Sean Gunn Talks The Belko Experiment - Dread Central
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Sean Gunn Talks The Belko Experiment



The Belko Experiment

The gory new collaboration between director Greg McLean (Wolf Creek) and screenwriter James Gunn (Guardians of the Galaxy) follows a twisted social experiment in which 80 American employees are sealed in their high-rise corporate office in Bogotá, Colombia, and ordered by an unknown voice coming from the intercom system to participate in a deadly game of kill or be killed.

Sean Gunn, brother of James and an excellent actor in his own right, plays the role of Marty Espenscheid, a paranoid stoner who has a completely different take than everyone else on what the horrific experiment is really about.

Dread Central: Marty was a real crowd fave at the press screening I attended. Was he written specifically for you?

Sean Gunn: It was just a role in the script, actually. When I read it we had not really decided what role I would play yet and he was kind of like, just read it with an open mind, he thought there were two or three roles I might be right for and to see what I kind of responded to the best. I read it and I really loved Marty from the start, I was pretty sure Marty was the character I wanted to play.

DC: When you put the words “stoner” and “movie” together, people automatically think of the classics, like Spicoli (Fast Times at Ridgemont High) and Floyd (True Romance). How, as an actor, do you not think of those? Or do you?

SG: Well if you think of it in terms of stepping into the shadows of those great performances, both of those you just mentioned are amazing, you know I just try and figure out what makes Marty tick. It’s true that Marty is a stoner but I don’t approach him as oh, I’m going to play this stoner. I think getting high is something he does mostly out of boredom at work and I think getting into his mindset, where he’s coming from yeah, it leads me down a different path in terms of preparing for the role.

DC: On a scale of one to Willie Nelson’s tour bus, how high is Marty?

SG: I’ve got to tell you, I don’t think Marty is that high for all of the movie. I think he’s stoned at the beginning, he’s smoking a lot, when we first meet him he’s smoking a joint and he’s obviously getting high on top of the roof but as he said, the weed is not very strong, it’s weak Panama Red, and after everything starts to go down and the voice comes on, I don’t think Marty smokes up any more after that. I prefer to think of it as, I don’t think Marty is losing his mind because he’s stoned, I think Marty is a stoner because he’s the kind of guy who already had a precarious relationship with sanity/reality. I think he has a tendency to freak out and to be fair, anybody might freak out under that circumstance. I don’t think Marty is too terribly stoned after, you know, once the head explodes right next to him. I think that maybe jolts him into some level of sobriety and from that point on it’s more just the tension and intensity of the situation, not so much the weed.

DC: How’d you find your “in” to Marty?

SG: What I really like most about Marty is he’s a really good-hearted guy. I think that when the decision has to be made whether or not the people are going to engage in the violence and killing one another Marty makes the decision, I don’t even think it is a decision, actually. I don’t even think it would occur to him to pick up a weapon and start killing people, he tries to think outside of the box and find another way of solving the problem they’re in and I think that’s what I like about him. I think that’s what I would probably do if I was in that situation, it’s like, hey guys, we can’t kill one another, we have to find another way out of this, and Marty does that in his own way, and through the obstacle of freaking out, losing his mind a little bit.

DC: Greg is known for being the baron of blood in his Wolf Creek movies. I think this one might even be gorier. Give us some insight as to what it was like working with him and all that blood.

SG: I love working with Greg and think he was certainly comfortable around a lot of the blood. I felt like I was in good hands, as you said he’s been around in the horror world. In the movie itself, I don’t think of Belko as being much of a comedy but there are a lot of laughs in it, here and there. I really appreciated Greg being able to wade through all that blood every day on set.

DC: How would you break this flick down to horror fans?

SG: I think what I’m most intrigued by in the movie and what I think audiences will like the most is the moral dilemma it presents for you. I think anybody can watch this movie and say what would I do in this situation, what would a scenario this intense bring out in me if I were there. I don’t think the movie makes any conclusions for you, I don’t think it says hey, these are the good guys and these are the bad guys, it sort of just lets you see what everyone goes through and make your own conclusion. I really want audiences to know it’s a phenomenal cast top to bottom, there are people who have one or two lines in this movie that are some of the best actors I’ve known throughout my career who are just absolutely excellent and we had a lot of fun working together.

