Category: A Conversation With

A Conversation With, Interview, Music

A “Kihn-Versation” with Greg Kihn

I remember it like it was yesterday, as I’m sure any other musician whose ever started a garage band will tell you. The moment where everyone in the band gets together and starts figuring out which songs to learn.

In between the usual shouts for Led Zeppelin and The Rolling Stones everyone puts in their own two-cents and decisions are made.

Some songs rise to the top because they’re fairly easy to learn. Others fall by the wayside due to their technical ability, or perhaps because no one in their right mind would ever want to hear them played in a club.

Eventually though, songs get whittled down until only a handful remain. These are the classic ones that everyone in the band, regardless of instrument, already knows how to play and is eager to put on the set list.

In my experience there was only one song that was the common denominator in every cover band that I was ever in: “The Break Up Song” by Greg Kihn. I liked to call it “Old Reliable” because it was a staple in my band’s arsenal. A song that we were quickly able to pull out on a whim whenever the ladies came within striking distance of the dance floor. A weapon of mass destruction that was both easy for us to play and yet would only reinforce our rock star status to those of the female persuasion.

“The Breakup Song (They Don’t Write ‘Em)” was the song that first introduced me to Greg Kihn. A song that broke the band into the mainstream and as you’ll discover, as all good songs do, has a true “rock and roll” story behind its origin.

But Greg Kihn’s musical legacy goes much deeper than just a single song. Case in point: after losing control of his master recordings from his days on the Beserkley label in the late 1980’s Greg began the monumental task of getting them all back.

A successful journey that now gives us:

Greg Kihn Band: Best of Beserkley, 1975-1984: a 21-track magnum opus that features 19 remastered original hits drawn from Greg’s eight-of-nine Beserkley Records studio albums. Most of which have been out of print for over twenty-five years.

It’s rare when a project this special comes to fruition. Sure it’s cliché to say but quite honestly: they just don’t make ’em like this any more. Both die-hard and new Greg Kihn fans will definitely want to add this compilation to their music collection.

Never one to just rest on his laurels, Greg continues to be involved in music and writing. Today, Greg Kihn is the San Francisco Bay Area’s #1 FM reigning Radio Morning Man and can be heard on Classic Rock KFOX 102.1 San Francisco and 98.5 San Jose – the fourth largest radio market in America. He’s also a prolific novelist and screen writer who has several projects in various stages of development.

In my interview with Greg he discusses how this “new” album came to be and his plans to re-release every one of the Beserkley albums again in its entirety in true digital format.

Greg also talks about two shows he has coming up: a reunion/record release party in Santa Cruz, CA on May 19th and his annual Kihnfest concert which this year features a true 80’s triple-threat: The Steve Miller Band,  Pat Benatar and The Greg Kihn Band.

Finally we’ll find out about Greg’s current gig and what his greatest rock and roll memory is from the days of Beserkley.

But before our interview begins there was one thing I absolutely had to take care of first:

goJimmygo (gJg): Mr. Kihn, as a guitarist myself and on behalf of everyone who has ever played in a garage band I just want to say: “Thank you so much for The Breakup Song.”

Greg Kihn (GK): <laughs> You’re welcome!

I’ve always loved that guitar riff and every garage band has had that one in their repertoire at some point. In fact, in the movie “The Groomsman” that’s the song they’re rehearsing in the garage when they’re getting their band back together.

gJg: What’s the origin of that song?

GK: It’s a long story but basically goes like this: I was coming home really late from a gig one night with the band in our van. I remember it was raining and they were going to drop me off. But when we pulled up outside of my house I noticed that all of my stuff was piled up out on the front lawn.

The guys in the van were like: “Uh-Oh! Looks like you’re not going home tonight!” <laughs>

So we drove to a Sushi bar and I noticed that there was an older Japanese businessman standing there next to the jukebox. He was completely drunk on Sake and kept playing the song “I Remember You” by Frank Ifield over and over again. Just kept pumping dimes in again and again playing this same song over and over and all the while kept muttering:

“They don’t write ’em like that anymore…”
“They don’t write ’em like that anymore…”

I turned to Steve (Wright) and I said: ” You know Stevie, that’s a song right there! “<laughs>

gJg: That’s incredible how an incident like that sparked the song.

GK: The best things in life are like that. They happen by accident.

gJg: Tell me about this “new” record you’ve just released.

GK: It’s really the end of a long journey and the beginning of a new one.

We’ve been trying to get the master recordings back from the various record companies we’ve dealt with over the years. We were on Beserkley which was a notorious independent record label that answered to no law of God nor man.

The problem was, they had a different distributor almost every year that they were in business so every one of my albums was distributed by a different company. They were all on the same label but it was always something like “Beserkley distributed by Warner Brothers” or “Beserkley distributed by Asylum” or a number of others.

Over the years we lost control of those master recordings and about ten years ago my manager and I began a quest to try to get them all back. We started with the EMI material and just kept expanding, hiring lawyers and beating down doors until eventually, one by one, we got everything back.

Now I have the rights to put out all of my original master recordings myself, a lot of which has been out of print for over 25 years.

So on one side it’s great because people will get to hear this material again and on the other it’s also legacy building because I want my grandchildren to benefit from the stuff I did too. I really want the music to be available to everyone.

gJg: What was it like listening to that material all over again?

GK: Surreal. There’s a lot of really good music in our catalog that I had totally forgotten about. When I started remastering it I was blown out by how fresh it all sounded.

In the old days, around 1976 we didn’t know what we were doing. We just went in and did it. We’d have a recording session on a Saturday and the week before I’d write a song or two and rehearse it with the band. Then we’d go in and basically record it live with minimal overdubs. We were on a shoe string budget doing it after hours and at odd ball times but God it was fun. I remember going in and being so STOKED by just being in a professional recording studio.

They would let us use the old CBS studios in San Francisco. It was the size of a gymnasium. It was huge and our equipment took up just a tiny section of a corner of it.

I remember setting up our gear and thinking: “Wow, we’ve made the big time.” Here we are in the same room where Janis recorded. Simon and Garfunkel. Everyone recorded in this room.

When I listen to it now, putting it all together it really takes me back and makes me realize how special it was. All of the things that we did. We were pioneers and we didn’t even know it.

gJg: What are your plans now that the remastering is complete?

GK: We’ve just released “The Greg Kihn Band’s Best of Beserkley“. It has a few songs from each of the records that were released during that era.

The next goal is to release all of the original albums themselves individually, digitally remastered and in chronological order. It will be so great to have this music available digitally because most of it was only available on vinyl back in the day. There have been “Best Of” collections over the years but never anything done like this and I’m grateful for the opportunity.

gJg: What are your thoughts about your days with Beserkley?

GK: Beserkley was the first independent label of the modern era who took a chance on us. We didn’t have a hit record until our seventh album when “The Breakup Song” cracked the top ten. We never would have gotten the chance to make a second album in today’s world.  So in a lot of ways I’ve been really lucky and it was a very fortuitous event that placed me with Beserkley records.

Oh and by the way, I just started thinking about writing “The Beserkley Story” because this is a story that needs to be told. A story of over indulgence, excess, insanity, sex, drugs and rock and roll. It’s funny and tragic at the same time but the amazing thing was, we pulled it off.

The odds were a million to one that we would do anything but we beat the odds.

gJg: Any thoughts about doing a tour?

GK: I don’t think we’re going to tour for a while. I do my morning radio show every day in San Francisco. I’m not ruling it out but it’s unlikely at this juncture. I do, however, have a couple of big shows coming up in the area.

I’m doing a special Greg Kihn Band Reunion/Record Release Party Show at our old stomping grounds in Santa Cruz, California on May 19th. It will be out on the beach at the Catalyst Club where we used to play all the time back in the 80’s. 

We’re returning there and having as many members of the original band that are still with us perform. Larry Lynch, Steve Wright, Greg Douglass. It’s going to be a reunion of sorts.

We’re going to have the original guys playing on the original songs. It’s going to be pretty cool. Everyone who comes will get a download card for the CD and there will be posters and even a raffle for a signed guitar. It’s going be a very party-like atmosphere.

I haven’t played some of these songs since we recorded them over 25 years ago. So for me, to go back in there and rehearse them with Larry the original drummer and Steve the original bass player was like getting into a time machine!

Then on July 14th we’ll be having my annual “Kihncert”. It’s a mini rock festival that I do every year. This year we have Steve Miller, Pat Benatar and The Greg Kihn Band. A nice little triple bill.

gJg: It’s the 80’s all over again!

GK: You know, as I’m speaking with you I’m currently sitting in a large bathtub filled with the 80’s just soaking in it. It’s like a warm fluid that’s good for the soul.

gJg: Tell me a little about your morning radio show.

GK:  It’s Classic Rock KFOX 102.1 San Francisco and 98.5 San Jose. We’re the fourth largest radio market in America. I get to play great music, talk and do interviews.

gJg: Tell me, how cool is it to be a DJ and be able to spin your own records?

GK: I love it!

It’s “Greg Kihn playing Greg Kihn on the Greg Kihn Show!”  They pay me three times for it. I get paid as the DJ, as the writer of the song and I’m the guy who gets the mechanical royalties because I sang the song!

I don’t know how many professional rock and roll musicians that can actually say that. I may be one of the few in the world. This is now my 16th year in radio. The fact that I’ve been getting up at 4 in the morning all that time just blows my mind.

gJg: You used to be coming home at that time.

GK: Exactly! That was when I used to come home. My whole life is upside down. The nice thing about doing radio though is that I love doing interviews and talking about music. Getting up is tough but I look at it like they pay me to get up and the rest of it is free.

The other nice thing about it is that I don’t have to travel and tour. All of my music friends have to travel all the time but I get to stay home all week and do a lot of writing and hang out with my kids. All I have to do is get up and drive to San Francisco.

gJg: Tell me about the screenplay you’re working on.

GK: There actually are a few of them I’m working on right now but the big one is “45 RPM” which is about the Mafia in the music business. It’s written to be a series, kind of like “The Sopranos with Guitars”.

I also have an adaptation of my first novel “Horror Show” that I’m preparing a script for as well.

gJg: What do you like most about writing?

GK: The part of writing that i find so therapeutic is that you can just let your mind wander and let the creative process take over. I used to only write songs but now I’m writing songs, novels and screenplays. They all use the same muscle in your brain. That creative spark. That’s what I like, coming up with new ideas all the time.

gJg: Just one more question for you.

GK: Fire!

gJg: During your Beserkley years, what is your greatest rock and roll memory?

GK: Wow, there’s been a lot of great ones but I think I would have to say opening for The Stones in the Seattle Kingdome in 1983.

We were like “America’s Opening Band” back in the 80’s. So when Prince got kicked off the Rolling Stones tour Bill Graham called me the night before asking if we could fill in and open for them. I said: “Bill? what time do you want me to be there?”

Bill was always good to me and kept me in mind.  My mother had always told me to thank Bill Graham after every show and one of the reasons I think Bill liked me was because I always did thank him after every gig. <laughs>

So we jumped on a plane and opened the show playing in front of 80,000 people and my heart was pounding. It was a sea of humanity!

Afterwards, I remember walking around backstage with Bill and thanking him for the opportunity. He says: “Shut up, follow me!”. He then proceeds to take me back through level after level of security into the inner sanctum of The Rolling Stones.

So there I am sitting on the couch with Mick and Jerry Hall, who was his wife at the time and Charlie was there. Keith was tuning his guitar and Ronnie was there too. And there was ME in the same room as the Stones!

I was talking to Charlie for about a half hour about under-playing and over-playing and he was telling me: “You’ve got play it like it’s a small club man!”. It was cool.

I remember bumming a cigarette from Jagger. He gives me a pack of Marlboros and says “Here Man, have the whole pack!”. Turns out every guy in the band had requested a carton of cigarettes in their rider at every gig. It was insane. So Mick gave me the pack he was currently working on. I think he had only smoked two of them.

So I took the sacred Jagger cigarettes, smoked one of them and after they went on I took the pack back to my dressing room.

When my band found out that I was hanging with the Stones they were all bummed out and saying “AW, MAN! How come you didn’t come get us?” <laughs>

I said: “I’m sorry guys. I feel bad. But hey, I got Jagger’s cigarettes!” . Everyone was in awe of them. They each pulled one out and smoked them like they were joints. Come to think of it, I think they actually got high off of them. <laughs>

I wound up giving the pack to Gary Phillips, who was my guitar player at the time and the biggest Stones fan.

Turns out, he left the pack on his mantle when we went out and toured with Journey and when he came back two months later they were gone. The guy who was watching his house had smoked them all. He told him: “How could you do that man? Those were the sacred “Jagger Cigarettes!”.  But they were long gone! <laughs>

gJg: Greg it was great talking to you! Congrats on the record and all of your success!

GK: Thanks! It was great talking to you too! Let’s do this again sometime!

Article first published as A “Kihn-Versation” with Greg Kihn on Technorati.

A Conversation With, Interview, Movies and TV

A Conversation With Actress Darcy DeMoss
Actress / Animal Rights Activist Darcy DeMoss

I’ll never forget the day I met Darcy DeMoss.

Ok, let me clarify something. I didn’t actually “meet” her in person. In fact, I’m sure she didn’t even know I existed.

