45 Magazine - #1 Edition (September 2014)

THE GASLIGHT ANTHEM | ROYAL BLOOD | TWIN ATLANTIC

FORTYFIVE #1 EDITION // SEPTEMBER ‘14

TH E RI SE OF MARVEL From the Page to the Big Screen the remarkable story of Marvel

P LU S

SI N C I TY THE I N B E TW E E N E RS SHE FFI E LD FI LM & CO M I C C ON

MUSIC PHOTOGRAPHY CONTACT JAY@SEEYOUATTHEFRONT.COM

@GHOSTSIV WWW.SEEYOUATTHEFRONT.COM

CONTENTS #1 EDITION // SEPTEMBER ‘14

ALBUM REVIEWS

6: ROYAL BLOOD - ‘ROYAL BLOOD’ 8: THE GASLIGHT ANTHEM - ‘GET HURT ’ 11: TWIN ATLANTIC - ‘GREAT DIVIDE’ 12: KAREN O - ‘CRUSH SONGS’ 13: THE KOOKS - ‘LISTEN’

MUSIC INTERVIEW 14: TWIN ATLANTIC

LIVE MUSIC

18: JANE’S ADDICTION

COVER STORY

20: THE RISE OF MARVEL

FILM & TV REVIEWS

28: GUARDIANS OF THE GALAXY 31: HERCULES 32: THE INBETWEENERS 34: LUCY 38: SIN CITY 40: SHEFFIELD FILM & COMIC CON

FILM & TV INTERVIEWS

44: BURN GORMAN 46: STEPHANIE LEONIDAS

CONTRIBUTORS Editor-in-Chief: Jason Broadhurst Music Editor: Thom Williams Film & TV Editor: Jayna Patel www.45-magazine.com

Writers: Luke Smith, Bradley Lengden, Nic Jones, Stu Evans, Steph Sverldoff Jayna Patel, Anthony Stones, Luke Hannaford.

Photographer: Jason Broadhurst

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MUSIC PHOTOGRAPHY CONTACT JAY@SEEYOUATTHEFRONT.COM

@GHOSTSIV WWW.SEEYOUATTHEFRONT.COM

EDITOR’S WORD It’s been 18 month since I launched the website, and one goal throughout was to release our content as a magazine. Today I realised that goal with the help of the great team here at 45 Magazine.

The first edition of the magazine features an exclusive cover story about the rise of Marvel and how it is currently dominating the movie world.

Alongside this we have interviews with Burn Gorman and Stephanie Leonidas as well as reviews of some of the latest albums and films.

I would like to say a massive thanks to everybody who has contributed to the magazine and the website itself not only over the past month but since it was started without them there would be nothing for you to read.

Once again thank you for taking the time to read our first edition of 45 Magazine. Hopefully we will be back doing this again next month. Any feedback you have we would love to hear it, get in touch on our social pages or at jay@45-magazine.com

J. Broadhurst Editor-in-Chief

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Our playlist.

1. REDBONE ‘Come & Get Your Love’ 2. BLUE SWEDE ‘Hooked On A Feeling’ 3. BILLY THE KID ‘This Sure As Hell Ain’t My Life’ 4. THE GASLIGHT ANTHEM ‘Rollin’ & Tumblin’ 5. AGAINST ME! ‘Black Me Out’ 6. TWIN ATLANTIC ‘Brothers & Sisters’ 7. THE KOOKS ‘Forgive & Forget’ 8. ROYAL BLOOD ‘Little Monster’

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ALBUM REVIEW

“Refreshing, exciting, memorable. Play at full blast and don’t look back.”

- Nic Jones

RATING: Rock music has been missing fresh blood for some time.

When was the last time a young band shook up the commercial rock scene, making a debut that everyone had no choice but to pay attention to? A couple have come close but they’ve not had the widespread impact.

They’ve not hit the absolute mainstream. Royal Blood have blown that out of the water. Their debut album has been possibly one of the most hotly anticipated rock albums of the year. Does it live up to the hype?

‘Out of the Black’ sets out their intention to answer that question quite clearly, so there can be no doubt: Yes. This is a loud, fierce record which pulls all the punches from the outset. Lead vocalist Mike Kerr’s voice creeps, shouts, screams and howls. It’s a strong rock vocal, there to compete with the best of them.

At times he is reminiscent of Matt Bellamy, reaching thrilling

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high notes around screeching guitar solos. Ben Thatcher’s drums keep the pace high from the outset; setting the atmosphere and providing a steady but spine-tingling base for the guitars to weave around.

There’s no real misstep on the album. Nothing here feels ‘filler’, but there are some standouts. Runaway hit ‘Little Monster’ shows how accessible they are, bridging heavier rock with blues and strong melodies. ‘Careless’ is an anthem waiting to happen.

“I wish I cared less / But I’m afraid I don’t / You couldn’t care less / So I guess you wont change your mind again”.

It almost has a pop-sounding element to it, the chorus has a lingering quality meaning you’ll find yourself humming it long after that first listen. There’s so much passion and emotion filtering through each track, you have to wonder what or who has inspired the material.

This record is dark, sexy and angry. It’s a driver of pent up energy; it’s explosive. It’s attitude-filled and commands attention. It’s a guitar-riff fan’s dream. Songs are for the most part short, sharp and concise.

The entire album clocks in at just under 33 minutes; there’s no self-indulgence, messing around or experimentation with different genres.

Royal Blood present a fresh, younger and sparkier approach to rock and blues.

They’ve made the kind of record that the bands who influence them don’t make anymore.

Royal Blood were formed in 2012, which is phenomenal considering their rapid rise to success. If you’ve seen them live you know that’s exactly what they have in spades; magic.

Words: Nic Jones

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RATING:

THE GASLIGHT ANTHEM - ‘GET HURT’

Perfect example that the band can step out of their comfort zone and still sound just as impressive.

Two years on from their last album ‘Handwritten’, The Gaslight Anthem have exploded back onto the scene with their newest work ‘Get Hurt’, an indication that the New Jersey rock outfit aren’t afraid to venture into new pastures of the genre.

There is a clear shift from their trademark 80s Springsteenesque mix with punk sound that have gained them a huge following since their formation in 2006. There appears to be more of a classic rock sort of influence, with huge guitars riffs and heavy pounding drums taking the forefront, displayed immediately in the opening track ‘Stay Vicious’, which kicks the album into an explosive beginning.

Loyal fans need not fret though, the massive anthemic

sound that they have become accustomed to has by no means been lost in transition, they’ve just put a different slant on it, whilst still capturing the punk/folk undertones.

Brian Fallon’s unmistakably gritty, powerful vocals are still there in force as well, sounding as great as ever, and like in previous records, is still one of the stand out features.

Lyric wise, the album delves into the ever relevant subject of life and love, finding what’s really important and dealing with lost relationships. The crafting of the songwriting gives the album a sense of poetry, take one line from ‘Stray Paper’ “Who Sent Fire from their fingertips in the vow of a teenage kiss”… not bad ey?

