In probably one of the most bizarre film collaborations of the nineties, late pop legend Michael Jackson joined forces with horror author Stephen King to produce a long-running music video for 1997’s “Ghost.” Jackson was no stranger to music videos that acted as short films, case in point his 14-minute, groundbreaking video for “Thriller.” To promote Jackson’s newest remix album “Blood on the Dance Floor: HIStory in the Mix,” Jackson teamed up with renowned makeup artist Stan Winston who directed the film and Stephen King who wrote its script.
“Stephen King is a gentle, sweet, kind man. He’s very humble,” Jackson said in an interview that year.
“Ghost” was initially intended as a short companion film to 1993 film “Addams Family Values,” for which Jackson recorded a song that was dropped amidst his sexual abuse allegations. It was shot in six weeks on a $15 million budget and had Jackson playing two roles and leading twenty-minutes of choreographed dance. The film initially premiered before King’s newest film “Thinner” in Beverly Hills in 1996 at the Motion Picture Academy of the Arts, and again at Cannes Film Festival the following year solo.
Upon Jackson’s passing in 2009, King reflected on the time he spent with him on set of “Ghost” for an interview with Entertainment Weekly.
“The video contains some of the best, most inspired dancing of Jackson’s career. If you look at it, I think you’ll see why Fred Astaire called Jackson ‘a helluva mover.’ You’ll also see Jackson’s sadness and almost panful desire tp please. This is a sadness that’s all too common in people who possess talents in amounts so great it has become a burden instead of a blessing. Jackson was painfully shy to talk to but watching [“Ghost”] still makes me happy.”
“Ghost” takes place in Normal Valley where an angry mob show up to Jackson’s spooky mansion after the parents of neighborhood kids discover he puts on scary magic shows for them. The mayor of the town, also played by Jackson, insists that he leave town immediately and leave the kids alone. This beginning witch hunt sequence echoes Jackson’s real-life persecution surrounding those sexual abuse allegations in the nineties. Jackson’s own reclusive, misunderstood private life led him to being a tabloid spectacle and the public would never let him out of their clutches.
While the film can be seen as a companion piece to the “Thriller” music video whereas zombie ghosts have replaced werewolves, the film hasn’t aged very well to modern cinematic standards. The CGI skeletons and effects give off an amateurish Eddie Murphy “Haunted Mansion” vibe, not that there’s anything wrong with that. There’s no real plot of the film, because 12 minutes it Jackson is having an impromptu dance break with his zombie friends for no real reason at all.
But the point isn’t the quality of the film, but how it brought together two legends in their respective fields – King, in modern horror fiction, and Jackson, in pop music – to make one result with decent payoff. The ambition is evident, and surely in 1997 this music video meant a lot to a large group of fans. Sure, this is no “Thriller” or “The Shining,” but seeing a skeleton moon walk across a dusty, haunted mansion ballroom is pretty neat.
Casting directors are now casting actors, models, and talent to work on scenes filming next Tuesday in Toronto, Ontario.
URGENT! Seeking VARIOUS MEN to play the role of a Knight, Sergeant or a Vampire for a non-union Video Game Campaign casting NEXT Tuesday in Toronto!
Pay is approx. $3,000+ each if selected. Open to non actors, if you have the look but no acting experience, you can still apply.
Looking for the following roles:
1) Knights – Male. Age 20 to 40. Slightly rugged with some character to their faces. Average to larger build capable of physicality with strength and stamina. Long hair with a beard is ideal but it’s fine if you have short hair and a beard too. Bonus if you have an english accent or some sword fighting skills BUT PLEASE DO NOT LIMIT! Will have a few easy lines.
2) Sergeant – Male, Age 30 to 50. He is tough and steely, unwavering, full of bravado and maturity. Some military and marine experience would be great but please do not limit. talent must agree to wear special contact lenses. Think of a younger R Lee Ermey. Will have a few easy lines.
3) Vampire Lord – Male, open ethnicity, mid 40’s to mid 50’s. He is a sinister, distinguished badass, borderline frightening. His initial character should be creature-ish and other worldly type look. Ideally someone that can play drama but understands comedy and timing. Talent must be comfortable to wear special contact lenses and prosthetic makeup. Will have a few easy lines.
4) Vampire. Male, mid 20’s to late 40’s. Can be slightly cartoonish and odd looking but still sinister. They are lackey-ish and less commanding in presence than their leader. Looking for someone that can play drama but understands comedy and timing. Talent must be comfortable to wear special contact lenses and / or prosthetic makeup. Will have 1 or 2 easy lines.
