#Patricia Kaufman

[denimbex1986]

'Casting director Avy Kaufman admits even she was skeptical when Steven Zaillian asked her to come on board to cast “Ripley,” the Netflix limited series based on Patricia Highsmith’s classic novel “The Talented Mr. Ripley.” The story had already been adapted to screen, most notably in Anthony Minghella’s Oscar-nominated 1999 film.

“At first, I was wondering why Steve was doing this,” Kaufman says bluntly. “I’ve been lucky enough to work with him on many other projects, so I know how talented he is, but to reboot is really risky.” But the final product, which boasts 13 Emmy nominations, including a nod for casting, quelled any doubts. “It’s like a piece of art,” Kaufman raves. “I was really impressed. It tells so many different stories and gets inside the characters. I just think it’s a masterpiece.”...

Kaufman actually cast the limited series prior to the pandemic and admits it was an arduous process. “He wants to see a lot of people,” she says. “Which I respect, but it does take some time.” Andrew Scott was already attached to play the titular title character, and it was Kaufman who suggested Dakota Fanning to costar as Marge Sherwood, the female lead and a major antagonist to Ripley. “I had worked with her on a show called ‘The Alienist,’ and she was wonderful,” Kaufman notes. “At first I wasn’t sure she would want to jump back into television, but she did, and she was brilliant.”

Fanning was just one of several actors that Kaufman keeps in her mental Rolodex, reminding actors that they’re never just auditioning for one role but possible jobs down the line. Case in point: English actor Johnny Flynn, who plays the pivotal role of Dickie Greenleaf, the object of Ripley’s obsession. “Johnny is a favorite of mine, and when Steve took to him, I was so happy,” she notes. She was also a fan of Eliot Sumner, who plays Dickie’s friend Freddy Miles. While she was familiar with both, “Ripley” might be their most high-profile roles in the U.S...'

[nfcomics]

TROMA panel • Comic-Con International

July 27th 2024 • 9:00pm

L-R: Lorrie • Mimi • Michelle

San Diego • California • USA

[brokehorrorfan]

Night of the Demons 2 and Night of the Demons 3 will be released on Blu-ray on October 3 via Scream Factory. The original Night of the Demons will also be available on 4K Ultra HD the same day.

1994's Night of the Demons 2 is directed by Brian Trenchard-Smith (Leprechaun 3, Leprechaun 4: In Space) and written by Joe Augustyn (Night of the Demons). Amelia Kinkade, Merle Kennedy, Cristi Harris, Rick Peters, Jennifer Rhodes, and Christine Taylor star.

1997's Night of the Demons 3 is directed by Jim Kaufman and written by original Night of the Demons director Kevin Tenney. Amelia Kinkade, Larry Day, Kristen Holden-Ried, Tara Slone, Gregory Calpakis, Patricia Rodriguez, and Stephanie Bauder star.

Special features for both titles are in progress and will be announced at a later date.

It's Halloween and the teenagers from St. Rita's High School want to party at the neighborhood's haunted house. For years, the Hull House has sat in eerie silence – tales of its haunted past have turned into gory jokes and no one really believes anything ever happened there. However, Angela (Amelia Kinkade), the hostess from hell, is summoning her army of teen demons to the blood-curdling contest between the school's priests and herself, the princess of darkness.

Pre-order Night of the Demons 2.

It's Halloween! The gates of Hull House have creaked open once again and Angela (Amelia Kinkade) is waiting for her treats. When a group of rambunctious teens take refuge in the foreboding funeral home to escape the law, they soon realize their grave error.

Pre-order Night of the Demons 3.

[scurvyoaks]

Fine Pair of Federal Carved Mahogany and Inlaid Satin Birch Side Chairs, Attributed to John and Thomas Seymour, Boston, Massachusetts.

35 x 19 1/4 x 19 in., seat height 18 3/4 in.

Note: This pair of chairs represents a fourth variation of Thomas and John Seymour's curved diamond back chairs. The same style is illustrated in Robert Mussey Jr.'s work, The Furniture Masterworks of John & Thomas Seymour (Salem, Massachusetts: Peabody Essex Museum distributed by University Press of New England, 2003), on pp. 388-9, no. 127. Mussey explains this chair is "the sole example found during [his] study that was designed for full over-the-rail upholstery." 

Sold at Sotheby's New York in 2004, these chairs were from The Collection of Alice and Murray Braunfeld. A single chair, of the same style and attributed to John Seymour, is in the collection of the Los Angeles County Museum of Art (LACMA). It is listed as a gift of Mrs. Murray Braunfeld in 2006 (M.2006.51.21). Although it is rare that sets of these chairs remain, given the fragile nature of their construction, it is probable this pair and the single chair at LACMA are related.