As you’d expect from any Gaslight album, it swings between huge relentless stadium fillers like ‘Stay Vicious’ and ‘1,000 years’ to more downbeat melancholy breaks in the onslaught in ‘Break Your Heart’ and ‘Sweet Morphine’, the mood changes are calculated and timed to perfection throughout.

It’s not a massively drastic change for The Gaslight Anthem, but there’s a definite shift there, and for any band who’ve found a hell of a lot of success in a style they’ve perfected over the years, it’s always a risk to stray away from it, but it looks like the lads have got it down to a tee on the first attempt.

Words: Bradley Lengden

TWIN ATLANTIC - ‘GREAT DIVIDE’

They’re growing immensely as a band, and are definitely taking steps to be considered a proper rock act.

RATING: Scottish rockers, Twin Atlantic have quickly risen through the ranks since forming in 2007. Bagging support slots with some massive names in the industry, including fellow Scots Biffy Clyro and pop punk icons Blink 182. Not bad for the bragging rights at all.

Now with the release of their latest album ‘Great Divide’, we get a glimpse into just how far the outfit has come since those early days of playing tiny bars around Scotland.

The new record captures the maturity and talent that seemingly keeps growing among the group. ‘Great Divide’ swings in and out of

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these big riff driven, upbeat rock anthems, particularly displayed in the monstrous sounding track ‘Cell Mate’ to the more mellow and heartfelt ballads take ‘Oceans’ in an effortless fashion.

There appears to be almost a complexity to the whole outlook on it, more of an intricacy to the way the catchy guitar riffs are transitioned into huge solos that intertwine with pounding drums and these occasional, subtle yet enough to stand out, piano pieces that give a refined feel to it. It all combines to aid this much more mature sounding Twin Atlantic from anything I can remember previously.

This isn’t to say they have abandoned any of their traditional catchy, bob your head along to factor. It’s one of them that’s still hard not to get drawn into, you’ll find yourself unknowingly joining in with the chorus of one of the album’s singles; ‘Brothers and Sisters’ every bloody time.

The new complexity hasn’t by any means obscured any of the accessibility of the band, however it has made them sound more like a proper rock outfit, rather than a “pop – rock” sort of thing, if you will.

Words: Bradley Lengden

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RATING:

KAREN O - ‘CRUSH SONGS’

Crush Songs may be full of clichés that are associated with heartbreak.

Don’t let that put you off from any of O’s future solo albums.

Karen O front woman of the Yeah Yeah Yeahs who is infamously known for her eccentricity, releases her first solo full-length album ‘Crush Songs’. However chronologically Karen O wrote and recorded the LP in private back in 2006-2007 having broken up with Spike Jonze the year before. The break-up which fueled her to write these intimate, lo-fi angst filled songs.

As Karen O explains “When I was 27, I crushed a lot. I wasn’t sure I’d ever fall in love again.

These songs were written and recorded in private around this time. They were the soundtrack to what was an ever continuing love crusade. I hope they keep you company on yours.”

I was quite disappointed in the Yeah Yeah Yeahs last album ‘Mosquito’ which is quite mellow compared to their previous albums such as

‘It’s a Blitz!’ The only songon ‘Mosquito’ being ‘Sacrilege’ worthy of listening to in my opinion.

Skeptical on how O’s solo album would sound we see how Karen O articulates her raw emotion during her time of dark despair and anguish.

Opening with the song ‘Ooo’ Karen O’s vocals carry you through her journey of pain.

Beautifully sung with O’s raspy vocals accompanied by an acoustic guitar ‘Ooo’ certainly captivates despite the underlying tone of melancholy.

Many of the songs could be considered as snippets, a glimpse into O’s thoughts or a sketch if you like. ‘Rapt’ is my favourite song from the album with the lyrics “Love is soft, Love’s a fucking bitch”, “Do I really need another habit like you?” I’m sure many can relate to O’s heartfelt cry, however

‘Crush Songs’ is definitely not for everybody. ‘Beast’ is quite painful to listen to as O’s vocals shrieks with intense agonising outbursts. ‘Visits’ is probably the most up-beat sounding track on the album which is a relief to listen to.

Overall ‘Crush Songs’ convey a poignant tale of heartbreak and despair as if Karen O had been enthralled by an abyss of darkness ever longing to see the light. The album doesn’t come without those clichés that are associated when someone breaks your heart. So unless you like hearing sob stories I think only the hardcore Karen O fans will be adding her debut album to their collection.

Words: Luke Hannaford

THE KOOKS - ‘LISTEN’

A mature album from the band which takes the best elements of their earlier records and adds a much needed, earthier and soulful edge.

RATING: Ask people now, and I’d argue that a fair amount of them would remember The Kooks’ first album ‘Inside In / Inside Out’. It was one of those albums of the moment, it encapsulated the summer of 2006. Cut to 2014 and after an extended break, The Kooks are back with their fourth studio album ‘Listen’.

There are a number of strong tracks on the record, but ‘Forgive & Forget’ instantly and easily stands out from the rest. It’s juxtaposed heartbreak lyrics and funky melody and beat make it the perfect sing-a-long festival song. It takes all the fun elements of early hits like ‘Naive’ and ‘She Moves In Her Own Way’ www.45-magazine.com

and evolves them by giving the group a more soulful sound. Throughout the record Pritchard’s voice is very much at harmony with a funkier sound. It sounds less try-hard and more relaxed, as if he’s understood that less is more when it comes to a voice like his.

Where the record starts to fall down is it’s departure from their original sound. Of course artists need to evolve, but problems arise when that evolution doesn’t really resonate in the music they are making. ‘Westside’ doesn’t sound like a track The Kooks would make. ‘See Me Now’ carries more emotional depth

than you’d perhaps expect compared to a lot of the other tracks and ‘It Was London’ sounds like wishes it had been recorded in the seventies; it perhaps doesn’t quite pull it off. It’s essentially Austin Powers but without his mojo.

With its general appeal and crowd-pleasing moments it will stand as one of their better albums but it lacks a consistent sound and feel.

The magic that the singles seemed to promise isn’t quite delivered. It’s a massive departure for them and their signature sound, but that isn’t necessarily a good thing.

Words: Nic Jones 13

INTERVIEW

Q. Hi, how are you? Who are we speaking to?

A. It’s Ross & I’m better than great.

Q. How do you think you’ve come on as a band with the release of the new album ‘Great Divide’ compared to the days ‘A Guidance From Colour’?

A. I think we’ve learned a lot about each other and how we work together as a band, and that’s helped us write better songs and tie the vocals and music together more.

Q. Has the writing process get easier/harder the longer you’ve been together?

Has it differed at all for the new record?

A. I don’t think it gets harder, I actually think it’s easier.

Once you know the way that each other like to work and how we’ve got to the end of our best songs in the past, it helps to focus the process of writing music together. I think we tried things on this record that we had never done before and that has helped to keep things fresh. We were all at the studio together, but working individually on things trying to better what we had. I think that

made the album feel like more of a reflection of all of our tastes and personalities more than anything we’ve recorded in the past.

