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Eric Red and Michael Pare were at the Fangoria Weekend Of Horrors Con in Los Angeles on Saturday, April 26th for a panel on “100 FEET.” They talked about the film and previewed a clip shown for the first time anywhere. It was the scene where Famke Janssen meets the Ghost and the Fango audience jumped. Eric and Michael had a blast and would like to thank their gracious host Fangoria editor Tony Timpone and all the fans who came by.
Here it is! See the teaser poster below!
Incidentally, writer/director Eric Red will be doing a panel with “100 FEET” star Michael Pare at the LA Fangoria Convention. The panel will be this Saturday (04/26/08) at 6:00 PM at the Los Angeles Convention Center (1201 S. Figueroa St.)
combina frigorifica no frost
dispozitive de fixare
usi exterior termopan
poze cu ghete
aplicarea vopselei lavabile
cursuri operare pc
pachet cu telefon
program lapte praf
presiunea atmosferica bucuresti
reducerea stratului de ozon
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viteza pe autostrada
dvd playere portabile
Hey all! We’re back! You can now view an approved promo reel for ERIC RED’S 100 FEET HERE! As for the film’s current status, Writer/Director ERIC RED had this to say:
Expect more Blog updates to roll on in within the following weeks!
Michael Pare as Mike Watson
Michael Pare: I was at the AFM promoting another film and ran into Eric Red. We hugged and he said he was making another movie and before he could say anything else I asked if I could be in it. He said he actually wrote a character with me in mind. It was a ghost story with an offer out to Famke and he wanted me to play the ghost. Of course I said yes absolutely, Bad Moon was such a wonderful experience I couldn’t wait to read the script and get to work.
My character Mike Watson is married to Marnie (Janssen) right out of the police academy. Like 99% of the people that become cops I wanted to be like my heroes fighting for right, saving the under dog and locking up bad guys. Then life’s dark realities started to become more apparent and I became jaded. Marnie knew me better than anyone, and saw me turning and giving into first anger then depression then to temptation and finally self loathing. That is when the abuse started. When I looked at my wife I saw reflected in her eyes who I had become “A BAD GUY” I hated myself and was aware that Marnie knew what I become; a vile creature. She was still good and pure and I couldn’t stand her.
When I passed over thanks to that self righteous bitch I found myself in this cold empty void that made me feel like I was washing down an endless dirty toilet bowl full of the foulest waste from the lowest beast. The only thing that keeps me from drowning is my hate for Marnie and my hunger to exact some revenge by torturing that bitch. If she had only waited a little longer I could have taken an early retirement. But that barren waste land of a women just kept looking at me with those eyes that said you are not the man I fell in love with you are not a good guy, you’re just a piece of shit crooked cop that is worse then the lowest crack smoking rapist mugger piece of shit because at least they don’t deny who they are. Well fuck her let’s see how she likes it where I am.
That is kind of where my character comes from and that came out from time spent with Eric just talking about what his story needed. Working this way is really my favorite I hope it serves the story well and entertains the audience.
(Right) Writer/Director Eric Red (Left) Editor Anthony Redman.
ERIC RED: We are working in a facility in Hollywood, California and are about a month into the editing of the picture. I’m enjoying working again with veteran editor Anthony Redman, who did a great job for me on “BODY PARTS.” The picture is scary and frightening and really shaping up.
At the moment the running time is about 105 tense minutes. I’ve cut a few scenes from the script that were shot because the editing is the final rewriting. The picture has a slow and deliberate build, then its balls to the wall. Our sound editor is Stephen Hunter Flick, who did the sound for the “THE HITCHER” and also did films like “DIE HARD,” “ROBOCOP” and “TOTAL RECALL.” Sound and frightening use of subliminal sound effects will play a big part in the fear factor of this film.The film will be completed in January 2008. The foreign sales company is Voltage Pictures and territories all over Europe have already been sold.
In terms of domestic distribution the film is presently in post and only once its completed will the “100 FEET” team begin exploring the varied domestic distribution deals that are on the table. The exact release date in 2008 will be determined at that point.
I’m happy to report “100 FEET” has one of the scariest scenes in any of my films. The audiences I’ve screened it for have talked at the screen and literally jumped out of their seats. What is satisfying for me is that there is no blood in this sequence at all!
In the coming weeks, look for more stills and some select scenes from the film to be released on The Arrow at Arrowinthead.com/JoBlo.com.
Eric Red: “It’s in the can. The shoot went smoothly, on schedule and budget. The cast and crew were awesome. We all feel we have a terrific picture here, and it’s exciting to begin post production and start cutting. I’ll keep you posted over the coming months while we finish the film.”
Eric Red has left the building…
PART 2 – By Eric Walkuski
INTRO: Almost immediately after I arrive on the set for Day 2 of shooting, Eric Red tells me that they’re just about to drive along the Brooklyn Queens Expressway, filming the scene where Cannavale’s detective drives Janssen home from prison. I’m pissed because I have arrived later than the previous day, and figure I’ve missed the pick-up shots from yesterday’s aborted final scenes, and now I’m to spend most of the afternoon sitting alone in my patented notebook-in-hand pose. Luckily, the world isn’t as glum as all that, and Red politely asks if I’d like to ride along with them. In the camera car. In front of the monitor. Why, yes I would!