Two similar pairs of chairs probably by Thomas and John Seymour sold at Sotheby's New York in Property from the Collection of Dr. Larry McCallister, September 22, 2022, lots 98 and 99.

According to Sotheby's catalog note: "The masterful execution and carefully conceived design of this side chair places it among the most sophisticated examples of scroll-back chairs made in Boston. The exquisite combination of light and dark woods, reeding and carving, and rectangles, quarter ellipses and diamonds results in a tour de force of the Federal aesthetic.

The same overall configuration, wood combination and exceptional craftsmanship is found on chairs attributed to John and Thomas Seymour of Boston, whose furniture epitomizes the height of workmanship in Boston during the Federal period. Several similar sets of seating furniture are known. Once is represented by two settees and a pair of side chairs at Winterthur and a pair of side chairs at the Museum of Fine Arts, Boston, all with out-turning front legs (see Charles Montgomery, American Furniture, The Federal Period, nos. 37-9, pp. 90-2 and Edwin Hipkiss, M. and M. Karolik Collection of Eighteenth-Century American Arts, 1941, no. 116). A chair at Bayou Bend and one at Yale University also with out-turning front legs offer another variation (see David Warren, et al, American Decorative Arts and Paintings in the Bayou Bend Collection, 1997, F157, p. 99 and Patricia Kane, 300 Years of American Seating Furniture, 1976, no. 154, p. 174). Additional examples of the form representing two different sets are in the Kaufman Collection and the Henry ford Museum (see J. Michael Flanigan, no. 48, p. 134-5 and Vernon Stoneman, A Supplement to John and Thomas Seymour, Boston, 1965, no. 57).

Another side chair of this type in the Kaufman Collection displays ring-turned reeded tapering legs related to those on this pair of side chairs (see Flanigan, no. 47, p. 132-3). Similar legs appear on an octagonal center table attributed to the Seymours that sold at Sotheby's, Sinking Spring Farms: The Appell Family Collection, January 18, 2003, sale 7867, Lot 1265.

Condition

Both in overall good condition with expected nicks and wear. One with small repairs to the back splat. Both with old repairs and replacements to the upper section of the front legs. New corner blocks underneath the seat. Finely carved and structurally sound.

Stair Galleries, Americana sale 8/10/2023.

[wildersongstrilogy]

Starred Reviews

A Sorcery and Small Magics is getting some great early reviews! Here are excerpts from the two starred reviews it has gotten so far:

From Library Journal:

This Ghibli-esque slow-burn fantasy delivers on every promise it offers when it drops Diana Wynne Jones’s Howl’s Moving Castle inside Patricia A. McKillip’s The Forgotten Beasts of Eld.

From Kirkus Reviews:

As the journey slowly unravels the truth behind the curse, the depths of their magic—and their feelings for one another—will be tested. The author doesn’t waste any time jumping into the action, creating a propulsive atmosphere that leans on page-turning plot. With vibrant characters, delicious slow-burn tension, and a fascinating magic system, this is a compelling start to the trilogy. Adults yearning for the enchantment of their childhood favorites will be spellbound by this modern magical adventure.

It has also been chosen for October's Indie Next List:

“When you find yourself magically bound to the guy you hate, what else is there to do but explore a magical forest full of bizarre, deadly monsters together in hopes of finding an elusive sorcerer who can cure you? I can’t wait for book two!” —Jenna Kaufman, Brick & Mortar Books, Redmond, WA

[dojimakojima]

God I love Tim Rogers' writing so much. I haven't been able to shut up about it for months but his Boku video, A Coincidence of Jungles, and the Tokimeki Memorial video live rent free in my head.

Usually, once I have free time, I just put on one of his Kotaku videos. I know most of his 2019 videos by heart. I've probably seen the Death Stranding video 5 times, and the last 2 Let's Mosey videos like 8 times. I read a little bit of one of his older personal essays before bed. They always get me in an odd, contemplative mood.

My friends know how obsessive I can get over youtubers so I just hide it. Last year I got obsessed with this guy Mackerel Phones and started only watching/playing stuff he recommended. I did a similar thing in 2021 or so with Patricia Taxxon. This year I'm doing the same with Tim Rogers but I'm trying to go in a more positive direction.