But when the film “Can’t Buy Me Love” was released I felt an instant connection. There was something special about her. Ironically enough, it wasn’t until this very interview that I discovered what that special something was.

But first things first.

“Can’t Buy Me Love” is one of my all-time favorite movies. The fact that I was a senior in high school myself when it was released made the thought of paying $1000 to spend a month with any of the cheerleaders something worth serious consideration.

In “Can’t Buy Me Love” Darcy got to showcase her full acting and dancing potential. She played the role of Patty, a high school student who suddenly finds the nerdy Ronald Miller (Patrick Dempsey) quite attractive after he starts “dating” her friend and head cheerleader Cindy Mancini (Amanda Peterson) . The infamous scene of Patty and Ronald sitting in his car on a date is one of my personal favorites.

But Darcy isn’t just your typical cheerleader. Horror fans all know that she’s a fighter as well.

Darcy gets credit for putting up the best and longest fight scene against the infamous hockey-masked slasher Jason in “Jason Lives: Friday The 13th Part Six”. A fight that unfortunately doesn’t end well.

But in real-life though, Darcy DeMoss’ passion runs deep. She is a multi-talented actress, dancer, photographer and animal rights activist. One look at her website: “Exotic Visuals“ will show you that not only does she have an eye for photography but also for life as well.

She’ll soon be able to add the title of “Author” to her list of achievements as she is currently working on no less than three books of photography based upon her African adventures.

Darcy is also a member of the advisory board of Shambala, an organization led by Tippi Hedren whose mission is to educate the public about exotic animals and to advocate for legislation to protect them.

In this interview with Darcy we’ll discuss her amazing career in dance and film. We’ll talk all about her roles in “Can’t Buy Me Love” and “Friday The 13th”. But more importantly, we’ll discover how a dream she had as a child turned into an epiphany that gave her life new meaning. An amazing woman whose story is yet to be told.

goJimmygo (gJg): Darcy! It’s so great to speak with you!

Darcy Demoss (DD): It’s great to speak with you too!

gJg: Tell me a little about where you grew up and how you first got into acting.

DD: I was born and raised in Hollywood, California. My best friend growing up was Helen Hunt who was working on “Swiss Family Robinson” at the time. I remember going to the set with her all summer long while they were filming.

Helen and I were in acting class and studied dance together as well. It was there that I decided I wanted to become an actress. I did my first commercial when I was 15 for Sony and then started doing a few other little things here and there to get started.

gJg: What was your first film project?

DD: The first real big thing I ever did was a show on cable television called “Aerobicise”. My actual first film role was in a movie called “Hardbodies”.

gJg: Let’s talk a little bit about your role as Patty in “Can’t Buy Me Love”, one of my favorite high school movies.

DD: I was actually 23 when we made that movie.

gJg: You honestly look like you were in high school.

DD: Thank you!

Last year, we had a revival screening of the movie at a local theater here in LA. It was myself, Cortney Gains (Kenneth), Cort McCown (Quint), Gerardo Mejía (Ricky) and Eric Bruskotter (Big John). It was a full house and we did a Q&A afterwards. Seth Green wasn’t able to attend but he sent along a little video where he talked to everyone. It was a really fun evening.

Michael Swerdlick, our writer was also there answering questions that even I didn’t know about. He told the story about how Touchstone came to get it. Originally, it had started out as a little independent film called “Boy Rents Girl”.

Darcy & Amanda Peterson

gJg: What was the audition process like for you?

DD: I recall originally reading for the role of Cindy Mancini. What they like to do is have you read for the main character because there’s more dialogue. I remember standing in a hallway that was crammed full of people reviewing about eight pages of material.

I went in to read and that’s where I met Steve Rash (director), Michael Swerdlick (writer) along with Jere Henshaw and Mark Burg (producers). But instead of doing the four scenes (8 pages) I had studied, they narrowed it down to just two.

Through that, I ended up getting a callback. I think Michael actually called up my agent personally and requested me which was awesome.

I didn’t get Cindy Mancini, but I was offered the role of Patty.

gJg: Was there anything special you had to do to prepare for the role of Patty?

DD: I hadn’t been in high school in a while so before we started filming I went out to Tucson and had them sign me up to be in school again for a few days so I could do a little “research”. <laughs>

What was funny was that here I was, an adult having this intelligent debate with the geography teacher and I have all of these boys saying: “So, you’re the new girl in school?  What are you doing this weekend? <laughs>

So I did go back to school for a few days. We wound up using a lot of the students there as extras which was pretty neat.

gJg: How was the chemistry with the cast?

DD: It was amazing. There was a whole camaraderie with us. We were all newbies and just had a blast. We all laughed together a lot and shared our stories of the day.

I do remember telling the guy I was with at the time: “This is going to be great! I’m going to be able to do method acting and really bond with these girls”. You know, really connect. 

So I go to the table reading and find out that the girls are all 15… I’m 23! They had to be DRIVEN to the readings.

So needless to say, instead of doing pub crawls with the girls it was more like “Hey, anyone want to go the movies?” <laughs>

Amanda (Peterson) and Tina Cyphert (Barbara) actually both worked together on the movie “Annie” with Carol Burnett. So they both knew each other previously.

Darcy & Ami Dolenz

Ami Dolenz (Fran) is amazing and beautiful. She and I still have this incredible bond together. It’s so few and far between when you hear women say: “I love her with all my heart”. But I do and will until the day I die. She’s awesome!

gJg: The scene with you and Patrick Dempsey (Ronald Miller) in the car on a date is one of my favorite scenes from the film.

DD: That was an interesting scene. When we first shot it, I had glitter all over my face and the people at Touchstone didn’t like it . They thought it looked like I was sweating.

Once initial filming was complete we actually had to go back to Arizona and re-shoot it.

gJg: Did you ever think Patrick would go on to have the success he’s had?

DD: I always knew that he’d go far. He was really into method acting. I actually haven’t seen him in many years but ironically, my husband owns an employment agency and I think he staffs him with some of his employees.

gJg: Small world.

DD: When you’re in LA it certainly is.

Although I was once in Bucharest, Romania filming a movie and I’m sitting there waiting in the lobby going over my script when I hear someone across from me say: “Darcy?” 

Now I didn’t know if that person was talking to me so I sort of blew it off.

Suddenly I hear this voice again saying to me: “DeMoss?” Turns out he was a casting director I had auditioned for a long time ago and here we are reuniting in Bucharest, Romania of all places!

gJg: Wow, how about that!

DD: The world just gets smaller and smaller. So be nice to everyone because you never know. <laughs>

gJg: what’s your favorite scene from the movie?

DD: It has to be the African Anteater Ritual!

gJg: I LOVE that scene too!

DD: Being a dancer I just had so much fun doing that scene! Paula Abdul actually worked the choreography for that. What’s funny is that Paula was actually my dance rival in dance class so I had already known her for many years before the movie.

Friday The 13th

gJg: What was it like being a part of a franchise like “Friday The 13th“?

DD: It was a lot of fun. Some directors are unapproachable and some are so accessible and this was my first introduction to the most accessible, coolest director ever. Tom McLoughlin, who both wrote and directed this film, was so awesome!

gJg: Your scene with Jason has to be one of the greatest “kills” ever in a horror movie.

DD: It certainly was the longest struggle out of any of his victims, which is something I guess you could say I’m very “proud” of. <laughs>

Darcy & Jason

gJg: You definitely weren’t going to go down easy!

DD: You’re right! Most of the time once Jason gets a hold of you you’re pretty much dead right away. I’m only 5’2 but I really did put up quite a fight.

I remember CJ Graham (Jason) originally wanted to go a little easy on me but I just said, “No, let’s have at it and make it look as real as possible.” Now, he’s about 6’4 and a bodybuilder who could’ve squashed me but we really fought and made it look realistic. At least it sure felt real to me!

gJg: How was that scene filmed?

DD: They actually constructed a whole room that was designed to be the bathroom inside of the Winnebago. All of the walls were removable so they could get different angles and shots. They even had an overhead camera as well. I remember it was an entire evening of filming my fight scene with Jason.

gJg: For the actual “kill” scene was that a mask of your face that was constructed?

DD: Yes it was. I have to admit; when we made that mask it was hard for me to stay still in that position for so long because I’m claustrophobic. And I was completely covered. Fortunately though my mouth was open but I still had to keep it that way for a very long time while they made it.

I actually had the mask recreated from photos taken by the special effects company and I bring them along to my convention appearances.

gJg: It’s amazing how much longevity the franchise has had.

DD: I know. It really is. There’s even a book out about the entire Friday the 13th franchise. It has interviews with all of the people who were involved with it. They’ve even released a CD with all of the music from the films too.

gJg: Why do you think the series has been so successful?

DD: You know, it’s really because of all of the fans. The horror genre fans are just so incredibly loyal.

I’m still getting letters from 16 year olds telling me that they’re my biggest fans and asking me to send them a photo…<laughs>

gJg: Speaking of photos, the ones on your website from your trips to Africa are incredible! They are absolutely beautiful!

DD: Thank you! So you’ve seen my website? Fantastic! I’m actually working on three books.

gJg: Really?

DD: Yes. They’re a real labor of love. I’ve been so inspired by my African “interludes” that I’ve decided to write three photography books on Africa. It’s been a long hard road but they’re finally coming to fruition.

gJg: Tell me a little more about them.

DD: The first is going to be called “Kamoflauge”. The second is a photo book of “Animal Eyes and Asses” and the third book will be a photo book with celebrities called “Private Moments”.

gJg: When did you start doing photography professionally?

DD: I was never really into it as a profession at first but I would always have my camera with me when I’d be on location. I loved to get behind the scenes pictures of the set, the actors and other fun photos.

On a recent birthday one of my dearest friends had bought me a camera. My husband then bought me a great lens for it to take on my very first African safari.

I went to Sir Richard Branson’s Game Reserve (an absolutely unbelievable place) and just started taking pictures. I think I had brought somewhere around fifty rolls of film along with me. I just really just wanted to document everything about my experience even though I didn’t really know what I was doing at the time.

When I came home and started developing the pictures my friends were just in awe at how good the photos looked and told me I should do something with them. So I took some of the best ones and walked into my first gallery and the woman there saw them and said, “Let’s give you a show!”

gJg: WOW!

DD: That’s exactly what I said: “WOW!” <laughs>

I couldn’t believe it. So I had my first exhibit and from that experience became a professional. What I got to see from taking those pictures was inspiring. It gave me this whole new vibe on life.

gJg: In what way? 

DD: I had always wanted to go to Africa. It was always my dream. In fact, the very first paper I ever wrote in elementary school was about Africa. It wasn’t until I found that paper again that I said: “Now, it all makes sense!” “The Jungle Book” and all of those films and television shows I loved watching growing up. They were all about animals.

Everything about me just vibrates Africa. When I’m there every sense I have is heightened and so alive. It’s literally the place where everything came to be. It’s where life is what it should still be like everywhere.

gJg: It’s inspiring to see the animals in their natural habitat as opposed to a confined area like a zoo.

DD: I don’t condone zoos or the circus. I think they’re the worst thing ever. I don’t think we were meant to train animals like that. There are books and photographs and the Internet where we can learn so much more about them instead of seeing them in these restricted areas where they can’t move about.

Did you know that there are more tigers in Texas than there are in India? And it’s because they’ve all been poached and killed. They have canned hunts. It’s appalling.

I’m involved with a sanctuary called “Shambala”. It’s a refuge for exotic cats. They’ve even rescued Michael Jackson’s two tigers because no one else wanted them.

Darcy DeMoss & Tippi Hedren

gJg: Tell me more about Shambala.

DD: Shambala (www.shambala.org) is a sanctuary in Acton, California that’s run by Tippi Hedren. Tippi is Melanie Griffith’s mother and starred in the Alfred Hitchcock films “The Birds” and “Marnie”.  It’s pretty spectacular what this woman does with her life. She is my absolute hero. I’m a member of her advisory board.

Tippi is passing bills and is making a world of difference. She has these amazing sunset safaris that you can go to. You can walk around through the property and be told about each cat and how they came to be there. There’s even a chance to have dinner and a Q&A session with Tippi. It’s an entire evening.

She has two huge actual African tents you can stay at. When you spend the night there you can actually hear the cats talking to each other. It’s the coolest thing. It’s a fun, educational place to really learn about the animals.

gJg: It really sounds amazing!

DD: If you can’t afford to go to Africa and if you’re in the area you just have to go to Shambala!

gJg: Tell me a little about your own animals.

DD: I have two Golden Retrievers: Trubble & Duchess. Duchess was a rescue who we found out needed to have her hip replaced shortly after adopting her. Fortunately we were able to do that for her. It went well and now she’s like a new dog.

I also have an African Grey parrot named “Choo-Chi”. She’s a junk food junkie. <laughs>. She’ll eat pasta and pizza.

She can go out of her cage and crawl around and I also have an area set up for her outside. She’s beautiful and a lot of work but I love it.

gJg: What other projects do you have coming up now?DD: I’ll be working on a new movie project,”Bone Garden” this summer. It’s a film by Mike Gutridge. I loved the script and am really excited about it.