The Belko Experiment

The film stars John Gallagher, Jr. (“The Newsroom,” 10 Cloverfield Lane), Adria Arjona (“True Detective”), Tony Goldwyn (“Scandal”), John C. McGinley (Stan Against Evil, “Scrubs”), Josh Brener (“Silicon Valley”), Michael Rooker (“The Walking Dead,” Guardians of the Galaxy), Sean Gunn (Guardians of the Galaxy), and Melonie Diaz (Fruitvale Station).

The Belko Experiment explores a twisted social experiment, in which a group of 80 Americans are locked in their high-rise corporate office in Bogata, Colombia, and ordered by an unknown voice coming from the company’s intercom system to participate in a deadly game of kill or be killed.

The Belko Experiment

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Friday the 13th: The Game Welcomes Back Shelly Finkelstein This Monday!



Earlier this past year, all of us Friday the 13th Part 3 fans we delighted when “Friday the 13th: The Game” added in Fox (Gloria Charles) as a playable character.

And now we have the announcement that another beloved character from Friday the 13th Part 3 will be joining the game this December.

Yes, Shelly Finkelstein (Larry Zerner) will be coming back to Camp Crystal Lake!

The Shelly playable character will be available for free with the latest patch. The new update will be coming for PS4 and Steam on Monday, Dec. 18th. The Xbox One patch to follow shortly.

Below you can watch the announcement trailer which was posted on Twitter earlier tonight.

After giving it a watch make sure to let us know how excited you are to see Shelly (aka the man who gave Jason his mask) back in action below!

Shelly Finkelstein hits Friday the 13th: The Game for PS4 and Steam on Monday, Dec. 18th.

Welcome Back Shelly!

The man responsible for 'handing' Jason his mask, Shelly Finkelstein will be coming back to Camp Crystal Lake to troll his fellow counselors…that is until Jason shows up! Get Shelly for free with the latest patch!The latest update will be coming for PS4 and Steam on Monday, Dec. 18th with the Xbox One patch to follow shortly!

Posted by Friday the 13th: The Game on Friday, December 15, 2017

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Graham Humphreys Reveals His Poster For An American Werewolf In London



Graham Humphreys continues to cement his position as one of the top horror artists in the business with his stunning new poster for An American Werewolf in London. This piece was created as a private commission, and fans of John Landis’ 1981 classic are going to love it. You can view the final design of this incredible poster below.

Final design with text.

Graham also provided us with a detailed statement about the creation of the piece, along with a bunch of screen grabs taken throughout the process. If you scroll down to the bottom of the page, you can see how the final image looks before the text was added. In case you missed it earlier, you can also check out our extended interview with Graham here.

Exclusive Statement from Graham Humphreys
As a commercial artist and illustrator, there is only limited scope to make a job entirely your own – so with each project you are answering a brief in order to fulfill the needs of a client. Of course, the client may choose to give you free reign, though this is with the understanding that you are acknowledging their needs and thus expected to work within certain unspoken parameters. Mostly, these confines are defined by how a product is to be sold, licensing instructions and an understanding a market. With this in mind, the client is paying and thus nominally always right… though it would be unprofessional not to make them aware that other options might work better for them!

Without these commercial constraints, a private commission can remove the barriers because no market is to be met and there is only the artist and the private client to answer to. Creating a poster for a familiar and heavily licensed title is an entirely different prospect if it is not going to be generating money in the public domain and is thus essentially ‘fan art’. Unlike say, a T-shirt company ripping off someone elses art and charging money for the printed image, or perhaps a poster reproduced without permission by either the license owner or artist, then sold for profit.

Here, Dread Central have asked me to talk through one such commission, ‘An American Werewolf in London’, painted as a private commission for an individual that wishes to own a unique image that they themselves have made happen. NB: All likenesses and specific imagery (including the title and names etc) are subject to license and copyright and not for any use other than as examples of a work in progress (and of course, all rights are reserved!). Just need to make sure that it absolutely clear!

The client had commissioned two previous posters from me (as well as numerous poster designs from fellow artists), so a basic understanding of expectations had already been established.

