Eric Bana Talks Deliver Us From Evil, the Supernatural, and Ouija Boards! - Dread Central
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Eric Bana Talks Deliver Us From Evil, the Supernatural, and Ouija Boards!



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Eric Bana Talks Deliver Us From Evil, the Supernatural, and Ouija Boards!We’re back with another installment in our extensive Deliver Us From Evil interview series, and today we chat with the film’s star, Eric Bana. Read on to find out what scares him and much more!

Dread Central: So, we heard some weird stuff happened while you were making this movie.

Eric Bana: With me, not much. I mean, the set was pretty gnarly anyway because we were shooting nights on the streets down in the Bronx so the set always was very dynamic. It wasn’t the sort of set where you, you know, like put your phone down and forget about it and go on. You know what I mean? It was like, the crew were constantly on edge because of where we were shooting and what we were doing.

So I think regardless of what subject matter the film was dealing with or anything like that, it had a very edgy feel. Nothing happened to me. Actually, the special effects makeup guys had a lot of weird stuff that was going on for them back at their work shop. That was about the only one that I was aware of. I kind of blinkered myself to a lot of it to be honest because I saw enough in pre-production to sort of have the desired effect of freaking you out, and in order to do my job I was just trying to blinker a lot of that stuff out.

DC: Do you think that subconsciously we suggest things that happen and everything that happens is, “Oh, I saw that happen because I’m talking about that.” We associate things that are not normally happening to something just because we want to do it.

EB: Yeah, that’s interesting. I think there’s an idea out there, a lot of it is about what frequency you choose to tune into and I guess the bigger question is does a frequency occasionally choose you or do you choose the frequency? I’ve got an idea that there are some people that are more in tune to living on that frequency than others and whether that’s a conscious choice. Because there’s no doubt that if you’ve actually been really, really scared, if you’ve seen something that’s made you feel uncomfortable and you’ve gone back to your house and had a few hours where you just really feel like something’s over your shoulder or you catch something at the edge of your frame that’s not there, I think that’s an example of where you’ve chosen to tune in to that frequency, right? So I’ve got an idea that some people don’t have a choice; some people kind of live there. So I’ve gone around in circles, but yes, I do agree that sometimes it’s one and sometimes it’s the other.

DC: What scares you?

EB: Walking down stairs. I don’t have any weird fears other than running down stairs. I don’t like running down stairs. I broke my foot once after a gig on a stairwell where it was in the dark and the stairs went down and then there was a landing and I got to the landing and I thought I was at the bottom of the stairs but the landing went like that and the stairwell went like this and I just walked off the landing and I flew down and broke a foot. Ever since then I’ve hated traveling downstairs fast. So if I’m ever doing a chase in a film, I would say I’ll do anything you want me to do but just don’t ask me to run down the stairs.

DC: You talk about tuning in so what about yourself? What is your relationship with the supernatural? Have you witnessed an exorcism or have you ever had supernatural things happen to you?

EB: The thing that affected me the most was in pre-production Scott shared some materials with us. Actually, I was a little bit pissed off because at one point he just put this particular piece of material in front of us and it happened so quick and I was watching something that I really didn’t want to watch and that really, really affected me. I wouldn’t say freaked me out, but most definitely I saw something that I immediately identified as not faked and something that I knew I wasn’t going to be able to get out of my head. I would ideally want to be able to get it out of my head, and I felt like I didn’t have any say in that. It was like, ‘Okay, I can’t unsee what I just saw,’ but it was very important that I saw it for what we were doing. So that’s probably the most prominent thing for me and it’s probably similar to something you witnessed. It’s someone who’s suffering in a way that you can’t relate to it and you know that they’re not acting. I mean, there’s no actor alive who could do what I saw happening to someone. I have no way of explaining what that person was going through or why. For privacy reasons I can’t talk about what I saw but it was enough to give me a very uncomfortable week.

DC: Do you believe in the effect of exorcisms? What the scientists say, the skeptics, they say that this has to do with culture. They are manipulating, especially the angelic pastors that are doing this, they manipulate and the people who go in are so open and they believe that they have demons and that’s why they also react with screaming and changing appearance and everything. But that in reality it’s just because subconsciously they kind of are open for it and want it to happen and believe that this is what is supposed to happen?

EB: I would like to agree with that.

DC: Growing up did you do the Ouija board and stuff like that?

EB: No, and I’m glad I didn’t because after meeting Ralph and really getting to know Ralph, it made me realize that, you know, getting back to that frequency thing, I think there is something to be said for what you invite in and what frequency you choose to operate on and Ralph’s very deadly serious about a lot of this stuff to the point that he’s told me about going to help people investigate things and then he’s gone into their room and he’s found things like that where they’ve lied to him about the fact. Like, ‘Are you dabbling in any of the following… blah blah blah,’ and he’s gone into their room and he’s found, whether it be an object under a pillow or a bed or something that they’ve lied about, and he just gets up and walks out and leaves and never returns. He’s just not going to help that person, like, ‘You just lied to me, and that’s it. We’re done.’

DC: I think teenagers go through that phase. I mean, do you tell your kids not to use one?