DEADLINE TO SUBMIT – IMMEDIATELY!
MUST BE AVAILABLE FOR THE FOLLOWING DATES IN TORONTO:
AUDITION – Tuesday July 10, 2018.
CALLBACKS – July 12, 2018.
WARDROBE / REHEARSAL – July 28 or 29, 2018.
SHOOT – July 30 or 31, 2018.
To apply – Please send ASAP: Your name, age, role you are applying for, phone number, photos (no hat or sunglasses and a resume (if you have one) to: firstname.lastname@example.org
Please write ‘VIDEO GAME’ in the subject line of your email, along with your name, age and role.
(For example: VIDEO GAME – John Kirk – Age 35 – Role 1 knight)
*If you have already submitted for this project, you do not need to re-submit your information.
*Please note that you will not be compensated for the audition.
*If you have received this bulletin after the initial audition date, please still email us your submission as you may be able to attend the recall audition.
“Boys Don’t Cry” hits hard, and the reason why is heart-breaking: it’s all true.
The film is based upon the life of Brandon Teena, a rowdy transgender man (played by Hillary Swank) who’s always brawling boys and kissing girls up until his tragic murder in 1993 by a group of his friends who had discovered he was born female. Not only does “Boys Don’t Cry” depict a reality all-too-true for queer individuals, it was also released in the wake of gay teen Matthew Shepherd’s death in 1998 after he was beaten and left to die tied to a fence in Wyoming.
The harsh realities of gay hate crimes were finally making their way into public consciousness in the late 90s and a biopic like “Boys Don’t Cry” was the perfect vehicle to get people to care. For a movie to portray the dangerous situations that LGBTQIA+ people face every day progressed the conversation off-screen into a political one. Swank’s performance as Teena introduced the topic, and Teena’s real-life story brought the issue home to viewers. By bringing realism and truth to the big screen, it got mainstream media empathizing and talking about an issue all too familiar to queer and especially transgender-identifying individuals.
18 gay people were murdered in vicious hate crimes from 1990 to 1999 and Brandon Teena was one of them. He had just moved to Nebraska in 1993 to start his life anew under male pronouns and far removed of his sexually abusive, misunderstood childhood. His mother, Teena Brandon, refused to call him by male pronouns and believed he was just confused. She sent him to the Lancaster County Crisis Center in 1992 because she believed he was “suffering from a severe sexual identity crisis.” The rejection stemming from a queer youth’s parental figures is known to cause severe harm on the youth’s psyche, and can leave them with lifelong mental health issues, studies say.
When in Nebraska, Teena fell in love with Lana Tisdel and became good friends with John Lotter and Marvin Nissen, two convicts and mutual friends of Tisdel’s. After an arrest in December and detainment in jail, Teena confessed to Tisdel that he was born a female. Unfortunately, this is where the story takes a turn for the worse.
Teena was gang raped by Nissen and Lotter after they discovered his birth gender on Christmas Eve in 1993. Teena went to the police, but they refused to do anything of the matter even after a rape kit was utilized. The fact that Teena was transgender made law enforcement very uncomfortable and thus the sheriff made no arrest because of a supposed “lack of evidence.”
Nissen and Lotter discovered that Teena had went to the police and broke into his home on New Year’s Eve. The two shot DeVine Lambert, Teena’s roommate, in cold blood in front of her child as well as Teena. Nissen proceeded to stab Teena in the chest to ensure the fatality of his wounds. The two ran off but eventually were charged with murder and received life sentences for their crimes.
“Boys Don’t Cry” was a groundbreaking gay milestone in the film industry and was released the same year as other hits like “The Sixth Sense” and “The Blair Witch Project.” The film grossed $11.5 million on its measly $2 million budget and carried a message much larger than the big screen could hold. While modest compared to its gay counterparts – like 2005’s $83 million grossing “Brokeback Mountain” – “Boys Don’t Cry” touches on the topic of transgender identities with utmost respect and strength.
Hilary Swank took the role to heart and approached the role with method acting preparation; she lived as a man for a month, binding her chest with bandages, stuffing her underwear, and hitting on girls at bars much like Teena so frequently did. Swank’s dedicated commitment to the role landed her an Academy Award and Golden Globe win in 20000 for Best Actress, beating out Hollywood heavyweights like Julianne Moore, Meryl Streep and Sigourney Weaver. Not bad for an actress paid only $3000 for her role on screen.
Far beyond the typical tropes of transgenderism, the film dives into the complexity of masculinity and aspects of “passing” as a man in society. For once, the trans person on screen isn’t a joke or a simple gag carried out for the amusement of the audience. Rather, the trans person on screen is brave and confident within their own gender identity, enough so to visibly live as it. And for once, this trans person is a real person and not just a Hollywood role mustered up to profit upon.