My work begins by watching the film from beginning to end – to re-establish my own connection to the film (if one already exists). I saw ‘An American Werewolf in London’ (in London!) on it’s first run and the proximity to many of the locations (Tottenham Court Road tube station, Piccadilly Circus, being the obvious ones) made it instantly impressionable for me. Existing posters, in particular the official theatrical versions and various home-entertainment sleeves, focused on a limited image pool. My job was to find new ways of representing the film, free of the past baggage, but also to listen to my clients requirements.

Looking for a fresh perspective means avoiding the familiar stills that have defined the past marketing, this is achieved by making screen grabs from the DVD or blu-ray. As with most commercial jobs, I generally make a selection of about 40 images, then review these reducing the number to about 15 that have the best narrative potential, including a good visual range of actor expressions and reactions. My client required the Werewolf, London references, the moors, David and Jack, a full moon and the ‘Slaughtered Lamb’ pub sign… then whatever else I chose to include.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Selected screen grabs.

Selected screen grabs 2.

My first idea involved a portrait of David looking lost and frightened (I felt this was essential to the story), the Werewolf with it’s head bursting through the cinema shutters/signage (the idea of breaking the fourth wall), the decomposing Jack (a perfect metaphor for David’ s own life falling apart), his nightmare of the home invasion (one of the most effective and horrific moments in the film, I felt), plus Brian Glover’s ‘Slaughtered Lamb’ local – a look that defines rednecks and racists the word over when confronted by ‘other’!). I also wanted to add the tube attack victim to open up the carnage. Although Jenny Agutter’s nurse added the romantic dimension for an audience that expects the convention, I wanted to concentrate on David’s story, so chose to only include her face as if she were painted on the shutters, ie. a film poster element.

I was surprised that the client didn’t want the home invasion creatures, nor the reference to the sleazy cinema hordings (which I thought made a good location gag – obviously not!), they also did not want the rotting Jack. It was disappointing to lose these great horror elements, especially as they’d particularly wanted ‘horror’! But a compromise was reached by including the transformation scene at the bottom, and reinstating the moors (which I’d thought unnecessary).

Fortunately, my second sketch was well received and the painting could commence.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Once I have my sketch approved I reintroduced the photographic source material over the sketched parts, so that my layout remains exactly as approved and so that I’ll have the best possible likenesses to trace onto the watercolour paper.

Early sketched elements.

I usually have a basic idea of what colours I’m going to use. In this instance I knew that I wanted a silvery blue moonlight to bathe the entire image, but also the contrast of the orange glow of artificial lighting, the pub and cinema foyer. I knew the big splash of red in the wolf’s jaw would jump out, becoming the focal point. This painting took about three days to complete, the sketch process (including the grabs) about a day upfront.

Composition design.

The final painting was scanned and all the text added in photoshop.

My client will now make a full size poster print, to be framed, from the file I send him. Next up, ‘The Thing’!

Final painting before text was added.

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Syfy Renews Z Nation for a 5th Season; Season 4 Finale Airs Tonight!



Syfy’s popular zombie series “Z Nation” just keeps shambling on, and tonight the two-episode Season 4 finale, “Mt. Weather/The Black Rainbow,” airs. If you’re a fan of the show, we have good news for you… it’s not over yet as David Latt of The Asylum has announced on Twitter the pickup of “Z Nation” for a 5th season! So you can expect lots more adventures with the gang in 2018.

Below is the official word from David along with a brief synopsis of what’s ahead tonight in the finale, which kicks off at 9/8c.

In the mind-bending two-hour Season 4 finale, Warren and the team must stop Zona from launching operation Black Rainbow, which will cleanse the landscape of both zombies and humans. In Part 2 the secret of Warren’s Black Rainbow dream is unlocked when they reach their final destination. The cast includes Kellita Smith as Roberta Warren, Keith Allan as Murphy, Russell Hodgkinson as Doc, Nat Zang as 10K, Gracie Gillam as Sgt. Lilley, DJ Qualls as Citizen Z, Ramona Young as Kaya, Justin Torrence as President Donald Trump, Michael Berryman as The Founder, Micheal Daks as Mr. Sunshine, Anastasia Baranova as Addy, Sydney Viengluang as Sun Mei, Joseph Gatt as The Man, and Natalie Jongjaroenlarp as Red.

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