For more information on Darcy and Shambala click on the links below (photographs in this article courtesy of Darcy DeMoss):

Darcy DeMoss * Exotic Visuals * Shambala

Article first published as A Conversation With Actress Darcy DeMoss on Technorati.

A Conversation With, Interview, Movies and TV

Beyond Elm Street: A Conversation With Actress Amanda Wyss
Amanda Wyss

In a word: “Amazing”.

That’s the best way to describe Amanda Wyss. Both as an actress and as a person.

Amanda’s deeply involved with Project Happiness, an organization that specializes in emotional resilience-building programs and provides proven techniques to cultivate one’s own authentic happiness. Its mission is to empower children, families and communities to create happier, more meaningful lives.

Amanda is also a very down to Earth person. She’s someone you’d easily want to have a conversation with over a pizza. Especially when you consider her body of work and the characters she’s hung around with.

As an actress, she’s sat behind Jeff Spicoli in history class, listened to music with Captain Jack Sparrow and was even the first person to dream about and have a rendezvous with bad boy Freddy Krueger.

One of the earliest performances I remember Amanda from also happens to be one of my favorite movies: “Fast Times at Ridgemont High”. A film where she plays Lisa, the girlfriend of Brad Hamilton (Judge Reinhold).

Its senior year and Brad is trying to figure out a way to break-up with Lisa but she inevitably beats him to the punch. But why anyone in their right mind would want to dump Amanda Wyss is still a mystery to me.

The film Amanda’s become most synonymous with though is “A Nightmare On Elm Street” where she will forever be remembered as Tina Gray, Freddy Krueger’s first victim. Not only was she Freddy’s first but here’s something that only true horror enthusiasts will know: Amanda Wyss is the very first face you see in the “Nightmare” franchise.

Amanda’s resume includes diverse roles in such films as “Better Off Dead”, “Silverado” and “Powwow Highway”, a film that won the Dramatic Filmmakers Trophy at the Sundance Film Festival and one of Amanda’s personal favorites.

In addition to film, Amanda has also worked extensively in television as well, having guest starred on such shows as “Highlander”,  “Cold Case”, “Dexter” and “CSI: Crime Scene Investigation”. Chances are, you’ve seen her in prime time and may not even have known it.

Amanda has recently gone back to her horror roots, having appeared as the waitress Darlene Atwood in the Brian Pulido directed film, “The Graves”.  She also appears in the film, “Deadly Impact” where she plays Julie Mulligan, a television news reporter covering a terrorist attack.

But one of her greatest moments for me personally was her performance as Tina Vincent, an obsessive “wife” of a serial killer in a multi-part episode of CSI. Maybe it was because she was channeling her inner “Freddy” at the time but one thing’s for sure: in that role, she was nothing short of amazing.

In this interview with Amanda we’ll talk about her role as Lisa in “Fast Times At Ridgemont High”. We’ll also discuss some of her other film projects including the original “A Nightmare On Elm Street”, a film put together on a shoe string budget that became a cult phenomenon (and one which also launched the career of a then unknown Johnny Depp).

Finally, we’ll find out what Amanda likes to do in her spare time and her plans for the future as well.

Amanda preparing to become Tina Vincent

goJimmygo (gJg): I just recently watched you for the first time as “Tina Vincent” on CSI. One of the best roles I’ve ever seen you do. You were amazing! Just the look in your eyes and the way you smiled at Catherine Willows (Marg Helgenberger). That was really intense.

Amanda Wyss (AW): Thank you!

gJg: How do you prepare for a role like that, to play a woman that obsessed?

AW: You know what? I just use my imagination. That’s my technique. I just sort of dive in. Tina Vincent was SO much fun to play because she was so madly in love with that crazy guy (Nate Haskell). It was really fun to do.

gJg: So, how about we begin by first going back to Ridgemont High?

AW: Sure, let’s go!

gJg: You played Lisa, Judge Reinhold’s love interest. How did the audition process go?

AW: I was actually called in for that specific role (as Lisa) and I remember the audition for it was fun and unique. Part of the process for me was having to do an improv with Judge Reinhold. The casting director, Bonnie Timmerman and Amy Heckerling (Director) were both there and it was a lot of fun.

gJg: I’ve heard rumors that Sean Penn was so into the role of Jeff Spicoli that he wanted everyone to call him by that name and even had the name put on his dressing room door. Is there any truth to that?

AW: <Laughs>. Honestly, I don’t remember that but I have heard about that rumor several times myself so it could quite possibly be true. Sean’s super talented and was very into his part. I think a lot of the surfer guys were, actually.

I do recall that there was a long rehearsal process and everyone had a chance to improv and prepare their characters. So I don’t think it was a situation where Sean just walked on to the set and said, “OK. Everyone call me Jeff Spicoli!” It was more of a slow process where everyone just became these fun high-school characters.

Fast Times At Ridgemont High

gJg: You looked like you were having such a great time on screen. Like when you’re sitting behind Sean in history class when the pizza comes. You had this look on your face like you were ready to just laugh.

AW: It was a very fun film to do with such talented young actors. Every day was really fun.

gJg: How did Ridgemont High compare to you own real-life high school experience?

AW: You know what’s funny? I actually grew up at the beach so I basically did go to school with all of those types of people. It was definitely my era. You know, we were all surfers. To some extent it was a very comical, slightly exaggerated view of the beach town that I grew up in.

gJg: Do you have a favorite scene from the movie?

AW: I don’t really have a favorite scene in particular. I look at it more as a whole. I adore it and certainly loved making it.

A Nightmare on Elm Street

gJg: Was the role of Tina in “A Nightmare on Elm Street” another that you were just called in for?

AW: Actually, we had all read for the role of Nancy (which eventually would go to Heather Langenkamp) and then for the call backs they split us up into groups.

I remember at the time reading with Heather and just thinking that we both really clicked together. I kind of had the feeling that we were going to get those parts. The best part is we’re actually still best friends from that movie. She’s amazing.

A Nightmare On Elm Street

gJg: Did you have any idea of how big the franchise would become in the horror genre?

AW: Quite honestly I had no idea. I loved the script and Robert Englund is so brilliant. I think it was because at the time I was young and wasn’t really that savvy or aware of all of the elements that make something last like that.

Obviously though, when it was completed and there was such a big reaction to it and after all of the positive initial reviews I was like, “Oh Wow!” But at the time, I had no idea that it would become this iconic, horror classic. I don’t think any of us did. Well, except for maybe Wes (Craven, Director) but he’s one of the smartest people alive. <laughs>

gJg: It was filmed on a low-budget too wasn’t it?

AW: It really was filmed on a super low-budget. It was a classic example of true indie-style, guerrilla film making. It just happened to have this magical group of people working on it whose combined energy gave audiences the sense of wanting to keep coming back for more. And I think that’s sort of the same thing that happened with “Fast Times” as well.

For whatever reason there’s something that happens sometimes when you mix the right combination of people and energy. No one really knows what it is. It’s just a magical mix that makes the movie stand out and last. Those two movies are good examples of that.

gJg: I worked at a drive-in while in high school and must have watched it dozens of times.

AW: You know, people have told me they’ve seen it a lot. I’ve actually seen it more in the last few years because of the reunions at horror conventions. When I watch it now with my distance from it I see it more as a film and not so much as one that I’m in. It really is a scary movie.

gJg: And you’re the centerpiece of it in a way. You’re actually the first person you see in the movie.

AW: I am. I’m actually also the first person to die in the entire franchise. <laughs>

gJg: How did your death scene work? Was that a rotating room?

AW: It was based on an old Fred Astaire movie. The room was built on this large sound stage and was positioned on a rotisserie type contraption. Everything in the room was either nailed down, glued down or taped down. It was made that way so nothing would move and as it turns around it appears as though I’m going up the wall and on to the ceiling.

gJg: Visually, it was very effective!

AM: I actually got vertigo from doing that scene. Everything was nailed down so perfectly that I had no visual cues that I was still on the floor. It was a great experience but it was pretty intense.

gJg: One of the scariest scenes I remember from the movie is when you’re running from him in the alley. He’s behind you and then all of a sudden you run right into him.

AW: That scene was actually filmed out in Venice around three o’clock in the morning. I remember it was freezing and the beach mist was starting to come in. It was pretty creepy. Not so much because we were out there filming a horror movie that’s filmed broken up in parts but just that the overall sense of it was creepy.

Behind The Scenes

gJg: What was it like working with Robert (Englund)?

AW: I absolutely loved working with Robert. He’s so imaginative and so hilarious. He’s also the best story-teller I’ve ever met.

gJg: Were there any funny stories that you remember while filming it?

AW: For me it wasn’t so much funny as much as it was gross. Every single day that I went to the set there was always something gross that I had to do.

It was always something like: Stand in a body bag…Lay in a body bag…Be covered in blood…Be covered in worms…Stand with eels. <laughs>

There was this one scene from the alley that was cut out where I had to pick up a trash can lid and underneath were a bunch of worms and they had to crawl all over my arms. The whole thing reminded me of those wilderness outward bound adventures to see what you’re made of. <laughs>

gJg: What did you think of the remake?

AW: You know, I haven’t seen it. I’ve heard mixed reviews about but haven’t seen it myself.

gJg: What was it like working with Johnny Depp in his first movie?

AW: Johnny was so sweet. We were all so young and had so much fun. I didn’t work with him all that much but he was exactly how you’d picture him to be. Really creative and interesting.

Amanda in Powwow Highway

gJg: I read where one of the movies you’re most proud of is “Powwow Highway“ Tell me a little about that film.

AW: That’s one of my favorite movies. It was a cool group of people and is actually based on a true story. It was a powerful Native American piece and I got to play that crazy Texan.

gJg: What was it like filming in all of those locations?:

AW: The locations were beautiful. We filmed in Montana, Wyoming and Santa Fe, New Mexico. We also filmed it between November and March and I remember FREEZING while we were on location. You know, it’s snowing and 18 degrees and you’re standing outside trying to pretend you’re not cold. <laughs>

gJg: What was it like for you personally as an actress when it won at Sundance?

AW: I’m so proud of that movie. It actually won when it wasn’t really the “scene” for actors to go to festivals and support their projects. For it to win a Jury award at Sundance is sort of a badge of honor for me.

Amanda and crew in "The Graves"

gJg: Let’s talk a little about one of your newest films, “The Graves“. What was it like revisiting the horror realm and filming that movie?

AW: That movie was a really fun film too. I got to play Darlene the waitress.

The Ronalds brothers (Brian and Dean) produced it and are both in the movie as well and Brian Pulido directed it. Brian is an amazing artist and graphic novelist.

We filmed it in this spooky old mining town in Arizona. It was a real fun group of people to work with. It was also fun for me to revisit the horror genre again as an adult.

gJg: Have you ever thought about directing or producing?

AW: I would like to move to the other side of the camera. I’ve actually been shadowing a few people so I’m looking forward to the opportunity of directing.

Amanda Wyss

gJg: What do you like to do when you’re not acting?

AW: I love Yoga and I love to read. I read everything. I also like to go to movies and visit museums.

gJg: What’s your favorite book?

AW: My favorite is “A Prayer for Owen Meany“. I love that book.

gJg: What projects do you have coming up?

AW: I actually have two web series projects we’re about to start work on. One is horror themed and the other is more of a light-hearted comedy. We’re producing them together. I’m going to be in the light-hearted comedy and make some appearances in the horror one as well.

gJg: They sound interesting!

AW: I’m very excited about them. They’re really well written and have really good directors attached to them.

There’s also another project I’m involved with where someone is using my likeness for a graphic novel. It’s about vampires which I absolutely LOVE. They’re my favorite part of the horror genre.

gJg: Are there any people  you’d like to work with or projects you’d like to be a part of in the future?

AW: I’d like to be in a Steven Spielberg project someday because he just has such an epic imagination. Then there’s Joss Whedon (love his projects), George Clooney (both as director and actor), Helen Mirren, Debra Winger… the list goes on!

I would love to be a part of shows like “Walking Dead”, “Fringe”, “American Horror” and “Game Of Thrones”.

And I really adore the independent film world. The cool, interesting creative projects that are done under the radar. There are so many great young filmmakers out there I’d like to work with. People like Adam Green for example.

I’d also like to work with Sean Penn again. He is just amazing and always has a lot of interesting projects.

gJg: You’re amazing too. I’m so glad I got the chance to speak with you!

AW: Thanks! It was my pleasure.

For more on Amanda be sure to check out her Facebook page and follow her on Twitter!

Article first published as Beyond Elm Street:: A Conversation with Actress Amanda Wyss on Technorati.

A Conversation With, Interview, Movies and TV

A Conversation With Actress Michelle Page
Michelle Page

Michelle Page has arrived.

An amazing young actress whose love of the art began at the early age of four following frequent family trips to the theater, Michelle has been honing and perfecting her craft ever since. And her hard work is paying off.

Having made her mark in commercials, television and film, she’s someone who’s performances you’re sure to remember.

Michelle’s already made appearances on shows like “CSI: New York”, “Castle” and “Cold Case” and starred alongside Sandra Bullock and Robert Picardo in films like “Miss Congeniality 2″ and “Sensored” respectively.

