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JIM SYPNIEWSKI A CONVERSATION WITH Director of Field Operations GENE SIMMONSM..........-........... 4 METAl EDGE (ISSN ,008-2872) ;; _ DETROIT ROCK CITY DRe's POSTER........................ 9& omn1Ny by ~ - . 233 SCRAPBOOK................M......... 1 2 PM< AIMlRJ s.. New Va\(, NY 10CQ3. ~ 0 • ' 999 by ~ ~.·AI iiglIs • - PAUL STANLEY: ~ ~ ....... 1t-e lkiveo;aI ~ ASTAR TURN._............_ ..M.-22 CONTEST Convention. Member of Audit Bureau of CIIWabor& Nco ..,....-.ilIe Ie< """"""'" m<n>TIM SULLIVAN'S DRCDIARY•••• 2& DRC GIVEAWAY: SCRIPTS, T-SHIRTS scripts or Pctues. Pmted f1 USA SCREENWRIJER • &CDs .................................. 9 4 ' . CARL DUPRE•••_ ......M._........3 2 Contributing Photographers Chris Helcermanas· Benge (all film and set DIREaOR ADAM RIFKIN....M..4 4 COLOR POSTERS photos). M. Cooper (phantom) . G. Gorman DETROIT ROCK CITY CAST (Pecke~. Gem Miller (Video Set). Peter Sorel EDWARD FURLONG........5 2 KISS & CAST •••••••••••••••••••••••• 3& ~rican HIstory -Xl. Stephen F, Morley (Ever • Afre~. J . Steinfeldt (Rrfkin cutout). Pierre Vinet SAM HUNTINGTON._..5 4 KISS •••••••••••••••••••••••••••••••••••• 3 9 (H. Creatures) , Glenn Watson (There's JAMES DeBELLO._ _ ..5& • Something About Mary) , Tommy Thayer GIUSEPPE ANDREWS......5S COLOR PINUPS (NATPEISu"", Bow~ NATASHA LYONNE.._•• &O Special Thanks 10: MELANIE LYNSKEY••__ &2 PAUL STANLEY .................-•• 25 • Tim Sullivan, Brion Willen, LYN SHAYE_____.. &4 EDWARD FURLONG...............&"7 Austin Winsberg, Paul Broucek, THE CAST IN THE PAST.__••• &S ORe CAST ............. _ •••••••••••• & 1 Gino Soliz, Melissa Madden/McGhee ORe POSTER......................... 9 '7 DESIGNING DETROIT Entertainment, Tommy Thayer ROCK CITY_ ..M.....M____ "7 2=--..:.;GE::,;N;;:..E.;..:SIMM=0::..:N~S~ •••:::: •••:::: •••:::: •••= ...= ...=-=.9=-=B=--:::-===;;-=======-.J
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• He's a man of many talents, a hit-making musician, unparalleled deal maker and marketer, and to a great extent, the mastermind of the phenomenon known as KISS_ He's no stronger to movies, having acted in a few over the yeors including Runaway,
Won/ed Dead or Alive, and with his bond moles, the 1978 1Y movie KISS Meets the phantom of the Pork. Bul wilh De/roi/ Rock City, KISS' firsl big· screen auling as a bond, Gene Simmons makes his debul as producer, adding one more hal 10 the mul· litude he a lready wears quile well. We discussed the movie and myriad other KISS· related topics in several interviews over the lost few months .
G: Vour role as producer, what did that entail? G5: There's a big difference between movie producer and record producer. When 0 guy produces arecord, which I've done, he acts kind 01 like a diredor, ,elling Ihe musicians, "This is wrong: or "ThaI song could be beller, how oboul flying Ihis?" and rewriling Ihe song wilh Ihe bond and making sure il is whol il should be. In 0movie Ihe diredor ploys Ihe some role. The diredor ,ells Ihe ado" where 10 slond, how 10 do iI, and is responsible lor delivering Ihe movie. The producer, or in this (ase producers, go get the
deol lrom Ihe sludio, negoliole. In Ihis case I negolialed righls and syn' lees wilh musk publishers and wril", becouse there's other music os well as KISS music. So ii's
kind 01 a combination lawyer, manager, ond bobysiller. G: So ii's more of a business/finandal role than a creative one. G5: Yes, Ihough ultimolely Ihe diredor and oillhe ado" need Ihe OK 01 Ihe producer. The producer soys, "I like Ihis, I don'llike Ihol," "Change Ihis, 'honge Ihot." G: Did you do thol a lot? G5: Very lillie. Adorn Rifkin, Ihe diredor, was so in lauch, so in lune with everything thai it was next to none. G: Vou were on the rood for most of the produ,· tio. period. How did you keep tabs on it? G5: Movies have dailies, whi,h meons every single day you gel a videoloped copy 01 whollhey shoot. So Ihe nexl day when Ihe sludio and everyone else gels a copy, Ihol's when I gal it. By Fed E,. G: When did IOU hove time to look .t it? G5: You sil oroun in a hOlel room lor eighl hou" 01 Ihe day doing nOlhing. G: Were r.0u on the phone to Adam • lot? G5: Very lill e. When somelhing's nol wrong, don'l Ii, it. The sluff was really coming oul lerrili"lIy. There were some polili,,1issues between Ihe sludio and Adorn, he hod a poinl 01 view Ihol didn'l jibe wilhIhe sludio'sand neilher of them were wrong. So Iwenl in between them and said, "Look, we're moking the some movie, here's ore the oreas we agree on, lef's (oncentrate on where we don'f. .. 1t was basically oboul Ihe lone 01 Ihe humor, and il was very qui,kly sellied. Somelimes a lighl is more aboullhe light. Once Ihey look 0 look ollhe area 01 disagreemenllhey (orne 10 on agreement. Most movies ore mode under a 101 of stress. This was stress·free, which was a great compliment 10 New Une Onemo, who were (Omplelely professional about it. G: 50 take me through the time from Ihe ideo to gelling it greenlighted. G5: I've been Irying 10 gel a KISS movie off Ihe ground lor well over 10 yeors. II wenl oillhe way b"k 10 The Elder in 1981. G: Why didn' t it happen?
Uke mosl Ihings don'l happen, you have on one oul of 100 happen, becouse you're nof everything. Thai indudes louring and wrile songs for on album and mosl of wind up on Ihe record. Oul of 100 songs record 10 and people will only like one or so your botting overage is one or fwo oul of
Thai's how life works. So Ihrough Ihe yeors many studios mony times and New
u:;~;h:::':~,:,I:::;'hl:h~is.~is~:a~urlhl'h:i ;rdlim lime up 01 bal I, I, I es. If 01 firsl don'l succeed ... Wasn'llhere samelhing wilh Fax TV the works?
The hislory goes like Ihis. I was developing I wilh Jeff Berg, on agenl olICM, Ihe 101· ''''RY''''Y. Floyd Mulru" ascreenwriler who's Groundfor John Travolta and American Hot Wax and tons of originally a guy named Gene who I know socially, a producer of Rocky II, The Pope of Greenwich The Ida/maker, Ihraugh our Iriend· slorted working on a KISS movie which was going 10 be a big special movie. Floyd, Gene and I mel every Paul ioined us for oboul a week, ._ ........ , ___ Iagelher and Ihrowing ideos for a slory. Floyd and I evenlually up wilh 2S0 pages of slory, nol a Then Iwenl wilh floyd and pilched il In f,n""nd,,, differenl sludios. PolyGram, all readed well 10 il bul il wos 100 expensive a movie. Allhe some I found Ihis scripl coiled Gty and showed me Ihe i it was a greal piece of mole-
I'mdoing Ihis big pidure and to (ompele, Ihere (on't be movies out there. 8uI leI's os a movie of Ihe week. I wilh fox and a guy ..•....... ..... Von Zerneck wos going il wilh me. Bul as P,ycho
was neoring complelion I hod and I", lime 10 knock on doors \0 on. I finally come 10 Ihe poinl view Iholl wos going 10 ,lop Ihe budgel molion pidure and kick the TV movie inlo
0
feolure
. Allhal poinll hod Ihe won· iab of colling everyone up Ihem. I laid levine Ihol Gty would be kicked to a feolure. We wenl to New
Onemo and laid Ihem Ihe and Mike Deluco gal il righl Within five minutes hesoid,
greol, lei', make Ihe I
What was your main wilh regard to the thot KISS would be That we would hove (onlrol everything, (osling,
everythirlg. 1hod 10 negoliale deol, Ihe odors. i furlong and Nalasho hod some reservations Ihem 10 my birthday
parly, which I held 01 a 'trip dub in Beverly Hill,. AI poinll dropped down on my knee" so Ihol in friend, Eddie could ,ee Ihol Gene limmons wos 10 his knees and begging him 10 be in Ihe Wholever illokes. G: Did you have many changes to make in script? GS: No. The script was os is, the basic polish come the studiO; iI's their money. The creative process is between Ihe sludio and Ihe direclor. G: So once everylhing gal going you left il Adam's honds? GS: Yes. I musl soy Borry Levine wos Ihere a 101; was on Ihe sel a 101 and Ihe doily ge"ing along or doshing, he wos everybody. G: LeI's lalk aboullhe day of Ihe concert. GSJ We were 01 The Ikydome, up in Taronlo on 2n of December. The nexl day we hod a day and we wenl lo Hamilton, where Ihe film trew logelher on oSlonishing retrealion of Ihe Love sloge. AlaI (ome from TIm lullivan, Ihi' wos a major Kill fan bUI he Ihe deloils and saying Ihis doesn'llo~\Hr;1:::k:~:: on. Everything wo, built from Id everything 10 Ihe poinl of Ihe lenglh of hair, thol il didn'tquite match 0 vision in his We wenl b"k 10 KISSTORYond looked 01 and Peler's hair was differenllenglhs. 10 on day off we hod a 12·hour work day 10 shool everything for Ihe one scene 01 of Ihe movie.II" lhe some way Ihe Wizard of appears ollhe end of Ihe movie. This although iI" a Kill movie, i, really more KIll fans and mo"er, ollhe heart. For us, something we've always believed in, as boll as il is, wilhoul Ihe fans we wouldn'l here and we owe il 01110 Ihem. This is really way for us 10 show Ihol Ihe experience being in the audience and whol it does 10 pie, Iheir heorl, and minds, eyes and really whol iI's oboul and we're jusllhe of messenger. G: Adam said you didn'lleave Ihe slage belween setups.