I've tried to direct this energy into reading and writing. Which has been very successful! I've done more creative writing this year than any other year. Even if not all of it is posted, It's been very therapeutic. I was so inspired by his personal writing, I wrote a short essay about a depressive episode I had a few years ago. I wrote a fanfic about The 25th Ward. I have a 6k word script for a Silent Hill movie video that's nearly done and should be out by October. I wrote a script for a short film that's probably never going to be made. Aside from the personal essay, none of it is especially "Tim rogers"-esque but I probably couldn't have felt inspired and energized to write it without his stuff.

I finished reading Antkind by Charlie Kaufman which I'd been chipping away at for years. I read Kafka On The Shore by Haruki Murakami. Which Tim has talked about a dozen times. I'm 5/6ths through The Wind-Up Bird Chronicle which I had to take a break from because it was making me extremely anxious. While this may not sound like much, this has been probably the most "for fun" reading I've done in a year.

I finally watched A Brighter Summer Day after putting it off for years. I watched Robocop and Heist, which I probably wouldn't have watched without him. I beat Earthbound because he was doing a review of it. I've listened to a couple Number Girl albums, and an Eiichi Ohtaki album. Oh, and I'm also trying to learn Japanese for fun (the real reason is so I can play Tokimeki Memorial). I use Duolingo and a couple online resources. I'm pretty ok at it, I started back in January, and I can sound-out Katakana and Hiragana with a lot of confidence, I know a hundred or so basic words and phrases and I can read a little bit. I'm still learning a lot of the basic Kanji but, I'm not in a hurry, I'll get there eventually.

His stream the other day gave me such genuine shaking elation, seeing him back and energized after thieves stole his stuff the week previous just gave me so much hope.

The way he structures his phrases and his word choice just gets at the core of my being.

Can't wait for that L.A. Noire video.

[bdsrsated]

Idol Ma'am @ceciliamlim CEO and Co-founder of @kwentocomics an all female all Asian comic book company The Best Comics (The Mask of Haliya Series) Nice To Meet you Ma'am Cecil Thank you for everything and I hope the another member of the kwento comics family, They will attend the next convention or event here in the Philippines. Never Met My Idol From USA @kaitlyn.fae , @jenapherzheng , Susan Bin, Minerva Fox, Jamie Lee, Juliet H. Morin, Mikaela Kaufman From Phl @falconreigns , Renoida Renovilla, @kristenlaroa Ruth Anne Roman, Patricia Pria Book Signing at @comicodyssey

[haveyoureadthismgyabook]

Little Thieves (Margaret Owen)

The Boneless Mercies by April Tucholke

aurora rising by aime kaufman

Seafire by Natalie C. Parker

Realm Breaker by Victoria Aveyard

Cold the night, fast the wolves by Meg Long

Undead Girl Gang by Lily Anderson

Mariam Sharma Hits the Road by Sheba Karim

Howl’s moving castle Diana Wynne Jones

Calling on Dragons by Patricia C Wrede

On it 🦘

[radcliffefm]

mw fcs?

you  got  it  !!  off  the  top  of  my  head  some  faces  i’d  love  to  see  are  khadijha  red  thunder,  jenna  ortega,  noah  lalonde,  lana  condor,  felix  mallard,  kento  yamazake,  wang  yizi,  patricia  tanchanok  good,  naret  promphaopun,  zendaya,  tom  holland,  maia  reficco,  courtney  eaton,  ella  purnell,  ryan  destiny,  drew  starkey,  jonathan  daviss,  coco  jones,  sean  kaufman,  xiao  dejun,  simay  barlas,  and  aslıhan  malbora.

[eyiduo]

Any Sunday & A Home for Hannah Writen By Debbie Macomber

Download Or Read PDF Any Sunday & A Home for Hannah - Debbie Macomber Free Full Pages Online With Audiobook.

BESTSELLING?AUTHOR?COLLECTIONReader-favorite romances in collectible volumes from our bestselling authors. Any Sunday ?by #1 New York Times?bestselling author?Debbie Macomber Independent Marjorie Majors has never wanted anyone to take care of her. So when she?s struck with a severe case of appendicitis, Marjorie tries to handle it on her own, as she has with everything else in her life. But unable to bear the pain for long, she reluctantly agrees to go to the hospital. Dr. Sam Bretton is one of the kindest doctors around. As he watches over Marjorie, it?s clear there?s more to their connection than just friendship. But still stubborn as ever, Marjorie won?t open up so easily?FREE BONUS STORY INCLUDED IN THIS VOLUME! A Home for Hannah ?by USA TODAY?bestselling author?Patricia Davids Yearning to find a meaningful life?and distance from Nick Bradley, the man who caused her so much pain?nurse Miriam Kaufman strayed far from her Amish community. Now back in Hope Springs, Miriam needs