Michelle can also add “scream queen” to her resume as evidenced by one of her recent movies, the psychological-thriller “Rogue River” which will be released in the US on June 5th.

Michelle plays the role of Mara, a distraught girl whose father has recently passed away. After saying goodbye to her brother (Chris Coy) she embarks on a journey to the place where the family had spent many camping trips together to scatter her father’s remains.

In her moment of grief and reflection she encounters Jon (Bill Moseley), a seemingly nice-enough gentleman who offers her a ride back into town after her car is towed. Mara decides to take him up on the offer and it’s a decision she will forever regret.

“Rogue River”, directed by Jourdan McClure also features the talents of Lucinda Jenney (“Crazy/Beautiful”) and Michael Cudlitz (“Southland”).

In this interview with Michelle, we’ll learn all about this amazing actress and her journey to “Rogue River”. A role that not only required her to turn on the tears but also tested her physical toughness as well. We’ll also discuss what future projects she has planned as well as what she likes to do when she’s not acting.

goJimmygo (gJg): Michelle, it’s so great to speak with you!

Michelle Page (MP): You too!

gJg: “Rogue River” is going to be released in the US on June 5th is that correct?

MP: Yes, June 5th and I’m very excited about it. I’ve just recently watched it again while we were filming the DVD commentary and it was so good to see it again and remember everything about it.

gJg: Were you always a fan of the horror genre?

MP: Actually, I’m one of those people who gets scared really easily by them. But I love acting in them! <laughs>

gJg: What attracted you to the role of Mara in “Rogue River”?

MP: I had a supporting role in a film Kevin Haskin wrote and produced called “Sensored” with Robert Picardo. Kevin co-wrote “Rogue River” along with Ryan Finnerty and thought I’d be great in the role of Mara. He was right. Once I read the script I immediately called him up and said: “YES!”

gJg: What did you like about the script?

MP: I loved how unique and twisted the story was. The role was right up my alley. Of course, I was just thrilled to have the opportunity to work with Kevin and Jo Haskin (Producers) again. I was honored that they wanted me to do this project with them.

gJg: Did you know at the time that Bill (Moseley) was also going to be involved?

MP: I was actually the first person cast so I wasn’t aware. I passed the script along to Adam Targum and Zachery Ty Bryan who produced it and we got the ball rolling.

Shortly there-after Bill, Lucinda (Jenney) Michael (Cudlitz) and Chris (Coy) all came on board. We filmed for about a month in Oregon.

gJg: What was it like working with such amazing actors?

MP: It was fantastic. First, to be working alongside of Bill Moseley was fantastic. I learned so much from him. Lucinda Jenney (Lea) I remembered from “Crazy Beautiful” and absolutely loved her. She and Bill are a couple in real-life and having them together for this film just added a unique dynamic to the project.

Chris Coy (Andrew) is so talented. I just adore him. Then of course there was Michael as the cop. He is such a great actor. We really were blessed with a great cast and crew.

gJg: What was it like working with director Jourdan McClure?

MP: Jourdan was awesome! He’s just a natural. He knew exactly what he wanted and was just so laid back. “Rogue River” is actually Jourdan’s first feature-length film and there’s something so special about that. He was just so passionate and really wanted to make it the best movie it could be. He really put everything into it and it worked.

gJg: The cinematography in this movie is absolutely incredible. The Oregon scenery is breath-taking.

MP: It really is. Brian Hamm was our cinematographer. He also worked with me on “Sensored” as well and is such a genius. It looks creepy and beautiful at the same time.

gJg: One of reasons I loved you in this role was the way you could just turn on the tears. Can you do that on cue?

MP: <laughs> Yeah. It was all real. People always ask me if they’re fake tears. I’m known to be a good crier and in this role you sort of had to be. Mara was just so tortured. It called for it.

Michelle as Mara in "Rogue River"

gJg: Were there any funny stories from the set you can remember?

MP: Yes! We had these wild turkeys roaming around in the woods and every time I would scream and cry the turkeys would respond in unison. <laughs>

So, here you’d have a scene filled with all of this drama and tears and then all of a sudden you’d hear: “Gobble! Gobble! Gobble!” <laughs>

Then there was also the scene where I actually got hit in the head and got a concussion.

gJg: Really?

When we were filming the commentary for the DVD it was hard for me to watch it again. <laughs>.  My heart started racing and I suddenly remembered how badly it hurt.

gJg: What do you like most about the movie?

MP: I really love the scene where Bill and I meet down by the river. It sets the tone of the film really nicely. I love it because Bill’s just so charming and instantly connects with me. I thought it was shot beautifully.

gJg: What projects do you have coming up?

MP: I actually have another horror film project written by Todd Langseth coming into fruition called “Stingy Jack”. Bill is also attached to that project as well as Michael Berryman (“The Hills Have Eyes”). I’m really excited about it.

I also have another film I did called “The Party is Over” with Kathy Baker from “Picket Fences”. That one should be coming out soon.

gJg: What do you like to do when you’re not acting?

MP: I love traveling and photography. I’m also a bit of a book nerd. I really love escaping in books. I’ll read pretty much anything and everything. It’s even gotten to the point where I’ve told myself I have to stop going to Barnes and Noble <laughs>

gJg: Tell me about how you first got into acting.

MP: Growing up, my parents used to take my brother and me to the theater all the time. I think that’s what created this great love of the arts for me.

When I was four I went to one of the top children’s theaters in Fort Worth and sat in the front row to watch “Miracle on 34th Street”. I still remember at that moment telling my Mom that this was what I wanted to do with my life. She told I’d have to wait a few years and then she would put me into classes.

So a few years later I started taking classes at that very same theater and coincidentally, they decided to remake “Miracle on 34th Street” again only this time I was cast as the lead (Susan Walker) and got to perform for over 20,000 people!

gJg: Where did you go from there?

MP: I continued to work for years doing theater in the local area and then started getting into commercials. An agent eventually saw my work when I was 15 and I was off to LA.  I’ve been here ever since and it’s been absolutely great!

gJg: In addition to your movie roles you’ve actually done quite a bit television work as well including a recent episode of “CSI: New York”.

MP: Yes! It originally aired in October. That was a fantastic experience. And what’s interesting about that particular show is that Adam Targum, who produced “Rogue River” also wrote and produced that episode of “CSI: New York”.

I’ve worked with Adam three times now and just adore him. Gary Sinese is another amazing actor. I loved working with him too. He is the nicest guy.

gJg: What do you find are the differences between filming for a movie as opposed to television?

MP: TV works much faster. You’re on a tight schedule. A drama might take eight days of shooting. You have to get everything done and it moves very quickly.

For a film, you have the luxury of having a bit more time to work with the character and develop it. That’s the difference but I love to do both!


If her past work is any indication, the future looks extremely bright for Michelle Page!

Article first published as A Conversation With Actress Michelle Page on Technorati.

A Conversation With, Interview, Movies and TV

A Conversation With Actor Oliver Muirhead
Oliver Muirhead

Oliver Muirhead has a sense of familiarity about him. He’s a person you feel comfortable with when you see him on-screen. It’s almost as if you’ve known him for years and the truth of the matter is, you probably have.

Whether you’ve seen him in the dozens of movies and television shows he’s appeared in or perhaps best remember him as the face of Polaroid film or Tombstone pizza, whenever you see him it’s like seeing a good friend.

Oliver’s resume includes roles as a priest (“LOST”), a waiter (“Kenan and Kel”), and a British Colonel (“Austin Powers: The Spy Who Shagged Me”).  He’s even appeared in the Academy Award winning film, “The Social Network”.

In one of his current roles he plays Bernard, the father of a young Anna (Felicity Jones) in the movie “Like Crazy“. A film which, among many other accolades, won two Sundance Film Festival awards and received plenty of its own Oscar buzz .

In my interview with Oliver we’ll discuss his role in “Like Crazy” along with some of his other interesting projects including his stint as a writer and his obsessive hobby as a baker.

gJg: Whenever I would see you on-screen, I’d often say to myself, “I know this man from somewhere.” But I couldn’t figure it out. Then one day it just dawned on me: “I KNOW – he’s the guy who wanted pepperoni and cheese on his Tombstone pizza!

OM: That’s correct. <Laughs>… Among many other advertisements.

gJg: What other commercials were you in?

OM: Well, for a long time I was the face of Polaroid One film. Of course, now film is pretty much obsolete but it was a very nice gig to have.

gJg: I wanted to talk to you a little bit about your role in “Like Crazy”.

OM: It’s a sweet movie and was great fun to do.

gJg: The thing I personally liked most about it (aside from the wonderful performances of course) was the ending.

OM: I think it ends on a very realistic note.

gJg: It’s very much true to life.

OM: My wife actually went to a screening shortly before the movie came out. The audience there was mostly older and their reaction to it was interesting. About 40% of the audience thought the relationship was going to fail and 60% felt it was going to succeed.

What’s really nice is that younger people seem to have resonated with it.

gJg: I think it’s because they can relate to it.

OM: I was asked to describe the movie while standing on the red carpet. It was one of those situations where they wanted an immediate sound bite and the one thing that immediately came to mind was this:

“Love destroyed by modern life.” That pretty much sums it up.

gJg: How did the role of Bernard come about for you?

OM: It was an audition process but one in which the audition itself was improvised.

gJg: I’ve actually read quite a bit about the use of improvisation being used during the filming of this movie.

OM: All of the scenes that I was in were improvised. Obviously, there were some scenes that we needed to use “official” dialogue to be realistic, like the scene with the immigration official and the marriage scene for example. But I’ve actually had a lot of experience with improvisation.

Oliver Muirhead and Alex Kingston

gJg: It came across as very realistic.

OM: It did. In fact Alex (Kingston) and I had a relationship within about three minutes. I’m not sure if it was because we were both mature English actors or the fact that we both grew up about three miles from each other. She grew up in Worcester Park and I grew up in Raynes Park.

gJg: Small world.

OM: Yeah, basically. We both felt a great connection with the roles and were able to establish who our characters were and what they did very quickly. We knew what class we were, we knew what she did, what I did, what music we had listened to. We just “got” it. We completely agreed and after that, it was simple.

gJg: Were there any interesting stories that you remember while filming the movie?

OM: Actually, yes. There’s this one scene where we’re supposed to be playing this board game and we all had sworn that we had played the game before. Of course, none of us had ever played it. We were just lying through our teeth. <laughs>

But Drake (Doremus, Director) said, “Oh good because that’s a game I grew up playing.” So he explained to us how to play the game and it’s one of those games where you have to invent a definition for a word or a phrase. There were quite a few different categories. Some were silly laws and some were silly words.

One of mine was a silly law category that said: “In the State of Tennessee, it is illegal…”

And so I wrote: “For more than forty virgins to be on a tramp steamer”… Which was not at all that funny.

Alex; however, found it so funny that she laughed hysterically for nearly two minutes which, of course made all of us weep with laughter as well. There was nothing Drake could do. He just had to run the film. <laughs>

So we had a lot of fun. The kids were great. I thought they were very well cast. Felicity (Jones) is very pretty and very sweet. It’s nice to have an on-screen daughter who’s as wonderful as my own daughter off-screen.

gJg: Are you more interested in those types of serious roles as opposed to ones in movies like Austin Powers? Which types of roles do you personally like to do more?

OM: I love acting so it doesn’t really bother me what I’m doing. I really enjoyed doing “Like Crazy” though because I could play a character that I knew so well. I’m not playing a spy for example. I’m not playing somebody who’s a long way away from who I am. Not to say that I’m a business man because that’s what Bernard was but I based it on someone I knew really well.

I also had the support of Alex so I didn’t have to worry. It wasn’t about the lines that we had to learn and then try to fit our characters into.

“Like Crazy” was sort of a Cinderella story. It was made for very little money. It went to Sundance. It won Sundance. Then got a lot of Oscar buzz.

Oliver Muirhead as Monsignor

gJg: Let’s talk a little bit about the diversity from some of your other roles. In “LOST” for example, you played a Cardinal. What was that experience like?

OM: It was a lovely experience. I got to play an Australian Cardinal and wound up flying over to Hawaii to film with two actors that I know and like very, very much.

gJg: That worked out well for you!

OM: When you go on location like that you’re pretty much on your own. It can be fun but after the first couple of days sometimes you find that there can be absolutely nothing to do. But these guys both happened to be in my scene and we just had a wonderful time.

gJg: Did you know about the premise of the show?

OM: Yes, everyone was aware of “LOST”. I actually have a lot of friends who did the show. There was this slightly surreal atmosphere with all of the weird back stories going on and no one knew exactly what was going on. I think that mystery really put an interesting quality into how people performed.

In most movies and TV shows you know the beginning, the middle and the end. There is no mystery. But in this case, you weren’t really quite sure what the ultimate outcome was going to be.

Children’s shows

gJg: You’ve had quite a bit of success with children’s shows as well.

OM: Yes. I was fortunate to actually be in a bunch of those types of movies and TV shows when my daughter was growing up. I was very lucky that I did a lot of material that she could watch. I was a mean sculptor in i-Carly and I was also in Kenan & Kel.

This next story might sound as though I’m making it up but I assure you it’s true:

Oliver on Kenan and Kel

It was my daughter’s birthday and we were getting ready to go out for the day when I was offered a job.