GS: We were on Ihe ,loge Ihe whole time, lilerally. Ace, Peler and Paul were great. They worked Ihe trowd up. We hod somelhing like BODO fans. The ones up lronl were paid extras and the rest showed up bemuse they were fons and sloyed Ihe whole lime. They hod a boll. G: Was it a tiring day? GS: II wos exhausting because of oillhe 'Iop·ond·go. In a concert siluolion, even though it's exhausting, it's a concenlraled Ihing. You're on sloge for two hours and Ihe adrenaline lokes over so you're barely aware of the time going by. You jusl know Ihol by Ihe end you're exhousled. This was slop and go, you film for five minules and you slop. 11', b"k and lorlh. It lakes a loll, menIally and phy,icolly. G: You hod to leave for another show after. GS: Yes we hopped on our jel and wenllo Ihe nexllown. We bosi<Dlly crammed Ihree days work inlo a day because we didn'l have exIra days. We were playing olmosl every day and a day all here and Ihere we (herish a' a way 10 gel b"k our energy. You <Dllopse on your bed and if you're lu(ky you have 1,,01 <Dmpony bUI olher Ihon Ihol you Iry
Simmons had to convince h' b KISS Gal Milk' ad "B , IS andmales and band mer(ha J. ·,k (h· . , a once Ihe n.lSe reps 01 S S" ~~bov~, /(hh showed ap beller Iha~~:i~): ~e phOlos, everybody flip;:: ,, 'ralares !o lobby for Ihe p otos. n Corn syrup (for stc . . concoctIon of chocolate Ylng POwer) was used in the Annie
10 (ol(h your breolh before Ihe nexl show. G: TIm said a lot of pains were token to see that alilhe exlras wore Ihe righl dOlhes. GS: Bell bolloms, platform heels- jusl great. G: You sow someone wearing a Dynasty outfit and made him change. GS: I looked oul in Ihe audience and soid '1hal', '79, '80 and doesn'l belong here." Mosl people wouldn'l pick Ihol up but if you're really going for capturing a point in time on film, leI's do illhe real way. G: TIm said he noliced Ihal Ace had blue shadow on and he didn't wear it in '78. GS: He would nolice Ihot. 8uI we've always (onlended Ihol iI', oboullhe spiril of somelhing, Ihollhere i, somelhing such as becoming too anal and looking at the subatomic particles Ihol make up somelhing and losing Ihe vision of
Ihe entire Ihing. G: Once Ihe shool ended, you slill had olher Ihings 10 do, righl? GS: Yes. ThaI's a doily (hare. You're lolking oboullhe righl posler, Ihe righllroiler. The Iroiler will be in franl of Aus,in Powers. The reaction has been terrific. But whetherit's a big hil, a medium hil, who knows? It's all a trap shool. The movie i, going 10 be a good solid pi"ure. Ilhink people will gel all on it. Everybody's very happy. In f"llhe sludio wos so happy Ihey pushed il b"k 10 a summer film. G: Whal will KISS do 10 promole Ihe movie? GS: Whenever we <Dn we use Ihe opportunity 10 lolk obaul Ihe movie, nol only because iI" oboul Kill bUI because iI's a prelty neal movie. We used Ihe luper bowl opportunity 10lolk oboullhe movie. G: I know it's the '70s and there was more open
Whife KISS appeared fost Jonuory at the American Music Awards (where Paul Stan fey and Peter Criss and his te(h Eddie Kanan are seen backstage here) and were nominated for a Grammy Award, they couldn't attend because they were on tour in Europe at the time. UThough we appredate it, it doesn't mean a hell of a lot to us," Simmons insists. lIThe Grammys are ba(kroom politiu. The people have nothing to do with it/' he explains. JJI don't need thai vafidity. I getlhat from the fans. n drug use, but you've always been so anti路drug. How do you reconcile its use in the film? GS: I slill am. An idial is en idial whelher he lives in Ihe post, present or future. Anything thot turns your senses off is Ihe enemy and anybody Ihal's willing 10 do ilia himself is on au! and out idiot. The movie's point of view is these kids, Ihese KISS fans. There's a scene where Ihey lighl up marijuana. But the movie isn't intended to preach anything in Ihe same way when you have a slasher film, Ihe producer or the writer don't wont you to go out and slosh somebody's Ihroal. These are Ihe characters, one of Ihemhappens to smoke. There are characters that smoke cigllrettes and I don'l do Ihal eilher. Ilhink it's idiolic. Thai doesn'l mean a character in the movie shouldn'l do it. It's a movie, not a message. G: What do you think of the actors in the movie? GS: Sam Hunlinglon's greal, Giuseppe, Jimmy, Ihey're all "cellenl. Eddie Furlong may be more well known from Terminator 2, American History X, Peeker. Some of the oclors were nol KISS fans going inlo ii, bul alterward Ihey were turned on to a brond new world. G: Tommy Thayer gal materiaf from you for the opening sequence. GS: He come over to my house, went through my scrapbooks and pulled pholos 10 use in Ihol. Everything Ihol looks real is real. One 01 a kind pieces Ihol can'l be duplicaled, ocluol poslers from Ihe lime period, oclual dolls end . so on. G: Let's talk about the music. How much were you involved in what was used? GS: It's really more Adam's picture and between Adam, Barry and (] company that come on board as a music supervisor they have a poinl of view of what 10 put in a scene. Cheap Trick's "Surrender" is going to be in a scene when Ihey're going 10 Delroit: "Mom is alrighl, Dad is alrighl, Gal my KISS record"n." It really gaes well wilh Ihescene.llry 10 make a deal, negaliale how much Ihe Irock will be and whal will Ihey gel and Ihal kind of sluff, sluff I'm nal
embarrassed 10 do 01 all. My painl of view end I Ihink should be everybody's, is whalever's galla be dene, roll up your sleeves anddo it. Because by the time you get somebody else 10 do it it's over. G: You re路recorded UDetroit Ro(k City." GS: Yes. Believe il or nal, KISS really recorded a new version, Ace, Peter, Paul and Gene. We actually went in the sludia and played lagelher. If we're going 10 gel up end play in Ihe movie il should be brand new music end nal already recorded music from Ihe album. Thai was Ihe painl of view 01 our direclor end Ihal's whol we did. G: You recorded in the falf? GS: Yes around November. It was all done within three hours beginning 10 end. No problem. G: What about the song Diane Warren wrote? What was the idea there? GS: You've galla gellhe movie campeny exciled abaullhe soundlrock and Paul has had a relalienship, a friendship with Dione Warren for many, many years, before she became who she is. It was Paul's idea 10 call her up end ask her. I haven'l heard Ihe song yel although Paullells me il sounds like a smash, a real radio slaple. Thai's Ihe kind of Ihing a soundtrock needs-you need a rodia slaple 10 sell the movie. Whatever it tokes. As the rules keep changing you've galla chenge wilh Ihem ar you're lelt behind. The ideo was to give something to use on radio and we haven't been writing things like tho', but you never know what's going 10 be a hil enyway. G: Did the fact that Dione's song for Aerosmith went to #1 have anything to do with it? It was their biggest hit even though Ihey didn'l wrile it. GS: Dh of caurse. Bul I dan'l Ihink anyone cares Ihal baughllhe song. G: There's been talk about a second volume of the soundtrack with more songs. GS: It depends an Ihe success of Ihe firsl. You can'llhink abaul anylhing else bUI doing Ihe firsllhing righllhe firsl time. Clearly there's room for a second one if the first one
