Believe it or not, there are werewolf movies other than “An American Werewolf in London”
Jack Black was just on Jimmy Kimmel Live to talk about Festival Supreme, the upcoming comedy extravaganza he and Tenacious D bandmate Kyle Gass are organizing. He also announced that he and Kyle are starring in “Adult Wolf”, a sequel to Teen Wolf – and I don’t mean the current MTV series. See for yourself.
Great news in Banff tonight: WolfCop has officially won the CineCoup film accelerator competition, securing $1 million CDN in financing and guaranteed release in Cineplex theatres across Canada in Winter 2014! The announcement was made less than an hour ago, during a Final 5 panel at the Banff World Media Festival. As of this post the CineCoup web site hasn’t been updated, and I have a feeling the WolfCop crew are in full celebration mode right now (or they well be, once they’re done with the TV interviews), but I expect more details (hopefully including release outside Canada) will be available when the confetti and werewolf fur settle. Congratulations to Lowell Dean, Bernie Hernando, Hugh Patterson and the rest of the WolfCop team!
Via Bloody Disgusting comes the news that you can watch the filthy, druggy, dance-tastic 2010 werewolf short film “Coyote” on Vimeo right now.
Coyote was written and directed by Joel Potrykus, and examines the life of “a distraught squatter”, portrayed to wonderful effect by Joshua Burge, who ” tries to cope with his werewolf nature through drugs and music.” In an interview with Michigan Film News, Joel ascribed the film’s Super 8 filmstock to his desire to capture the “grit and grain” of monster movies from the 70′s – a choice that serves the film’s grimy, washed-out vibe well. The slow pace reminds me of the build-up to David Kessler’s first transformation in An American Werewolf in London, and overall I really enjoyed it!
Today marks a dividing line on the calendar, people. It’s the beginning of the CineCoup Final 5 voting period, and it’s the last chance for movie fans to have a direct influence on which films go to the Banff World Media Festival and have a chance at the $1 million prize.
If you’re visiting a site called Werewolf News it’s pretty obvious which of the films you want to win, but as I recently learned, there’s a humongous gulf between wanting a thing and actually doing something about it. So let me lay it on the line: voting closes on June 2, and if you haven’t voted for WolfCop by then, we’re through. Our friendship will be over.
I’ll take down your pictures, throw your Xbox games in the trash and put your clothes in a cardboard box by the dumpster. Your remote access to my movie collection? Gone. Your invitation to attend the next werewolf fan gathering at Steamworks in July? Rescinded. That may seem harsh, but honestly, in the time it’s taken you to read this far you could have logged in to CineCoup for the first time using your Facebook account and cast your vote. It takes virtually no time, and it will increase the likelihood that we get to see a feature-length version of this:
You want that, right? Of course you do! So please, if you value our friendship, go vote for WolfCop now!
Summer won’t officially be here for another month, but the summer movie season has already been in full swing for the past few weeks. Alas, we won’t be seeing any werewolves at the multiplex this year, but Syfy has our back with Battledogs, which our esteemed webmaster was kind enough to bring to our attention. Sure, it actually premiered back in April, but Syfy is giving fans another chance to check it out on Saturday, June 29, at 3 p.m. In the meantime, I figured it would be worthwhile to run down some of the other werewolf films the channel has seen fit to grace us with over the past decade and change.
It may surprise some to know that back in the Dark Ages, Syfy was the Sci-Fi Channel, and it actually gave Neil Marshall’s Dog Soldiers its US premiere. For those who have been living under a rock for the past 11 years, the film is set in the Scottish highlands, where an Army patrol on a routine training mission finds themselves up against a pack of werewolves (who are, I’m happy to report, almost entirely men in werewolf suits — and pretty good-looking ones at that). Sean Pertwee stars as the squad’s sergeant, who gets eviscerated by one of the beasts early on, leaving private Kevin McKidd in charge. This leads to some conflict with the Special Ops officer they run into (Liam Cunningham), who has a history with McKidd and knows more than he’s letting on about their furry foes. And the same goes for zoologist Emma Cleasby, who picks the soldiers up in her Land Rover and takes them to a remote country house where they hold up for the night.