Now, that was very nice but unfortunately it also means that we were going to have to cancel the day. Except for the fact that it was for a part on Kenan and Kel, which was her absolute favorite show at the time.

So she came to the taping and they made a great fuss of her. It was marvelous.

On Writing


gJg: I was reading where you’ve written quite a few books too.

OM: Yes. I written under another name, George Mole, in what used to be called “humor”.

gJg: Tell me a bit more about it.

There was a revival of classic British humor books back in the early 80’s. Mostly books of drawings and written text. Myself and my illustrator Steven Appleby, who has become a very well-known cartoonist, worked on several books together.

We also wrote for Punch magazine which at the time was a bit like climbing Mount Everest. It was about as good as it gets. I like to think that writing for Punch was a bit like writing for the New Yorker. It sort of meant that you’ve “arrived” and it was very gratifying.

gJg: Do you still write?

From time to time I still write but I think the Internet has changed the whole dynamic. We’ll have to see where it goes but it was fun.

Bread:

gJg: What else do you like to do when you’re not acting or writing?

OM: I love baking bread. It’s became an obsessive hobby. Unlike my golf game, which I could tell you about and hear you’re snoring in the background. But if we’re sitting down together and I had just baked a loaf of bread you’re more inclined to say something like, “Ooh, can I have some?” <laughs>

People are much more prepared to hear me discuss the technique of baking bread. It’s a magical process. Taking a plant product and basically just adding water to it.

And thanks to a bunch of really smart people you can make brilliant bread at home. At least comparable to what’s marketed in stores. You can rival the best bread out there with just your home oven. It’s not rocket science.

What’s fascinating is that people are willing to talk about bread in a way that they wouldn’t talk about wine. Most people are intimidated by wine but they’ll talk to you freely about bread and tell you exactly what they like about it.

A friend of mine, who had just come back from Ireland once asked me if I could make him some Irish soda bread. I said, “Sure.”

I made it and afterwards he told me that it wasn’t quite right. So I asked him what wasn’t right about it and after he had told me a week or so later I made it for him again and this time he said, “THAT’S IT! That’s exactly it!”  <laughs>

I also know a French baker who has been working in the bakery since he was 14. He would make croissant and it tasted as if he had flown them in from Paris. It wasn’t something like, “Oh these are very good and here we are in America” but rather, “This.. is a French croissant.” He had manipulated the flour in such a way that it was absolutely perfect. I’ve been able to get very close to that and I can make it here in America.

So, it’s a fun hobby. It’s not very expensive and the best part of all, even your mistakes are pretty delicious. <laughs>

gJg: Is there anything else you like to do in your spare time?

OM: I love gardening. In fact, if there was a Gardening Olympics the English team would win. I have a lovely garden here in California where everything grows like a weed and even the weeds look nice. <laughs>

Current projects

gJg: Can you tell me a little bit about your role in “The Sum of 9: The Chosen Ones”?

OM: I get to play a mean headmaster. It’s in the horror genre which is a genre I haven’t done in quite a long time but was excited to do again. The thing I love about horror is that the fans are so unbelievably loyal.

gJg: They really are.

OM: It’s also one of the genres where you can get away with a lot of stuff. You’re allowed to do things because its “horror” that you wouldn’t get away with if it was a drama or a comedy. You have great deal of freedom. I’m looking forward to doing it.

gJg: What other projects do you have coming up?

OM: I’ve just finished playing the lead role in a movie called “Window of Opportunity” which is based on a play about corporate malfeasance. I play Roger Sizemore, the CEO, who strangles someone during a weekend of drinking and debauchery.

It’s a very dramatic movie shot in a very short period of time with a wonderful cast and crew including Phil Proctor who plays Carl Everett, my CFO financial guy.

gJg: Is there a time-table for its release?

OM: Right now it’s in post production so there’s no real-time frame for its release. John Densmore, the drummer from The Doors, is a producer of the film.  I think he’ll also be involved in the music for it as well.

gJg: You’ve really had quite a successful run of projects recently!

OM: The last few years have been great fun. Sometimes you might only do comedies or guest starring roles for a while but this has been a nice run with a little bit of everything. It’s been wonderful.

Article first published as A Conversation With Actor Oliver Muirhead on Technorati.

A Conversation With, Interview, Movies and TV

A Conversation With Dee Wallace

Dee Wallace is a survivor.

Over the course of her film career she’s been chased by cannibals, werewolves and rabid dogs, come face to face with a Reese’s Pieces loving alien and even the infamous serial killer Michael Meyers himself. Her life has been, shall we say, a bit hectic?

I, like many other kids that grew up in the 80’s first came to know Dee from her role as Mary, the loving matriarch of Elliott (Henry Thomas), Michael (Robert MacNaughton) and a young Drew Barrymore (as Gertie) in the movie, “E.T. : The Extra Terrestrial“.

“E.T.” is the story about a little alien who wants nothing more than to go home and recruits a bunch of kids to help him get there. It’s a classic film that celebrates its 30th anniversary this year and a movie that at the time of its release in 1982 was literally the biggest thing on the planet (yes, pun intended).

The next time Dee and I would cross paths was when she starred as Helen Brown in the 1986 movie “Critters“. OK, I’m fibbing a bit. Just please don’t tell my Mother that my cousin snuck me in to see the “R” rated “Cujo” and “The Howling“. Two more movies where Dee is absolutely awesome!

Which leads me to pose this question: Who needs Kevin Bacon and his six degrees? Within just ONE degree of Dee Wallace you have people who are absolute masters of their craft. People who’ve sold millions of books and movie tickets and have earned no less than seven Academy Awards. Men like Wes Craven, Blake Edwards, Joe Dante, Stephen King, Rob Zombie, Steven Spielberg and Peter Jackson to name just a few. (Oh, and just in case you’re wondering: Dee is two steps away from Kevin Bacon – Look it up!).

Dee has become an icon and fan favorite for her work in the horror genre. From her first role in the low budgeted, but now cult classic original “The Hills Have Eyes” right up to her current roles in films like “Exit Humanity” and “The Lords of Salem“. But her acting prowess is not limited to just one genre. Dee has also appeared on television shows like “The Office”, “Grey’s Anatomy” and “Sons and Daughters“.

But what really may surprise you to learn is that not only is Dee an accomplished actress but she’s also a published author, radio host, public speaker and healer as well.

In fact, when not in front of the camera or interacting with her fans at various conventions, you can usually find Dee conducting monthly workshops to introduce people to the healing techniques that are outlined in her book, “Conscious Creation“. Often called “The Irreverent Healer,” Dee brings fun, energy and love to the healing journey.

Dee’s latest book, “Bright Light: Spiritual Lessons From A Life in Acting“ is an autobiographical tale of her life and craft and how that journey can apply to everyone’s spiritual journey. The message that true success comes from following the heart’s lead and that the mind only creates form for the spirit’s creative manifestation.

Dee is also the mother of Gabrielle Stone, an amazing up and coming actress in her own right, and a daughter she shares with late husband Christopher Stone (who appeared with Dee in many of her roles in the 1980’s).

In this interview with Dee we’ll discuss some of her most memorable film roles, including “E.T. – The Extra Terrestrial“, “Cujo” and the cult classic “The Hills Have Eyes“. We’ll also talk about her upcoming movie projects including Rob Zombie’s “The Lords of Salem” and also her role as an author and healer.

The Hills Have Eyes:

goJimmygo (gJg): Dee, did you ever think that after 35 years people would still be talking about “The Hills Have Eyes“?

Dee Wallace (DW): Oh, hell no!  I thought it was a “This is a low-budget film I’m lucky to get at the beginning of my career” gig!  Just shows you how powerful the fans are!

gJg: How did the role of Lynne Wood come about for you?

DW: I auditioned.  That is, truly, about all I remember!

gJg: Do you have any interesting/funny stories from the set?

DW: I remember we all stayed in the same motor home!  Not fun when the toilet was full! It was also freezing at night (we were in the desert).

I actually spent a lot of time in the car and almost turned the film down because of the tarantula scene. Yuck!

gJg: Really?

DW: Yeah, I’m definitely not a fan. But everyone kept saying things like “Oh, they won’t hurt you!” Then later I came to find out that’s not always true.

If someone told me I’d have to be covered in roaches or snakes or something like that I wouldn’t be in the movie. Give me a fake werewolf or a rabid dog any day. <laughs>

gJg: How did you meet your husband, Christopher Stone? Was it during “The Howling”?

DW: Chris and I met during (shhh…don’t tell anyone) an episode of CHiPs.  We both came in as a favor to the director. Chris took me out that Saturday and the rest, as they say, is history.

gJg:  That scene where you are changing at the very end of “The Howling” is one of my all-time favorite horror scenes!

DW: My Bambi werewolf!  Yes, that scene was added while I was shooting “Cujo”!  I just asked if she could be more vulnerable and that’s what Rob (Bottin) created!  Love it!

 

E.T. : The Extra-Terrestrial

gJg: How did your role in E.T. come about?

DW: Steven had auditioned me for Used Cars!  Fortunately, I didn’t get it and when E.T. came along, he offered me the part.

gJg: Was the premise and title of the movie kept secret from you?

DW: No, not from the actors, but very guarded publicly.  The working title was “A Boy’s Life.”  I did have to read the script behind closed doors at the studio!

gJg: What was your experience like working with Steven Spielberg and did you ever expect the movie to become the phenomenon that it did?

DW: Steven is a master of his craft.  His vision is almost effortless.  I knew we had something special, but as Blake Edwards said to me after “10” – ‘Honey, if we knew what made a hit, we’d have a lot more of them!’

Cujo:

gJg: How demanding was that role for you to play? I read where you were locked up shooting in the Pinto for days shooting.

DW: Well, that’s a bit dramatic.  We actually shot in the car for weeks – it was half of the movie! It was also the most demanding thing – physically & emotionally – that I’ve ever done.

gJg: How many St. Bernards were actually used in the movie?

DW: There were 5 dogs.  All incredibly trained by Karl Miller.  And they did all but about 3 shots in the film.

gJg: Are there certain things that draw you to these types of roles? Howling, Hills, Halloween, Cujo?

DW: I don’t know. I love drama. I love to play an arc.  I’m a good screamer and people want to save me. I guess you would say it’s a natural fit.

Halloween:

gJg: How did you get involved with the remake of Halloween?

DW: Rob Zombie actually offered me the part. It was refreshing to be acknowledged for the talent and body of work with an offer. Just like the old days.

gJg: What was the experience like working with Rob in the remake?

DW: I adore Rob.  Sooo creative. A creative genius, really.  And yet he gives everyone so much room to be their genius creatively.  He’s fun; he’s a visionary, and just a really nice guy.

Upcoming Movies:

gJg: I had spoken to Bill Moseley and he mentioned that you are involved in a new movie with him called “Exit Humanity“. Can you tell me a little about that movie and your role?

DW: In this movie I play a witch who’s trying to help society. And this is not your typical zombie movie. These young filmmakers did an amazing job with this picture! Innovative, beautifully shot with a great script. I consider it a true genre film.  An art film. I would work with them again in a heartbeat!

gJg: “The Lords of Salem” is the next Rob Zombie project. What is your role and what is the status of the film?

DW: The film is being edited as we speak.  I am a perky blonde who is a self-help guru.  He wrote it for me. Be in for some big surprises.  It’s AWEsome.

gJg: Any other current projects you’d like to discuss?

DW: I’ve been doing a lot of TV. Just finished a nice role in a film called Solar Flight. I also have two other films being edited.

gJg: In your career – what film would you say was the hardest to make? Which one was the most fun?

DW: “Cujo” was definitely the hardest, and the film I am proudest of as far as my work goes.  “The Howling” had to be the most fun; I was engaged to Chris and being directed by Joe Dante.  It doesn’t get any more fun that!

Healer and Author:

gJg: You do a lot of public speaking and self-help now. Please tell me a little about how you got involved with that and what you’re doing now!

DW: I am a clairaudient healer. My specialty is being able to discern the blocks within a person’s energy that are prohibiting them from being free, happy, and powerful.  I have two call-in shows weekly and do private sessions with clients worldwide.  It all happened after the death of my husband, Chris Stone.  I asked for a way to heal ourselves.

gJg: Can you tell me a little bit about your latest book: Bright Light: Spiritual Lessons From A Life in Acting?

DW: It’s a semi-autobiography of my life in movies. What I went through. Who I worked with. What I’ve learned.

If you take every challenge everyone has in their life and multiply it in severity you get what it’s like in the life of an actor.

In a regular life you might have nine or ten big changes in a lifetime (like changes in a work environment for example). Where as in an actor’s life there might be nine or ten of those in a day.

 

I’ve learned a lot of lessons over the course of my career and this book is about following the process in a dramatic, consistent way.

The best quote I’ve heard from the people who’ve read it is this one:

“I bought the book to read about your life… and I wound  up reading about my own”.

Article first published as A Conversation With Dee Wallace on Technorati.

A Conversation With, Album Reviews, Interview

A Conversation With Blues Rock Artist Julia Alyce

Think Linda Ronstadt meets Patsy Cline & Bonnie Raitt.