gaes. Samelimes Ihe soundlrack explodes and gels big even though the movie doesn't and vice verso, the movie cauld be huge and Ihe soundlrack cauldn'l, or Ihey balh cauld do well. G: What about other music? Any recording plans? GS: No, bUllhere will be mare KISS music. In Ihe lime off I'll be wriling a 101, hopefully Ihe alher guys will. We're going right bock on tour so thot means we wonlt get a chance 10 go in and do anolher record probably unlil 2000. G: Are there any songs left over from Psycho Circus that might be used? GS: There are about six or seven recorded songs withlyrics that we may toke another look at, we may rerecord them or, never use Ihem. We have Ihe largesl calalag probably of any band in Ihe world and we have severaL.bex sels, live albums, grealesl hils. There's lois of records lelt on Ihe contract. G: Speaking of the boxed sel ... GS: Iwork on it every day. When it comes au' it's gonna be a killer. G: I galher thaI wan't be this year. GS: Absolulely nal. G: The 196路'97 tour was huge, a record breaker. And you talked about how the Psycho Circus tour was going to be even bigger with the dr(us and Ihe 3D. Bul you scaled it bock. GS: We weren'l aUllhere long enough 10 make illike Ihal. And the scope ...we bit off more than we can chew. You go in Ihere wilh massive plans and Ihe forces of grovity hil you. We wanted to go in there and really give them bong for the buck, put a full circus in front of every show, we had everylhing planned. G: What went wrong? GS: When you go 10 every single cily every single hall has lows about whol you con put over the audience's heads and so on and every hall has their own insurance issues and mosl 01 Ihem laid us, "No, you can'l do Ihal." G: You had a su芦ess'ul run in Europe. What were
Ihe highlights? GS: Siockholm, Iweden was mognificenl. The Europeon lour was sold oUllhroughoul. When we gollo Siockholm Ihe Europeon edilion of Playboy was oul in Oslo. We hod a big Playboy party oher Ihe Siockholm show. We look over a place coiled Ihe Opera House oher Ihe concert and Ihere were hundreds 01 giro mode up like Ihe girls in Ihe issue wearing very linle else. It's good 10 be king. G: Were you disappoinled oboul having 10 concel Russia? GS: I'mnol disoppoinled, I'mglad 10 be olive. Russia's a very slronge counlry. They hod Ihis ideol of communism and when Ihollurned oullo be Ihe evil empire Ihey never
Americon rock slors in Russia. G: Did it (ost you a lot to (oncel? GS: As always, any lime you don'l do a show il cosls on enormous amount of money bul your life is wor1h more Ihon Ihol. Once belore we hod somelhing like Ihol in Argenlino. In Ihe eorly '80s, we canceled on entire I. American Ihing beeouse Ihere were Ihreo~ 10 blow up Ihe slodium. G: How was South America this time? GS: loulh America slorted off wilh Ihe slodium in Buenos Aires. Down Ihere ii's like 8eollemonio. They camp oul nighl and day. G: Whol was Ihe overage allendance? GS: 55,000. Thenwe wenl lo Porto Allegre, Bro,il, 70,000 people Ihere. lao Paulo, 60,000. Then Puerto Rica, which was on indoor show and then to Mexico City, where there were obou160,000 people. Everybody hod 0boll. G: Was the show the same as in Europe? GS: Yes, except we were using South American slaging. Much 100 expensive to bring il. G: So you couldn'l use Ihe lift, and Ihe .Iep' and do Ihe ,Iunl.? GS: We did. Paul new, Iliew. We did oilihoi. 8ullhe crew hod 10 work a 101 horder beeouse Ihe ,Ioging, Ihe ,luff everything hong' on, is sub路slondord. The electricity is subslondard. II's omoleur lime. There's nol only a language problem bUllhey've never built anything Ihol big. Our crew knows exactly whol ii's doingbUI if il hod been a local crew it wouldn" hove been sofe. There would hove been much more occidenls. 10 il required triple Ihe lime 10 sel everyIhing up. You're lolking oboul huge omounls of lonnoge on Ihol sloge, and we hod 10 carry our own electricity. You're playing a big sladiumand alilhey're geored up for is lurning Ihe lighls on and off, nollo power a KISS concert. We have a huge lighling 'yslem. G: So everylhing wenl according 10 plan? GS: Rammslein, Ihey did very well, bUI ollhe end Ihey gal inlo a fighl wilh eoch olher and one of Ihem ended up being Ihrown Ihrough a window, in Mexico City. G: The singer sel. himself alire. Familiar, huh? GS: Ilhink ii's all good. I don'l core oboul originality. II's an overusedword. Nothing is original under Ihe sun, and who cores if il is. The only Ihinglhol's importanl is people gellheir money" worth. If you go and see a bond and see Ihollhey're Irying 10 give you more Ihon less ... G: When will you be back on Ihe road? GS: We're looking 10 lour some lime in October. G: Slarling here? GS: We dan'l know. It's way off. We're meeting 10 look al slage designs, lighling rigs and alilhoi. Our favorile Ihing is 10 gel in fronl of Ihe fans who pul us Ihere in Ihe firsl place. As long as we con do big shows, have fun doing il and pula smile on our fans' faces, il begins and ends Ihere for us. G: I. Ihi. KISS' farewell lour? GS: I've heord Ihol rumor, bul no word yel. The Irulh is any show or lour (on be your losl show, you never know. G: I' ve heard Ihol songs lrom the '80. and '90. revolted ogoinsllhese horrilic people, from Iiolin on. They will be added 10 Ihe sel. coused misery for 70 yeo" oround Ihe world. The Rus,ions GS: Yes, we will be adding sluff Ihal Ace and Peler origi路 ore Irying to make headway and (orne over to capitalism nolly hod nol played on. We never wonled 10 do Ihal, bUI bUI ii's ,Iilll.cked up Ihere. The rood from communism 10 Ihe overwhelming sense we gel from leners, Ihe Inlernel copitalistic democracy is a slow one and people (on', figure and jusllolking is Ihol fans Ihink il would be a kick. oul when Ihey don'l have enough food 10 eollhol illokes G: Do you know which sangs? a while. They keep seeing Americo doing bener and bener GS: I would venlure 10 guess "Uck il Up," "Heoven's on and Ihere's a 101 of jeolousy Ihere. Their perceplion is Rre," "I love illoud: The sluff Ihallhey know more Ihon Americo is NATO and NATO is America and America is nol. Everybody believes Ihol people wonl obscure songs. bombing Ihe Bolkons. There was on incidenl in lronl of Ihe They don'l. The few who are really greol fans are slill nol American Embassy where people gal oul wilh guns and Ihe Ihe voice of Ihe majority so when Ihey wonl you 10 do on Russian police shollhem belore Ihey hod Ihe chance 10 do oll路Elder show or more obscure ,luff Ihey mighl be happy any horm. Thai's all we hod 10 heor. NOllhe lime 10 be bUI nol 90%of Ihe resl of Ihe people. We Iry 10 do Ihe besl
GS: I'mowore. Bul ii's usuolly Ihe guy who look, like 0 bookwormwho's using heroin. Ihoven', ever gollen drunk. I gog andwonllo hurl 01 soon 01 I,mell [olcaholl. G: What about other project s as produ(er?
GS: In Augusllhere will be a one hour fox 'peciol, docu· menlory in ,lyle but il will also have foologe from Ihe movie premiere. lomelime in Ihe foilihere will be two sep· orale movies of Ihe week. I just finolized negoliations. There will be a CBI movie called Rock and Roll All Nite, which is based on a ,lory Ihol will involve Ihe bond in some way bUI i, more a ,lory oboul a guy and a girl. Kill is inri· denlollo Ihe Ihing bUI ii', all oboul the world of Kill. lort of a Sleepless in Seattle meel, Kill. G: Will it have KISS music in it? Is it set in the present?
we can and pleose 01 many of Ihe fans 01 pos,ible bUl lhe Irulh i, ii', alway, a laugh choice whol lo ploy. The fans thol go 10 see every show, 20·30 shows or more on(] lour,
camploinIhol lhe song' are Ihe some. Well, Ihey're nol lhe some for Ihe people seeing il for Ihe one and on~ lime in O,hkOlh. Bul we are gonno odd song' from Ihe 'Bo, and loke a look 01 some more oDscure sluff. G: Anylhing from Revenge? GS: Hoven'l gone Ihere yel bul ii', a pos,ibilily. G: Any plans for the millennial New Year's eve?
GS: We do have a cauple of voriobles. There', Madison Square Gorden, but we hove 10 see what our options ore. II', for enough in Ihe fulure Ihol we can keep Ihose oplions open. A101of ideo, are percaloling. G: Whol do you think of Paul doing Phanlom 01 Ihe
I¥ra?
GS: 11', Ihe caol,,1. There', nobody beNer 10 do il Ihon Paul. He ,ing' like nobody else. He soid ii's Ihe hordesl he', ever worked. It's lime consuming. G: Do you have any desire to od again? GS: Anything" possible. I gel offered ,luff oilihe lime, from Ihe ,illy, like being Ihe Klingon in Stor Trek to being heroin dealer in the nexl Samuel LJackson movie. G: You've done thot kind of role. GS: Offered il again. Maybe I look a certain way. I don'l look Iwedi,h. I have Ihol dork Ihing happening. People look 01 me and Ihink, "He', high oilihe lime." The soying "Don'l judge a book by i~ caver" con be applied 10 me. G: You creoted that scary image, the God of Thunder.