>

[] Download PDF Here => Any Sunday & A Home for Hannah

[] Read PDF Here => Any Sunday & A Home for Hannah

[denimbex1986]

'When Steven Zaillian sat down to write his version of The Talented Mr. Ripley for Netflix, he produced what he describes as “a 500-page movie script.” Zaillian isn’t shy about writing scripts with a certain level of detail — clearly laying out character motivations and reactions, both physical and emotional. It’s a deep-dive approach that is part of what makes Ripley such an immersive watch. Long stretches of episodes are devoted to how exactly scammer Tom Ripley (Andrew Scott) wipes up a pool of blood, or how he negotiates a boat-sale scheme with an Italian counterpart, or how he alters his appearance to trick a detective into believing he’s a different person. The series’ moral ambiguity flourishes thanks to all that methodology, which is exactly the kind of thing Zaillian excels at writing (see the chess gameplay of his directorial debut, Searching for Bobby Fischer; the statistics-reliant maneuvering in Moneyball; or the calculated bribery in Schindler’s List).

If Zaillian hadn’t had the ability to make Ripley this long and sprawling, he wouldn’t have done it. “I felt that I could do things with the book that a movie can’t in two hours,” says Zaillian, whose 2016 TV debut, the HBO miniseries The Night Of, won five Emmys out of 13 nominations. The eight-episode Ripley — originally ordered by Showtime before ending up on Netflix — rejects the sunny luxury of previous depictions of the Italian coast (as seen in 1960’s Purple Noon and 1999’s The Talented Mr. Ripley). Its black-and-white cinematography is bold, angular, and unsettling (thanks to cinematographer Robert Elswit, who previously worked with Zaillian on The Night Of, alongside other returning collaborators like composer Jeff Russo and casting director Avy Kaufman), which ends up serving Scott’s version of the sinister orphan well. Unlike the rakish suave of Alain Delon or the corn-fed sincerity of Matt Damon, Scott’s Tom is more mean, even dispassionately alien, in how he disposes of Dickie and Freddie. In the series’ stark color scheme, the bloody damage Scott inflicts on these men and the lonely locations in which he abandons their bodies make both Ripley the character and this portrait of his ascension feel like Patricia Highsmith’s text filtered through a German Expressionist fever dream.

Much of Ripley’s distinctness comes from its mimicry of Zaillian’s own life (aside from the serial-killer thing). His transfixed reaction the first time he saw a piece of Caravaggio-style artwork became Tom’s, too. Kenneth Lonergan, a longtime friend of Zaillian’s, pops up in an unannounced role as Dickie’s self-made father, Herbert Greenleaf. Shadows and darkness are more intriguing to Zaillian than sunny beach weather, which rarely shows up in Ripley, though it defines the look of previous adaptations. But maybe only a director who would confess to hating blue skies is capable of appropriately forefronting the murk of Tom Ripley.

Ripley is shot in black-and-white. You’ve said you consider the book the “novelistic version of film noir.” Did classifying the story in that genre lead you to the color palette?

That’s part of it. The other part is because the story itself is a rather dark and sinister story. It’s not impossible, but it’s difficult, to shoot Italy in color without having it look like a postcard. We shot in the winter; the whole story takes place in the winter. I didn’t want blue skies; I wanted cloudy skies, rain and rain-glistening streets. I had that look in mind from the beginning.

There’s a moment when Marge is writing Dickie a letter and says the tomato plant he gave her is thriving, and the series cuts to a shot of the plant completely dead. I laughed. It’s Tom Ripley by way of The Cabinet of Dr. Caligari. There is something so unsettling about seeing Italy this way.

Cinematographer Robert Elswit tells this story that I forgot, which is — Robert knows how much I hate clear blue skies. But when we were shooting the scene on the beach when Tom meets Dickie and Marge, there was nothing we could do about it. It was sunny. I wanted to put the camera way up high and get a shot of them lying on this beach. As I was doing that and had Tom walk by, his shadow fell across them. And Robert said, “Well, that never would have happened with an overcast sky. There are some good things about a clear, sunny day.”

Were there any approaches you and Robert used to amp up the visual contrast of the show?

There was a standing rule that whenever we were shooting outdoors, we had the ability to wet down the streets, whether it was daytime or nighttime, because it instantly brings those film-noir images to mind. And because it’s beautiful; it’s a little better than a dry street.

I’m curious about the Caravaggio of it all, and how the Italian painter and his work entered into the adaptation.