Marshall may have gone on to bigger (and occasionally better) things like The Descent and Doomsday, but this was his feature film debut and he pulled out all the stops for it. His characters are well-drawn, their dialogue is snappy, the action sequences are exciting (and edited in such a way that you can tell what’s going on), and the special effects are much better than you would probably expect from such a low-budget film. Even given Marshall’s predilection for blowing shit up (which he indulges on a few occasions), I’ll take this over the much more extravagant Underworld films any day. It’s just too bad the proposed sequel has had so much trouble getting off the ground, but I’ll happily lap it up should it ever see the light of day (or night).
Like Dog Soldiers, 2005′s The Beast of Bray Road wasn’t produced by the Sci-Fi Channel (as a matter of fact, The Asylum is the company that holds that dubious distinction), but that is where I got to see it. You know you’re in for something different when you’re watching a werewolf movie and the first words that pop up on the screen are “BASED ON A TRUE STORY.” Thanks to the Asylum connection, my expectations weren’t very high going into The Beast of Bray Road (which is apparently based on actual werewolf sightings that took place in rural Wisconsin), but at least it had the good sense not to take itself too seriously.
Written, directed and edited by Leigh Scott, the film has more than a few parallels with Jaws. For example, star Jeff Denton is the new deputy in town who moved there from the big city for the peace and quiet, with Thomas Downey in the Richard Dreyfuss role as a cryptozoologist working on his Ph.D. who is attracted by internet reports of an unidentified wild beast. (Downey was something of an MVP on the film since he also served as production designer and stunt performer and did the special effects.) There’s even a budget-conscious sheriff who’s more concerned about selling hunting licenses and the tourist trade than hunting down the creature.
Speaking of the beast, it would probably be more frightening if it didn’t look like a guy wearing a collection of throw rugs, which makes it doubly confusing why the director would show it so fully and so early in the film. He also gives the new deputy a seemingly pointless love interest in local roadhouse owner Sarah Lieving (who could probably use a bouncer like Patrick Swayze), which I suppose is meant to heighten the drama at the climax, but it ends up seeming as random as most every other element in the film. Still, if all you’re looking for is a cheesy werewolf movie, you could probably do a lot worse than this one — and cheesy is definitely the word for it. What else would you expect from a film that is “dedicated to the Great State of Wisconsin”?
Next Up: Syfy goes the hybrid route, and I don’t mean they bought a Prius…
The CineCoup Film Accelerator competition is coming down to the wire, and while there are some real gems in the top 10, we all know which film has to win! WolfCop writer & director Lowell Dean very kindly made himself available for an email Q&A session this weekend. I think my “please move production to Vancouver and let me be an extra” begging was subtle, but I’ll let you decide – read on for 10 questions and answers with Lowell.
AQ: The script, effects & costumes and the production design for the film seems pretty evolved, based on what we can see in the trailer and the scene for the “Speechless” mission. What sort of pre-production tasks are you holding off on until WolfCop is inevitably selected as the winner in June?
LD: I love your confidence. I have yet to do any storyboarding for WolfCop. For 13 Eerie (my first feature) we storyboarded every single action sequence or moment of action. We did it with drawing, acting and action figures, which was a fun way to storyboard! I plan to board at least every beat of action, and ideally I’d love to storyboard most of the movie if our schedule permits it.
Despite its “small town America” setting, how much of the film’s aesthetic is rooted in Saskatchewan? Assuming WolfCop wins, will you keep the production there, or are there reasons you might choose (or be compelled by CineCoup’s “Accelerated Production” process) to move everything to a different province?
The aesthetic is inspired by the look and feel of small town Saskatchewan – a quaint community on the edge of a dense, mysterious forest. I think of it as Saskatchewan mixed with a bit of Twin Peaks. While I would love to film here, Saskatchewan currently has no competitive film tax credit. So there is a possibility we will have to shoot WolfCop somewhere else. It is a truly Saskatchewan story, and my dream is to shoot it here. I’m just not sure how realistic that is right now.