GS: Yes. G: Will it be (a sl with big stars or unknowns? GS: BOlh. Then Ihere', Ihe Kill biogrophicallilm. Probob~ for fox. G: The bond won' t be in it and odors will ploy KISS? GS: Yes. four guys meel, ,Ireel, of New York. The ~ory of Kill. G: Is it cast yet? GS: No. There', no scripl yel. G: Any non-TV film project.? GS: There are lor 100 many 10 lolk oboul righl now. G: (on you fill me in on this wrestling thing? GS: The Warriors of Kill, for woo. The firsl one is Ihe Demon- very cool guy, 'pils fire-ond Ihereofter will come Ilorchild, Ipocemen, ond Cotmon, one every couple of month,. They're nol coiled by our names bUI by Ihe per· sonolilies. ThenIhere will be Lody Demon, Ipoce Girl and so
GENE SIMMONS
Mons'ers of Film/and, fronl, back and Iwo inside covers. lI's a lifelong dream for me because when Iwas a kid Ihol was com" oul. If anyone wann 10 order, ii', 1·800·90S·KISS. the mogazine Iread. We hod four solo (overs of Kerrang, (ontinued I'm knocked oul by il. II', gorgeous. There are lilerolly Spin, and Iwo in France on Rock Hard. We've been on the IhaulOnds of lays. And Ihere', a 6' accordion pulioul 01 (over of Fortune. on. Allhe end will be a Bailie Royale, Ihe Worrio~ of KISS beouliful girl, in KISS makeup. Each 1000 will have a dif· G: What (over haven't you been on, and want to VI. whoever. The ideo is 10 go where no bond has gone ferenl pose of Ihe girl,. They're lopl'" weoring KISS make· be? up. On Ihe back of Ihe pasler i, behind Ihe ,cenes pholos of GS: The Chri,tian Science Monitor. Thai would be good. before. G: Where are you finding the wrestlers? Ihe girls gelling mode up, ,Iripping, .malever. The ideo G: Um, doubt'ul ... GS: Eric Bischoff, Ihe pr"idenl of WCII, is doing Ihol. They eoch lime is 10 do somelhing differenl and exciling--more GS: Anylhing is pos,ible, any lime. The clack goes 24 hours have a lroining facility like baseball has form leoms. Thai's lays, more gomes, more ,luff 10 make every olher bond a day and I'mworking my lail off because of and for KISS. where Ihey'li come from. (omplele unknowns. Vou will oUllhere green wilh envy Ihollhey con'l do il and we con. Whol wililomorrow bring? I don'l know. I'minleresled in never see their faces. G: There were problems on KISSTORY, suth as everything Ihal's good. G: Bruce Fairbairn, who produced Psycho arcus, G: Do you have any concerns about safety in roght wilh the binding. of the recent o«idental death of wrestler Owen GS: Vou know, ii's dose 10 10 Ibl., and if you lass noround passed away in May. Any (omments? Hart? ii's gonno break. People are always going 10 complain. Bul GS: II's hea~breaking. He was on upslonding guy. II seelm GS: Every lime someone slubs 0 loe or something happens, I make sure Ihe book won'l come oullill ii', righl. If il Ihal on Ihe surface he was a happy guy. I never ,aw any Ihe enlire Ihing becom" dangerous. (a~, airplanes-<lCci· com" oul and il isn'l righl we gel crucified. II hos 10 be booze, drugs, or even ,making. He ',eemed like a healthy, ,Iandup guy. II complelely coughl us off guard. I was denls happen every day. II's sad and my condolenc" go everything fans wonl ilia be. oul, bUI I Ihink ii's beller Ihol people Ihrow eoch olher G: What else is in the works? ,hocked. Alii know i, Ihey found him dead. Then I found around in 0 ring than on the slree!. GS: There's on o~i'l who's doing a limiled edilion of 500 oullhol one of my besl friends when Iwas growing up, Selh G: Will you attend any of the events? originol paintings. We may hove Peter Max do something in Oogromoiion, passed away. GS: Sure, I'd love 10. I've never been 10 a wrestling evenl. Ihe fulure, 7' high. Anew generolion of KISS bea~ wilh dif· G: what? G: What's going on with the KISS video game? ferent outfits, and a second generalion of t ,/ moveable GS: Thall don'l know eilher. He was Ihe fi~1 guy I was in GS: The Galhering 01 Developers, olherwise known as action figures in Love Gun oulfilS, from Fun For All. Vou bonds wilh, my pol in school, and we used 10 publish science GOO, are bringing oul a Psycho arcus game 10 end all. press a bullon music comes oul. Absolulely by for Ihe besl fiction fonlasy fonzines logelher. He was a greal guy. gam". Thai's coming soon [wilh) KISS music, new man· action figur" I've seen. They're available Ihrough Spencer G: When people dose to you, and to your age, siers, very stylized. Brillionl Digilal is bringing Oul 26 Gifts. The firs125,000 disoppeared so Ihey ordered onolh· pass away suddenly, does it make you mare episodes of 0 gome you (on order over the computer. II's er 25,000. aware of your own mortality? like a TV series in thot each gome is 0 new game. GS: I've always been aware of Ihal. I've never loken life G: Is yours the most popular? G: When will this be avoilable? GS: Three 10 one. I'mIhe ugliesl one, Ihol's why. There's a for gronled. Every day you live is one I", day you'll be GS: Probab~ belore fall. There's IOmelhing else, from Perrier (Qmpaign in Europe wilh a model sipping il wilh a alive. ThaI's (I good perspedive. As for os we know we're WizordWorks. lI's 0 compuler gome bosed around trivia, to KISS T·shi~ on. There are going 10 be billboords and only passing Ihrough once so as cornball as il sounds, you 1,,1 your knowledge aboul KISS. paslers. The ideo is 10 push Ihe envelope and lake aver Ihe (on have a (hoice inlife: you (on live it or nol. G: How involved are you in these projects? world if we con. There's a big blow up KISS choir, a limiled G: Any thoughls on the turn a. the millennium? GS: Ihave very limiled underslonding 01 conlenl, wholl do run of Ihose. Zippo lighlers. KISS condles, onolher genera· GS: People are making for 100 much of il. The besl way 10 is see Ihallhe grophi~ and Ihe inlegrity 01 who we are is lion of Ihe lroding cords, golfing geor. (Iub covers and enioy life is 10 make every day your millennium. There's no moinloined 10 Ihal even if ii's a ,tylislic ver,ion 01 KISS, ir, actual golf bolls wilh KISS on Ihem. I don'l know whol golf olher choice. If one day is so high, whol aboullhe nexl 'Iill KISS. Here', a scoop-I iusl finalized Ihe deol for Ihe has 10 do wilh KISS bUll don'l core. This is my dream, I'm day? If you've gal your heolth, oilihe good ,luff: good fi~1 90·minule animaled KISS superhero ,how Ihal will dreaming it. Psycho arcus is up to issue #20 or so and food, greollooking girls, and a hunger. Thai', whol ii', debul in November nOlionwide. For Sobon and Fox. doing gongbusters. The compilalian of issues is up to issue oboul . • G: How is KISSrORY /I coming olong? #2 and more are coming. We're on the (over of Famous GS: I gOllhe firsl proal, and illook, greal. II will blow you
away. II's coming soon, dearly by the time the movie
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by Gerri Miller • Twenty·one yeors since he joined his bondmoles in Ihe TV movie KISS Meets the Phantom 01 the Park,Paul lion ley has encounlered a differenl kind of Phantom Ihis summer in Toronto, where he's making his musicollheoler debut in Ihe lille role in Andrew Lloyd Weber's Tony award winner The Phantom 01 the Opera. Making Ihe lronsilion from "Rock and Roll All Nile" 10 "The Music of Ihe Nighl" has been quite
0
challenge, even for
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performer as occom-
plished as Ilanley, who has won rove from fans and crilics alike. Bul Kill is never far from his Ihoughls, and also we ,alked aboul Ihe bond ond his musicol conlributions 10
Detroit ROCK (jty over the (ourse of two interviews, the
most recent by phone two weeks inlo his phantom run. G: How's The Phantom going? P: Awesome. It's greal, Ihe shows are pocked, slonding ovations every nighl, ii's great. I've done 16 shows so for. I do eighl shows 0 week, malinees on Wednesday and 10lurday. Monday is dark. G: What was it like on opening night? How did you
feel before going on for the first time? P: There was a ""oin amounl of nerves. If I didn'I feel nervous I'd be oul of my mind. There's nOlhing wrong wilh being nervous. When you're nervous or hove some sort of anticipation it shows you're doing something where you're pushing your limils a bit. It's eosy 10 find Ihings Ihol don'I threaten you or give you an adrenaline rush butUfe is real· Iy aboul linding Ihings Ihol chollenge you. The response
Ihem onIheir leel ollhi end. G: When did you decide to do Ihis, and how did it (orne about? P: II wasJanuary. I hod loaudilion.1hod10 go 10 New York and audilion lor [diredor] Hal Prince's peaple and [composer] Andrew Lloyd Weber', people. My ogenl coiled and asked if I'd be interested in doing it. If's been running in Toronlo lor 10 years and WOl in New York and london. I hod seen il oboul 10 years ago. When I lOW il I lOid, "I wonllo do Ihis: Ihe lOme way when I lOW Ihe Beatles I said, UI wont to do this: 1t was port of the mosIer pion, so 10 speak. I kind olliled il away. 10 Iwenllo New York and oudilioned lor everybody. They laid me whol lhey wonled and I wenl in, and a holl路hour loler Ihey coiled my ogenl and lOid, "How quickly con he do il?" G: It was that fost? P: Yeah, Ihe acceplonce come logelher bul I hod a Kill lour 10 do.