Q. Are there any particular influences on the lyrics for the new album?

A. The general influence throughout the record is the transition between childhood and adulthood, and all the things that go along with growing into yourself and finding your place in the world.

Q. Have any particular bands or other musicians that have had any influence on it?

A. Sam tried to listen to a

lot of old music from the 60s throughout the writing of the record. Aside from that we’ve not tried to hide behind what’s expected of a rock band.

Doing that it made it much easier to actually represent our influences better. There’s not really any particular artists, but we’d been listening to a whole lot of different music than we ever had before, from solo pianists to pop.

Q. ‘Great Divide’ is your first UK top 10 album, that must feel pretty special?

A. It was a crazy feeling to see the chart at the end of the week of release, yea. It’s something we’d never thought about, but that doesn’t mean we weren’t blown away by it and happy about it.

Q. You’ve toured with some huge names even from the earlier stages of your career, do you ever get overwhelmed when playing the same bill as bands like Biffy Clyro and Blink 182?

A. I don’t think so, no. We’ve been really lucky to be asked to play with a lot of big bands over the years, but they’re just people, the fans are just

“All of our shows have become a bit of a party” - Ross, Twin Atlantic

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people, and we’re really proud of our music and enjoy playing it more than anything else.

Q. What are some of your most memorable tour moments?

A. I think playing Glastonbury this year was a big thing for us. We’ve watched it for years and wanted to play, but it’s never really been a rock band festival. To be asked to play was a big honour for us.

Q. If you could tour with any band, who would it be?

A. I would love to tour with U2.

They play the biggest venues in the world and they’re probably the biggest band too.

I think the fact that they’ve managed to stay relevant for so many decades is pretty unreal.

Q. You’ve got a UK tour coming up over the next couple of months, how does playing the UK compare to playing Europe or America?

A. Our band has more people that want to come and see us in the UK, so that’s the main thing I suppose. I think we’ve grown up hearing of bands playing UK venues and have more of a sense of what that means, so that’s probably why it’s more special for us.

Q. Are there any places in particular you’re looking forward to playing on the tour?

A. All of our shows have become a bit of a party, so there’s not really any city that I’m looking forward to playing more than others. I think playing the Roundhouse

in London feels like a big achievement, so that’s maybe the venue I’m most excited about. We’ve never set foot in the place so it will be pretty overwhelming at first I think.

Q. Finally, have you got any other big plans in the pipeline after this UK tour?

A. We’re heading all over Europe and America before Christmas, then Australia early next year before we’re back to the UK to play more shows. Basically just playing to anybody who wants to hear the new record.

Words: Bradley Lengden

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NOTHINGS SHOCKING

“Ultimately it was a night of nostalgia, but instead of looking back fondly there was more of an aura of indifference.”

- Luke Smith

LIVE REVIEW Artist: Jane’s Addiction Venue: Manchester o2 Apollo Date: 23/08/2014 The crowd were bubbling. Simmering in place in anticipation for Jane’s Addiction at the O2 Apollo last night. The atmosphere was excitable yet calm. There was a dignity to it, which could be attributed to the full spectrum of age groups that had turned up.

Teenagers to throwback, they were all there.

When the band finally came on stage, bassist Chris Chaney began strumming bass octaves, before a shirtless Navarro, sporting a lesbian teenagers haircut and eye makeup struck the first power chord. It was a poor way to start the show. Chaney seemed nervous and was out of time, Navvaro played a solo here and there and Frontman Perry Farrell was cooing. It felt like an incoherent jam session between four guys that have never played together. Something about it niggled at me until it was over. I couldn’t believe this was their choice of a first impression.

A welcome contrast came in the form of second track ’Oceans Size’ which erupted, feeling more like a suitable opener than ‘Up The Beach’. ‘Standing In The Shower…

Thinking’ was abysmal and disconcerting.

You didn’t know where you stood with it, it was neither here nor there. It was clumsy and I felt like very member of the band was fighting for attention. The skittish drumbeat, Navvaro’s outlandish solo, the shouted, not sung lyrics and the bassist not keeping a rhythm but just frantically bashing notes.

It was like listening to a poor man’s Gun’s and Roses.

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The rest of the set, comprised of the entire debut ‘Nothing’s Shocking’ with some hits, thrown in for good measure, chugged along fine and everything remained consistent.

That’s not necessarily a good thing. The melodies were one-dimensional; One level of noise, one rhythm, one style of singing.

They began and they ended, they didn’t remain with you. All the songs were down the middle, devoid of nuance. Hits like ‘Been Caught’ Stealing’ and ‘Jane Says’ inevitably kept the crowd happy but there was emptiness. I wasn’t moved, I wasn’t happy, the atmosphere didn’t swallow me up. Even the crisp vocals, delivered by a charismatic front man that didn’t falter all evening and ex-Red hot Chili Peppers guitarist Dave Navvaro who played every note perfectly, couldn’t stop me from wanting more.

Ultimately it was a night of nostalgia, but instead of looking back fondly there was more of an aura of indifference. Quite poignantly the premise for the tour, revisiting their debut ‘Nothings Shocking’ was the overall tone of the evening.

Words: Luke Smith Photographs: Jason Broadhurst

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FEATURE

M AR VEL

THE RISE OF THE SUPERHERO FILM FRANCHISE In 2012, The Avengers (released as Avengers Assemble in the UK), grossed over $1.5billion worldwide, becoming the thirdhighest grossing film of all time. It was the culmination of 4 years of blockbuster action films that began in 2008 with Iron Man. But the plans for the overarching narrative connection between Iron Man and the subsequent films leading up to The Avengers began back in 2005 with Kevin Feige and David Maisel.

Prior to this, Marvel Studios (established in 1993 by Avi Arad) only controlled pre-production of their films, and in the late 1990s, began licensing out comic book properties to other studios – the first being Blade in 1998. Several other licenses followed, and successful franchises of X-Men, Spider-Man, and the Fantastic Four were all produced by other studios.

This proved that there was money to be made with Marvel heroes, and importantly, with Marvel heroes that were not well established in the public eye.

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Fast forward to 2005, and Marvel Studios began to fund, produce and release their own films, and set about acquiring the rights to several of their Marvel Comics properties that had been licensed out to other film studios. They initially received a $525million funding deal, overseen by Maisel, which allowed them to make films from 10 properties, including Ant-Man, the Avengers, Captain America, Dr. Strange, Hawkeye, and Nick Fury. They also reacquired the rights to Iron Man and the Incredible Hulk, and production began on an Iron Man film in 2006 with Feige now in charge of production at the studio.

Feige had an ambitious plan to link all of these film properties with one shared continuity – known today as the Marvel Cinematic Universe – and bring several major characters together in the same way that Stan Lee and Jack Kirby did with the Avengers comic books in 1963. The first step would be to film origin stories for each of the intended principle characters.