CineCoup seems like it’s been hands-off in terms of restricting the content and themes of the participating films. Is WolfCop likely to be rated PG-13 or R? What sort of audience will the completed film be geared for?
I want it to be a true blue horror film. An R rating. Like the films that inspire it (An American Werewolf in London, Scream). A lot of it can be mysterious and implied – which will help with our lower budget. You don’t need to have incessant violence or gore, but when you’ve got a werewolf running around you need those chaotic visceral moments of violence to really drive home the power and danger of the character. I see (late) teen boys loving this movie. They may be the key demographic. But I’m in my 30s and I really want to see it too!
How much of Werewolf Lou’s design came from Emersen Ziffle’s vision, versus input from Bernie, Lowell and Hugh? Are there any enhancements to the werewolf makeup effects that an expanded budget might permit? (not that any are needed!)
The best part about Emersen and I being good friends is we hang out often, and have talked WolfCop for a year now over coffee and makeup tests, honing the look. That has been a big advantage of shooting a teaser trailer and then having our actor Leo Fafard do a couple personal appearances as WolfCop (at our CineCoup Top 40 Party in Regina and then at the Calgary Expo for Top 15). We’ve been tweaking the whole time. I can tell Emersen a few key details about the character, and he’s read the script and he can then go and create his magic. He knows what he is doing. Emersen suggested a muscle suit, which has worked wonders for the character’s physique and overall physicality as WolfCop. I don’t think a big budget will really change how the character looks, it might just afford us the time and tests to perfect the look of him. He’s very close now to his look for the final film.
What are some of the advantages and disadvantages of having the same actor (Leo Fafard) play Lou in both human and werewolf roles?
To me the advantages are he is more in tune with the character. Human or werewolf, they are the same guy. The actor needs to know the beats, and how the monster scenes tie in to the human ones – which is often quite key. WolfCop isn’t just showing up randomly fighting crime, he’s picking up the “night shift” from where human cop Lou Garou’s “day shift”. They are like an odd partnership, Lou doesn’t have the guts or maybe the ability to do his job right, but when WolfCop comes out to play, he’s finishing what Lou starts…with a vengeance.
The disadvantage of the same actor is just scheduling and logistics. It takes a few hours to become WolfCop, so you know if he’s in werewolf mode you can’t schedule any scenes with the human actor that day. I already know that will make our shooting schedule interesting!
Given the impact of social media-driven fan activity on WolfCop’s rise to CineCoup success, is there a place for fan input/interaction in the creation of the finished film?
I already have the script written and I’m quite happy with the story and it’s evolution, but I would never rule out some sort of fan interaction for the film – Iike killing someone off or a cameo, or something like that. I am making this movie for people who want to WolfCop, so if there is a rabid fanbase (pun intended) that really vocally wants something – a moment, a certain iconic shot – I want to make sure they are happy too, as long as it works within the story.
I am really impressed by the response we’ve gotten online. The WolfCop trailer has shown up on sites and blogs all around the world, and for the most part it’s all great comments. People are embracing it, and that makes me really want to do this movie and do it right and keep growing our community online. Bernie, myself and David (our social media guy) love the online aspect. We are engaging people all day long. We really are a #WOLFCOP Pack, it’s not just hollow marketing!
If WolfCop wins the competition, the film will be screened in Cineplex theatres across Canada in January 2014. What plans are there for getting the finished film in front of American and European audiences?
That will be more in the hands of the producers but if the film is successful I see no reason why it wouldn’t get to expand beyond our country, even if it’s in some sort of limited edition screening capacity or festivals. I’ve said it from the start, WolfCop is a theatre experience. That is one of our biggest strengths in this competition. This is a popcorn, late night, screams and laughter kind of movie. It should be watched with an audience.
Has WolfCop’s success in the competition and the corresponding media exposure resulted in alternate avenues for financing? If by some calamity the CineCoup prize goes to one of the other contenders, will we still have a chance to see a feature-length film starring Lou?