hOI been 10 greol in Ihe sense Ihol I'm enjoying il immensely. I con'l lOy enough oboullhe rush 01 doing il and Ihe leedback. Every show ends wilh a slonding ovolion. Onsome nights they're selling stools because every seal is complelely lull. Besides Kill Ions Ihere's a 101 ollhealer
peaple, maybe iniliolly coming wishing Iholl wOln'llhere, bul lhe idea is 10 please everyone inIhe Ihealer. There are peaple here Ihol go 10 Ihe Ihealer a 101 and Ihere are peo路 pie who have queslions oboul seeing me, and olher peaple who are very exciled obaul seeing me and I wonl all 01
G: While you were on tour were you preparing for this role? P: Yeah. I couldn'l sing any 01 il because ii's a complelely different style of singing. Your voice is 0 muscle Dnd if you work il inlo one type 01 singingil doesn'l respond very well 10 another. You con oduolly (onfuse your voice so it will lend 10 do one Ihing when ii's supposed 10 do onolher. 10 I lilerolly memorized everything in my head ralher Ihon singing it. AMer Ihe lOll Kill show in Mexico (jty I wenl backsloge and cui my hair all and wenl home lor a dayand then flew to Toronto and went right into very intensive sixdoys路o路week rehearsals. G: Did you have a voice (oach? P: I have IOmebody in Toronlo who I lOW every day jusllo help me wilh lOme ollhe questions I hod oboul how 10 approach cerlain ports of the music. G: How does il compare to singing 01 a KISS show? P: Much more dillicult. II lakes a complelely dillerenl kind 01 mindsel and a complelely dillerenl concenlration. II's naked. When I'm singing in Phontom ii's very exposed, there's no room forerror, there's no room for improvising, there's no room for (hanging, iI's very specific in the woy it gels opproorhed. [In Kill] I ron change melodies whenever I 1..1like it. Thai', nollhe rose wilh Ihis, ii's very much by Ihe book. G: Ironically, you're slill wearing while makeup os The Phantom. Does it toke Ihe some amount of time ta put an os KISS makeup? P: I have a makeup woman and il lokes oboul45 minules. You hove 10 lake il all very rorefully or il wilileor your skin all because lOme 01 il is proslhelirs and ii's glued 10 my lace. If I pull il 011100 quickly Inol only pull il olf bUll wind up looking 100 much like The Phonlom. G: Now Ihot you've done one musical play, do you want to do more? P: There are Ihings beingollered 10 me. AMer Ihe nexl Kill lour I know I will delinilely do more. G: Is there a particular show or rale you'd like to do? P: Nol really. There's always Broodwoy and Ihere are always new musi"ls Ihol are being wriMen and I'll jUllloke it os it (ames. It's nice to see that not only am I having a boll bUI ii's olIO being01 well received 01 il is. G: When the run ends, do you plan to toke it easy before the next tour begins? P: Yes. I would have sloyed longer wilh Phantom knowing Ihere WOl Ihis additional down lime. They'd like me 10 slay bUl llhink Ihol would be impollible ollhis point. G: How do you like working in Toronto? P: It's on Dwesome city. Agreat place. I'mso lucky. I'mone blessed guy. Everything is jusl greol and being here is great. more
greol opporlunily. Even Ihough Ihe Ihoughl olfi~1 woslo osked my opinion I gave il bullhi, was nol IOmelhingl was co·wrile ii, I ju",hrew il in her lop because I know whol l averly involved in. Ihave no inleresl in Ihal segmenl 01 Ihe can do and Iknowwhol Dione can do. 11', a grealsong and business. There are many things that are appealing but everybody', real happy. Ihal" nol one 01 Ihem. continued G: How long did it take her to write it? G: What aboul a solo album? Does Ihat appeal? G: Have you had time to get out and enjoy it? P: As ,he pul ilia me, ,he likes pres,ure and challenges. A P: Righi now Ihere', really no lime 10 Ihink in lerm, 01 Ihal. P: Only now, because lor Ihe week, 01 reheorsoll woslil· day loler ,he called me and sang me Ihe choru" which wos There', going 10 be a big Kill lour. Mu,ically onylhing I erolly going 10 bed 01 8:00. I W1], exhou"ed. Only no'wom greal, and Iwo or Ihree days loler ,he called and said, "II', would do m",icolly would compromise Kill and righl now I beginning 10 gel aula liMle. My whole don, my in·lows, done." It's great. I just wanled to see us have something Ihal', where my energy i, loc",ed. everybody flew in lor opening nighl. Bul lor Ihe Ihol wos really ,peciol and universal. The lilm hos a really G: Were you disoppoinled in Ihe way the la,t u.S. wide oppeol and Ihe sang ,hould have a really wide appeal. run went in comparison to the reunion tour, which [reheo~ol'l I was by myself Ihe whole lime. I never worked so hord in my lile. 1hod nolhinglo give anybody. G: You re·recorded .lJ Oetroit Rock Cityn so you'd was so successful and had many multiple shows? G: As far as the movie itself, you weren't as P: Belore Ihe lour ,'arted Isaid Ihi' wosn'l going 10 be like involved in it as Gene, right? losllour. When a band reuniles oher 20 yea~ P: No, Ihe film was somelhinglhol Gene oversow, I oren't sure whether or not they'll ever andit's yourone chance to see it every· il was very mUlh hi' baby. I read Ihe ",ipl belore and I kepi oul 01Ihe way. They were asking me 10 oul. I never "pecled Ihol Ihi' lour Ihal magnilude. Iexpectedil ia be very be involved on a lew differenllevel" 10 wrile some bul Ihe only way 10 lop Ihollour i, 10 new song' and whol have you. Bullhe key involve· menial Ihe bond was Ihe re<reolion 01 Ihe 78 lour. ,how. the tiltU' performers and the 3D, all didn' t work out. G: I know it wa, a very long day. What I Ihing ,ure in lile is change. When we was it like for you? i 10 bring the circus indoors to arenas P: II wos a long day, il was a 101 01 lun and inler· salely ,<odes and Ihe buildings wouldn'l allow il. esling~ enough, ,eeing Ihe loologe, I (On I good inIheary bUi as soon as you Iry di,'ingui,h il lrom original loologe. 11', a up a trapeze over an audience you suddenly good re<reolion. You (Ouldn'l osk lor a Oul you con'l. Once you lind oul alilhe Ihing' re<reolion Ihon "'ing Ihe people Ihal i I can'l do wilh a circu, Ihe only Ihing you gel il rolher Ihon geHing somebody 10 dres, up i, somebody juggling on a unicycle on Ihol. 11', very occurole and il look, good. More Ihal', nol exact~ whal we had in mind. importanlly Ihe lilm ilsell ;, looking really greol. I've ,een oboul 20·25 minules 01 il. I Ihink i to scrap it. But all in all, are you happy with Ihe way importonl lor people 10 realize ii', nolo Kill tour went? in Ihe sense 01 Ihe Beolles' A One thing thot's always the same is audience anyband making a Iilm oboullhe""eIVl!5. .If you do one nighl insleod 01 Iwo lOme· lilm aboul lour young people inslead 01 lour, Ihe re'ponse i, no dil· lures Irying 10 gel 10 a Kill conrerl because you're doing les, bul you're Ilill Iheir lickel', having Iheir lickel, (Onfiliscolled. (oiling il a Kill lilm really sell, il ,hart because il Ihon masl band,. Thol'l importonllo r",,,,,"u,,. We're very lucky and we do very well. limil' Ihe oppeol 01 il when il really has a wide appeol. 11', like Fasl urnes al Ridgemonl time around I hear you're adding and '905 songs to the set. meel' The Wizard of Oz. 11', lor ,ure. We have 10 go wilh Ihe song' Ihol G: Back to the (oncert scene, Gene said Ihe mosl popular. A,how can only be sa long. was horder thon a show where the some obscure song from the '80s is as line corries you through, since there was so - ,,"';~,,'u as playing same obscure song lram Ihe much stopping and starling. convention P: II rertoinly was a whole dillerenl animollhon doing a 70s. 11', nol Ihe cord,. The mojorily 01 people won'l ,hocked to hear aboul the pa55ing of live show. But it was Illal of fun becouse there was on audiand Psycho Circus producer Bruce Fairbairn, oppreciole il. To please a couple 01 diehard, who wanllo ence there and between lakes there was a 101 of time to who died , uddenly in May. Hi, 1055 to the mu,i, heor samelhing 1010lly remole iso'l lair 10 Ihe mojorily. inleroct and kid around wilh Ihe oudienre. Any lime I (On world, ,ay, Sta nley, i, edipsed by the 1055 to hi, uHeaven's anFire," uUck it Up," "1Love it Loud,"those are be on Iloge and Ihere', on audienre I'mall lor il. II was a family. "Anything else i, unimportanland minu,· Ihe lOng' Ihol are 'ynonymou, wilhIhol periodand 10 ploy longday bUI il wasn'l anywhere near as laugh as Ilhoughl cule," he says. "AMillion 10 One" or "8urn Bilch Burn," whol would be lhe il mighl be. poinl? G: How do Ace and Peler feel about playing those G: How did th e new song (orn e about? have a new version for the concert scene. P: Basicolly there was 0 request for 0 new song, and when P: Yeoh. The ideo wos lo coplure Ihe live leel 01Ihe song, songs? I Ihoughl oboul il rolher Ihon me wriling somelhing I especially Ihe way we were doing il in 78, which mUlically P: They're actually inlo il. We'll be ployinglhem loilhlully. Ihoughl l'd gellogelher wilh Dione Warren. In Ihil cose, I is identical to the woy we're doing il now, it's justlhat we There will be no new versions of those songs. Ace was say· didn'l (O·wrile Ihe song. I sal down wilh her, I hod a lille wanled 10 getlhe nuances and the spirit of where we were ing il will be very caollo learn Bruce'l song'. The nexllour and on ideo lor Ihe song and I said 10 her, "You wrile il." 1 ollhen. Ili,'ened 10 my vocal, and a bunch 01 old lracks is really a celebralion ollhe enlire hislory 01 Ihe band. know whot I (on do, and Diane's such a great writer. and we would have ",ed on old ver,ion bulsonically il ju,' We've gone lull circle, Ihe original lineup i, Ihe lineup now, There', always Ihe oplion 01 rejecting il. "Nolhing (on Keep doesn'l measure up when ii', caming Ihrough big ,peoke~ bUI having said belw"n 12 and 15 million album, wilhoul Me From You"is about a pledge or a commitmenlla some· on a big ",,,n. 10 we did il again. II probably ,ook IwO makeup Ihere', no reason allhis poinllo make believe Ihol thing or someone but it doesn't come from the point of hou~ ,'ort 10 lini,h. Thai', induding geMing lOund,. 