The first time I went to Italy, I went to a small museum in Perugia, and I was looking at this painting that had drawn my attention. It didn’t look like any other painting in the place. There was no one in the room except a museum guard and me. After watching me stand longer before this painting than any others in the room, the guard came up behind me and said exactly what the priest says in the show — “La luce, sempre la luce”; “The light, always the light.” He was talking about the chiaroscuro of the painting. It was not a Caravaggio, but a painting by a peer or next-generation artist influenced by him — a Caravaggisti. So I started seeking out all the Caravaggios in Italy when I was there. When I was writing the script, I put that in, and it developed from there. It became a sort of motif. I felt that Tom was somebody who could appreciate art and would do something like that.

And at a certain point, I said, “Well, let’s show Caravaggio himself.” He murdered someone 350 years ago. You may think you’ve made a mistake when it says, “Roma, 1606,” but I thought people would keep up with it. We went to the paintings in the cities we were shooting in. In Naples, we went to Misericordia Church, which is where Seven Mercies is. In Rome, there’s a triptych of three paintings in San Luigi dei Francesi, which I’ve seen before. In terms of the ones that he would look at in books, those were the ones that he hadn’t seen in person that I thought he should see — some of the ones that I liked.

We start the series with Tom dragging Freddie’s body down the stairs and then we go into the details of his life in New York. Was establishing Tom as a killer always your beginning?

It wasn’t. In the scripts, it starts in New York City. During the editing, I had the idea to start there as a little prologue. That’s one of the things that happens when you have the time in post to think about things, rethink things. We had almost two years in post.

Something I like about that beginning is we see the cat Lucio for the first time. I remember thinking, This cat knows what’s going on.

The only witnesses to Tom are animals and portraits and things that can’t testify. A goat sees something. And the cat. The cat sees everything.

The Tom and Freddie dynamic feels shaped by a shared loathing that’s potentially mixed up in their sexualities. Freddie is played by Eliot Sumner, who is nonbinary but male-presenting and implied to be gay in the series. I’m curious about the intention behind Eliot’s casting, and if there was a layer to the performance that you wanted to reflect our questions about Tom’s sexuality.

Not really. Eliot was cast from an audition tape, one of 200 actors who came in for that part. Most of them played the part as a kind of version from the book, although some of them were playing it almost like a copy of Philip Seymour Hoffman. And Eliot did something completely different, which was sophisticated, quiet, British. And I thought, This is it. Why can’t this character be the most sophisticated person in the story? Which I feel Freddie is, and that makes him a bigger challenge and a bigger threat to Tom, if he’s not just some sort of loud, obnoxious American character.

The moment with the Ferragamo loafers, when Freddie realized Tom was wearing Dickie’s shoes, really threw me. As you said, this version of Freddie is quiet, but he’s taking inventory of everything.

Eliot said that and did it exactly that way in the audition — without looking, is what I mean. And I thought, That is so smart, to take in the shoes before. I won’t bother showing Freddie taking in or seeing the shoes, but he does. It was a joke on the set when I’d say, “Let’s get another shot of Freddie’s shoes. Let’s get another shot of Tom putting on his Ferragamos.” It’s the thing that starts the whole sequence between these two, is this lying. So there’s a lot of shots of the shoes.

This series has such a collection of wealth signifiers: the loafers, the Brooks Brothers robe, the gold cigarette case, the fridge, the Picasso. Were they scripted to that level of detail?

They were scripted — the pen, the Hermes Baby typewriter. The Picasso was chosen while we were filming, and we had to get it painted and the rights to use it from the estate. For me, these items are important, and they’re not important because they signify wealth to Tom. I don’t think Tom looks at them that way. I think the people that own them look at them that way, like a status symbol. But Tom just appreciates them for the beauty in them. He’s attracted to them because he likes to look at them — even the ashtray. He just likes to have nice things around him, beautiful things.

Andrew said that the series has a “very light message” that “everybody is deserving of beauty and arts in the world. It’s not for a certain section of the community. It’s not just for the rich … We have to understand that it’s about class and money and morality and fairness.” I’m curious if you agree with that — if you were aiming for someone to walk away from the series with, if not exactly an eat-the-rich ideology, more of a spread-the-wealth ideology. Did you create the series with a political angle as an intention?

I wasn’t really thinking about that. I did think that Tom appreciates these things in a way that the rich don’t. The rich feel entitled to them, and they don’t see the inherent beauty in them. And he comes from a place where he does.

I want to ask you about Dickie and Marge, who were more homophobic than I expected. Can you talk a bit about that characterization of them?

