by me.  Not that it mattered much, because I loved the movie on first view, anyway.  Maybe it was the commentary that hinted to my brain to pay more attention.  It worked.  And I now enjoy DHIAT more than I did before.  And now I'm looking forward to more action from Geek, Badass, Goody, and Junkie.

So... thank you Jen & Sylvia.  Fekkin' brilliant night!!

BadRonalds likes Women in Horror Month

Did you know?  February is Women in Horror Month?

So, let's celebrate.  Celebrate by watching horror movies that are written, produced, directed by, edited by, and shot by WOMEN and GIRLS. And also horror films ABOUT them  -- and by about, I mean not just about their boobies and bums, but about the social issues that women face.  There are more than you think there are.  Loads more.  Let me give you some examples to start you off:  Lucky McKee's The Woman is now out on DVD and Blu ray, starring Pollyanna McIntosh.  Dead Hooker in A Trunk. written, directed and starring the fantabulous Soska Sisters, is being released by IFC Midnight today!!  Them, while you're at it, go to YouTube and watch The Haunting of Sunshine Girl, featuring the coolest teenager on the Interwebs, as she hunts down ghosts and gobllies.

There you go.  Start your month off right with these selections.  Come back and I'll help you out tomorrow, with more tips.  And yes, I'm open to your suggestions, too.

DON'T FORGET TO SPILL YOUR BLOOD


The other important element of this month long celebration is the MASSIVE BLOOD DRIVE. Spill your blood... Save a life...

PEEPHOLE REVIEW: The Woman (2011)

You won't be scared by The Woman because it's shocking, you'll be frightened because it's true.

The Woman is one of those controversial films that either you love it or you hate it.  You love it because you get it. Because it speaks to you on a level that's above the usual horror fare.  You hate it because it scares you.  Because, not only does it scare you, but you get it, and the message is what scares you.  You hate it because it's a mirror that reflects back the things you don't want to think about.

And that's the reason why I think this movie works, because it throws back in our face the very things we try to avoid.  Because it makes me think and analyze my own thoughts and beliefs.  I'm always up for that challenge... but too many people aren't.  That's why they'll hate this movie.

In Lucky McKee's The Woman, the Cleek family of rural Maine, in first appearances, look to be your average, functional family, attending a local picnic. Chris Cleek (Sean Bridgers), the head of the household, is a successful small town lawyer, overseeing his family as they mingle.  His wife Belle is the doting mom, keeping their children in check, and out of their daddy's hair.  Middle child, Brian (Zack Rand), practices his hoops, while keeping an interested eye on the girl who's getting teased by the other boys.  Oldest child, Peggy (Lauren Ashley Carter), hides herself from the boys, behind old paperback novels.  And little Darlin' (Shyla Molhusen) is full of innocent mischief.  They aren't the Cleaver Family, but in Chris' eyes, he's got it made.

At home, for the rest of the family, Daddy's ideal version of life isn't so wonderful.  Dad keeps Mom in check with the periodical backhand.  Brian's obsession with the perfect streak of foul shots is practiced out of fear that he'll lose an ongoing playground challenge with a girl.  And big sis Peggy's baggy clothes hide a secret from the outside world, but maybe not a secret in her own household.  The worst of it comes when Dad brings home a feral woman (Pollyanna McIntosh) that he's found running half-naked through the woods, and cheerily announces that her domestication will be the next family project.The Woman is chained and locked in the hurricane cellar, where each and every Cleek is administered their duties to care and tame her.

The subject of "civilizing" a woman isn't exactly new, but then again Chris Cleek ain't no 'enry 'iggins, and the Woman is loads more unsophisticated than Eliza Doolittle.  So, instead of linguistics and etiquette, Cleek utilizes more barbaric tools -- power hoses, shackles and chains, and rape.  Welcome to the age of enlightened man.  Not even the feral males of the Woman's former tribe (in the film's prequel Offspring) were this cruel... and they were barbarians.

The shocking part of this film is not the ultraviolent climax (which art house crowds will surely wince at it, while gore fans will howl with delight), but in the everyday violence that goes on "right next door."  Chris Cleek is not the serial killer monster, who stalks the city.  He's not the workmate that goes postal at the office.  He's just your neighbor... who happens to do bad things to his own blood an' kin.  These types, believe it or not, are far worse than the others, because their crimes are hidden, and go unpunished.  And worse, the scars they leave, the sad lessons they teach, run deep, and get passed on like a bad family heirloom.