11 W1]1 period never existed. At this point everyone knows this is weakness. It's nothing can gel in the way of whatever I'm a quick process. Ihe band and everyone', camlorloble wilh Ihe ideo 01 ploy· oller. G: Did you give your opinion on other songs that ing those songs. G: Did the 10" that Dian e wrote a #1 song for are going in the movie? G: There are rumors that it' 5 a farewell tour. Will Aera, mith have anyth ing to do with it? P: There are olher sangl besides KISI, ii', nol buill around it be billed a, that? P: AClually nol, I wrole wilh Diane 10 yeors ago. Dione Kill mUlic.II', a period piece. Iwos nol involved in linding P: Ilhink we ,hould ju,' wail lill Ihe oppropriole lime and has hod aboul40 lop 10 song' which i, 39 more Ihan mosl songs. I didn't want to be involved. It wasn'l necessary. This we'll ,ee. 11', 100 early 10 soy. II you ,pend 100 much lime people. Ihe', alway, been a Iriend and we li~lgollogelh· wos really Gene'l baby. Ihinking aboullhe lulure il meons you're nOlliving in Ihe er when we were doing [razy Nigh" . Thi' ,eemed like a There were odepi people aboard 10 do Ihi,. When I was present. We'll toke it as it comes. •
PAUL STANLEY
4,1998 lonighl was going 10 be somelhing sP,e<ioI 01 Ihe Academy of Srion" fiction and me to arrange for Gene Simmons to be 0 pre-
haS
land Barry-submil Detroit Rock City 10 New Un•. I reod nand am immediolely blown away. As I wrile in my toverog., Ihe s<ripllwriHen by KISS fan Carl Duprer . one ollhe looleslleen tomedies I have ever read. Mosl importonlly, Ws gal heort ond SOUHol lo mention on insighl inlo leen life tiltO 1915Ihoilruly hils home. Now olU've galla do is lonvinte Deluto Ihol my enlhusiasm has nOlhing 10 do wilh Ihe 1"'lhol ii's a KISS movie.IMy long· slonding slotus as a ralk soldier is well known around Ihe halls 01 New Une.... ) Wilh Iludio ""utive Brion i bo<l<ing me up (yel onolher suil weoned on KISS), I slole my tole. Deluca ,ells me Ihe lontepl of four kids on a quesl 10 see KISS "sounds greol." He ,ells me he will meel wilh Gen•. Th. journey begins....
annual Solum Awards. Knowing Gene's love genre, it was ano-broinergeHing him to present 10 God'illo Prod"er Dean Devlin. (II mode all, Gene is Ihe Godzillo o( ralk 'n' roll!) G.n. lime working Ihe room-<lr Ihe loble, wfIich my college buddy, Mike Del"o, who jU11so hop10 run New Une Cinemo, the company for wh~ Ianoand critique screenplays. Gen. broughl o)ong il" l'dirertarAdom Rifkin, who is ,"rrenlly riding lhe s,,Small Soldierl and Mouse Hunt, bOlh of wfIilh he Also in low is Adom'l lovely lady friend, Kathleen a film producer wfIo lonfides Ihollhe has!..en JULy 29· a KISS movie wilh Gene, Adam and KISS rolk nme hOI moved 10 quiddy and yel, at limes, ID agonizing· "lney didn" fU a'floy to lDio!gro~lher.'u",.d-mO\lie prod"er Barry levine. Wowf Iy Ilowly. WeekI of botk and lorth meetingl and negoliofamiliar. Far years I've been Irying 10 gel New \ lions between New Une and Ihe DR(folk have finally yield· , get manied, bu' Sam and tonsifer making a KISS movie. Gene and I hod mel ed Ihe grand prize- A'green Hgh!!' New line puis oul on in Ihe pDII, bUI ollempls 10 lounth a big bud- oHiciol presl release: "legendary rolk group KISS 10 make "'eloni• really bonded .n luperhero/s<i·fi epic never gal off Ihe ground. Ameri"n nlm debul in loming.of·oge lomedy." None of us ,neil trip 'a Ihis time il will be different... Ion b.liev. Ih. heodlines, espedolly m•. I've beenassigned NiagafO I Ihe duly of Assotiole Producer. Never in my wildesl dreoml fo\\li," says would I have imagined, as a 13 yeor·old lilling in Ihe lim, who roherl of Modilon Square Garden balk in '1I,lhol one day ,nopeloned .
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nd a"epl" calling Detroit Rock Otr.lhe "lOll moh"ovie· allhe millennium." •
AUGUST.8 In 'what he call, his "Iinol phOlo ,,,'ion, Barl'( levine ,hoots KISS lor e Psycho Oreus lOUr progrom. Evel'(one hom Ihelilm is invited, mOllY 01 us meeling lor the Ii'" time. II proves 10 be love at first sight. We 011 were KISS.. fans growing up. Weol! had dr.."", and we all mode them ' happen. As Gene says on thenew album, -We Are One.
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'AUGUST 80 • Vel onot~er 'wild nigh I' in Hollywood. We all ,ake linfO 0111 om co,'ing 10 oflend Ihe Blade premiere. ·GeQe bring' hi' young son, who gel, 0 bit ,cored ond as , 0 leove hallwoy Ihrough. We're aWlelt wonder· ing: Hasn'l Ihi' kid ever ,een hi' dad ,pil blood in concerl? • • •
olher guY' are over 18.) Concerned aboullhese illuel, New line as~, u',o keep seorching ...
AUGUST 26' Adom lurn, in his revised droh 01 Corl's script. Per Brion Wi~en', noles, Ihe scripl is evel! edgier and mOfe R<ated. (Originally Ihe main choracter, were 14 y.. rs old. Now Ihey ore 1) ·18.1 Righl~ 50, New line doesn'l wanl anyone fo Ihink DRC will resemble Ollything like Ihe campy KISS Meets the Phontom 01 the Park. 'With I<enes sIKh as Jom lasing hi' virginity in 0church confessional, Wsa good bel Ihey won:!!
I IAU~l[jST 27 and I do ,ushi wilh Ace ond Peler. It', omazing how much Ihese guy, know oboufmovies. Ace unveik 10 us the new olbum cover while Peler ,alks proud~ 01 the ""'nges in hi' drum solo. (He's going fo le~lale over Ihe oudi· ence!) !hioughout il all, Adam and I keep kicking each under Ihe 'able. Con Ihis r..l~ all be hapl*ning? end, Olld Adam i, off willi Kal~ een 10 Toronlo, ~:~:~~::':L.:·LD,';: -eejn decided the film will be ,hot. 8arey and lor now to conlinue casling and prep lor ",,,,;ncerl,cene, which will be ,hoI in l.A. . -
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• AUGUST 10 WHEN: rhurad; --'- -o:...'"':...~,,- WHERE: CopPs ~~ember 3, 1998 . Our production ollices hove opened. COIling hOI begun. nME: 6:30PM seum, Hamilton Eddie Furlong ond Giuseppe Andrews oudilion, As ,oon as. To """"'1 1'0 • 11 :30PM Ihey leove Ihe room, we 011 look 01 eoch olher with greal (4161 big 'miles. We know we've lound two 01 our 10urJeod, on AUGUST 23 912 0,1'817'663• 6646 Ihe vel'( fl'" doy. Curly! • Adom ond Ko hle' n You IOUSI call I woreho,use of personal "~~m"l\1o, ~UNRESER'If~'!Osllerv,~ SUBce. AUGUST 15 robilio,' which he ha, ...........___.... _ :' I,,,IICEIII ..... - .,.,.... _..., Gene invites me to his house for a bull session how to us use as props for besl promole Ihe film . In hi' privale ollice he ,hoWl me Production Designer Sieve Hardie is olso given hi' mony liles on evel'( KISS project you could pas'ib~ lour. One 01 Sfeve's mony"fask', will be fo recreole Ihe • 01 "Oelroil Rock City" imogine. The inore I gel 10 know Ihi' guy, Ihe more lam classic Love Gun stage for the climactic toncerl scene. • for our concert sequence, Paul points out that the trock may Welruly are going bock j n lime ~ • • sound a billlinny when pumped Ihrough loday" modern in o..we. He truly is 0 one·mon war mochine. I'd belte walch out... .. THX sound 'yslem,. We 011 ogree, ond a dole i, sello re., record the tune. (on" wail! AUGUST 18 AUGUST 24 And nowthere ore three! Newcomer Jimmy DeBello audio Having oudilioned nearly every leen "or in Hollywood,' SEPTEMBER 17 lion, lor Ihe role 01 'Trip' and nail, il on Ihe heod. (Full 01 we linolly lind our 'J!I!l." Hi, nome i, Som Hunlinglon Well, 01 leo,'Ihe DRClodies ore ,hoping up! Rounding oul benevolenl miIChiel, Jimmy Iruly i, a Irip.) Having jusl and he ouditioned vio videolopelrom hi' home in New our co,' now ore Melonie Lynskey 05 Belh (yel onolher ,een Slums of Beverly Hills, Adom i, high on Ibe lilm', (Hampshire. He has just the right mixture of innocence • video oudilion!), tin Shoye 05 Mrs. Bruce (Jom', Mom) and "or, Nalasho lyonne. II ,he i, inleresled, Adam won', 'o ond edge. Unlorlunolely, he is 16 yeors old, which Shonnon Tweed as Amando. Despile wholsome ore Ihink· oller her Ihe role 01 'Chri"ine Sixteen.' Turns oUllhe i, meons sel leochers and shorler work hours. (All Ihe ing, Shannon was not hired becouse of Gene. Ploin and sim-
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part. I mean, what ad~"cent about the sexy and smart Ms.
