Your upcoming movie Deadly Revisions - in a few words, what
is it about?
Hypnotherapy and drugs are used to help an amnesiac
horror writer, but are the terrifying images that surface real or
What were your initial inspirations for
writing Deadly Revisions, and did you put any kind of research into
the movie's underlying topics like amnesia, hypnotherapy and the like?
wanted to write a relatively contained (limited location) story, but
wanted a story that wouldnít feel stagnant; a psychological
thriller/horror film seemed like the ticket, since they depend on twists
and surprises. I certainly did some research into hypnotherapy and
many other story elements, but I also took creative license often where it
would best serve the story.
a writer yourself, to what extent do you identify with your main
Grafton says: ďI hate
staring at a blank pageĒ - I do, too. He also says that
writing is his therapy and I think that has also been true for me, at
times. But mostly, Graftonís just a character with traits, behaviors and
attitudes that I thought were the right fit for the story. Heís a
real wounded animal. Iím a much lighter, goofier guy.
Do talk about the movie's look and feel for a
bit if you can!
We wanted the best look
we could get for the budget. We couldn't afford cranes and all the
really cool toys, so we had to be very creative in how we were going to
shoot things. But I was going for a look and feel that would fit the
story. (It always comes back to that, doesnít it?) So it had to
have a moody, dreamy feel at times to evoke the slow-burn psychological
thriller element, but the scenes of horror had to evoke the flashy fun of
How would you describe your movie's
approach to horror (as in suspense vs sudden shocks, atmosphere vs all-out
gore, ...)? And is horror a genre you're at all fond of and why (not)?
a genre I love and hate. I think there are brilliant films that
happen to be horror and then I think there is a lot of awful junk.
Grafton and a journalist actually talk about that in the film. (More
on that a few questions down.) Because this film is a valentine to
the horror genre, it has everything that the genre is known for: it
has mystery and suspense, sudden shocks, blood; it has many classic tropes
including creepy hallways, a possessed doll, a hatchet wielder, a zombie;
then it has winks to other famous horror films via names, musical cues,
and even directorial choices. The more you are familiar with the
genre, the more youíll see. So it works on lots of levels.
Or that was goal, anyway.
talk about your key cast for a bit, and why exactly these people?
Bill Oberst jr, Cindy Merrill
Bill Oberst jr [Bill Oberst jr
interview - click here] was my first puzzle piece. I had met him and we clicked and we knew
we wanted to work together. We talked about a lot of ideas and this
one just felt right. He usually plays a blatant, antagonistic,
sadistic killer, so we were both excited by the change and the challenge
to have him in the Jamie Lee Curtis role for once. I had known and
worked with Mikhail Blokh and Cindy Merrill previously and knew they would kill it as
the best friend and hypnotherapist who try to help Bill find peace and
sanity. Lise Hart (who playís Billís wife) has been an actress friend
for about a decade and weíd never had the chance to work together and
this was the perfect role for her. So I was really playing in the
sandbox with talented people I loved.
also play a role in Deadly Revisions - so what can you tell us
about your character, and what did you draw upon to bring him to life?
Gregory Blair in Deadly Revisions
have a small cameo as journalist Crawford Davis. I aimed for a sort
of Anderson Cooper type: a serious journalist who is friendly but unafraid
to ask evocative questions. Grafton watches an old interview he did on my
show where he defends the horror genre and his role in it as I question
both. Itís fun because not only does it verbalize what a lot of people
think about the genre (on both sides), but it also comments on the
difference between the slightly younger, cockier Grafton and the current,
cynical and unsure Grafton.
can you tell us about the shoot as such, and the on-set atmosphere?
long do you have? Actually, my DP Kate Sobol was so fantastic at
working out the shot lists with me that most days went pretty much as
planned. There are always surprises, difficulties, and things you
have to work around. The unexpected heat wave, the day a huge big
rig accident that shut down the neighboring freeways caused sirens and
helicopters to circle for hours, the day a parade of gardeners came to mow
lawns for 127 hours, etc. But everyone on set worked hard to remain
focused and we kept to our schedule and shot our movie. And we had a
lot of fun, discovering and creating lots of magic along the way.
Filmmaking is about planning, patience and playing. That last part
is the drug that keeps you coming back.
$64-question of course, when and where will the film be released onto the
I wish I had an answer
for this one. Weíve had some interest from some distributors, but
we are holding out until we find the right one.
Thatís why weíre pushing to get our film into some of the major film
festivals. Because weíll be able (so far) to offer it as a
premiere, thatís appealing to festivals; that itís a directorial debut
also has its value; that both the screenplay and I have each been awarded
doesnít hurt, either.
Any future projects beyond Deadly
Revisions you'd like to share?
course! My award winning screenplay The Sisterhood has been
bought by EnMar Productions and is going to be shooting in 2014 in the UK
under the title Heretiks. I also have a screenplay called
The Straying that I hope to do with Bill... only this time, weíll
both be in front of the camera... and both playing monsters!
As far as I know, you
entered the filmworld as an actor - so what got you into acting, and what
can you tell us about your training on the subject?
think I am an actor by nature and a writer and director by nurture.