The importance of “Boys Don’t Cry” should be obvious by now; it came at a time when trans people needed a voice and an ally to protect them from hatred. The film not only made Teena a household name through his tragic death, but also made way for protective legislation like 2009’s Matthew Shepard Act passed by President Obama that granted additional defenses for gay victims.
Even today, trans people are still ruthlessly attacked and murdered for possessing a gender identity different than societal standards. 25 transgender individuals were murdered in 2017 in the United States alone and is seemingly on the rise, despite Teena’s shocking death 25 years ago.
We need more films like “Boys Don’t Cry” today to remind the world that being transgender is not a mental illness, it’s a normal gender identity possessed by normal people just like us. We need publicly-out figures like actress Laverne Cox and activist Janet Mock to let people know that being transgender is nothing to cry about.
When it comes to entertainment news and interviews with the famous faces behind film, At The Movies Online has got you covered. And when it comes to movie scores, we’ve got that too. Join me as we reflect on seventeen movie themes that will go down in the history books.
01. Requiem for a Dream
Composed by Clint Mansell, performed by Kronos Quartet, arranged by David Lang
Probably the most haunting, reverberatingly epic, operatic pieces of music ever produced. Not only does this score do a great job at epitomizing the movie’s message and downhill atmosphere with the sounds of violins and cellos, it truly thrills the audience with this depressing dark cloud. “Requiem for a Dream” is a movie about drug addiction and the costs of coping with such a vapid habits, chronicling the decline of all of its main characters through their falls into mental hospitals, prisons, and prostitution. Almost coming off as apocalyptic, it wouldn’t be surprising if this was the last song we hear before the Earth explodes. If this doesn’t get your heart racing and your eyes almost watering, there might be something wrong.
“My Heart Will Go On (Love Theme from Titanic)”
Composed by James Horner, Written by Will Jennings, Produced by Walter Afanasieff and Simon Franglen, Recorded/Performed by Celine Dion
Easily the best love song or romantic movie theme of all time, and that’s just a fact. This theme sold 18 million copies, the second highest selling single by a female performer and is at the top of every list for iconic movie scores.
Composed by Hans Zimmer
When you think of innovative scores in the 21st century, this one is top of the list. While it may come off as regular, dramatic action film music, the genius behind Zimmer’s creation lies within what the music stands for. The score itself is based heavily on an Edith Piaf song, “Non, je ne Regrette Rien” (No, I Do Not Regret Anything), except played in slow motion. The Piaf song in question is also used by characters in the movie as an alarm to wake up from their synthetically-produced dreams and perfectly ties in with Zimmer’s intentions of sampling.
04. Star Wars
“Star Wars (Main Title)”
Composed and Conducted by John Williams, Orchestrated by Herbert W. Spencer, Performed by London Symphony Orchestra
This track was so good, it actually topped the Billboard Hot 100 Charts at #10 back in 1977. From the mastermind of the “Jaws” theme comes another monumental masterpiece from John Williams. This instantly recognizable piece of movie history is one of the most popular film scores of all time.
05. Raiders of the Lost Ark
“The Raiders March (Indiana Jones Theme)”
Yet another classic, yet another John Williams produced hit. Action packed is an understatement when it comes to the sound of this desert chase soundtrack that was recorded in 1981 at the famous Abbey Road Studios – yes, the studio The Beatles recorded and shot their iconic street-crossing album cover at – in London.
06. The Good, The Bad and The Ugly
“The Good, The Bad and The Ugly”
Composed by Ennio Morricone and Conducted by Bruno Nicolai
Spaghetti westerns haven’t been the same ever since this ingenious, coyote-howled tune. Online music retailer CD Universe said of the score, “[it’s] so familiar as to be a cultural touchstone. Even an abbreviated soundbyte of the theme is enough to conjure images of desolate desert plains, rolling tumbleweeds, and a cowboy-booted figure standing ominously in the distance.”
07. 2001: A Space Odyssey
“Also Sprach Zarathustra”
Composed by Richard Strauss, Performed by The Berlin Philharmonic Orchestra and Karl Bohm
While technically not an original score produced for the film itself, this classical orchestra piece is the definition of a classic. Based on an hour-long tone poem by Strauss and inspired by Friedrich Nietzsche, this piece of relic has become extremely relevant in pop culture since it’s usage in “2001: A Space Odyssey.” It features flutes, a piccolo, clarinets, horns, trombones, tubas, cymbals, an organ and two harps all woven together to make a beautiful, blockbuster symphony.