schooling. I toke this to heart, sending Sam a lore pockage of book, and videas courtesy of Gene. Forget math and science. 1\', time for some KISStory I"sons! OOOBER 3
the Psycho arcus Press (onference at Busy prepping in Toronlo, Adorn is he sends a life·,ize cordbO<lrd cut-out in love this guy! I take the opportunily to extras in our upcoming (oncer1 scene. II over the that we hand out, bool, orti" B.od Parker with a liflfe help about hands..n!) Iremind everytokes place in 197B, so no Marilyn
the euphoria of the day before, there is no as they ,tepinto Tone King ,tudios to record "~.'-as, new version of "Detroit Rock GIy." I have to myself as Paul guides tM guys through the play to hord rock perfection. Thi' slrould def· t" illllltw~ up those who doubt the musicol unily of KISS.
Mystery mee~ KISS when Brion WiNen and myself bring Eddie, Giuseppe and Jimmy to hong out with the band for the first time .. Bock,toge at the arena where KISS i, rehearsing, we ,hare dinner and ,hoot the ,hit. (ourt iesters that they are, Jimmy and Ace bond instantly. Gene slrines tM spotlight on Eddie, proi,ing him for hi' work in American History X. Giuseppe reveal, hi' dad was the guitarist for the Bee Gees, impressing all. The evening ends ~h Paul hosting a private screening of KISS' new 3D video_As Peter hand, us our glasses and the ligh~ dim in the emply, giont 'tadium, it', hord, ome ogain, to believe thi' is actually realily. We t.ulyore inthe Psycho arcus!
the 'cenes between ouc I...r heavy metal hero" and their disco fa". The on·screen cMmisfry is magic, as if the guys have been friends forever. Off-screen it" 0 liNle different. Eddie ond Jimmycon usually be found in thei.trailers playing Nintenda. Giuseppe pretty mUlh keeps to himself, curling up with an intense foreign filmor book. Sam ,pend, mast of hi' 'free' time being tutored, always under the watchful eye of hi' super caol mom, (hri,. OCTOBER IS
Bock in LA., I focus on coordinating the pending concert ,cene. The film rushes fram Toronto arrive doily and they look great. 1\', really exciting to see the word, of the sc.ipt taking slrape on the screen. As a KISS fan, I tell Adam that Iwouldn't wont anybody else dicecting tM KISS movie. OCTOBER 22
Hoving shot the scene where Giuseppe rescues her from ,limy car thieves, Hotosho completes her WIlrk on ORe All In tM 'some thing' never change' department, Kathleen i, agree ,he', brought a certain edge to the film, ond it', t~d by a prominent fast food chain that theywill not allow tough to see her go. Eddie see,", particularly sod. Word has us to show their product in our movie because they ore · 0 it the two got olong quit. well... fomily business and, don't you know, KISS ,tand, for Knight, In Satan', Service!"Talk about life imitating art! OCTOBER 26 _ lER27 The Toronto crew lontinues to endure mony cold night, of filming from dusk till down. Thousand, of (anadian KISS crew diligently build, se'" sews co,tum" and OOOBER 7 ~!fII!~'Yinloge knick knocks in our ongoing 'journey to Along with the four guys I fly to Toronto, where they final· fan, ,how up far th. "(abo HolI"exterior crowd ,cenes. l\', Onematogropher John LeaneNi break, the script Iygather as a groupfor the first time. Dressed intheir '70s tough to entice them to ~ilk around, however KISS doe, into ,toryboord, with Adam, and meet, with me in gorb ond wig' (ot lea~ in Sam and Jimmy', case), they i~ that, grOliously donating tons of autogrophed goodies scout the Sports Arena where the concert i, set to be truly look exactly how we all envi,ioned! Brent Wood, Ifor- " well" a grand prize trip to L.A. to meetth.m. . So for the response for extro, has been overwlrelm- mer Vince Neil gu~ori't) gives the guys some quick music thank, to the Metol Edge and KISS Otoku W.b ,~". lesso.,. Only Giuseppe knows how to play, however it do,,- OCTOBER 27 ore coming from as for away as Jopan in order 10 be n't really moNer 0' they will all be miming to a purposeful- Eddie flies to LA to aNend the Americon Hi,fory Xpremiere of KISStory, astounding the cast and crew with their ly rough, goroge version of "Rock and Roll All Nite" previ- where I introduce him to Shannan. Gen. iokingly warn' ~thusilllSm. Gene, Borry and Itoke it all in ,tride. We knew ously recorded by hot LA_bond The Devil Roosevelt. Later Eddie that he beNer nail hi' upcoming love scene withher in that we could count on the KISS ormy. on Eddie records lead vocal, for th. trock. listening to his one fake. Bockin Toronlo, Paul's wife, Pamela Bowen, noik Sid Vicious·like warbling, it', hord tobelieve ,hat bockin hi' her sc:ene in one toke. In 0 hilarious comeo as one of the 12 days Eddie was octually a pop ' inging sensotion in "M athe~ Agai",t The Music Of KISS; ,he ad libs a 'pee(h of the fast"t moving proierts infilm Japan! completely denouncing the 'Star (hild.' I come in three month, ago and in :..Inl' wer,k wle'li oogm Ilimll'g' As of y"terdoy, we ,till don't OCTOBER 9 OCTOBER 30 our Jam. with DeLuco and make the The first day of filming! In order to beat the pending winter AMer KISS onnaun", they will perfarm in Toronto, it is cose again for Sam. Sati,fied he truly is the best for the weather as well as o((ommodot. Natasho', schedule, we decided to ,haotthe pending concert 'cene there 0' w.lI. role, DeLuco agrees to hire him and let .us work out the begin a week and a half of outdoor photogrophy inyolving Thi' means calling off the L.A. date, which means Ihave the OOOBER 4
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NOVEMBER 19
Uke 0 5Cene lrom Ihe movie, l<im ,lays behind oher his mom relu,es 10 lei him join Eddie, Ji!!1my ond Giuseppe of Ihe Morilyn ManIOn cancert. This provides jusl lhe righl motivation for the scene where Un, h;s movie mom, bums Ihe KISS tickel,!
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NOVEMBER 21
Lasl doy 01 High School. In behveen shooting 5Ienes where Ihey ore chosed II1rough Ihe halls by Miles Dougal (obsolule~ bystericol as Elvi,lhe Socurijy Guard), lhe guys pase lor our owesame sel phalagrapher Chris He!cennonos· Benge in a series 01 ,hoi' 10 be used for lI1e movie poster. The rebelliou, nalure 01 IHeir charoders ,eems 10 hove gol· len Ihe bener 01 lhem. Goofing off, Ihey crock ooch oll1er up, driving Ihe genleel Chris crazy but making lor lOme Iruly cool rock 'n' roll POles! NOVEMBER 23
finally, 0 day off! I lake Sam and Melanie 10 Niogaro Folk where "'lour Ihe loll, 05 well 05lhe Hounled House onroc· lions. Thelwo 01 Ihem ore obsolulely odoroble. By lhe time '" hood bock Ihey hove truly bonded, "'lUring Iheir on· 5(reen romonce will be campltlely bel~voble. NOVEMBER 26 Being Ihol we ore in (anodo, you'd never know it was Thanksgiving. Instead of turkey we get (hicken, working
Ihe entire holidoy os Jimmy mms lI1e hoId·up 5Iene ollhe convenience store. Maybe irs the horne-sickness we all are lelling, bul when Jimmy hos 10 cry on comero, Ihe whole crew gel, choked up. NOVEMBER 29
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Gene orronges 10 bU'lhe CDII ond crow 10 Buffolo 10 see Ihe band in concert. Aweslruck, we loke over Ihe enlire 51h ro'w. Pele Schink, Ihe lilm', edilor, ond Irock oullike we're 13 years old again. Sam keeps storing at us, later confessing how Adom lold him Ihot', how he should act when '" film Ihe upcom· ing conc"" 5Ienel Highlighl 01 Ihe evening: Paul dediCofing "Delroil Rode (ny"lo Adom ond lI1e resl 01 us! DE(EMBER 1
unenviable IIBk al phoning 5000 die·hard lans and bosi· cally lelling Ihem Ihal KIS5mas has been canceled! OCTOBER 31
Halloween! KISS! Dodger Siadium! As Ihey hoppen 10 b. in LA., bolh NOlosho ond Melonie ore oijlelo onend. The girl, bOlh love Ihe ,how, espe<iol~ Melanie who gels oilleoryeyed when Peler ,ing' "Belh." ,
Entertainment Tonight "plures n 011 on video as Eddie ,Irip' 10 hi' KISS boxers. The lemole extras go wild lar real. prompling Eddie la lell reporters he', can,idering 0 job oHer lrom Chippendole". •
NOVEMBER' 6
NOVEMBER 13
I fly in 10 Toronlo lor Ihe resl 01 Ihe ,hOOI, ju,l in lime lor Day 20, our holfway poinl. Time reolly does fly when you're having lun. And lun Ihi' Iruly i,. The production... office reminds me of Sonlo's workshop with everyone resembling o~oom 01 elves working hord 10 recreole KISS monio. Despile Ihe grueling hours ond challenges, it', 011 0 lobor 01 love.