That’s what you get from the debut EP of blues rock artist Julia Alyce. A collection of music that Julia co-wrote in collaboration with music producer Maia Sharp.

An album that any fan of the aforementioned artists should add to their collection.

Julia’s EP features the steel guitar work of music legend Greg Leisz, who’s played on many of Joni Mitchell’s albums. Other well-known musicians  featured include: Maia Sharp (Producer, Piano, & multiple instruments), Linda Taylor (Guitar), David J. Carpenter (Bass), and Brian Macleod (Drums).

Julia’s in it for the love of the entire music process. Not for any individual moments but for the entire ride. The whole production has a “cosmic” vibe to it as well.

While working with her vocal coach in Los Angeles prior to recording the album, Julia mentioned to him that some of her biggest influences were artists like Bonnie Raitt and the Dixie Chicks. Shortly after that exchange a friend connected her with Maia Sharp, who just so happened to have worked with…wait for it: Bonnie Raitt and the Dixie Chicks. If that’s not a sign then nothing is.

All three songs on the EP reflect different aspects of love.

“Love Me or Let Me Go” – Julia’s “baby”.  Written ten years ago at a time when she was frustrated in the moment. A story of a cat and mouse game of mixed messages being played out. Just when you think you’re at the point of being wanted they suddenly push you away. It’s back and forth drama until the conclusion is finally reached: Just love me, or let me go.

Do you need me, like I need you?
Do you want me, like I want you to?

“Since I Met You” – A song about the feeling you get when you’re not sure if you’ll ever find that special person and what its like when you finally do. Something so deep that everything looks new. Just letting go and how it feels.

And now I’m seeing everything, in a way I’ve never seen it

“Innocent”– A song written by M. Sharp, M. Daly, and L. Lucas. Julia chose this song even though she didn’t write it because she could honestly relate. Having been in that situation where someone is living in the past and trying to be with them in the present without baggage. All the while thinking, “Hey, I’m innocent!”

All that lying left you tender to the touch
She really did a number…on you

The song “Love Me or Let Me Go“ also has taken on a life of its own and become Julia’s first music video. A fun video with universal appeal that’s a cross between Annie Lennox’s pop 80’s work and Robert Palmer’s “Simply Irresistible“.

Julia’s musical journey is actually a three-part plan. The first part was working with Maia and recording the EP the way she wanted to.

The second was creating the music video to give a visual representation of her and the music she represents.

The final piece of the puzzle is a music project Julia is immersed in now in Los Angeles. She’s putting together a specific sound by selecting a group of musicians who are not only passionate about the music, but also bring a special magical quality to the table to help take her show on a grassroots tour nationwide.

Julia says the timing of these artistic elements are key, but at the same time she’s not compromising her goal which is to be out there touring and interacting with her music fans for a long long time.

You may think that with a plan this ambitious it might be a bit challenging but not according to Julia.

“When you’re in the zone it’s a blast.” she says. “It’s not stressful at all.”

If her EP and music video are any indication, the future for Julia Alyce looks very bright indeed.

To book Julia Alyce contact her manager direct at: JuliaAlyceMusic@gmail.com

Article first published as A Conversation With Blues Rock Artist Julia Alyce on Technorati.

A Conversation With, Interview, Movies and TV

A Conversation With Director Jourdan McClure

“Rogue River” is director Jourdan McClure’s first feature film. A movie that will be released in the US on June 5th and a thrill-ride that horror fans will find both visually appealing and emotionally disturbing.

As a fan of the horror genre himself since the age of nine when he first saw the movie Poltergeist, Jourdan had a vision that eventually led him to film school to study the mechanics of story telling and would ultimately allow him to begin weaving his own tales of terror.

Grabbing your attention from the opening scene where a distraught, battered and bloodied Mara (Michelle Page) wanders aimlessly about in a white dress while carrying nothing but a cross and a loaded firearm, we’re left to wonder just how she wound up in such a predicament.

With tears streaming, she places the barrel of the gun to her head in a final act of desperation. The screen goes black and a single shot is fired. It’s a teaser moment of what’s to come and a fitting prelude to the horrific events we’re about to witness as the story is told.

Following the recent death of her father, a tearful Mara says farewell to her brother Andrew (Chris Coy) and embarks on a trip to the Rogue River, a place she fondly remembers her father taking her on camping trips to when she was younger. Her plan is to scatter her father’s ashes in the tranquil location where the family had often spent time together.

While preparing to release her father’s cremains into the river Mara is greeted by a seemingly nice enough gentleman named Jon (Bill Moseley). After striking up a conversation, Jon offers to walk Mara back to her car where she discovers it has been towed away by authorities.

Concerned about the possibility of being stranded out in the deep woods alone at night with no cell phone reception, Mara decides to take Jon up on his offer of a ride back to town. A decision she will forever regret.

“Rogue River” won the Audience Choice Award and Best of Festival Award for Feature Film at the 2010 Sacramento Film Festival and was an Official Selection at the 2010 ScreamFest Horror Film Festival.

Jourdan is slated to direct the supernatural thriller, “The Sum of 9: The Chosen Ones” as well as the television series: “Hell Hunters”, based on the comic book. In 2013, Jourdan will be directing “Ancient Face” and also has numerous other film projects that are currently in various stages of development… Stay tuned.

In this interview with Jourdan we’ll find out more about the making of “Rogue River” and what’s next for horror’s newest story teller.

goJimmygo (gJg): Hey Jourdan, how are you doing?

Jourdan McClure (JM): I’m doing excellent. I appreciate your time.

gJg: “Rogue River” is your first feature-length film. Tell me a little bit about how you started making movies?

JM: You know it’s kind of the same old story only I wasn’t the kid with the Super-8 camera.  I was the kid with the mini DV camera. While growing up I was always shooting little short films and wanted to go to film school to learn how to make movies.

While there I started filming metal and rap music videos and began to understand how to visually put stories together. Music videos are a great format to play around with ideas because they won’t hurt what minimal story is already there. It was a great proving ground for me and I also got to work with a lot of really talented people.

Director Jourdan McClure

gJg: How did the idea for “Rogue River” come about?

JM:  I had an idea for a story and took it to Kevin Haskin who was also a filmmaker. I was already familiar with his work from a bunch of local festivals we both attended.

I had the idea, I just needed someone to help me write it. That was the only component I was missing. So I pitched Kevin the story and at first he thought it was a little dark. <laughs>, but then we brought in Ryan Finnerty who brought another great element to the story.

Ryan was a little bit more into the horror element than Kevin was so they were able to work well off of each other. One creating more of the drama and one creating more of the horror. So while they were busy putting pieces of  it together I’d come in and offer suggestions. The whole process was very collaborative and very cool. Collaboration is my favorite way of working.

gJg: Was Bill (Moseley) one of the first people you had in mind for the role of Jon?

JM: I’ve always been a fan of horror and everyone knew those were the types of movies I wanted to make. After we had gone through a bunch of actors I finally just said “You know, I really want to get Bill Moseley.”

gJg: I thought he was the ideal man for the role. Much different than the other characters he’s portrayed. You know he’s creepy and you know something is going to happen. You just don’t know when.

JM: Exactly! I told everyone that I didn’t want to do the big, scary, crazy “Bill”. I wanted to do more of a subdued “Bill”. I wanted someone who looks like a wealthy man but who’s also scary.

And of course having someone like Bill Moseley in your film, or a Michael Cudlitz (Sheriff Boyd) for that matter, it really helps.

gJg: Was Michelle Page another actor you had in mind for the role of Mara?

JM: Michelle actually knew Kevin and Jo Haskin (Producer) from working with them on their first film. Michelle had a very small role in that film but had a huge interest in doing this one so we checked her out.

I was very fortunate to have Michelle. Especially in the scenes down by the river where temperatures were between 9 and 15 degrees. She’s an actress who really gives herself to a film. Every time I think of the movie my hat just goes off to her.

Oh, and also because I’ve never seen someone shed so many tears. <laughs>

gJg: You know, I was actually going to ask you about that. She was great! I enjoyed watching her in this role because she’s very believable. Can she actually start crying like that on cue?

TM: Oh absolutely. Sometimes the tears can be too much but in this role her character was really in a state of shock and disarray. For me it really worked.

gJg: And then you have the amazing Lucinda Jenny as Jon’s terminally ill, deranged wife Lea.

JM: We had gone through quite a few Lea’s and that’s when my manager, Judy Fox recommended her. Lucinda and Bill are a couple in real life. So we met Lucinda and thought she and Bill together would be the ideal fit. It added another interesting familial aspect to it.

gJg: Lucinda has an extensive resume of films. Have you seen her from her previous roles?

JM: I did see her in “Thinner” but for some reason couldn’t remember her name. I know that she’s never really done horror like this before. I was really lucky to have both she and Bill together for my first feature film.

Bill Moseley, Jourdan McClure & Michelle Page

gJg: The cinematography in the movie is amazing. Especially the natural surroundings and fog on the river.

JM: During that time of year all of those things are natural and it really adds an element to the film that is real. When you combine those natural elements with the dark comedy that’s infused in small parts through out the movie you wind up with something that feels a little bit different but yet still familiar with the genre. I call those “efforts”.

The thing I was concentrating on most was just making a beautiful looking horror film. Something where really terrible content exists amongst this gorgeous landscape. In a beautiful cabin next to a river that’s known for its serenity and the protection of land management. Just a gorgeous, natural organic thing.

gJg: Were there any funny stories or situations to share while you were filming?

JM: I think one of the funniest things that happened was while we were filming Michelle down by the river. There were a bunch of wild turkeys roaming around nearby, making all kinds of racket. And every time Michelle would scream into the sky it would be followed by a response from these turkeys gobbling. <laughs>

gJg: What other film projects do you have coming up now?

JM: “Children of Sorrow” is a movie I directed that’s in post production right now. It a story that was also written by Ryan Finnerty.

gJg: What’s the premise of this film?

JM: After the mysterious death of a young woman’s sister, the woman embeds herself into the cult her sister was a member of to find out exactly what happened. There she finds something terrifying about both the cult and about herself.

It’s a POV horror film but not in the traditional sense where someone has found footage and now we’re watching it. We know where this footage came from. It was put together by this self-help guru, a man who’s known to have bad intentions. He’s taken all of this footage from the cult and the woman’s stay and puts it out to be shown to the world. That’s that’s what we’re watching. The footage shot by the cult members, the cult leader and the woman.

With this project we wanted to do something that was off kilter a bit. Extremely dark but at the same time psychological and freeing. It’s very much a passion project. I think people who like a slow-burning or character driven film will appreciate it. It’s a slice of life inside of a cult… but it’s not a hack and slash movie..it’s a docu-horror.

gJg: Finally, when will “Rogue River” be released in the US and will there be any extra features?

JM: The DVD will be released on June 5th. It will be available on demand on DirecTV and Dish and you’ll also be able to obtain it from Amazon, i-Tunes and Red Box.  – There’s my simple PSA about it… <laughs>

As far as extras go, I just recently finished filmed the commentary on the film with a lot of the cast. That was fun to do because we all got to watch and discuss the art that we had made. Just being honest and genuine about it. There will also be a few minutes of additional footage on the DVD as well. 

gJg: I loved the movie and think fans of the genre really will too.
Article first published as A Conversation with Director Jourdan McClure on Technorati.

A Conversation With, Interview, Movies and TV

A Conversation With Suze Lanier-Bramlett

Suze Lanier-Bramlett has a story to tell.

A story that has taken her on a journey that’s included time in the theater, television, movies, music and photography.

Chances are, if you’ve been exposed to any of these mediums you’ve most likely encountered her and may not have even known it.

Horror fans know her as Brenda Carter from the first “The Hills Have Eyes” movie. The cult classic that made her the original “Scream Queen“.

Television enthusiasts might remember her for a number of roles she’s played over the years including a stint as John Travolta’s girlfriend on “Welcome Back Kotter”.

Musicians know her for her soulful voice and being the wife of Delaney Bramlett, one of the greatest songwriters ever.

But dig a little deeper and you really get to know what makes this amazing woman tick.

Suze’s latest album, “Swamp Cabaret” is the story of her life thus far. Its also a reflection of her own one woman show in sequence. From her life as a “B Movie Star” to the day she almost made it to Woodstock. With enough blues and cabaret mixed in to appeal to a variety of music lovers.

In my interview with Suze, we’ll discuss “Swamp Cabaret”, her loving relationship and songwriting partnership with Delaney Bramlett, her love of photography and of course “The Hills Have Eyes”. She even dishes on her latest movie project: “Cut!” where she has the challenge of playing herself.

goJimmygo (gJg): It is such a pleasure to speak with you! How are you and how’s your new CD doing?

Suze Lanier-Bramlett (SLB): I’m doing really good. You know, we’re getting some very nice airplay both here and in Europe. The European enthusiasm is surprising and exciting.

gJg: When I first wanted to speak with you it was about the 35th Anniversary of “The Hills Have Eyes”.  Then I started digging a little deeper and found out that in addition to your TV, film and music careers, you’re also a successful photographer too. Tell me a little bit about your photography.