“Halloween Theme Main Title”
Composed and Performed by John Carpenter
Paying slight homage to horror classic “The Exorcist,” Carpenter’s iconic slasher film score feels like fear, and sounds like it too! It’s impossible to hear this song and not feel paranoid that someone is lurking in the darkness of your home. Often referenced but never replicated, Carpenter’s eerie thriller tune just can’t be matched by modern musical takes on the horror genre.
Written and Composed by Bernard Herrmann
Another Hitchcock hit and yet another chilling Bernard Herrmann piece. It’s hard to think of another horror hit that so easily conveys a brutal stabbing in the process. Like the (unlikely) villain in “Psycho,” this score has multiple personalities even through it’s chord progression during its three movements. While Hitchcock initially insisted for the shower scene to be silent, he couldn’t help but double Herrmann’s salary after hearing what the composition he had conjured up.
“Main Title (Theme from Jaws)”
Composed by John Williams
There might be something in the water. This Academy Award-winning film score rises by the second, getting scarier and scarier as it progresses. It feels like danger is encroaching and you’re being surrounded, but there is no way out. The legendary “dun dun…dun dun…” has itself become a staple in the horror genre and packs quite the punch when it comes to hitting the nail on the head of great film scores.
Composed by Bernard Herrmann, Conducted by Muir Mathieson
You know you’ve hit it big when even Lady Gaga is sampling your score in one of her smash-hit music videos. This striking, mysterious tune is known to get your head spinning and instill a fear of heights in you. Alfred Hitchcock’s classic “Vertigo” owes much of its success to this suspenseful song that has influenced the way we hear fear in modern cinema.
12. Jurassic Park
“Theme From Jurassic Park”
Composed and Conducted by John Williams, Orchestrated by John Neufeld, Alexander Courage and Conrad Pope
The movie that made Jeff Goldblum a meme is also the movie that boasts one of the most instantly recognizable tunes of all time. Doesn’t this theme make you feel like you’re seeing a dinosaur alive in person for the first time ever, or is that just me?
13. Dr No
“James Bond Theme”
Written by Monty Norman
The first appearance of this action-packed score was in 1962’s “Dr. No,” the first ever James Bond film. The sound is very reminiscent of an undercover spy wielding a pistol sneaking down a corridor of some British hotel, isn’t it?
“Gonna Fly Now (Theme from Rocky)”
Composed by Bill Conti, Written by Carol Connors and Ayn Robbins, Performed by DeEtta West and Nelson Pigford
At any given moment, there’s probably a handful of pedestrians jogging up the 72 stairs of the Philadelphia Museum of Art to this pumped-up song, recreating the iconic Rocky Balboa training scene. It’s the sound of a champion, a fighter ready to conquer and devour his prey in victorious fashion.
15. American Beauty
“Any Other Name”
Composed by Thomas Newman, Produced by Chris Douridas, Sam Mendes & Michael Ostin
There is a delicacy to this score set to 1999’s suburban story “American Beauty” that is otherwise not captured in modern movie music. It’s quite obvious why the soundtrack to this twisted love tale was nominated for a Grammy: it’s touching, romantic, and lovely, utterly contrasting the dark themes the movie portrays.
16. Romeo & Juliet (1968)
“What is a Youth?”
Arranged by Henry Mancini, Written by Eugene Walter, Sung by Glen Weston
While the entire soundtrack to this film is absolutely stunning, this song stands out the most as a dreamy depiction of young love. Also the one of two songs on this list to include singing/spoken word, the smooth delivery of Glen Weston’s crooning about young love just tug at your heart strings ever so sweetly.
17. Fire Walk With Me (Twin Peaks)
“Twin Peaks Theme”
Composed by Angelo Badalamenti
There’s something mystical, something whimsical and sleepy about this score that really transports me to the alluring, fictitious Washington town of Twin Peaks. Ambient dream pop has never sounded so stunning and captivating.
To those unfamiliar with David Lynch and Mark Frost’s “Twin Peaks” franchise and the universe surrounding it, it might seem peculiar to suggest its prequel film to watch but hear me out.
The peculiar mystery that is “Twin Peaks” ran for two seasons from 1990 to 1991 and told the tale of homecoming queen Laura Palmer’s murder in a small, fictitious Washington town aptly called Twin Peaks. The series went on to spawn huge success and cement itself into cult-classic status, even being rebooted in 2017 for a third season 25 years later.
