Adelaide Clemens Talks Silent Hill: Revelation, Battling Monsters, Channeling Ultimate Evil, and More - Dread Central
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Adelaide Clemens Talks Silent Hill: Revelation, Battling Monsters, Channeling Ultimate Evil, and More



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A recent trend is taking the stereotypical horror heroine who would normally be resigned to get naked…and then get beheaded…and butch her up. A strong female lead can be every bit as compelling as an overly masculine hero, even more so.

Our heartstrings always pull for a nubile nymph with a chainsaw and heaps of bloody intent.

Adelaide Clemens steps up as the latest femme horror hero, following in the footsteps of the original ladies of Silent Hill (the movie) and actually picking up where one left off. Adelaide plays Heather, formerly Sharon, that timid little girl with a vengeful, vicious dark side in Alessa. Rose (Radha Mitchell) has found a way to send Sharon back to our world, and now daughter and father (Sean Bean) must flee for their lives from the members of a religious sect related to those lost souls who love burning “witches” in their churches.

Adelaide Clemens Talks Silent Hill: Revelation, Battling Monsters, Channeling Ultimate Evil, and More

Adelaide expands on what transpires, “They’ve been on the run for 6 years, and I don’t think she really knows why. There’s a lot of her past that she’s still trying to figure out. She has these experiences that are getting increasingly frightening, and eventually that leads her to the world of Silent Hill.”

Adelaide plays a younger version of her character, the central 18-year-old Heather character, and her evil alter ego, Alessa, remarking that channeling ultimate evil was no easy task. She loves playing with vocal dynamics and toyed with the way that Alessa holds herself to conjure up a creature evolved from that playful young thing we last saw dancing in a shower of blood. Adelaide went to the video games and pored over the first film to fill out her performance. “Losing your mind is one of the scariest things for me. Not knowing your own identity… I think that character had desperation to her. She was essentially going to lose her identity. What would you do if you were going to lose your mind? Your identity? You’d fight pretty hard.”

Shooting in 3D brings with it a new set of challenges on top of making an audience feel your terror. Adelaide notes that working in this medium is way more time consuming than just shooting a standard film. She also mentioned this was the most physically taxing role she has ever taken on, a fact that surprised the avid runner and former gymnast.

“Every day for 4 months… running and jumping and screaming and doing stunts was really strenuous but also made me feel like I was Heather! So it was great. And in 3D I can’t just be shoving my hand into the lens because then you’ll have a hand in your face… and I wouldn’t want to do that to you.”

With only one CGI monster (the mannequin creature we talked about with director Michael J. Bassett), Adelaide had plenty to work with to enhance her visibly jarred performance and make for a surreal life on set. “Red Pyramid was a wonderful stunt man on stilts. He was 10 feet tall [notice he is growing from Bassett’s prior mention of 8’2″ (read our interview with him here)] and holding a huge axe double my height, and he’d just be walking around set. And then there’s all the nurses – incredible body contortionists – you see in the film and in the games. They all had individual personalities! You’d see them at lunch, and Jenny would take off her mask and you’d stand there thinking, ‘This is VERY weird,’ but at the same time they have personalities, they can perform; it’s not like guys at a computer. There’s life breathed into these characters. I’ve seen the film, and I think it creates a totally different feel. I was genuinely petrified most of the time! We’d be off set kind of walking around having a chat, and then Michael would call action and then YEA! I’m expected to FIGHT RED PYRAMID! I’m just a chick from Australia. Give me a break. That was just insane.”

We couldn’t miss the opportunity to ask Adelaide if there was one monster on set that creeped her out the most. Her response was a resounding YES!! And she made a little tongue roll noise as if the mere mention were giving her chills as she prepared to relive the moments.

“There was this monster that I wasn’t familiar with… it’s like the Lobotomy Monster? [See our Michael J. Bassett chat again for details.] We had this incredible actor who was insanely tall, 6’7″ or something. There was a part of his body which we… enhanced. I think they enhanced it digitally, and his face had repeated lobotomies done to it – so imagine that.” We’d rather not because that’s just some McFarlane Tortured Souls stuff right there.

Adelaide continued, “And then… it didn’t have a face. It was just his brains coming out of his nose and eyes, and I had to do a fight sequence with this man… monster… thing… I don’t know. And then I have Michael going, ‘NOW SHOOT HIM IN THE FACE!!’ I had my eyes closed because it was so grotesque, and I kept missing the head! And he’d yell, ‘NO! IN THE FACE!!’ He doesn’t have a face!” *wimpers* *fake sobbing* “Ya know, it was just another day in the life of Silent Hill! *laughs*

So we know Adelaide was familiar with the franchise, and she built on that saying she’d always stepped over the games in her home where her two brothers enjoyed scaring themselves silly, playing for hours. On a personal note, she admits to being a poor, poor gamer, taking a half-hour just to set up a profile.

“To be honest, I think I lasted like 32 minutes the first time I played. I just…DIED. I last longer in the film than I do in the game, but I’m a huge fan of the games. I think they are petrifying. I get a very sick feeling when I’m playing them. I think that’s Konami’s intention.”

Obviously, in such a horrific circumstance, Adelaide would have to draw on the power of heroines from past films to find her strength. She mentioned Kill Bill as a film she watches over and over and Lara Croft as being kind of awesome.” “I love strong female leads.” When asked if she’d jump at the chance to play Lara Croft, she instantly replied, “TOTALLY!! If I can look anything like Angelina Jolie…”

Look for our chat with Kit Harington, the final installment in our interview series for the film, tomorrow.

Open Road releasef Silent Hill: Revelation (review) on October 26th. Sean Bean, Deborah Kara Unger, and Radha Mitchell return from the original film. In the sequel, directed by Michael J. Bassett, Heather Mason (Clemens) and her father (Bean) have been on the run from mysterious and dangerous forces. She discovers she isn’t who she thinks she is, leading her deeper into a demonic world.

For years, Heather Mason and her father have been on the run, always one step ahead of dangerous forces that she doesn’t fully understand. Now on the eve of her 18th birthday, plagued by terrifying nightmares and the disappearance of her father, Heather discovers she’s not who she thinks she is. The revelation leads her deeper into a demonic world that threatens to trap her in Silent Hill forever.

Director Michael J. Bassett Talks Silent Hill: Revelation; Read the Review!

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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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First Look at Chris Alexander’s Space Vampire



Who says all vampires have to be all extra-broody or sparkly or take up residence in Transylvania? Certainly not indie filmmaker Chris Alexander, who has just unveiled the first images and posters for his latest foray into film, Space Vampire!

The movie stars Ali Chappell as a beautiful female alien parasite who falls to earth with an intent to drain women of their life forces. As if women don’t have enough problems in this day and age!

Alexander wrote, directed, edited, filmed, and even provided the score for this intergalactic terror tale. Talk about a jack of all trades, eh?

Enough talk! Dig in!

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