I never really thought of them as homophobic. For Dickie to say, “Marge thinks you’re queer,” I don’t think that’s homophobic. I think that’s just what she thinks. At one point she says, “I don’t know what to think of Tom’s sexuality. I don’t think he’s normal enough to have any sort of sex life,” so she doesn’t know what’s going on in that regard. I think Tom has never really loved anybody other than himself. But the closest he comes is Dickie — maybe he likes him, he might even love him. And I think Dickie finds something attractive about Tom as well.

Andrew has said he doesn’t see Tom as a villain. You’ve said that you don’t think about generating sympathy or empathy when you’re writing characters. But I thought the series was very pointed about keeping us in Tom’s perspective when he does things I perceived as humorously mean, like when Marge is getting back on the train and Tom very energetically says “bye” to her and then throws her scarf away. How much of that dark comedy was intentional? It’s all intentional, yes. I love the relationship between Tom and Marge. At one point I said to myself, I think they would actually be very good friends if they didn’t happen to be in love with the same person, because they’re very much alike. You see this relationship changing when Marge starts to see the advantage of Dickie being missing and her starting to get some attention for that. Tom doesn’t really appreciate it. The scenes with them in Venice together I just love.

I liked how much friction there is in their arguments. It felt like watching a duel, each of them trying to get the last word.

And it’s the thing that nobody else seems to notice with them. If there’s a scene between the three of them — Dickie, Tom, and Marge — you’ll notice Dickie’s always looking down or looking off when those looks happen between them.

Dickie’s death is a huge moment. It seems spontaneous, but it’s such an involved scene — Tom attacks Dickie and collects items from his body, then ends up in the water himself when he tries to dump Dickie’s body, and then weights the boat and sinks it. What went into that?

That particular sequence probably took a week to shoot. Did we talk about it? We didn’t really talk a lot about anything. If a question would come up, I’d try to answer it, but I felt like the actors knew who they were. The scripts I write aren’t shy about mentioning what a character is thinking or feeling. I don’t write camera angles, but I do write that. In that particular case, Andrew had an awful lot to do. That was just a matter of committing it to memory and then doing it, and making it feel as if he’s figuring it out as he goes along, which was very important to me both in the sequence with Dickie and then later with Freddie — to show that he is not a professional killer. He’s actually no better at it than we would be. How do I get this guy out of a boat? becomes a huge problem. We shot that in a tank. How do I get this guy downstairs? becomes a really elaborate problem. Those two long sequences were in the script — they were quite long in the script.

For the most part, the series does not use handheld. But there is a moment when Tom is dragging Freddie’s body out of the apartment that we see one handheld shot, right?

It’s sort of one setup. I did shoot it non-handheld, as wide, as well. I like setting the frame and having the action take place in the frame. But when Joshua Raymond Lee, who is one of the editors, used it, I said, “Oh, I don’t think I want to use it. It would be the only handheld shot in the whole series.” And he said, “Well, maybe that’s a good reason. I think it looks really good here.”

I liked it because it helped make that moment feel unplanned, like another instance of Tom trying to figure this all out. Beyond the camerawork, was there a specific scene or moment where Andrew surprised you with a contribution to this version of Tom? I’m thinking of his “I like girls” line, which Andrew delivers very flatly.

Everything in that scene is for that line. And when there is a line like that, where it is the whole point of the scene, I’ll keep doing it until I hear it. He had a lot of patience with me in that regard. And when I heard it, I said, “Okay, good, we’re done with this scene.”

I mean, everything surprised me. I was constantly surprised daily by the choices he would make. He’s also really good at the process of things. If he has to forge something, he’s going to forge it. If he’s going to have to write a letter, he’s going to write it. If he has to climb from the water into a boat, which is extremely hard — it seems like it’s easy; it’s not — he’s going to do it, and I’m going to keep filming it.

There are scenes in the series where we are supposed to doubt Tom’s sanity a little bit. I’m thinking about the Italian language tapes, where the dialogue he’s learning feels very particular to him: “How much money do you need?” Or when he sees Dickie’s ghost. Or when he imagines Bokeem Woodbine’s detective listing all of his crimes. What should we take away from those scenes?

It’s more about a glimpse into his mind. But not to say, “Oh, he’s crazy.” There were actually more of them in the scripts. But the ones we do see include when he’s writing a letter to his aunt Dottie. He imagines her at the dentist. He imagines the people he doesn’t like being in some uncomfortable situation.

And it was important to me that what he imagines is something that he’s actually seen. If he’s going to imagine a banker in a bank, it’s a bank that he’s been to; if he’s going to imagine a private detective accusing him of something, he imagines him in what he imagines a private-detective office should look like, which is something straight out of a movie that he’s seen. The locations of these — I don’t know if I would call them a fantasy — imaginings of people talking to him are intentional.

