Interviews
Alex Proyas Reveals That He’s Developing a ‘Dark City’ Series!
A world where the night never ends…
Just four years after The Crow, filmmaker Alex Proyas returned with neo-noir science fiction movie Dark City, ushering us into a nightmarish world no one seems to wake up from. All these years later, Proyas returns to that rich, visionary universe with the short film Mask of the Evil Apparition, which is playing as part of the Popcorn Frights Film Festival beginning tonight.
In the 20-minute short, “A young woman with no memory searches a deserted nocturnal city looking for something or someone. Only problem is she can’t remember who or what. She encounters twin brothers who may be her salvation, but one of them warns her that the “Mysterious Ones,” a nefarious group of clones, are after her. Another woman in disguise also offers to help, but can she be trusted?” The brand new short is being described as “a film about identity by visionary filmmaker Alex Proyas, made entirely with virtual production, and from the Dark City (1998) cinematic universe originally created by Proyas.”
The virtual presentation will also feature a Q&A with Alex Proyas and filmmaker Joe Lynch (Wrong Turn 2, Mayhem), and Bloody Disgusting was able to preview that this afternoon.
During the chat, Proyas reveals that a Dark City series is in the works!
“Dark City right now is really an intriguing one to me because we’re developing a series, a Dark City Series,” Proyas explains to Lynch.
He continues, “Which we’re in the very early stages [of] but I’m having to reanalyze in order to construct a new story. I’m having to go back and kind of jog my memory as to what we actually did and what I think worked and what I think didn’t work and reevaluate my own film, so that’s been a very interesting experience as well which I’ve not done before.”
Proyas also chats about the 2008 Director’s Cut of Dark City, which allowed him to go back in and restore his original vision for the movie – as best as he possibly could, at least.
“You know, it tested very poorly and I was forced to do certain things I didn’t agree with and we made good to a certain extent in the director’s cut,” he recalls. “Because you couldn’t completely resalvage it. I mean the whole point of a director’s cut is the illusion that we resalvage what we’ve done originally. But you can never do that. Often it’s just impossible. In those days we shot on neg and the negs being cut. And its been cut in a certain way and it’s very, very hard to go right back to what you originally designed. So you do like a hodgepodge version of it. Certainly it’s closer to my original conception than the theatrical cut was, but it is still not exactly what my original conception was. You would have to go right back to dailies to do something like that.”
You can watch the original trailer for Dark City below. Rufus Sewell starred as John Murdoch, “A man who struggles with memories of his past, which include a wife he cannot remember and a nightmarish world no one else ever seems to wake up from.” The cast of the 1998 movie also included Kiefer Sutherland, Jennifer Connelly, William Hurt, and Richard O’Brien.
Make sure to grab your tickets for Mask of the Evil Apparition, streaming as part of Popcorn Frights. We’re told, “Both the Q&A and film will be available for everyone in the US to access starting at 9pm EST tonight, August 12th, through the duration of the fest, August 19th.”
‘Mask of the Evil Apparition’
Interviews
‘Rubberhead’ Director Nick Taylor on FX Maverick Steve Johnson, Practical Effects, and Seven-Year Journey
Horror journalist, producer, and podcast host Nick Taylor moves into the director’s seat for his feature debut with illuminating documentary Rubberhead: The Life & Monsters of Steve Johnson.
It chronicles the wild life and career of SFX maverick Steve Johnson, based on the multi-volume book series Rubberhead: Sex, Drugs and Special FX, and those familiar likely already know Rubberhead isn’t your standard horror documentary.
Johnson is responsible for so many memorable movie monsters, having worked on Fright Night, Poltergeist II, An American Werewolf in London, A Nightmare on Elm Street 4: The Dream Master and Night of the Demons, to name a few. He’s also extremely candid in ways that feel atypical in this industry, open about his failures as much as his successes.