Just you wait 'enry 'iggins, just you wait

The script by terror legend Jack Ketchum, and co-written by the film's director Lucky McKee, juxtaposes nuanced character build up and bravado moments of violence.  The characters aren't just loathsome, or simple victims, or mere enablers, they are -- as usual in Ketchum's works -- real people.  They may be doing unusual things. But, then again, they are caught up in unusual circumstances.  But, outside of the circumstances, the Cleek family is basically a real family.  No, they may not be like you and me, but that's not to say they don't exist.  We've all known people who spoke about women the way Chris Cleek physically handles them.  We've all known teenage girls who've hold deep dark secrets, like Peggy hides.  We've all either known, or known of, a family from out old hometown, who had some real weird shit going on behind closed doors.  A question that arises from viewing The Woman is: what'd you do about it?

I've known kids, from my own youth, who acted out like Brian Cleek, an impressionable son who tries so hard to follow his father's lessons.  Brian is certainly conflicted, but hell, it's his Dad!  Conflicted or not, he's got trust in him.  Then there are the hormones.  Conflicting feelings once again, as Brian tries to be a "man" like his Daddy.  He knows he shouldn't be in the storm cellar, alone with the Woman, so that's why he does it on the sly.  And it doesn't matter that he doesn't have a clue about what to do with any woman, let alone a feral one.  But that doesn't stop him from trying to be the "man."  Tell me these issues aren't the least bit familiar.  Daughter Peggy has the similar conflicts.  Her chore is to hold up a sheet while her daddy hoses down the feral woman, to prevent the neighbors or passers by from seeing the twisted bathing scene.  She breaks down, in tears, embarrassed and ashamed by her father's task of civilizing the Woman.  But, saddened and frightened as she is, she stays, and keeps her mouth shut.

Mother Belle is probably the most upsetting of the characters.  She sits (not stands) by as her husband fills her boy's head with the one sided view of the politics of the sexes, and subdues any ounce of self worth in her daughters.  The lack of urgency that she has towards the well being of her own children is just as horrifying as the physical and mental violence of her husband. Imagine, a mother who sits and sobs, but never raises a hand as her child is being harmed.  Well... you don't have to imagine it, just look in the papers.

I hate hate hate bath time!

This is what The Woman does best. On the surface, it's a terrific shock thriller, but underneath, it's an even greater dark satire.  All the faults and foibles in each character are familiar to us.  Chris Cleek's bloated sense of masculinity, and Brian's misconceptions of it.  Belle's complacency with being the submissive wife, for the good of the family, and her daughter Peggy's struggle with it.  Even Peggy's teacher, who fancies herself the heroine to her students, boldly, but misguidedly ventures to the Cleek ranch to take matters in to her own hands.  To this seeming impropriety, Chis Cleek  mimics what has become the credo of many parents around the USA -- "How dare you come into MY home and tell me how to run MY family."

This is the statement that rings out loud and clear.  We've all heard it.  We've probably spoken it a few times.  But, do we ever really mean it?  Or is it just a defense mechanism to get people to stop analyzing our own shortcomings?  It sure is easier to turn the blame on outside influences, rather than to take a hard look at oneself.  It's easier to say "Hey, I'm not getting involved -- it's their business, not mine," rather than stand up for what you know is right and good.  And this is what baffled me about the, now infamous, Sundance angry man.  He certainly appeared to be an open liberal minded person, defending the rights of women, and all.  But, ironically, he was attacking the filmmakers as if they were the ones perpetrating the vile acts of misogyny and pain that ran up on the screen.  He demanded the film be confiscated and never seen again, as if this film would somehow motivate males into becoming their own version of Chris or Brian Cleek.  I'd love to pawn this off on simply mistaking the author for the character, but that's too easy.  It goes deeper than that.  What I believe happened was that this man was severely affected by the satire of this film -- that societal complacency propagates these beliefs, that the male is superior over woman, nature and family -- that he had to deny it, by simply believing that he, himself, would never do those vile acts, so "Hey, you can't blame ME!"

Yes, it's easier to sponge away the writing, than to act upon the words.

Time for a family meeting

But, lest you think I justify my admiration for these kinds of films, that exploit the current fascination with sexual captivity and violence, because they serve up a dosage of nudity or sex, I have to tell you that you couldn't be more wrong.  Hostel, the remake of I Spit on Your Grave, and Captivity, et al, all provide ample opportunity to gaze at their actresses.  But, I wouldn't recommend any of those films, because to be honest, they lack the sincerity in their commentary of violence and women.  The filmmakers may express their good intentions, and critics may pull subtext from the cesspool of gore, but really, they're just crying wolf.  They didn't thin of anything but throwing some good ol' sex and blood up on the screen.

The Woman is surely a disturbing, and upsetting piece of film... but more importantly, it's honest and powerful. You won't be scared by The Woman because it's shocking, but you'll be frightened because it's true. It holds the mirror to the face of society, and dares it to take a good look at how we view women, masculinity, and our duty as a community.  It's not for the weak-minded, because, frankly, that's who this film satirizes.  The viewer should remember that this is only a film (only a film, only a film), and the reality of the play is really right next door.