In the last episode of the season, we’re introduced to John Malkovich’s character, Reeves, who sees Tom for what he is, and Tom sees him for what he is. They describe themselves as “art dealers,” and Reeves is the closest thing Tom has to an ally. Did you write the role for Malkovich, who played Tom Ripley in 2002’s Ripley’s Game?

He doesn’t appear in the first book; he’s introduced in the second book, Ripley Under Ground. More than anything else, I thought it would be fun to see him in this one, and figured out a way he could actually serve some sort of plot function. It was as simple as writing to John and telling him, “It might be fun to do this, and I hope that if there ever is another one, if we do any more of these books, that you’d want to do that too.” And he said, “Yeah!”

Was Kenneth Lonergan cast as Herbert Greenleaf in a similar way? You and him working together again was a mini Gangs of New YorkZaillian, Lonergan, and Jay Cocks co-wrote the screenplay for Martin Scorsese’s 2002 film Gangs of New York reunion that I was very excited about.

Kenneth, I’ve known him for a number of years, and I’ve always liked his performances in his own movies. What I didn’t want was what I would call your standard blue-blood aristocratic rich guy. I wanted somebody who felt more like a working man who made his money. That would be more meaningful in terms of the story. It was just, “Hey Ken, maybe you want to do this.”

At the end of the season, after Tom has convinced everyone that Dickie died by suicide and he’s reading the letter he forged that he’s passing off as Dickie’s last words, Herbert looks so guilty when he hears who he thinks was Dickie describing his own paintings as “worthless.” But they are pretty terrible. How did they come into being?

We had an Italian artist in the art department, Valentina Troccoli. She did all the Dickie paintings. She also did the Caravaggios; there’s a scene where we’re in his atelier and we see a couple of his paintings in the process of being painted. She also did the Picasso. She’s really something. For the Dickie paintings, production designer David Gropman and I initially had this idea that we would put up easels and everyone in the art department would try to paint badly, and that it might be better if it wasn’t a professional artist trying to paint badly, but somebody who just painted badly. It turned out that the professional won the contest. She was able to do it in a way that didn’t look ridiculous but at the same time was not good.

Was there anything from the Ripley books that you wanted to adapt in this series but that you didn’t get to?

No. But if somebody wants to do it again, there’s no shortage of material. She wrote five books about Tom Ripley, so there’s a lot there. My favorite of those books is called Ripley’s Game. I just love that story.'

[brokehorrorfan]

Night of the Demons will be released on 4K Ultra HD + Blu-ray and Night of the Demons 2 and Night of the Demons 3 will be released on Blu-ray on October 3 via Scream Factory.

Shout Factory is offering an exclusive set with all three films with exclusive slipcovers by Joel Robinson, six posters, a prism sticker, a set of five enamel pins by Matthew Skiff (limited to 600), and a set of five lobby cards by Beyond Horror Design (limited to 500). Pictured below, it costs $199.99.

1988's Night of the Demons is directed by Kevin S. Tenney (Witchboard) and written by Joe Augustyn. Cathy Podewell, Amelia Kinkade, Linnea Quigley, Hal Havins, William Gallo, and Alvin Alexis star.

1994's Night of the Demons 2 is directed by Brian Trenchard-Smith (Leprechaun 3, Leprechaun 4: In Space) and written by Joe Augustyn. Amelia Kinkade, Merle Kennedy, Cristi Harris, Rick Peters, Jennifer Rhodes, and Christine Taylor star.

1997's Night of the Demons 3 is directed by Jim Kaufman and written by Kevin Tenney. Amelia Kinkade, Larry Day, Kristen Holden-Ried, Tara Slone, Gregory Calpakis, Patricia Rodriguez, and Stephanie Bauder star.

Night of the Demons has been newly restored from an earlier 4K scan of the unrated camera negative, presented with Dolby Vision HDR. Night of the Demons 2 has been newly transferred from the interpositive.

Workprints/alternate cuts of all three films are included. Special features are detailed below.

