Howard Berger


You never know. You just never know. I wonder if back in 1930, Universal Studios make up artist, Jack Pierce while constructing his “monster” make-up on actor Boris Karloff, had wondered if he was creating something transcendent. Something that would forever infuse itself into the western culture generation after generation, becoming the mental image that every brain would access when it heard the name “Frankenstein.” I bet he didn’t. I bet ol’ Jack had an assignment, did the best job that he could, collected his meager paycheck and was grateful to be working during the depression. Truly, that is the way it is. You never can tell what will connect with audiences. You just do the work, collect your salary, and thank God you are not pounding the pavement looking for your next job. Evil Dead II is one of those cult favorite films that so much of has been discussed and revealed through interviews, articles, supplemental videos on DVD’s, convention panels, etc., that I’m not sure what I can add to all of this information besides my individual view point. Forgive me if you’ve heard much of this information before; just know that what you are now reading is not being pushed through the filter of a reporter. I was there in Mark Shostrom’s South Pasadena studio. And although, again, I didn’t go to location in North Carolina, what I designed and sculpted at Mark’s would follow me to this day.



I visited the set of the new Fright Night movie last September and wrote (perhaps a bit too honestly) about the experience here. That post covers my thoughts on the whole process, but it’s not all I have to report. No siree, while I was there several members of the cast and crew took time out of their clearly busy schedule to chat with the press. Unheard of you say? It’s true! And here are some words to prove it from the likes of special effects guru Howard Berger and producer Alison Rosenzweig. [These are excerpts from group interviews conducted during the set visit.] Be sure to check out all of our Fright Night coverage here.


setvisit_fright night

It’s September of last year and I’m standing in a hallway at the Hard Rock Hotel & Casino in Albuquerque, New Mexico, cursing at the door to my room. It’s one of those ubiquitous card key locks, and I’m in no mood for a third trek down the long hall, down the glass elevator, and back to the front desk to admit once again that I’m apparently an idiot who can’t open a door. It’s a brilliant start to my Fright Night press visit that I’m only a part of due to a scheduling conflict elsewhere on the FSR team, and when combined with my already cynical view of the whole set visit concept it hardly bodes well for the next few days. I just don’t see the appeal of it all for anyone aside from the studio and the writer. The studio gets some relatively cheap marketing, the writer gets a free trip, free hotel, and a chance to hobnob with the talent, and the readers get… what? Interview quotes that will be repeated on a dozen different web sites? A puff piece about how awesome the final movie is going to be? Clearly, I’m the wrong person for this particular assignment.



What is Movie News After Dark? It’s a nightly movie news column that often sits around in its best lingerie a little too much. Like Emma Frost in the new X-Men film, it loves walking around in its skivvies. However, unlike Ms. Frost and her lovely attire, it does not receive a positive response. It’s okay, because this movie news column is not a real thing. It’s just an object. We begin tonight with a scantly glad, hollow-gazing January Jones lounging around in Matthew Vaughn’s uber-stylish X-Men: First Class. What I find interesting about Jones is that whether she’s about to turn into a woman with diamond-coated skin or she’s waiting for Don Draper to come home from a night of whoring around, it’s the same facial expression. That’s consistency.

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published: 01.26.2015
published: 01.26.2015
published: 01.26.2015
published: 01.26.2015

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