“It was a natural progression for sure,” Nick Taylor tells Bloody Disgusting of his transition into filmmaking ahead of Rubberhead‘s world premiere next week at the Fantasia Film Festival on July 23. “I think with my podcast, I got adept at interviewing people and pulling creative lessons out of them, which was the point of my podcast. I wanted this movie to be sort of a creativity pill for artists where if they’re starting a project or feel creatively stuck, they could watch this movie and be inspired and get actual practical creative lessons.”
Taylor’s background in PR and marketing also organically led him down this path.
He charts the course from book promo to documentary director: “But also Bloody Disgusting had a lot to do with this movie because in the very beginning when I first met Steve, I was helping him promote his book and I said, ‘Hey, I got a marketing background and a journalism background. Let me help you promote this book. I’ll just pitch stories from your life to the media, and we’ll see what happens.’ And John Squires wrote an article about Steve making Slimer under the influence of tons and tons of cocaine, and that went fairly viral.”
“For a week, it was story time with Steve,” Taylor continues. “He would tell me a story from his life, and every story was about a major movie, a major director, lots of drugs and alcohol and insanity. I would write them up, and I think John published about three or four of them. So huge shout out to John Squires because that was really great. So yeah, there were definitely a lot of outgrowths of my journalism background that definitely contributed to this movie.”
Rubberhead condenses the multi-book series into a cohesive feature film with a breezy runtime, sparking the obvious question as to how Taylor approached condensing Johnson’s life down to an under 2-hour documentary film.
“That was one of the more difficult parts of all of this, because we had enough for a series or an epically long six-hour fan documentary,” he answers. “But from day one, I did not want to make a fan documentary. I love them. They’re a lot of fun, but I did want the movie to stand on its own two feet as a character-driven portrait of an artist and a time period and a technology, that being practical effects. I did want to be objective. I didn’t want to make this too long. I wanted to make it re-watchable. So I think we just really had to focus on what the narratives were that we wanted to tell. So there were some basically almost cliché archetypical mythic narratives present in Steve’s life. We could have made this way longer, but we wanted to keep it short. But luckily that’s why you have special features.”
Johnson quickly proves to be an engaging subject thanks to his self-effacing wit and frank self-reflections; expect no shortage of stories about how drugs factored into the height of his career or the failures it wrought.
That rare quality was an asset for Rubberhead, Taylor confirms. “He does not shy away from anything about the drugs, the addiction, the bridges burned, the mistakes made, the lessons learned. He just is honest about all of it. He’s had a lot of time for reflection, and he’s done a lot of reflection, so he doesn’t shy away from any of it, which is huge because it’s very refreshing. I don’t think a lot of people are that way, at least in this industry from what I can see. So I think it was hugely beneficial. We wanted to lean into that, and we wanted to make this sort of a gonzo Hunter S. Thompson sort of wild tale through Steve’s overall life.“
Condensing his life into this doc was a slow and steady process for Taylor, too. “It’s been almost seven years. It’s been a labor of love. We’ve been as indie as it gets. We would shoot what we could when we could, and then we would edit when we could. Then after a while it all came together.”
In a way, making Rubberhead brings Taylor’s horror fandom full circle. It turns out that the very film that sparked his interest in the genre and practical effects also comes with an amusing Steve Johnson anecdote.
Taylor explains, “My gateway for sure was Beetlejuice. I saw that at a very young age; I think I was four or five. I felt somebody had shown me, my soul. I get a little emotional thinking about it. There was something about that movie that felt so strange and unusual, but also felt so familiar. It was spooky, but it was fun, and it was lighthearted, and it had humor, but it also had this macabre celebration to it that I just really got into as a kid. I felt somebody had shown me my own soul. And funny story, Steve got fired from Beetlejuice because Tim Burton gave him his hand-drawn designs and Steve’s like, ‘Oh my God, these look like kids did them. This is not what you want. I know what you want. I’m going to redesign these for you.’ And Tim Burton was like, ‘Yeah, no, you’re not.’ So yeah, funny story.”
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