Night of the Demons 4K UHD special features:

Audio commentary by director Kevin S. Tenney, executive producer Walter Josten, and producer Jeff Geoffray

Audio commentary with director Kevin S. Tenney, actors Cathy Podewell, Billy Gallo, and Hal Havins, and special makeup effects creator Steve Johnson

Audio Commentary with director Kevin Tenney, actors Linnea Quigley and Phillip Tanzini and casting director Tedra Gabriel

Interview with writer/producer Joe Augustyn (new)

Interview with actress Jill Terashita (new)

Interview with special effects artist Nick Benson (new)

International cut (standard definition)

Night of the Demons Blu-ray special features:

Audio commentary by director Kevin S. Tenney, executive producer Walter Josten, and producer Jeff Geoffray

Audio commentary with director Kevin S. Tenney, actors Cathy Podewell, Billy Gallo, and Hal Havins, and special makeup effects creator Steve Johnson

Audio Commentary with director Kevin Tenney, actors Linnea Quigley and Phillip Tanzini and casting director Tedra Gabriel

Night of the Demons workprint (under the title The Halloween Party)

The Halloween Party alternate title card

You’re Invited: The Making of Night of the Demons - 2014 documentary with cast and crew

Interview with actress Amelia Kinkade

Interview with actress Allison Barron

Interview with actress Linnea Quigley

Alternate R-rated scenes

A Short Night of the Demons - 6-minute version of the film shown to potential distributors

Theatrical trailer

Video trailer

TV spots

Still galleries

Promo reel

Still galleries - Behind-the-scenes, special effects and makeup, stills, posters and storyboards

It’s Halloween night and Angela is throwing a party… but this is no ordinary Halloween party. Everybody’s headed to Hull House, a deserted funeral home, formerly the home of a mass murderer. But when the partygoers decide to have a séance, they awaken something evil - and these party crashers have a thirst for blood. Now it’s a battle to survive the night in Hull House.

Pre-order Night of the Demons.

Night of the Demons 2 special features:

Audio commentary by actors Cristi Harris, Jennifer Rose, Darin Heames, and Johnny Moran (new)

Audio commentary by director Brian Trenchard-Smith and director of photography David Lewis

Interview with directors Kevin S. Tenney and Brian Trenchard-Smith (new)

Interview with actor Amelia Kinkade (new)

Interview with actress Cristi Harris (new)

Interview with special effects artist Steve Johnson (new)

Interview with producer Jeff Geoffray (new)

Night of the Demons 2 workprint 

Dailies

Trailer

Behind-the-scenes gallery

It’s Halloween and the teenagers from St. Rita’s High School want to party at the neighborhood’s haunted house. For years, the Hull House has sat in eerie silence – tales of its haunted past have turned into gory jokes and no one really believes anything ever happened there. However, Angela (Amelia Kinkade), the hostess from hell, is summoning her army of teen demons to the blood-curdling contest between the school’s priests and herself, the princess of darkness.

Pre-order Night of the Demons 2.

Night of the Demons 3 special features:

Audio commentary by director Jimmy Kaufman

Audio commentary by writer Kevin S. Tenney and special effects artist Roy Knyrim (new)

Interview with director Jimmy Kaufman (new)

Interview with writer Kevin S. Tenney (new)

Interview with actress Amelia Kinkade (new)

Interview with producer Jeff Geoffray (new)

Night Of The Demons 3 director’s cut (workprint)

Night Of The Demons 3 TV cut

Behind-the-scenes footage

Alternate title sequence 

Dailies 

Trailers 

It’s Halloween! The gates of Hull House have creaked open once again and Angela (Amelia Kinkade) is waiting for her treats. When a group of rambunctious teens take refuge in the foreboding funeral home to escape the law, they soon realize their grave error.

Pre-order Night of the Demons 3.

[badmovieihave]

Bad movie I have Return to Return to Nuke’em High AKA Volume 2 (2017) A quick did you Know Stan Lee was the Narrator of this film

[nfcomics]

Today happens to be Alan Carroll & Mick Jagger’s birthday.

🧁

To celebrate Lloyd and Pat Kaufman made this little video to wish Alan a happy Birthday!

🧁

#alancarroll

#lloydkaufman

#patriciaswinneykaufman

#troma

#nightflightcomics

#giveartbacktothepeople

🥂🎉🎈🧁

@lloydkaufman

[seanpultz]

Favorite WWE Divas

#1. Saraya-Jade Bevis aka Paige

#2. Amanda Saccomanno aka Mandy Rose

#3. Daria Berenato aka Sonya Deville

#4. Gionna Daddio aka Liv Morgan

#5. Alexis Kaufman aka Alexa Bliss

#6. Amy Dumas aka Lita

#7. Patricia Stratigias aka Trish Stratus

#8. Mickie James

#9. Maria Kanellis

#10. Candice Michelle

#11 Macey Estrella-Kadlec aka. Lacey Evans

#12 Sydney Zmrzel aka Maxxine Dupri