PHASE 1 2008

IRON MAN

Iron Man was the first to receive this treatment in 2008, under direction of Jon Favreau and with Robert Downey Jr. as the title character. The film was a major success (it grossed over $585million worldwide), avoiding the cartoonish styling of previous comic book movies, and driven by Downey Jr.’s charismatic and highlyacclaimed performance as Tony Stark. It also brought the Iron Man character firmly into the mainstream and paved the way for the rest of Marvel’s origin films.

Next was a reboot of the Hulk title, starring Edward Norton as Bruce Banner.

Despite the wide popularity of the character, 2008’s The Incredible Hulk was nowhere near as successful as Iron Man, not even managing to make half of its box office gross. But importantly, these two films set in motion the first on-screen pieces of the Marvel Cinematic Universe.

Iron Man featured the first post-credits scene, something that has become very much a trademark for Marvel’s films. The short scene introduced Samuel L. Jackson as Nick Fury, who provided first mention of the

2008

THE HULK

‘Avengers Initiative’ – hinting at a potential future film of the superhero team. Shortly after, The Incredible Hulk featured another post-credits scene which included Robert Downey Jr. as Stark, who again hints at the future team. This was the first acknowledgment of this batch of Marvel films sharing one continuity, establishing a precedent that each of the films hence has adhered to.

The next three films in the franchise – Iron Man 2 (2010), Thor (2011), and Captain America: The First Avenger (2011) – began to initiate the overarching plot for the upcoming Avengers film.

Iron Man 2 grossed over $620million, making it the most successful Marvel film to date, while Thor grossed $449million and Captain America $370million. These three films also introduced some of the important supporting characters that would play significant parts from thereon in – Hawkeye (Jeremy Renner), Black Widow (Scarlett Johansson) and Asgardian villain Loki (Tom Hiddleston). Hiddleston’s performance was especially well-received, and the character would reappear in a supporting role in Thor: The

2010

IRON MAN 2

Dark World, and as the main villain in The Avengers.

Loki’s appearance in The Avengers was in fact one of Marvel’s few conditions for their negotiations to hire Joss Whedon to write and direct the film. Kevin Feige had known Whedon for several years since he was originally intended to tackle a licensed Iron Man project before Marvel began making their own films. The Avengers would be Whedon’s largest project to date, as most of his previous films and television shows have been stuck with cult status. But as a fan of the Avengers and as someone who had worked in comics before, Whedon certainly fit Feige’s bill to oversee the grand scale of The Avengers film.

films returned, while the roles of Hawkeye and Black Widow were expanded to become featuring members of the core team.

This film was the most ambitious project so far for Marvel, their longest and by far most expensive to date. Filming took 19 weeks in 2011, and included extensive motion capture for the creation of the Hulk. Mark Ruffalo wore a motion capture suit during scenes as the monster, with four cameras capturing his body and facial

Whedon’s first steps were to plot out how all of the films related to each other, and use that to rewrite the original draft of The Avengers by Zak Penn (writer of The Incredible Hulk).

He also had to set about recasting the role of Bruce Banner, as Edward Norton did not return. The role went instead to indie actor Mark Ruffalo. Several supporting characters from the individual

2011

CAPTAIN AMERICA

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2011

THOR

2012

AVENGERS ASSEMBLE

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movements to create a Hulk that would resemble Ruffalo and his performance as much as possible.

The Avengers released to massive critical and commercial fanfare. It broke several box office records on its way to becoming only the third film ever to gross over $1.5billion, assuring Marvel’s marketability and allowing the Marvel Cinematic Universe project to go ahead beyond this first phase. If there had been any question about whether or not the elaborate shared universe venture would be feasible, worldwide audiences responded with a resounding ‘yes’.

The recasting of the Hulk was well met, with many fans clamouring for another solo Hulk film to allow Ruffalo to get more time with the character. Another stand-out was Agent Coulson, played

by Clark Gregg. The SHIELD character had featured in minor roles in prior films, but became more popular after The Avengers. This in part led to the character being given a central role in a new live-

PHASE 2 2013

IRON MAN 3

action TV drama, Agents of SHIELD, which has expanded upon some of the themes and in-universe objects from the MCU. The Avengers mainly served to wrap up the narrative ties of the first group of films, but also helped to establish narrative hints for the franchise’s future, particularly with its mid-credits scene. The short sequence briefly introduced Thanos, a cosmic supervillain who had starred in several major comic story arcs. The character was chosen specifically by Joss Whedon, and will no doubt play a significant part in the next clutch of films until he is given focus.

Following on from the huge success of The Avengers, Marvel built on their nowestablished individual franchises with what was dubbed ‘Phase Two’ – the next series of hero-specific films that would again lead to another team film.

First came Iron Man 3 in 2013, which dealt with some of the fallout of The Avengers¸ but reverted to the original formula, centring upon the main hero, with occasional ties to the overall arc of the Phase.

Again, the post-credits scenes

2013

THOR 2

returned, this film featuring Tony Stark talking to Bruce Banner.

Iron Man 3 also followed The Avengers in the box office, becoming the second Marvel Studios film to gross over $1billion worldwide, in fact grossing more than the previous two Iron Man films combined. Though the film’s critical response was not as warm as The Avengers or even the first Iron Man, the success of Iron Man 3 proved the mainstream attention that Downey’s character and the Marvel Studios brand had now generated, and the massive audience appeal that would pave the way for Phase Two and onwards.

The next two films, Thor: The Dark World and Captain America: The Winter Soldier, bolstered this claim. Grossing $644million and $714million respectively (both more than the first Thor and Captain America films), even the less popular figureheads of the franchise displayed serious drawing power. This perhaps was a very good sign for one of Marvel’s biggest gambles since the start of their Cinematic Universe – Guardians of the Galaxy.

2013

AGENTS OF S.H.I.E.L.D.

With Guardians, Marvel was taking numerous significant risks that could limit the film’s potential even from the initial concept and make it a difficult film to sell to the same extent as those before.

The Guardians team and the various characters who would become part of the film are far more obscure than any of the other characters who had transitioned to film so far, meaning Marvel would have to look to other methods of creating an audience than name alone.

But unfamiliarity wasn’t the only obstacle – an unusual premise, featuring a talking raccoon and a talking tree, being the first of the Marvel Cinematic Universe films to be set in space, and being the first film to stand alone from the main MCU narrative, Guardians would certainly be a different challenge for the studio. As a space opera, it was also a film playing with a genre that hasn’t been significantly popular in 20 years, and had seen numerous recent high profile box office bombs in John Carter, Serenity, and The Chronicles of Riddick.

And yet, despite all these potential roadblocks and

2014

CAPTAIN AMERICA 2

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despite it going against Marvel’s established formula, initial public response to the marketing campaign, which angled the film as much more of a comedy than any other Marvel film, was highly positive. And this translated to ticket sales, as Guardians of the Galaxy became yet another of the studio’s success stories, grossing over $550million so far and breaking several box office records. Once again, it has been proven that lesser known characters can still make money, undoubtedly driven by the increasing profitability of the Marvel name alone.