Myself on the camera car
Next thing you know, I’m sitting next to the script supervisor, who’s sitting next to Red, who’s sitting next to D.P. Kelsch, and soon we’re off (I must add that the driver of this monstrous vehicle, Gabe, wanted a shout-out in the article – and since I’m still alive, I’m happy to oblige.) There are two cameras going: one is hanging on the edge of the actor’s vehicle (which of course if being towed by the camera car), trained on Famke’s face; the other is mounted on our car, capturing the scenery as we zip passed it – acting as Famke’s character’s p.o.v. of the city she’s been absent from for so long. (this will also liley serve as the film’s opening credit sequence.)
Red and Kelsch and where we all might end up…
I must say that this experience is utter madness. Since I’m teetering on the edge of this contraption – and since everyone else is perfectly concentrated on the work at hand – I’m able to ponder my mortality every time a gigantic semi flies passed us at 60 m.p.h. Needless to say, it’s absolutely thrilling, as well. We pull over after about a half an hour and the team switches things around: the outside camera previously pointed at Famke is rearranged to point at Cannavale; and a new camera is positioned inside the car, which will double for Famke’s p.o.v as she looks at Cannavale. It’s frankly amazing how quickly this turnaround is accomplished. (Fun fact: Cannavale talks over his walkie-talkie to the character of Jimmy, to be played by our own John Fallon!)
Unfortunately, this change necessitates that an extra crew member board the camera-car, so I’m relegated to a “background” car. This is not even as fun as it doesn’t sound. (Although a cool photo is at least produced) After returning to the main set, lunch is called, and most trudge off to a nearby church where the crew eats. I hang back and wait for another Famke sighting – and get one. She’s standing outside of the building that acts as her trailer – where her wardrobe and makeup is done. She toying with her Blackberry, and I figure I’ve got to man up and be a pushy reporter, damnit. I walk up to her and she clocks me instantly. “Oh you’re the reporter,” she says.
Red and Cannavale in between set-ups.
I meekly answer yes and wonder if she’s available to talk for a spell, informing her how nearly impossible it’s been to find a free moment with her. “Well I’m very busy,” she says with a smile, and then lets me know she’s only outside right now because there’s no reception available in her makeshift trailer. I tell her it’s my intention to steal her for two minutes, and it seems like she’s open to it, but then she spots something – and says “Ah shit.” As is summoned by a cruel God, a crewmember is hustling over to where we stand. “I’m supposed to be getting dressed.”
Indeed, the crewmember has the next scene in mind, and his mere presence is enough to send Famke hurrying down to change clothes. “Well,” I sigh, “I’ll be around, so if you get another free second-““Okay!” she says, and then her door slams. Folks, you can’t make this stuff up.
The oh-so-precious scene in question is actually a fun one: Famke is running through a narrow alley (followed by a lithe steadicam operator) with bags of garbage, hoping to catch a sanitation truck before it drives off. She runs into a problem when it turns out her rubbish isn’t “tied” correctly, and the garbageman isn’t making any concessions. The take-no-shit city employee is played by none other than take-no-shit D.P. Ken Kelsch, who delivers his lines (“Twist ties! Twist ties, twist ties!!”) with enthusiastic bluster. “Marnie” drops the trash at his feet and runs back to her apartment, and with every take Ken manages to yell a different string of filthy obscenities. I know which was my favorite – but I can’t even bring myself to reproduce it here. I hope you get to hear it in the film.
Famke and her scariest nemesis yet…
The next, and final, sequence of the day involves a group of approx. seven onlookers rushing down the street (toward the camera) and gaping at some unseen occurrence. I ask Red what’s going on in the scene, and right as he’s about to explain it to me (with the understanding that I don’t spoil it in my report), he wonders if I’d like to be one of the gawking extras. Now, I haven’t been boning up on my Stanislavsky as of late, but I feel confidant that I can appear shocked and confounded as good as anyone. So, all of a sudden, it’s down the block with me and the other “background artists.” I kick ass in each and every take (what are the chances I’m delusional about this?), and we quickly wrap. So when you see the flick and this scene arrives, I’m the dude in the “Brooklyn Fliers” t-shirt who looks even MORE amazed than everybody else.
So while I did not get my true one-on-one with Famke (aren’t my tales of striking-out more amusing than a boring old interview anyway?), I was lucky enough to have a few experiences I did not at all see coming. I got to ride on a camera-car, and I acted the hell out of a scene in a major motion picture (again, I doubt I have a skewed memory of this).
I would like to thank Eric Red, the fantastic cast and crew of 100 FEET, and John Fallon especially for providing this terrific opportunity. Can’t wait for the next one.