I’m not at liberty to discuss the financing of the movie. Prior to CineCoup (and during) we had talked to a couple producers about the project, but nothing too seriously. I am really driven by the opportunity to put this movie in theatres. I wanted to give CineCoup an honest shot first and foremost as it’s an exciting model, and I think it has strong potential for success. I will say that if we don’t win, and if CineCoup chooses not to produce WolfCop, we will keep the dream alive and explore other options for sure. I am pretty confident this movie will happen somehow. It needs to!
Last week’s CineCoup Mission (Spin Off) shows some of the ways WolfCop could exist in mediums other than film. Would those spin-offs (particularly the comic) require the film to exist first, as something to orbit around? Or could WolfCop be re-imagined as a graphic novel?
Ideally, I would prefer the feature to exist before the spin-offs, but I would entertain the idea of a graphic novel beforehand. I think that a print prequel could be fun. I already have an outline for WolfCop 2 so maybe a graphic novel to bridge those two stories as well. Or some kind of ongoing saga. Who would want a WolfCop toy before the movie even exists? Is there any market for it? That is the question I guess.
WolfCop is in the Top 10 (congratulations!). The final vote in which fans can participate is the Top 5 Vote, which runs from May 30 through June 2. After the winners are announced on June 3, is there anything more that fans can do to help WolfCop’s chances when the winner is selected by the CineCoup Jury on June 10.
Thank you! I think after fans cast all their MANY votes for the Top 5 (May 30 to June 2) then can still support the cause by having a presence online. Tweeting about us. Tweeting TO CineCoup about us. Being active on our facebook page. Posting positive comments on our CineCoup page. I think all those things come into play, and I think CineCoup will take those factors into account. Like I said, if there is clearly a large, passionate fanbase throwing their vocal support behind a project, I think it can and will make a world of difference.
As fans of werewolves and justice, we can help WolfCop make it to the top 5 by participating in the final fan vote, which runs from May 30 through June 2 – go rack up your voting points by completing fan missions now, and spread the word with the Obama-tastic “VOTE WOLFCOP” avatar and Facebook background graphics below. Many thanks to Lowell for taking the time to answer these questions!
(Click for full image)
Fresh from horror/sci-fi film cheese factory The Asylum comes the latest made-for-Syfy TV movie to star some recognizable faces and CG werewolves: Battledogs. I have not seen it yet, but the “New York suffers a lycanthropy pandemic and the President is concerned” synopsis makes me wonder why The Asylum is ripping off an awesome book instead of a blockbuster movie. Here’s the trailer, which isn’t shy about showing off the werewolf action (and Bill Duke looking pensive in the back of a car).
Battledogs stars Craig Sheffer (who I actually though was a more rugged David Borenaz) Ariana Richards (Lex “This is Unix” Murphy from Jurassic Park), Wes Studi (Sphinx from Mystery Men), and Bill Duke, who antagonized Arnie in Running Man, dry-shaved in Predator and apparently never ages.
Judging solely from what’s visible in the trailer, I like the werewolf design, but the CG looks appropriately made-for-TV.
Did you see Battledogs? What did you think? Better or worse than Syfy’s other werewolf offering, Red: Werewolf Hunter?
Earlier this month, talented & voluminously-haired film director Edgar Wright was asked to introduce a screening of An American Werewolf in London, which was his pick for BFI’s Screen Epiphanies series of film screenings.
In the 12-minute intro, he talks about the film’s effect on him as a child, its influence on he and Simon Pegg while shooting Shaun of the Dead, and how it’s still a formative example of cross-genere filmmaking. Wright is joined by actor Michael Carter, the late-night Tottenham Court Road station victim, who shares some amusing stories about his scenes and how AWIL director John Landis pranked him during his first meeting with the werewolf. Also on stage is actor David Schofield, the angry darts-player from The Slaughtered Lamb, who talks about some of Landis’s more antisocial tendencies and getting fan-boy’d by Tom Cruise.