SLB: I’ve always kind of been led through the universe in a spiritual sort of way and photography was actually a blessing. My acting career had been slowing down a bit in the 80’s and I had a son to raise. So I started thinking about other things I could do besides act because I hadn’t really done anything else since I was fifteen years old.

One night I fell asleep and actually dreamt that I was a photographer. That dream reminded me of when I was a little girl and the day my Dad had bought me a Brownie camera. I would go around and shoot Girl Scout meetings, birthday parties and friends. I suddenly remembered how much I loved taking pictures.

Following the dream, the very next day I went out and bought myself a camera. I read the manual, invited a few actor friends over and started shooting. Believe it or not within about three weeks I started making a living as a photographer. It happened that fast.

gJg: It sounds like you had the knack for it right from the start.

SLB: The real trick about photography is understanding light. I think my time spent being in the theater helped me with that. I’ve also always enjoyed looking at fashion magazines. I think because of those two things I had been subconsciously studying light for years.

gJg: Amazing that it all happened for you because of a dream.

SLB: Yeah, and the thing about photography for me is that it’s a fun career. It’s like anything else though, you have to work at it. You have to promote. I think that’s the hardest part of being an artist. There are so many people I know who are fabulous in their art but they can’t make a living of it because they don’t know how to promote themselves. How you get it out there and get people to acknowledge it. That’s the hard part, whether it’s music, acting, painting, etc.

gJg: It’s not an easy road that’s for sure.

SLB: Everyone wants to be an artist, a singer, a rock star, an actor but they have no idea how challenging and difficult it can be. It looks so easy and so glamorous but it’s not. There’s an element of luck involved too. Being in the right place at the right time and finding the right people who can help you take it to the next level.

Songwriting

gJg: When did you first start writing songs?

SLB: The first song I ever wrote was when I was about 10 years old. I had a crush on a boy named Mike and I wrote a song about him called “I Like Mike”. <laughs>

You know, even though it was awful it still gave me the feeling of a creative rush and ever since then I’ve dabbled in songwriting. I found out later that my love for it went deeper than just “dabbling”.

My mother passed away last April and as I was going through some of her things I found poems that she had written all through the years that I never knew about. Her father was also a poet and was actually related to Tennessee Williams.

gJg: Really? Tennessee Williams?

SLB: My grandfather was Thomas Lanier and Tennessee Williams’ birth name was “Thomas Lanier Williams”; cousins of some kind.  I got to work with Tennessee. He was so gifted and intense.

gJg: So it runs in the family!

SLB: Yes it does. But the music didn’t really come full circle for me until I met Delaney in 1977.  He was always in the recording studio and I occasionally would toss out a lyric or two. That’s the way it started and then we eventually began working on songs together.

Later, in the mid-80’s, I formed my own band and performed regularly at The Palomino Club in LA and a bar called The Rose Tattoo, which at the time was the second most popular cabaret bar in the US. Both of those places are closed now. I had a great West Hollywood following.

Around 1991 I decided to stop performing in clubs. It’s hard keeping a band together and I was doing well as a photographer. So I put music on the back burner.

gJg: How did the “Swamp Cabaret” project come about?

SLB: After being away from music for years, Delaney and I started co-writing again. We had been working on some songs for his album.

One night I went to a salon performance party at a friend’s house who was preparing to do a cabaret show in Hollywood.

Her director recognized me from the old days and asked if I’d be interested in performing again. It was truly flattering but I politely explained to him that I thought “that ship had sailed”.  He gave me his card anyway and said: “Lets have lunch.”

I went home and told Delaney about it and, surprisingly, he said he thought I should do it. In fact, he offered to help with the music. With his encouragement, I decided to give it a go.

We had a couple of meetings and rehearsals; however, it was halted when Delaney had a gall bladder surgery and developed complications.

Over the next seven months I never left his side. He passed at the end of 2008.  After he was gone I was devastated and had no motivation to do much of anything. Then one day the director called me and said: “Come on, let’s put your show up!”

gJg: How did it go?

SLB: I was really nervous to be on stage singing again. When Delaney had been involved, he had asked me to include the song “Superstar”.  I kept it in for him.  It was tough getting through that first show. 

It’s actually still a challenge sometimes to face the day without him here. I stay busy and some of his band members play with me, so we keep his memory alive by working and writing together.

gJg: Just listening to the CD you seem so comfortable. It’s almost natural.

SLB: Thank you. I love being in the studio. I just finished recording a song that Delaney and I wrote that was never released called “Angel In The Night”. We wrote the song on Dec 8, 1980, the night John Lennon was shot. It’s a love song and was written initially with Yoko in mind.

gJg: I love your version of “Superstar” on the CD.  I actually grew up listening to The Carpenters version but the song is still one of my all time favorites. The chords and melody are just so beautiful.

SLB: I love it too. Delaney was one of the co-writers of that song. He was such an amazing songwriter. For me to have fallen in love with him and then have him ask me to help him write – you can’t go to school for that. Being married to such a great songwriter and man was a huge gift in my life.

gJg: Another one of my favorite songs on the album is “On The Way To Woodstock”.  It’s so infectious. How true is that song?

SLB: The whole thing is actually true. I was living on The Lower East Side of New York and was very pregnant at the time.

gJg: What encouraged you to put that story into a song?

SLB: ABC news did a documentary on the 40th anniversary of Woodstock in 2009 and they had asked me if they could include a segment about my own Woodstock experience. After I saw it I decided that story could make a cool song. So I sat down at the piano and I whipped it out in about a day.

gJg: Are all of your songs written that easily?

SLB: Not always. Sometimes I’ll get an idea for a song but I’ll need to let it stew.  I might only just have a title or a rough idea about what I want to say but then I’ll sort of just forget about it and not work on it for a while. Then one day I’ll just sit down again and the song will just come out.

gJg: You can’t rush the process.

SLB: You’re right. I, personally don’t like to force the process of songwriting. There’s a formula to it but I prefer to write when the inspiration hits me.

gJg: So a lot of your songs are about personal experiences but you also tend to write from someone else’s perspective as well?

SLB: I do. Delaney would do that too. As a matter of fact, Delaney would often laugh about how all of his wives or ex girlfriends would always think he was writing a song about them personally. He’d say: “Look, I’m not always writing about the person that I’m with. I might be writing about something that I had heard on the news or I’ll write a song from someone else’s point of view.” I feel the same way.

gJg: I love the vibe of this album. Especially with the last track, “Leave Your Hat On”.

SLB: I’ve always loved Randy Newman’s songwriting. “Leave Your Hat On” is one of my favorite songs so I put it on my CD.  I often close my show with that song.

The Hills Have Eyes (35th anniversary):

gJg; You know I’ve got to ask you about “The Hills” don’t you? <laughs>

SLB: You absolutely do! <laughs>

gJg: Do you remember when they crowned Jamie Lee Curtis the “Scream Queen” because of the movie “Halloween”? Well, I did a little research and it looks like you beat her to that title by at least a year.

SLB: I did?

gJg: If you look it up you’ll see. “Hills” came out in 1977 and that’s when you were screaming. “Halloween” didn’t come out until 1978.

SLB: So I was the first screamer?

gJg: You were the first. You have the title and should be credited with that.

SLB: That’s great. <laughs>

gJg: When you think about “The Hills Have Eyes” what’s the first thought that comes into your mind?

SLB: You know how sometimes you’ll do one thing in your life and it changes your whole life forever? That was what that movie did for me.

gJg: Really?

SLB: Yes. You see my agent didn’t want me to do it. He thought it was horrible. But I went against his wishes and did it anyway because I liked the script and I like Wes Craven. It was through that movie that I met Delaney. He had seen it at a drive-in the night before we met.

This last January, I worked on a new movie called “Cut!” because of David Rountree, the director, a fan of “The Hills Have Eyes”. In 2009 I also did another project with Oren Peli (Paranormal Activity) called “Area 51”, another film of the same genre.

Some nice things have come out of me being in “The Hills Have Eyes”. Not bad for a low budget project that your agent doesn’t want you to do in the first place. I’m glad I followed my intuition on that one.

gJg: Do you have any interesting stories from being on the set?

SLB: Well, I’m not sure if I’ve ever told this story before. I remember at one point everyone was a bit on edge about filming the rape scene. Rape scenes weren’t common place back then.

Michael Berryman’s character (Pluto) was going to be the one who raped me first and Michael was a bit insecure about how I would feel about being raped by him.

I was sensing his discomfort so I said to him: “Look, when Wes calls action, let’s just be making out passionately and I’ll act like I’m really enjoying it.”

On “ACTION” they pulled back the curtain and instead of the rape, Michael and I were passionately making out like it was a love scene. It got a great laugh and broke the ice for everyone.

gJg: How was it filming the movie?

SLB: It was fun but it was a hard shoot. It was hot in the daytime and cold at night. We were stuck out in the desert but everyone got along well. It was very low-budget film and probably had more meaning for some of us then others.

I don’t consider “The Hills Have Eyes” a great work of art but its a horror classic and I’m very glad that I did it. It was important enough to make a sequel and a remake.

gJg: I agree.

SLB: Why were you such a big fan?

gJg: I was really big into the horror genre growing up. Just being scared but “safe” in my theater seat. That’s what turned me on to those types of movies.

SLB:  Not me. I don’t like to watch scary films.  It’s cool to act in the horror genre though.

gJg: Do you plan on doing any east coast dates with your band? I’d love to see you in New York.

SLB: That would be great but it’s quite expensive to take a band out. I could possible make it work playing to tracks but tracks aren’t the same as having a band on stage. Besides singing the songs, I do some stand up comedy in the show. My last gig in Hollywood I had video in the show which adds another dimension to it all. 

I want to go to New York sometime in the Spring. I want to catch up on the shows and see some friends. I’ll check out some clubs while I’m there but my focus right now is to stay in the studio until I finish a new batch of songs I’ve written and to release the next CD.

The Changes in the Musical Dynamic:

gJg: What are your thoughts on the way the music industry is changing?

SLB: I think most artists are having financial problems because of all the free downloads, resulting in fewer CD sales. I’ve even read somewhere that the physical product of a CD will probably not be in existence in a few years.

There will soon be nothing that you can hold in your hand and actually look at except your iPhone of iPad.

One of the things that I treasured the most about buying a new album was the artwork.

gJg: I could not agree more. I feel the same way. I’m really going to miss that.

SLB: All of my musician friends are very perplexed about how they’re going to manifest this new business model into income. All of the music that we’re putting out there does not guarantee that people are going to buy it. Especially if they can listen to it for free. Everybody’s trying to place songs in film or on television.

The only way an artist can make money these days is to tour but being on the road night after night is exhausting. Everybody’s trying to figure it out; how to do your art and make a living from it.

gJg: It’s hard to imagine there being any upside to this new model.

SLB: There is one thing about it that’s kind of cool. You’re not dependent on a major label to put a record out anymore. You can do it whenever and however you. The artist can have full control. That part of it is extremely cool.

It’s the same thing with movies. You can do them inexpensively if you really want to. For about $1500 you can use better equipment than Wes Craven did for “The Hills Have Eyes”. <laughs>. You can go buy a camera with a cool lens and have a better quality than he could get back in the late 70’s.

Cut! Movie:

gJg: Let’s talk about your latest movie project. Is it true that you play yourself in this one?

SLB: Yes.

gJg: How did this role come about?

SLB: It’s not a huge role and it was kind of an after thought. They already had most of the movie filmed and I think they wanted a subplot to go along with it. My manager represents David Rountree as well as Gabrielle Stone (Dee Wallace’s real-life daughter). She pitched the idea of using Gabrielle and me. So I eneded up playing the grown up horror film director: Susan Lanier,  former star of “The Hills Have Eyes” with Gabrielle playing my leading lady in the film.

Because we had such a great time on the set, I invited them out to my “Swamp Cabaret” shows and subsequently, they decided to include a scene from the bar into the plot.

The star of the movie is David Banks and he is a very talented actor. He’s also one of the writers.

gJg: This sounds like a very interesting story!

SLB: I’ve seen some of the footage and I think it’s going to be great. I’m grateful to still be working in film. The parts are not that plentiful for more “mature” actors these days.

gJg: Have you ever thought about writing a book about your life?

SLB: Yes I have. Someday I’d like to do that.

gJg: You certainly do! You have a lot to say.

SLB: It’s been a journey that’s for sure. Fame,  fortune and stardom was never the goal for me.  I just love doing the work.  Because a hundred years from now, will any of it really matter? The important thing is to enjoy the process; the ride.

Because… in the end, we’re all just stardust anyway.

For More Information on Suze Lanier-Bramlett: Click Here

Article first published as Swamp Cabaret: A Conversation with Suze Lanier-Bramlett on Technorati.

A Conversation With, Interview, Music

Bon Jovi, Donnie Iris and Copyright Law: A Conversation With Mark Avsec
Mark Avsec

Here’s a quick Bon Jovi Jeopardy question for you:

“This song, from the group’s first album, is the only song on any Bon Jovi record that was not at least co-written by a member of the band.”

Answer: What is “She Don’t Know Me“?

It was the June 16th, 1984 and my brother and I had braved the Summer heat to drive to the Allentown Fairgrounds and see the Scorpions. They were out supporting their hugely successful album, “Love at First Sting” and we couldn’t wait to see them.