It was clear that Lynch, whom AllMovies wrote as the “Renaissance man of modern American filmmaking,” had a vision for the Twin Peaks town well beyond the television drama. Lynch and Frost worked perfectly together to establish a multi-dimensional setting in the Northwestern town, as well as construct storylines and plot points that dive further than just a murdered teenager. Even when the killer was revealed partway through season two, the show progressed and proved it had more to resolve.
This brings us to the subject of 1992’s Twin Peaks prequel, “Fire Walk With Me.” While the film failed to make an impact in the box office or achieve any sort of critical acclaim, it was extremely successful in Japan. Julie Muncy of Wired writes, “By 1992, Twin Peaks had gone from critical darling to drag. To many, ‘Fire Walk With Me’ played like a glorified TV movie.” The film made back an estimated $4.2 million domestically, a measly take home from its $10 million budget. But that’s what makes it a staple for curious filmgoers: it’s a secret hit.
“Fire Walk With Me” is a distressingly dismal look into the last seven days of troubled teenager Laura Palmer’s life before her untimely, unexpected murder. Originally penned as a five-hour long motion picture but eventually cut to a little over two hours, “Fire Walk With Me” sheds new light on the bleak suburban reality that was Palmer’s life in Twin Peaks and acts as its own standalone film. Funnily enough, the film also marks the first time Palmer is seen alive in the show and not floating dead in the water wrapped in plastic.
The genius of the film is its ability to defy the genres and conventions in which it was bred. While the original series was a campy, detective-style melodrama on cable television, this prequel is a moody, psychological horror with heavy symbolism and sinister themes. Whereas the TV show was very elusive and shiny, hiding a lot behind the red curtains, “Fire Walk With Me” dives directly into the darkness of drug use, prostitution, incest, and rape.
During the last week of her life, we see Palmer do copious amounts of cocaine, cheat on her boyfriend with a friend, aide in the shooting of a drug dealer, face physical and emotional abuse by her father, and have sex with her killer. These interactions happen in real time for Palmer in excruciatingly tortured detail, for the first time in the Twin Peaks universe. Grace Zabriskie, the on-screen mother of Laura Palmer (Sheryl Lee) said of her performance, “She gave everything she had, she gave more than she could afford to give, and she spent years coming back.”
The unraveling of Palmer’s beloved character comes across unfortunately on screen as a portrait of a young woman in distress. From its translation from television to film, “Fire Walk With Me” doesn’t skip a beat, and Lynch gets away with a lot more in film than he ever could on prime time.
Laura Palmer’s demise on screen can be painful to watch, but there’s a beauty that lies beneath the nightmare. While the film is grounded in grave danger, for Palmer’s fate is already decided and known to the audience, each shot promises something enticing for the eyes to watch. Each image is cleverly framed and lit with masterful intentions, each line is heart-wrenching and sensitive. Within the heartbreak that is Palmer’s death is a fantastical glance at a suburban life all to real.
Captivating as it is quizzical, “Fire Walk With Me” goes above and beyond to put the viewer in the hot seat and make them feel a spectrum of emotions while watching the 134 minute feature. When you strip away its symbolism and supernatural motifs, you’re left with a simple tragedy of a teenager doomed from the start and we can’t help but watch with unabating empathy. Whereas the “Twin Peaks” universe centered around the mystery of Laura Palmer’s death, “Fire Walk With Me” shows Palmer alive and coping with a heavy secret too serious to ignore.
“Fire Walk With Me” is available for viewing on Amazon, iTunes, and Youtube for as little as $2.99.
Casting directors are now casting actors, models, and talent to work on scenes filming on Monday, June 4th in Atlanta, Georgia.
About The Gifted:
The Gifted is an upcoming American television series created for Fox by Matt Nix, based on Marvel Comics’ X-Men properties. It is connected to the X-Men film series, the second television series to be so. The show is produced by 20th Century Fox Television in association with Marvel Television, with Nix serving as show runner.
**Heaven Season 2**
Working Monday 6/4 in Atlanta area
Rate: $88/10 +$25 car bump
-MUST BE REGISTERED WITH CENTRAL CASTING!-
New faces only! Must not have worked on Heaven Season 2 before!
***Must be available ALL day***
Neighbors w/Car- Men and Women, over the age of 18, no visible tattoos, to work with their car. Cars should be DOWNSCALE/RUNDOWN/BEAT-UP–no brand new cars. No red, white, or black.
Please send an email to email@example.com, include your legal name, phone number, and recent photo(s), ALSO include the make, model, year, color, AND photo(s) of your car. Your email must include a photo of the car to be considered. Please put “Monday 6.4” in the subject line.