With the risk of Guardians now placated, Marvel Studios carries an enormous amount of momentum into Phase Three as they prepare to finish Phase Two with The Avengers: Age of Ultron in 2015.

Age of Ultron will be introducing a further 3 characters to the main team – Quicksilver (Aaron TaylorJohnson), Scarlet Witch (Elizabeth Olsen), and the Vision (Paul Bettany) – none of whom will be particularly familiar with non-fans. But one of Joss Whedon’s main concerns for the sequel is considering that audience members might only have

2014

GUARDIANS OF THE GALAXY

seen the first Avengers, without seeing the individual films in between.

The inclusion of Ultron (voiced by James Spader), a villain effectively created by the Avengers themselves, hints at a darker and more interpersonal film, something that Whedon stated he was aiming for in the sequel. It also came as a surprise to many fans, who were expecting Thanos as the next Avengers villain. But after Guardians of the Galaxy, it seems Kevin Feige’s plan requires more building blocks in Phase Three before Thanos gets the spotlight.

Phase Three begins on July 17th 2015 with Ant-Man, a film that represents Marvel’s confidence in their current direction, introducing new little-known characters into the MCU fold, and further affirmed by the following 2016 film, Doctor Strange.

It also reflects Marvel’s shift into genre films beyond their standard superhero action formula. Ant-Man has a host of comedy filmmaking names behind it, including Edgar Wright, Peyton Reed and Adam McKay, and features comic actor Paul Rudd in the lead role. Similarly, Doctor

2014

AGENTS OF S.H.I.E.L.D.

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Strange has horror director Scott Derrickson at the helm.

Though the more fantasyoriented Thor, directed by Shakespeare veteran Kenneth Branagh, was arguably the first of this trend, this clutch of genre films from Guardians of the Galaxy to Doctor Strange suggests that Marvel won’t be resting on their $6billion laurels and will be actively looking to evolve their phenomenally successful formula as the franchise goes on.

And the franchise definitely will go on. Reports earlier this year indicated that Marvel has plans to schedule films all the way through 2028, meaning by that point, the MCU will have been active for 20 years. Certainly by that point, some of the cast and characters will likely have been retired or recast, and the names that drive the franchise today, like Iron Man and the Avengers, will no longer be at the forefront. Chris Evans has hinted that he may not reappear as Captain America after his current contract runs

out, and Robert Downey Jr. recently stated that there are no current plans for an Iron Man 4.

Kevin Feige has said that ideally, the schedule henceforth would ideally have Marvel Studios releasing 2 films per year, one featuring an existing character, and one featuring a new character.

So it falls to Marvel to rely perhaps increasingly on their bankable name to introduce characters that don’t have mainstream recognition as their established names move on.

Currently, Marvel are planning to expand the MCU into serial television as a means of setting up further characters and teams. Having reacquired the rights to Daredevil from Fox in 2012, Marvel are working on a 13-episode television series for the character, to air exclusively on Netflix in 2015. This is set to be the first of four character-specific shows, followed by one each for Jessica Jones, Iron Fist, and

PHASE 3 2015

AVENGERS 2

2015

ANT-MAN

2016

CAPTAIN AMERICA 2

Luke Cage, resulting in a fifth miniseries which will bring these characters together as the Defenders. Though no plans are in place yet, Disney CEO Bob Iger has suggested that if these series are popular enough, they could become feature films in their own right.

It’s clear that Marvel aren’t content to just churn out sequel after sequel of the same formula, instead actively looking to expand and evolve their multimedia universe with a 75-year wealth of comic book source material to draw from. The sheer scale of this project has never been attempted before, and its influence is already being felt outside of Marvel Studios.

DC, Marvel’s main comic book rival, have begun rebooting their Batman and Superman franchises in order to build towards a Justice League of America film and a shared universe between their characters.

2016

DOCTOR STRANGE

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2017

GUARDIANS OF THE GALAXY 2

Despite lacking some of their major moneymaking names like Spider-Man and the X-Men, Marvel has managed to bring a whole host of its other comic book material to the screen in a way that has seen phenomenal critical and commercial success that could hardly have been predicted. Six years on from the first film in the Marvel Cinematic Universe, the studio’s momentum shows no signs of slowing down, and Marvel will continue to carve a huge legacy into mainstream cinema.

Words: Anthony Stones

2017

BLACK PANTHER

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FILM REVIEW

“GUARDIANS OF THE GALAXY IS AN EXTRAORDINARY GROUP OF A-HOLES EVERYONE CAN CHEER FOR” - STUEY EVANS

90% STARS:

Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Lee Pace and Karen Gillan.

I have waited so long for this movie to be released since its announcement. I almost thought it wouldn’t live up to hype…but I was very wrong indeed. The film delivers in every way it should. It has a very welcoming and almost nostalgic premise, very reminiscent of the old 1980’s sci-fi actioners of yesteryear.

As a young boy, Peter Quill (Chris Pratt) loses his mother

to illness and is abducted by The Ravagers in 1988. Quill is raised by a blue bandit named Yondu (Michael Rooker) and grows into a man filled with greed looking for the next big score. Quill stumbles onto a precious orb currently sought

by Ronan the Accuser (Lee Pace), who has every intention of delivering the orb to Thanos (Josh Brolin). Quill steals the orb out from under Yondu’s nose, which prompts Yondu

to put a bounty out on Quill’s head. This attracts the attention of a firearms expert, who just so happens to be a raccoon, named Rocket (Bradley Cooper) and his humanoid tree companion, Groot (Vin Diesel). Gamora (Zoe Saldana), a daughter of Thanos who works for Ronan, www.45-magazine.com

agrees to obtain the orb, while a super strong warrior named Drax (Dave Bautista) looks for vengeance for his family that was taken from him by Ronan.

Guardians of the Galaxy is unlike any other Marvel film before it. Its writer/ director James Gunn

was mostly known for a couple of bizarre, yet amazing R-rated independent comedies until now.

While there are several elements that allow the film to work, the importance of the film’s soundtrack is the heart and soul of not only Peter Quill’s inspiration, but also what solidifies the film

as one of the most unique superhero cinematic experiences thus far.

The humour in the film is also hilarious.

Gunn is known for including quirky; off the cuff comedy in his works and Guardians of the Galaxy takes that bull by the horns and rides it for two 29

straight hours. Sometimes it’s a long running gag like Quill’s devotion to educating the world on his alter ego of Star-Lord, but the film has a sarcastic, ironic, and smart-aleck atmosphere littered with characters who take pride in being egotistical. If witty and satirical comedy is your thing then Guardians of the Galaxy delivers in a monumental way. The visuals of this eccentric space adventures are absolutely gorgeous. It’s like a love affair between Blade Runner and The Avengers that literally just takes pride in kicking the crap out of you with undeniable awesome.

Even with how vibrant and spectacular the special effects are, you almost forget to realize that the characters are the one part of the film more colourful than the film itself.