EB: Yeah, I guess I’d probably try and discourage it.

DC: Do you like to feel emotional fear?

EB: I think it’s very healthy. I enjoy it personally and I think it’s like anything else that adrenalizes. I don’t think it’s something that you necessarily have to enjoy at the time. It’s about how it makes you feel afterwards. In the context of a movie, if you go and see a movie like this, and you see it in a cinema, ideally, not on your phone, and you get to walk out of the cinema and its daylight, it’s like, ‘Ahh, I’m so glad I saw a daytime session.’ And I think that feeling is pardoned in teenage years when you are just constantly searching for titillation; you are constantly searching for things that push the boundaries so I can understand why the genre is very popular amongst the younger audience because it just makes sense that you are constantly searching for that hit, for that adrenaline so I understand the reasons for it. I’m not a fan of huge crazy jump scares. I’m not really into slasher kind of movies.

DC: So when you chose this one, where you aware of, like, I don’t want to just do a horror movie that is just not for the actors?

EB: Exactly, yes, so for me I loved the script, I loved the character. I was a big fan of Scott’s work and there’s no way I would have done this film with a first time director. There’s just no chance. I really understood that this was a human story set in a somewhat supernatural world. The film itself has a very kind of skeptical way of viewing the material. It’s hard to talk about without you seeing it but it’s not exclusively for people who believe in this stuff. There are a lot of exit doors for people who don’t. You’re still going to be scared but there are enough exit doors on the ride for you to convince yourself that you can get off if you choose to. And that was very important, I think. Scott’s understanding for the genre… you know, my favorite films are the ones in that ilk like The Exorcist or The Shining where you’re following a person, you’re following a character, and these things happen. It makes it far scarier than a bunch of people just exposed to jump scares.

DC: Would you like to be a policeman?

EB: I did go through a phase as a young adult where I thought I was wanting to join the police force. Fortunately, I didn’t. It was a short-lived fantasy as a young man. When I didn’t have a lot of options I thought that was going to be one of my job options. Ralph was great to hang out with. He was around every day and I spent a lot of time with him before we shot the film. He was a great influence for me. Not in terms of asking him specific information or getting specific stories. I quickly ascertained after spending some time with him that my time was far better utilized with him by asking him nothing. And sometimes it’s the opposite, sometimes all you want is information and stories and things that you can hold on to. So much of the character in this film is about who Ralph is and what’s going on inside of him and his internal journey that as an actor and as a person I felt like the most relevant thing for me to do was to ask him very little and to just soak him up and just spend time with him as a friend. We had a touchstone in that we both loved motorcycles so there was always something to talk about that had nothing to do with the film and nothing to do with the subject matter. I would hear him talk to other people and tell stories that I would inadvertently be listening to but I never specifically sat Ralph down and said, ‘Ralph, you are going to come and tell me the five really scary things that had happened.’ I never did that with him. It wasn’t part of my process of working on this film.

DC: Did you do any ride alongs with the police?

EB: Yeah, we did actually, and that was very interesting and a good little adrenaline fix being exposed to that stuff, but in the long run, to me, the most beneficial thing was just hanging out with Ralph and just by osmosis trying to pick up some of his character.

DC: When you are playing a real person, do you find as an actor that it is more helpful to have that person in front of you, or would you rather play a character who is long dead so that you don’t really have the pressure?

EB: Well, it can definitely go both ways. I’ve obviously been in situations where it’s been the opposite where I’ve spent time with someone I’ve portrayed, haven’t had the ability to meet the person I’ve portrayed because of security reasons, haven’t had the ability to meet the person because they’ve passed so I’ve run the full gamut. I think the most important thing is to be really open. When I came on board to do this film I wasn’t aware that Ralph would be there every single day. In fact that he would be there during rehearsals even. So that was something that had I known that in the beginning, it would have freaked me out, but you just get to a point in your life where you have to go. ‘I’ve just got to breathe and try and make the most of this,’ and not be, ‘This is how it’s going to be; you are not permitted to come on set on the following days…’ I just try to let all that stuff go. So it’s interesting to work the extremes and sometimes it’s very, very beneficial to be able to meet the person, sometimes it’s wonderful to be free of that, so it just depends.

Joel McHale, Sean Harris, Edgar Ramirez, and Olivia Munn star alongside Eric Bana. The film is a paranormal thriller produced by Jerry Bruckheimer Films. Derrickson directs a script he and Paul Boardman (The Exorcism of Emily Rose) wrote.

Look for it in theaters July 2, 2014.

New York police officer Ralph Sarchie (Bana), struggling with his own personal issues, begins investigating a series of disturbing and inexplicable crimes. He joins forces with an unconventional priest (Ramirez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are terrorizing their city. Based upon the book, which details Sarchie’s bone-chilling real-life cases.

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Synapse’s Suspiria 4K Restoration Gets a Release Date



Earlier this year, we wrote about Synapse Films’ Suspiria 4K restoration and how it was available for pre-order. The weird catch was that there was no release date confirmed and that pre-orders would go out sometime in December 2017. Today that changes as we can confirm that the 3-disc special edition Blu-ray collection will come out December 19th, just in time for Christmas but a little late for Hanukkah. Any chance we can have one extra night this year?