The only thing that stood between two teenaged metal heads and nirvana was having to listen to the opening act: some new band with a bunch of guys out of New Jersey who called themselves “Bon Jovi“.

As luck would have it, I had actually heard of these guys before and had even bought their debut album. They were mostly known for their song “Runaway”, which at the time was getting quite a bit of airplay. But that wasn’t the song that really appealed to me.

As a 15 year-old boy there was only one song on that record that I could immediately relate to. It was the third song: “She Don’t Know Me”. I can’t even begin to tell you the countless times those lyrics came into my head during my adolescence. In certain situations, where the female persuasion was involved I always found myself thinking: “If only she would look my way”…. but “She Don’t Know Me”…

To this day, whenever I think of Bon Jovi the very first thing I think about is the summer night when I first heard “She Don’t Know Me” performed live. The song still gives me chills when I listen to it today.

“She Don’t Know Me” is a song written by Mark Avsec that appears on Bon Jovi’s debut record and to this day is the only song from any Bon Jovi record that doesn’t have at least a co-write by a member of the band. But the story of how the song appeared on that first record is no where near as interesting as the songwriter is himself. For Mark Avsec’s story goes a lot deeper than just a Bon Jovi song.

Mark’s life as a musician, songwriter and producer includes stints with the bands Breathless and Wild Cherry (“Play That Funky Music”). The latter of which gave him the opportunity to perform on stage at the Grammy Awards.

He’s also had a long relationship with Donnie Iris as a member of the Cruisers where the two of them together would write the hit song “Ah! Leah!” and subsequently lose everything gained from the song’s success by defending themselves in a frivolous lawsuit. The outcome of which led Mark himself to become an attorney to make sure that what he went through never happens to himself or anyone else again.

In this interview with Mark we’ll talk about how he came up with what I believe is one of the best and most underrated Bon Jovi songs ever. We’ll also discuss the Ah! Leah! lawsuit and his reason for becoming an attorney as well as what the future holds for himself and his long time friend Donnie Iris.

goJimmygo (gJg): What is the origin of the song “She Don’t Know Me“?  How did you come up with the idea for it and what’s it premise?

Mark Avsec (MA): I was on the road with Donnie during our tour for the first album and I was supposed to go back into the studio with La Flavour (who later became the band Fair Warning) for an album. I was going to write the songs for and produce the album.

So I wrote this on the road in a hotel room.

I generally write music first, and that’s what I did for this song. I don’t know if the lyric is anything to write home about, but it’s a basic story of when you really have fallen for someone and that person does not know you exist.  I felt that in my life. I think probably everyone has

gJg: How did the song wind up on the first Bon Jovi album?

MA: “Luck” is a factor in all of our lives and in any business. But I think “luck” plays a bigger role in the music industry or in the arts in general.  How many super-talented people are out there that we have never heard of?  A lot! Somewhere there is someone who could be as impactful as Bruce Springsteen but the stars have not aligned for that person.

However, I also believe that you have to put yourself in a position to get lucky.  That requires dedication, study, hard work. I wasted a lot of hours in recording studios working on “spec” on albums and songs that never saw the light of day. That certainly seemed to be the case for this Fair Warning album that “She Don’t Know Me” was on. It came out on an MCA label and immediately died.

What happened though, was that record executive Lennie Petze heard the song and loved it and got the song to Jon’s brother, Tony Bongiovi – with a strong suggestion that Bon Jovi should record the song for the first album. This is what was told to me – I have never independently validated this story but it makes sense.

Ironically, Bon Jovi “opened” for Donnie Iris and the Cruisers for several dates – so we got to know the guys in the band a bit. I’m a little introverted until I get to know people so I was not out there trying to meet Jon (Donnie got more friendly with Tico).

“She Don’t Know Me” was released as a second single after “Runaway” – it did respectable.  A lot of people know the song.

I’m not sure how crazy the band was about the song – It’s never shown up on any compilations or anything.

gJg: What was it like when you met Bon Jovi? Did you picture what they would turn into today?

MA: When Bon Jovi opened for us (Donnie Iris and the Cruisers) it was clear something was happening. Jon had all of the rock star moves and he was a great looking guy – the chicks loved him from the start.

gJg:The song was originally recorded by Fair Warning (Also covered by Grass Roots and Sonny Gervaci). Were you concerned at all about overkill of the song?

MA: No. Very few people knew the song until Bon Jovi recorded it.

gJg: Your song is the only one that appears on any Bon Jovi album that does not have a Bon Jovi co-write connection. Do you think this may be the reason why it’s not performed live any longer?

MA: Yes, maybe. Like I said, I’m not sure what Bon Jovi’s perspective on the song is – it really does not show up on any of the “Greatest Hits” compilations or anything, at least not yet.

Writing “Ah! Leah” and Studying Law

gJg: I read where you decided to become a lawyer because you were sued frivolously for the song “Ah! Leah!”  What was that whole lawsuit about?

MA: Some fellow from the Detroit area – he did music on the side – thought we stole a song he wrote called “Here I Go Again” or “Here We Go Again” or something like that. 

Well, I never heard the song. I knew how I wrote Ah! Leah! – I knew where I was when I wrote it.  And I certainly never heard the guy’s song.

I blame the contingency-fee lawyers who took the case, trying to take a shot. 

 

Except the onus fell on me and Donnie – two lower-middle class guys who were simply trying to support their families with music. 

The plaintiff, we learned during the trial, apparently went out to LA pitching the song to some MCA promo guy who promptly discarded the tape after a meeting. So the lawyers concocted this story where somehow the tape made the way to us to copy.  We eventually heard the song during the trial I think – the songs were nothing the same and there were many, many titles registered with ASCAP/BMI called “Here We Go Again” or whatever.

It was suggested I pay the guy settlement money. I would not give him a nickel. The trial went to a jury trial – the whole nine yards. And we won. But Donnie and I lost everything the song made and more because we had to pay our lawyers.

I can now say – and it has taken me a long time to get there – that the lawsuit was the best thing that happened to me. Because I love copyright law – and I love my life now, being an intellectual property attorney, teaching at law schools and speaking – and also still writing music and playing.

gJg: So the outcome of the case made you decide to put the rock and roll dream on hold in favor of studying law?

MA:  I became very interested in copyright law. That lawsuit made me think – “Geez, I did nothing wrong and I can be sued like that?  Without any basis?  I better learn how to defend myself.”  And I began to think about the legal system and if there were mechanisms that could be put in place to dissuade meritless, frivolous lawsuits.

Since that lawsuit was decided, we had the Supreme Court in the United States decide the Fogerty lawsuit – ruling that defendants who prevailed in copyright infringement lawsuits – should be entitled to attorneys’ fees recompense from the losing party. The copyright statute already provided that the prevailing party could recover attorneys’ fees from the losing party.  But before Fogerty, the statute was not applied in an even-handed manner to prevailing defendants and prevailing plaintiffs. So the Fogerty case was a step in the right direction. 

The corporate receipt doctrine is also disfavored now – so that amateur songwriters who send tapes to record companies that nobody wants to hear will have a harder time arguing that so-and-so-big-star stole my song because I sent it in to Universal Records and, you know, this big star now is signed to the label and has a big hit song with the word “love” in it and an A minor chord.

But I still think some lawyers who bring these cases (the so-called substantial similarity cases) – bring them too easily hoping for quick settlement.

gJg: How has that lawsuit and eventual outcome influenced the way you litigate cases?

MA: I don’t have a stomach for baseless cases. No lawyer should. I don’t bring them. And if I’m defending – I will work as hard as I can for my client to get the right result. I have had many successes and I cannot discuss them.

Music

gJg: In 2010, “Angel Love (Come For Me),” a song you co-wrote was included on Carlos Santana’s Supernatural (Legacy Edition) album. How did this come about?

MA: We’re back to “luck” again, aren’t we?  And putting yourself in a position to get lucky. When I wrote that song I had a recording studio in my house. And I worked hard and spent hours writing and recording.  And in retrospect – from an economic perspective – I wasted a lot of time because the lion’s share of that stuff never saw the light of day.

But I had a friend, Alan Greene, who I played with in Breathless – and Alan was a great, great blues guitarist – still is.  And a wonderful guy.  And so we were writing some blues-based songs for possibly an Alan Greene solo project.  And Alan and I wrote the first iteration of “Angel Love” – but it was not called Angel Love.  I think it was called “Too Much About Love” or something like that.  And it had way more of an Allman Brothers vibe to it.  The music was the same as what became the music for Angel Love, but it was even more bluesy and jam-based.  I liked the music a lot.

Well, I have another dear friend – Mason Ruffner.  And I had pre-produced Mason’s Gypsy Blood album in my basement studio.  Mason used to come over and we’d work on it.  And then Dave Edmunds, the eventual producer of Gypsy Blood, even came to the United States and visited my studio. And my studio was one of the first purely virtual, MIDI studios. And so it was decided that I would bring the entire setup over to London – where we made Gypsy Blood for real.

I thought that record was very good – and Mason had a lot of promotion behind him from the record label, but the record did not achieve the success everyone had hoped for.

So, Mason was now thinking about another record – though he had not found his mojo for what he wanted to say yet.  We remained close friends (still are) and he came back to my studio to screw around.  He heard the song I did with Alan and asked if he could write his own lyrics to it. Alan did not care – and so I said “sure.”

And so the song became “Angel Love” and we recorded it with Mason but nobody heard it.  Yet somehow it got to Carlos Santana.

A lot of guitarists – Jimmy Page and Carlos Santana among them – had respect for Mason.  Bob Dylan even devotes two pages in his Chronicles book to Mason (Mason had played on “Oh Mercy” for Dylan and Daniel Lanois).  I think it is because Mason comes from a very real “roots” tradition, growing up in Oklahoma and Texas – spending so much time on Bourbon Street in New Orleans and in Memphis honing his craft.  He is very picky about his lyrics – he is very well-read and is a serious artist I think.

So somehow Carlos heard the song – I think it was on Mason’s album which was not widely released.

Soon after that Carlos began playing the song live – there is a clip on YouTube where Carlos is playing the song in Warsaw, Poland at a huge outdoor festival.  This was the early nineties.

Well, we talk about “luck” again.  Because Carlos was going to record the song – or did record the song (I am not sure which) for his Supernatural record.  Now, if “Angel Love” had been on the original release that sold 25 million copies or so – those pennies really add up and Mason, Alan and I would have done very well.

Unfortunately, the song did not make the cut for the first release.

However, 10 years later – Carlos wanted to put it on the “Legacy” anniversary edition of Supernatural.  And “Angel Love” was the first single.

Of course, the “Legacy” edition sold nowhere near the copies the first Supernatural album did. Still, it is a thrill for a legend like Carlos Santana to record your song.

Ironically, I toured with Carlos in Wild Cherry (when I was in the band that had the hit “Play That Funky Music”). Again, I never got to know him well.  But his band was smoking – and we used to hang with them a bit and go see jazz groups after-hours with them.

gJg: What was it like to perform at the Grammy awards?

MA: It was surreal. I have a tape of the show. I don’t know if you remember the television show, Laugh-In? Because, though the show was state of the art at the time, the graphics and the production seem so amateurish now. But there I was – sitting behind Ringo and standing next to Barbra Streisand backstage. 

We stayed at the Beverly Wilshire hotel and I was waiting for my limo to take me to the show – Andy Warhol was standing there waiting for his limo and so was George Benson, who finally achieved commercial success after years of paying his dues in small jazz bars. We also toured with George Benson a lot during those days. 

As for the Grammy show, we played on the show. We were a one-hit wonder but it was a BIG hit and still is. I really had nothing to do with the success of that song. That was all Robert Parisi. I just showed up in the recording studio. I learned how to make records during that period of time. My relatives thought I was probably rolling in the dough but that was not true either.

gJg: What are the plans for shows in 2012 with Donnie Iris and The Cruisers?

MA: My friendship with Donnie is one of the joys of my life. In fact my friendships with all of the Cruisers are very meaningful to me. 

We have a very respectful band. There is no back-biting. We have always been very positive with each other. I may take the lead as the prime mover – but we have some super-talented people.  Donnie, of course. And he has really become a legend in Pittsburgh.  Marty – one of the most talented and creative guitarists. Kevin Valentine – awesome drummer and a very talented engineer and producer. Paul Goll – who was not the original bass player – but has been with us so long. The perfect guy for us now.  He sings well and plays very nice bass – and is a great person. Our great band extends to our longtime crew – and in particular, Jimmy Markovich, our longtime sound guy.

I spent so much time on Ah! Leluiah! – our Christmas album. I put my heart and soul into that. Honestly, I wept when it was done. I saw it as a legacy for Donnie and for me – and I hoped people would listen to that once a year after we pass. I know, morbid but that’s the way I approached it. I also thought Donnie really shined brightly on that album. That was an emotional record for us.

I am now writing some new songs. We want to go in the studio to record an album for a landmark event – a landmark birthday for Donnie.

I cannot talk about the album yet, except to say it is beginning to take form.

For more information on Donnie Iris and the Cruisers Click Here

 

Article first published as Bon Jovi, Donnie Iris and Copyright Law: A Conversation With Mark Avsec on Technorati.