The film seems to be trying to connect so many different side stories as an overabundance of individuals are searching for the orb. This hasn’t even covered The Collector’s character (Benicio Del Toro) or how he factors into all of this. The story is hectic and scattered, just like the lives of Peter Quill and everyone else who’s ever stepped onto the Milano; Quill’s ship. It’s incredible that every character has an opportunity to shine whether the payoff is a fantastic action sequence, amusing strings of dialogue, or a combination of the two. You might not recognize Bradley Cooper as the voice of Rocket. He apparently channelled Joe Pesci’s Tommy DeVito character from Goodfellas, but he sounds more like Rich Fulcher from The Mighty Boosh. Dave Bautista deserves some accolades for his portrayal of Drax.

Bautista is a WWE pro wrestler/superstar and is mostly known for playing big, meathead type of characters with no depth. Drax has a fairly large vocabulary, is extremely conflicted, and driven by grief. Bautista is surprisingly great in the role as he delivers the best performance of his career.

Guardians of the Galaxy is an extraordinary group of A-holes everyone can cheer for.

Words: Stuey Evans

“If you’re looking for fun then Hercules is exactly what you want.”

- Anthony Stones

68% Stars: Dwayne Johnson, Ian McShane, John Hurt, Reece Ritchie, Joesph Fiennes.

Brett Ratner (Rush Hour) brings us Dwayne Johnson as the demigod from Greek legend. Hercules is a swordand-sandals action film that follows the musclebound hero and his cadre of mismatched chums on a quest to save the kingdom of Thrace from a menacing warlord, as told in Steve Moore’s graphic novel, Hercules: The Thracian Wars.

From the off, we are frequently reminded of Hercules’ superhuman legend. But at the film’s heart is a clever concept that behind the myths and tales, Hercules’ acts of heroism (including the famed Twelve Labours) have been exaggerated and spun to make Hercules seem godlike.

In fact, the film gives us brief glimpses at how Hercules actually defeated the fabled monsters and his reliance on his squad’s teamwork. www.45-magazine.com

Part of Hercules’ grandiose reputation is provided by his heraldic nephew, Lolaus (Reece Ritchie), who spreads the seemingly impossible stories on their journeys, while also playing the part of travelling salesman.

The cast is well-rounded and surprisingly British for a Hollywood actioner – alongside Ian McShane, Rufus Sewell and Reece Ritchie are Joseph Fiennes, Peter Mullan and veteran John Hurt. Everyone’s on form, with stand-outs like Fiennes as scheming King Eurystheus and McShane as the weary and cynical, Amphiaraus.

At the forefront of course, is Dwayne Johnson, whose charisma leads the show from the very start with Hercules dramatic lion-draped entrance.

His Hercules is quieter and less arrogant than others, but he’s still a bona fide action hero.

As an action film, it serves the purpose anyone would expect

before watching it: epic battle scenes, mythical beasts, oneliners and rock music over the credits. If you’re looking for fun then Hercules is exactly what you want. Brett Ratner’s CV will tell you that he knows how to make a silly action film, with titles like the Rush Hour trilogy, X-Men: The Last Stand, and Tower Heist, and he’s pulled off another here with Hercules.

It’s an easy film to switch off and enjoy – dumb fun.

They really missed a big opportunity with the dispellingthe-myth thing. It would’ve been cool to see a larger focus on how Hercules and his posse went through the 12 Labours. But Ratner’s film never makes any great strides to be much more than an exciting action film, so to that extent it’s a success, and with the bonuses of an interesting spin on the stories and a few fun characters, this is solid popcorn entertainment.

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FILM REVIEW

“This has got to be the funniest film of the summer” - Steph Sverdloff

Stars: Blake Harrison, James Buckley, Simon Bird and Joe Thomas.

The first film was a unexpected hit and back then there was no talk of a sequel because, well what could they possibly do next? Three years later and they’ve come up with something and it’s good, rib hurtingly good!

that Jay’s (James Buckley) lies were as over the top as ever as he isn’t ‘DJ Big Penis’ nor does he get all the pussy all the time, because him and Jane are no longer together – not that he thinks about her at all (more lies).

I personally thought that this film couldn’t live up to its brilliant predecessor but it did in a big way. Brilliantly set in Australia, we get to see the boys in completely different situations; even life threatening ones at times.

But the gags are still there as much as the dysfunctional friendships they all have. Even though they’ve meant to have grown up a little since we last saw them, going to university or having a new job – Neil (Blake Harrison) now works in a bank, who’d of thought it? – they’re still their hapless selves, especially Will (Simon Bird).

It slowly becomes clear that the only reason Jay ever even went to Aus in the first place was to win Jane back, how romantic right? Not really, it is Jay after all. This was the part of the film that sort of annoyed me really; I liked the character of Jane in the first film and did wonder if they’d keep her on in this but I was hoping we’d get to see her and the other girls a bit more – sadly not. However we do get to see Lucy again, despite the fact being Simon’s girlfriend has sent her completely mad making Simon wish he was still single. There wasn’t much cohesion apart from her and Jane from the first film – I wanted to know what had happened to Will and why he was still single. But

Of course when they get to Australia they quickly realise

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we do get to see him stupidly do anything for a girl he likes, again and again.

One thing I think I can say that I enjoyed the most from this film was the reappearance of Mr Gilbert (Greg Davies). If you’ve seen after the credits on the first film you’d have seen him driving through the strip in Magaluf on a quad bike, but this time his character has a bigger significance on one of the boys in particular, which I won’t spoil for you.

Overall, the sequel has lived up to the hype. It made me laugh from start to finish and has got to be for me the funniest film that is around this summer. So if you’re looking for something to make you laugh out loud during this rubbish weather then I recommend this to you. If you don’t then just go for the bants.

Words: Steph Sverdloff

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FILM REVIEW

74% STARS:

Scarlett Johansson, Morgan Freeman, Choi Min-sik & Amr Waked.

Whether the notion that most of us only use 10% of our brains is a myth or fact, surpassing the limit of 10% and unlocking what mind boggling potential that prospect could hold still makes for an exciting and intriguing idea, one that leaves our own brains reeling from possibilities and our imaginations racing in wonder.

This is essentially the essence of the plot of Lucy. Twenty-

Five-year-old student and party girl, Lucy (Scarlett Johansson) is forced into delivering a briefcase and it’s unknown contents to a ruthless Korean mobster boss, Mr Jang (Choi Min-sik).

After being used as a mule to transport the mysterious drug that was in the briefcase, Lucy is beaten by one of her captors causing the drug, CPH4, to leak from the pouch nestled inside her stomach and spread throughout her system. The

A THOUGHT PROVOKING SPECIAL AFFECTS AFFAIR IMMERSED WITH HIGH STAKES ACTION SEQUENCES. - JAYNA PATEL

sheer size of the dose being absorbed by her body causes her brain capacity to accelerate at an alarming speed, giving her extraordinary abilities that enable her to enact revenge and fulfil life’s purpose: to pass on her newly acquired, infinite knowledge.