Restored over three years, Synapse has been working tirelessly to create the ultimate version of Dario Argento’s 1977 classic supernatural horror film, which has since gone on to become one of the most recognized and lauded titles in the genre. This cut has been overseen and approved by Luciano Tovoli, the Director of Photography on the film.

Pre-orders are still available via Synapse Films’ website.

Special features:
*Limited edition of only 6000 units produced
*Exclusive Steelbook packaging and collector’s o-card sleeve, featuring artwork from Malleus, Van Orton Design, Juan José Saldarriaga & Chris MacGibbon
*Three disc [Two Blu-rays + One CD] limited collector’s edition (only 6000 units) containing a new 4K restoration of the original uncut, uncensored Italian 35mm camera negative exclusively done by Synapse Films, with color correction supervised and approved by SUSPIRIA Director of Photography, Luciano Tovoli
*Original 4.0 1977 English language LCRS sound mix not heard since the theatrical release in 1977, presented in high-resolution DTS-HD MA 96 Khz/24-bit audio
*Italian 5.1 surround sound mix
*Two audio commentaries by authors and Argento scholars, Derek Botelho, David Del Valle & Troy Howarth
*Do You Know Anything About Witches? – 30 minute SUSPIRIA visual essay written, edited and narrated by Michael Mackenzie
*Suzy in Nazi Germany – Featurette on the German locations from SUSPIRIA
*A Sigh from the Depths: 40 Years of SUSPIRIA – All-new anniversary retrospective on the making of the film and its influence on cinema
*Olga’s Story – Interview with star Barbara Magnolfi
*Original theatrical trailers, TV spots and radio spots
*Special Collector Edition Booklet containing an American Cinematographer interview with Luciano Tovoli, liner notes by Derek Botelho and restoration notes by Vincent Pereira & Don May, Jr. Cover artwork by Matthew Therrien Illustration
*“International Classics” English “Breathing Letters” opening credit sequence from U.S. release version
*Alternate All-English opening and closing credits sequences, playable via seamless branching
*Newly translated, removable English SDH subtitles for the English language version
*Newly translated, removable English subtitles for the Italian language version
*Exclusive CD remaster of Goblin’s SUSPIRIA motion picture soundtrack, containing additional tracks not included on the original 1977 soundtrack release

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Creep 2 Starring Mark Duplass Hits Netflix This December



Just the other day we shared with you guys an exclusive interview with Partick Brice, the director of the Mark Duplass-starring found footage flicks Creep and Creep 2.

Today we have the awesome news that the killer sequel Creep 2 (review) will be hitting Netflix streaming on December 23rd.

The original creeptastic motion picture is already streaming on Netflix so if you need to catch up – or just watch the original again – you can do so tonight and get ready for the sequel which, personally, I found to be superior (if even just slightly) to the original.

What did you think of the original film? Are you excited to check out the sequel? Or have you already seen it? Make sure to let us know in the comments below or on social media!

Creep 2 starring Mark Duplass and Desiree Akhavan hits Netflix December 23rd!


Desiree Akhavan (“Girls”, APPROPRIATE BEHAVIOR) stars as Sara, a video artist whose primary focus is creating intimacy with lonely men. After finding an ad online for “video work,” she thinks she may have found the subject of her dreams. She drives to a remote house in the forest and meets a man claiming to be a serial killer (Mark Duplass, reprising his role from the previous film). Unable to resist the chance to create a truly shocking piece of art, she agrees to spend the day with him. However, as the day goes on she discovers she may have dug herself into a hole she can’t escape.

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Waxwork Records Unveils Phenomenal 2018 Subscription Package



Our pals over at Waxwork Records have unveiled their 2018 subscription bundle and it’s packed to the brim with some absolutely fantastic titles! Horror fans who enjoy spinning their music on turntables can look forward to two Romero titles, Night of the Living Dead and Dawn of the Dead, Joe Dante’s The ‘Burbs, Sam Raimi’s Drag Me to Hell, and lastly they’ll have Jordan Peele’s smash success title Get Out. On top of getting those five records, those who join the subscription program will also receive a t-shirt, coffee mug, poster, notebook, magnet, enamel pin, calendar, and more.

For Night of the Living Dead, Waxwork Records worked closely with the film’s original creators, including Romero himself prior to his passing, the Museum of Modern Art, and The Criterion Collection so that they could source audio from the 4K restoration. It will be released as a 2xLP package.

Dawn of the Dead will also get a 2xLP release that will include brand new artwork, re-mastered audio, and more. The same kind of treatment is being given to The ‘Burbs. Christopher Young’s Drag Me to Hell soundtrack will be a single LP but will get the same level of attention and quality as the other titles.

As for Peele’s Get Out. Michael Abels; score will be released on a 2xLP vinyl set and will pay tribute to one of the most culturally significant movies of the past several years.

The Waxwork Records subscription package will be $250 ($285 in Canada) and will open up for sale this Friday, the 24th. More information can be found on Waxwork’s website.

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