Wright’s enthusiasm for AWIL is abundant, and it was a real pleasure to see him discuss the venerable film. I think I know what I’m watching tonight!
Once again, the folks at Tom Spina Designs have come into possession of a discarded husk from a moulting werewolf (or possibly a suit from Underworld: Rise of the Lycans), and through an alchemical process called “having great skills”, TSD artist Patrick Louie has reconstituted the disembodied head and ragged torso into a wicked full-body display. Here’s a video of the process, which included the creation of new hands, lower legs and feet to match the rest of the suit, as well as a themed display base.
And here, in greater detail, are some of the photos from that video, cribbed from the Tom Spina Designs Facebook page (which I’m sure you’re already following, because what are you, nuts?). Click for larger versions.
Damn, the detail on those hands and feet! Wonderful work, Pat! To see the finished result, visit the Custom Mannequins – Themed Movie Costume Displays section of the TSD site – as of this post, it’s the first entry.
Do not be alarmed by the title of this month’s Full Moon Feature: Orgy of the Dead was made in 1965, so it’s nowhere near as risque at it sounds. It was also written by Edward D. Wood, Jr., based on his own novel, so there’s little chance of anyone finding it at all erotic in spite of the bevy of nearly naked women that are made to dance for the pleasure of Criswell, the Emperor of the Night (and allegedly the audience).
It all starts out innocently enough with a young couple (William Bates and Pat Barrington) driving out to a cemetery because, he being a horror writer, he’s looking for inspiration for one of his extremely popular monster stories. She’s not so keen on the idea, but she does exchange a chaste kiss with him, prompting him to remark, “Your puritan upbringing holds you back from my monsters, but it certainly doesn’t hurt your art of kissing.” Soon after, he loses control and crashes the car, which they are thrown clear of. That’s the cue for Criswell to beckon forth the “princes of darkness” — or maybe he says “princess.” It’s really hard to tell. I’m leaning toward the latter because only one darkness-dweller comes forth, the Black Ghoul (Fawn Silver), who gets things started by summoning a Native American girl who died in flame to… dance topless near a flame. This she does for a long time, setting the precedent for all of the acts to follow.
While this is going on, director Stephen C. Apostolof (credited as A.C. Stephen) cuts away to Bates and Barrington as they come to and decide to investigate the music coming from the cemetery. They miss most of the next act, a streetwalker, but they watch in an unconvincing approximation of horror from the treeline as a girl who worshiped gold in life (also Barrington) is put through her paces. Her routine ends with Criswell imploring her two hunky helpers to “Throw gold on her” and “More gold” and “More gold” and “More gold!” It’s only after she gets deposited in a boiling cauldron of gold and emerges looking like she ran afoul of Auric Goldfinger that the two interlopers are caught by a Werewolf (John Andrews) and Mummy (Louis Ojena) and tied up so they can have a better view of the proceedings. Incidentally, when the Mummy speaks his voice is dubbed in such a way that’s oddly muffled, which makes it really strange when he banters with the Werewolf, who only howls and growls. They also stand off to the side for the rest of the picture and seem to get a lot more into it than the other four spectators, who can’t work up the energy to look even slightly enthused to be there.
And it’s hard to blame them, really, since the balance of the picture is taken up by half a dozen mostly interchangeable dance numbers punctuated by the occasional Wood-ism. (My favorite: “A pussycat is born to be whipped.”) Apart from the cat woman, who wears a full-body costume and is whipped throughout her number (a reference to the Ann-Margret vehicle Kitten With a Whip, maybe?), the others can only be distinguished by their outfits (which always disappear during a cutaway — it’s like the filmmakers were specifically prohibited from showing any actual stripping) and maybe a thematic prop or two. (For example, the bride who strangled her husband on their wedding night gets to keep her veil on the whole time.) Finally, the whole shebang comes to an end with the sunrise, which causes the creatures of the night to turn into skeletons (yes, the Werewolf, too), but as Criswell warns, they’ll return with the next full moon. Personally, I think one visit with them is more than enough.