The film looked great www.45-magazine.com

on paper and the trailer caused the hype surrounding the film to rise but it almost feels as if director Luc Besson was too daunted by the fact that the film tackled some of life’s big and scary questions like what mankind’s purpose is and next step in evolution, that he was afraid to elaborate

on the story line and explore the film’s core idea. Probably why he ended it at 1 and a half hours. But the 90 minutes of film were pretty spectacular and powerful, the movie being a visual effects Christmas party, beautifully illustrating how Lucy’s senses were heightened after the ingesting the CPH4 through

seeing the streams of bright energy particles twirling and flowing through a tree as it photosynthesized and the light beams of countless phone signals. Morgan Freeman’s trademark wise voice served as the perfect voice of reason to balance out the scenes of violence, as he was seen 35

playing a professor giving a philosophical lecture effectively on the film’s concept of unlimited brain capacity, juxtaposed with scenes of high stake gun fights and heart pumping car chases as the Korean gangsters fought to recover the drug. Calming shots of nature, landscape and animals hunting prey were intertwined with the rest of the film, hinting at the magnitude and sheer scale of human life and the power Lucy has unintentionally gained.

But as captivating as it was, a explosive special effects extravaganza alone isn’t enough to carry a movie, you need a entertaining script and talented actors. Scriptwise Lucy is fairly successful, with Johansson delivering a compelling performance describing to her mother in the world’s oddest phone call that she can now remember having a Siamese cat when she was less than a year old and how she can recall the taste of her mother’s breast milk…all while forcing a poor surgeon to remove the pouch containing the remainder of the drug from her stomach at gun point with no anesthetic. The colorful description compliments the amazing visual effects to paint a picture for the audience about what the protagonist is experiencing, though I reckon Besson could have expanded more on explaining

where CPH4 came from and experimented more with Lucy’s new abilities, which ranged from controlling matter and manipulating other people’s bodies, bending them to her will.

The story could have done with more fleshing out, maybe adding a few more main characters, though Johansson deserves praise for her edgy performance portraying her vulnerable character well before her transformation into merciless killer, with her spooky, steely stare as her character becomes empty and less human like. Morgan Freeman’s gobsmacked face is amusing too!

In short,the film lacked wit or something you can’t quite put your finger on and more fun could have been had with Lucy’s abilities, but it definitely leaves you mulling over the film’s idea that mathematics and language are simply social constructs we’ve used to code our existence, when the real key to our being is time itself, hours after the film has ended.

Words: Jayna Patel

ALBUM REVIEW “All guts and no glory & gives us a fairly predictable and unoriginal offering.”

- Stu Evans

58% Stars: Mickey Rourke, Josh Brolin, Jessica Alba, Eva Green, Joseph Gordon-Levitt and Bruce Willis.

Sin City: A Dame to Kill for boasts the same visual splendours and comic book noir as the original, but it lacks the impact its predecessor.

For a gun toting film full of decapitations, bondage and mutilations, it’s all stuff we’ve seen before from directors Robert Rodriguez and Frank Miller. It’s disappointing, really, for fans that have waited nine years for this sequel to be handed such a mediocre offering. The film weaves together four stories in Sin City: old favourite Marv (Mickey Rourke) returns to hunt down frat boys, gambler Johnny (Joseph Gordon-Levitt) is out for revenge against his estranged father, Dwight McCarthy (Josh Brolin) gets caught in a dangerous web with an ex, and little Nancy Callahan (Jessica Alba) is all grown up and on a quest for revenge.

Sin City is as stunning as ever with dramatic reds, blacks and whites contrasting against the violent backdrop. It’s hard to believe that such beautiful use of cinematic genius is coupled with predictable plotlines.

Perhaps the long wait between films has resulted in a waning interest. The curse of the sequel to a truly original, stand-out movie can be summarised in three short words: unrealistically high expectations. I really wanted to love this film, but the sequel curse struck again and in the end the whole experience got boring very quickly.

The initial outing was, after all, amongst the finest flicks to ever take inspiration from the oft-blighted world of graphic novels. Visually stunning, the stylisation evident in the aesthetics (monochrome with a hint of colour thrown in to accentuate certain aspects of each frame) continued into the script, which owes so much to classic Hollywood film noir and melodrama that you could be forgiven for thinking the writers

walked straight off the set of an old Humphrey Boggart movie and smack bang into the production.

The sequel on the other hand just never brings anything ground breaking to the table. It relies too much on the action and visual style than actually having some meat behind the plot of each story. The cast is one of the few saving graces, which sees the likes of Jessica Alba, Bruce Willis, and Mickey Rourke reprise their respective roles – all citizens of the eponymous Sin City, a place where blood and guts are regularly spilt, redemption is all but non-existent, and hookers and gangsters must fight for survival against bent cops and corrupt politicians.

On a short side note, I was incredibly disappointed that Clive Owen does not cameo as the post-surgery Dwight.

In the end it all comes down to which side of the fence you fall on.

Words: Stu Evans

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FF EI AL TMU RREE V I E W

SHEFFIELD FILM & COMIC CON Being an absolute fan of films, comic books, sci-fi and all the other facets that make up this world of comic conventions, I was astonished when I realised I had never actually attended one before. I always wanted to go to a convention for one reason or another I never got the chance. So when the opportunity arose I snapped at the chance to experience first-hand what a convention is truly like.

I was told I would not be disappointed and now looking back in retrospect, I absolutely agree without a shadow of a doubt Sheffield Film & Comic Con did not disappoint.

The whole atmosphere was very welcoming, mainly because everyone who is attending all have that shared interest and are just as fanatical as you. There are some maybe more hard core fans that go above and beyond (especially in the costume department). But in the end everyone is there for the same reason to meet their heroes and villains who they are captivated on screen by.

The main area housed all the tables and displays selling merchandise from the most popular movies, TV series, comic books and graphic

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novels on the scene. It has a very hustle and bustle market feel but you never feel pressured into buying anything and all of the sellers are very friendly and informative.

The prices are reasonable depending on the items you wish to buy and it comes down to your own personal views on what you think memorabilia is worth. I myself bought several items because of the niche things you can purchase weaving through the aisle. It’s impossible to resist and I guess that’s the point.

Without some kind of souvenir to commemorate you kind of feel like you cheated yourself out of what could be missing out on something unique and special.

I was surprised to see the lengths people go to in order to look like their favourite characters in the most realistic ways they can. Most of them do it purely for the fun aspect but there are some who are paid to attend. Regardless of which one they are, they are always more than willing to pose for photos, as long as you ask them nicely mind. Of course like most people this is not something new but until you see them in the flesh and with your own eyes, you don’t

really know how much effort they put in. Everyone who attended was very courteous and no matter how crowed the place got no one was rude or insulting. I was extremely impressed with a lot of the costumes and there was some cosplay discussions explaining how to start making your costume, budget constraints and all manner of cosplay topics.

Of course with all of these conventions the main attraction was meeting and greeting the various celebrities from your favourite films and TV shows. This convention was no different and it was such an awesome buzz to see them outside of a screen of some kind.