By that I mean: I think I wanted to act for as long as I can remember; the
desire to write and direct came a little later. I was doing theater
as a youth and thenóafter tangential college and business world
experiencesóI got back into it, slowly. I think you have to be
born with what we call ďtalentĒ as far as acting goes. Itís
not something you can take credit for or take pride in; you just have to
decide if youíre going to embrace it and develop it. Classes and
training can augment talent, but it canít make up for a lack of talent.
Writing and directing, on the other hand, are things anyone can learn if
you have the desire and the drive. Some will be better than others,
sure, but both writing and directing areóby their own natureómore
technical disciplines; great acting has an ineffable, organic element that
cannot be taught. That said, Iíll admit to describing many writers and
directors as ďtalentedĒ. So maybe I have no idea what Iím
also done quite a bit of theatre, right? So how does performing on a stage
compare to acting in front of a camera?
all about size: on a stage, you have to play to the person in the
back row of the theater; in film, the camera is closer than anyone in any
theaterís front row, so you have to play everything much smaller.
They both take focus and energy to do well. Some actors only excel
at one or the other. The best can do both.
Can you still
remember your first time in front of a movie/TV camera, and what was that
in front of my own camera as a youngster, making my own films.
Professionally, I have to be honest and admit I don't remember what the
first project was, although it might have been a USC student film I did
many years ago where I played a hateful painter. My first
multi-camera show was more recent; that was for what became a recurring
role on TVOneís sitcom Love That Girl!. I played an
over-the-top nutcase neighbor called Weird Wendell. Itís
Over the years, you also moved more and
more behind the camera - how come?
itís become more and more common (more and more necessary) for actors
and writers to take more control of their careers. One of the ways you do
that is to produce your own material. The world of the web series
has made this easier. I was exploring several ideas for different
web series and short films, but when it became clear that Deadly
Revisions was going to be my next project, it made sense that it
would be my directorial debut. Itís probably mad to direct a full
length feature without some shorter films under your belt, but Iíve
always had a little of the rebel in me.
What can you tell us
about your filmwork prior to Deadly Revisions (in whatever
Aside form directing my own
films in my youth, Iíve mostly, as noted above, been in front of the
camera or the computer screen. But being on set after set, if
youíre smart, you spend your off-camera time paying attention and
learning from simply watching other people do their jobs andówhen
appropriateóasking them about their actions and choices. People
love to find someone who is truly interested in what theyíre doing and
will usually open up and youíll not only learn something, but make a new
friend. And nowadays, you can also learn a lot from DVD extras,
director commentaries, etc.
You've also written a few novels and
stageplays, right? So what can you tell us about those, and about Gregory
Blair, the writer?
Yeah, Iíve pretty
much done it all in the writing department: plays, screenplays,
novels, short stories, poetry, essays, editorials, etc. You can find
my prose (The Ritual, Little Shivers and Spewing
Pulp) online. Several of my plays have been produced including Cold
Lang Syne (which Iíve turned into a screenplay) and Nicholas
Nickleby (which has played in various venues across the country).
I love the act of writing (Iím kind of a nerd who gets incredibly giddy
when Iím writing a scene I find raucously funny or intensely terrifying)
and I love the evolution of my writing as it changes when itís
interpreted by readers and actors.
How would you describe yourself as a
writer, director, actor?
Well, I now
describe myself as all three... as well as producer. But the best
word I would use is ďversatileĒ. I write comedy, horror,
historical drama; I play professionals, goofballs and villains, and I
think Deadly Revisions will show I can handle drama as well as
horror; there are some great scares in the film, but there are some very
quiet, heartbreaking moments that I think add gravitas to the piece.
Filmmakers, writers, actors who
Hereís where youíll see
my split personality: rebel side of me favors the daredevils who do
new things: Ken Russell, Peter Greenaway, David Lynch, Orson Wells,
Hitchcock, Baz Luhrmann, Joel Coen, Mario Bava [Mario
Bava bio - click here], Tim Burton, Sam Raimi,
etc.; the classicist in me loves Steven Spielberg, Woody Allen, George
Cukor, Mike Nichols, Mel Brooks, Robert Zemeckis, Howard Hawks, Frank
Capra, Billy Wilder, etc. You get the idea. I guess what I
like to take in is as versatile as what I like to put out.
Your favourite movies?
all genres: Who's Afraid of Virginia Woolf?, Field of Dreams,
Young Frankenstein, Halloween,
ET, Star Wars, Raiders of the Lost Ark, Sleeping
Beauty (Disney), Willy Wonka & the Chocolate Factory, Insignificance,
Moulin Rouge (BL), Babette's Feast, The King and I. And that was the
hardest question, because there are so many that belong on that list.
and of course, films you really deplore?
had a strong dislike for the occasional film, but Iíve learned to be
wiser in what I choose to see. In general, I dislike films that
glorify bad behaviorówhether itís physical (like murder and torture)
or emotional (like misogyny, racism, homophobia, etc.). That said,
many an artist can employ ugly elements and make a powerful, positive film
experience, regardless of genre, but it takes a focused sensitivity from
the start. In the case of Deadly Revisions, whatever one
decides is the final reality of what happened to Grafton Torn, I hope no
one comes away from the film thinking I was applauding or approving any of
the tragic or terrifying things that happen in the story.
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you are dying to mention and I have simply forgotten to ask?
of the top of my head, but if something comes to mind, Iím always game!
I may write a lot of horror, but questions never scare me. ;)
for the interview!