Amongst the guests were to name a few many Doctor Who actors and actresses from the shows history such as: Paul McGann, Sylvester McCoy, Dan Starkey, Bonnie Langford, Louise Jameson, Terry Molloy, Sophie Aldred, Mat Irvine, John Leeson and Frazer Hines. The other most notable guests were Burn Gorman (Torchwood, Game of Thrones), Eve Myles (Torchwood), John Rhys Davies (LOTR) and Stephanie Leonidas (Defiance). I didn’t

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FILM REVIEW

meet all of the people I mentioned but from what I observed all of the guests were very friendly and easy to talk to, also everyone of them were more than willing to pose for photos and sign posters etc. Some of the selected guests held public Q&A sessions with the fans in which you get insight into their experiences on the shows. One of the guests that most impressed me with her welcoming demeanour and friendliness was Stephanie Leonidas who plays Irisa in Defiance. I say this because I was able to ask for a quick interview and she was more than willing to oblige.

It shows that from my first time experience at a convention that all of the guest are very humble and appreciate the fans as much as the fans appreciate them. Another guest who is incredibly humble and very welcoming was Burn Gorman. Jason Broadhurst who went with me to the convention managed to get an interview with him.

Overall I had a great time and the experience of my first convention is one I won’t forget. It has definitely encouraged me to go to conventions in the future.

Hopefully it won’t be long before I go again. I guess the most fun part is being in a place where you feel connected in a way to everyone there. Having that shared interest just made the whole day that much more enjoyable and I’m sure I won’t be the only person who felt that way. In closing it’s a place where nothing is too weird and nothing to geeky, so get your elf ears on or your superhero costume on and go to your next convention… you won’t regret it.

Words: Stu Evans Photos: Jason Broadhurst

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INTERVIEW

BURN GORMAN - Karl Tanner from Gin Alley, drinking wine from the skull of Jeor fucking Mormont.

Q. How was working on Game Of Thrones?

A. It was really good. From start to finish Game Of Thrones was an absolute pleasure to do, everybody was so relaxed. It was on my birthday too, I had a great time filming with Kit Harrington (John Snow). I loved the show myself so I was really pleased to be a part of it.

Q. What was it like filming that fight scene in Game Of Thrones (Season 4: First Of His Name)?

A. It was very tight. It was okay for me as I had two small daggers but Kit obviously had a full longsword and he basically had pull it back short, so yeah it took a couple of days to film. There was also a fire in the middle which made it a bit difficult but we had a great director in Michelle MacLaren. It was some of the most fun i’ve ever had actually.

Q. So did you come out of the fight with any war wounds?

A. Yes I did actually, i’ve got a couple of scars on my fingers just from where the swords smacked down.

Q. What was your favourite scene from Game Of Thrones?

A. There was one scene when we were saying goodbye to Bannan one of the guys from the Night’s Watch, and there was a fire. We were so close that a few beards were singeing. So it wasn’t exactly fun but it was great to do, and of course there’s loads of mud and pig shit everywhere (laughs).

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Q. How does it differ going from a TV show to a blockbuster like Pacific Rim? A. Well I was very lucky to work with Guillermo Del Toro and it’s a massive blockbuster.

He has these sets that cost millions of dollars and they are just huge. So I suppose the scale of the film was exciting also he makes practical props that you are working with, so for example a menu you might see in a restaurant is meticulously detailed with Guillermo’s attention to detail.

So yeah I had a great time.

Q. So Pacific Rim has 2 has been announced can we expect to see your involvement?

A. I couldn’t possibly say... fingers crossed.

Q. What new projects do you have lined up?

A. Im doing a revolutionary war drama for AMC (Mad Men, Breaking Bad) called Turn and it’s about the story of Washington spies so i play a sort of evil, well he’s not evil but he’s a brit. So lots of wigs and lots of horses so its always fun to dress up.

Words: Jason Broadhurst Catch Burn Gorman in Turn: Washington Spies when it returns next Spring also follow him on twitter: @burngorman

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Q. Is it a dream come true to be playing Irisa in Defiance?

A. Definitely I mean Irisa is a dream part, you grow up kinda watching characters like that on TV dreaming of jumping into that world and to be able to do that is incredible.

Q. You mentioned growing up watching characters like Irisa, so what was your favourite series you have watched when you were younger?

A. You know I was just talking about that, it’s in my head now and we were just talking about The Dark Crystal and I used to watch that over and over again as a kid. So all that fantasy stuff I was very into, I mean yeah just in terms of stuff like The Goonies, E.T and The Never ending story. It was endless stuff that you know if there was something like that on the screen I would just watch it. So yeah I guess you could say I grew up with Sci-Fi and fantasy. It’s just great to be a part of that myself now too.

STEPHANIE LEONIDAS

Q. Yeah I mean I’ve always wondered when actors and actresses are cast in Sci-Fi and fantasy shows are they fans? Or not? Because I think if they are fans it makes their performances that extra bit more believable.

A. Definitely, if you’ve grown up with the series and films like that it helps and it just I mean you have to believe in the world you have to inhabit.

I mean we are lucky with Defiance because we have an incredible set, so as well as doing green screen, we have this town that has been built for us which is a real treat because it comes alive before our eyes as well.

Q. So how do you prepare for your role on Defiance?

Do you do all your own stunts?

A. Yeah we’ve done a lot of knife training and I do have a great stunt double, so I have to say that because she’s brilliant and I love her so I can’t pretend too much that I do everything myself. She lets me do as much of the stunts that I can and want to do and I always want to jump into it. The funny thing is as soon as I’m in costume as Irisa, I literally feel like I’m invincible, so they have to stop me sometimes because I suddenly find myself feeling like superwoman.

happened during season one.

I needed to get Grant (Nolan) back who plays my dad quite badly because he was always pulling pranks on me. So I went to the writer’s office with Mia Kirshner and we got them to write a scene on properly headed paper and everything so it looked like new script that had been sent out. It was a scene where Nolan turns to Irisa and she’s looking at him differently and goes to kiss him. His reaction was epic and we really got him and it was just very funny with all the crew laughing as well. It was hilariously sick acting that Irisa could have those feelings about her dad like that.

Q. What would you say was your favourite moment on the set so far? Any funny stories?

A. Yeah we are always pulling pranks on each other and one prank I remember that

Q. There’s going to be some disturbing fan fiction when that story gets out. What can we expect in season two?

A. Well season two is going to be a lot edgier, meatier and darker. I mean season one

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was a way to introduce you to all of the characters and season two flips it all around and takes you on a path that might not have expected to take. I think Irisa goes on one of the biggest journeys of her life in season two, it’s not an easy journey but it’s definitely a fun one to play.

Q. Can the fans with myself included expect a season three?

A. I hope so, fingers crossed we’re gonna know by next week. So as soon as we know you can expect me to be on twitter like mad letting everyone know.

Words: Stu Evans Catch Stephanie in season 2 of Defience this September on Syfy also follow her on twitter: @StephLeonidas

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