Giuseppe shools his big momenl---<J chose Ihrough Ihe area 01 a KISS concert. Bikini babes abound as Giuseppe refuses a ,Iunl dou~e ond performs hi' .own stunt, a slide down on escolator roiling.
NOVEMBER 10
The normolly 'hy Eddie linolly lei' 10050 Jilh hi' big donce scene.
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The boys perlonm "Rode ond Roll All N~e" on a sel crammed wilh memorobilio. D8\!Ine lI1e .",II.nl iobol Ihe art deport· menl, lOme KISS poslers hom Ihe Oynos/y ond Elder eros ,lipped Ihrough. Adam and lleor Ihem down 10 Ihe shock 01 Ihe crow who Ihink we're over· onenlive 10 delail. but bener Ihei~ Ihon Ihe wrolh 01 KISS Ions! DE(EMBER 2
The nig~1 belore KISSmos. Tomorrow i'lhe day we've tieen woiting for- Arecreation of ther'18 love Gun concert! I (eove 0 mes50ge wilh Gene regording Ihe cosl1)mes. Never coo,ing 10 omoze me, he coli, me on hi' "II phone lrom bock'ioge 01 0,how during Peler', drum 501o! DE(EMBER 3
NOVEMBER 17
For Ihe lasllhree doy, and nexl lour we ore camped oul 01 Ihe local High School. 'mming 011 our 5Chool ,luH. (lOIse, remain in session, and we must shoot our scenes between b~lI,. AI lirsllhe 'Iudenls' curiOlity di,lrocl, our octors, bUI eventually everyone gel, used 10 eoch oll1er.
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JUlI oslhe kid, in our scripl have been on Iheir/'ourney 10 KISS, 50 have we all. Now, wilh Ihree doys leh 0 ,hooting, we linolly come 10 Ihe 'money ,hoi.' Thi' is our aimox, our grond linole. Uke KISS Ihemselves, il mu,l be lorger Ihon life, a romanticized versionof the real thing. 6 AM: I ,how up in he cold, cold dark 01 morning along
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ordered 10 give ~ bock. Are'ssmoke bomb foik 10 worIr the fi~I time, but on Ihe second lake lhe <omeras <oplUre il all in Auid slow molion. Peler has his big momenl when he losses his drumsli<k inlo the uowd. Sam is meonl 10 <oIm ii, whilh he does every lime! Gene breathes fire and spits blood on cue. When Ihe Insl uimsan drop h~s Ihe slage, KISS is done for rhe day. Everyone hu9' good·bye, Ihonk· ing Ihe bond for Iheir lonsummate performonre. 8uI we're nol done yel... 11 PM: We still need 10 shool rhe uowd reactions. Decked • oul in wigs and 20 year·ofd KISS <onrert lees, film ed~or Pele \chink, wriler Carl Dupre ond myseH stand behind Eddie, Sam, Jimmy and Giuseppe for our <omeos. When Adam joins us for a mome.I 10 give directions, the import of Ihe four of us slonding lagether truly hils home: Hawk, Jam, Trip and lex are us. O.'ro;' Rock City is our story jusl like il is of anyone who has ever hod a passion, a dream, and a need 10 rebel against IOnformity and Ihe mundane. KISS represenled Ihol dream 10 us 20 yea~ ago, and now, wilh our dreams having lOme lrue working side by side wilh KISS on Ihis movie, lhe message lOuldn'I be any dear· er: you gotto believe, 'cause anything's possible.
POSTSCRIPT: JANUARY 25, 1999 8ack in LA., wilh lhe winler rains beoling oulside my win· dow, Ihe whole experience seems like some (laZY dream. PosI·production hits Ihe reality home, however, as we are knee deep in Irying 10 gel lire film ready for Ihe February sure everything is ready for Ihe sedion of Copps Coliseum {where roped off and dubbed KISSLAND. oslumesond moke·up ki~ lie in wail. familiar voice of lour manager Tommy has enlered Ihe building! Obviously lired Ihe nighl before, Ihey have nonelheless (Quile on achievemenl for Ace!) Gene i usual greeling (Tim Sullivan, you're a man ... : ) and asks me 10 show Ihe mil in dorlmess, I use a flash· Ihe hall. Suddenly, Ihe house lig~ Ihe inm.by·in<h perfedly r",eated sloge. A<hill runs up and down my spine Paul, Ace and Peler see for Ihe filS1 time Ihol Sieve Hardie has done. The nostofgi< is obvious. This is 0 very spedal moment dosed doors, Ihe bond has been busy IUm·
and 0 thunderous roor goes up. OUf harried assistant direc-
lor Iries 10 <olm everyone down, but no one listens lill Paul lakes Ihe mike. "Hello Hamilton!; he shou~. "Are you ready 10 r"kr Wilh Ihol, Adam <oils"Action!"The wonder· fully familiar opening chords of "Detroil ROIk City" begin, sounding like on old friend. As smoke bombs explode and
81h lest screening. We hove wrapped i1 Toronto, the last
day of shooling being qu~e sod. For llreir dedi<oIed perfor· monres, Eddie, Sam, Jimmy and Giu"'Ppe were mode offi· rial r"k sold~" and were ofl given KISS ARMY lealher jOlkeis <ourtesy of Gene and Ihe bond. If Ihey weren'I major KISS fans before, Ihey certainly are now-
KIS~~des<5en:d~s~fro~m~I;he~r~oh~e;rs~li~ke~g~O;ds:::;;,po~rl~i<~ul~or~IY~S~o~m~,~,o~~~~~§tl
from above. Irs lruly a sight 10 behold. For five glonaus min· fireballs erupl, utes, everyone is transported
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costumes from the reunion tour have
by Iheir wardrobe girl, who h~ps Ihem will be wearing hair ,,'ensions with a 10 mol<h his '78 look, and Ace has been Ihe blue eyeliner as he didn'l slort wearing 1- onollherdeloill've <ome up wilh Ihollhe (lew "-1Il.omp,lelely <oslumed, Ihe bond slolks inlo Ihe press for action. Alump forms inmy Ihrool. They look Ihey did Ihe firsl time Isow Ihem 20 yea" ago! Ihe <omeras slort flashing for Ihe movie posler pholo even 80rry levine <on'l help himse" and pids up a oboul d'ji vu... KISS is soon joined by Myslery grand lime is hod by all as Ihe dossi< poses are Ihe 'young ones' looking on in owe os they ore by Ihe Ihomps how ii's done. KISS re·enlers rhe arena, where Adam is blacking Ihe wilh KISS Iribule bond Ho"er Than Hell. II's a surre· I
os KISS, sitting in director's choirs, watches their
<OUlllero"rls00 Ihrough Ihe molions. Aherwords, Paul slyly Adam, I we've gal il: IPM: The fans have arrived indroves. In asS<!mbly·line pro· gression, Ihey have all been oudi"ed in wigs and vinloge dOlhing. The mood is exuberonl if a bil impolienl as Ihey wail for Ihe shoollo begin. Suddenly, KISS ,akes Ihe sloge
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10 Cabo Hall, 1978. Pure marie magi!. 8PM: For Ihree hours KISS have provenlireless, performing "Detro~ R"k Dty' nearly a dozen times as Ihe <omeras film Ihem from differenl angles on eOlh lake. In between lakes Ihey give oulogrophs and pose for pi<lures.The uowd <on'I gel enough, and KISS <on'I slop giving ilia Ihem. Ahigh· lighl "curs when Ipull a li"le boy onlo sloge who is dressed exactly like A". His eyes welling wilh lears, Ihe boy wraps his arms around his hero Ihe some way a Ihild would embrore Milkey Mouse 01 Disneyland. This genuine expres· sian of love receives Ihunderous applause from Ihe uowd. The boy speaks for us all. 10PM: Now Ihol we've shol Ihe enlire group ii's lime 10 go for Ihe dose·ups. Paul breaks his guilor and exlends ilia Ihe oudienre. An exira runs off wilh ~ Ihough he's been
gave a Peler Criss medallion he soys he will wear 10 Ihe premiere. 8uI there is so mUlh 10 do in so little lime before Ihen. Barry and Adam are diligenlly pick· ing Ihe dossil r"k songs Ihol will proVide Ihe groovin' bolkdrop 10 Ihe film. {30%will be KISS, 70%olher bands.! KOlhleen IOniinues 10 ove~.. all Ihe production losls, bal· ancing creativity with finance. I trock the promotion and publirity, along wilh any olher li"le silualion Ihol mighl possibly slip Ihrough Ihe u"ks. There's the F.ngar;. IOn· vention in New York where Gene, Adorn, Som and I sue-
ressfully show foologe for Ihe very firsl lime. Voire·over dubbing. Sound mixing. Amusic videa. And of lOurse, a brand new KISS song wrinen especially for Ihe movie by Dione Warren, ' Nolhing Can Keep Me From You.' Saan, our job will be done ii's up 10 Ihe New Une Morkeling and Publirity wizards 10 spread Ihe word. Wholever happens, Ihis Iruly has been Ihe besl lime of my life. •
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MAIL TO: STERLING/MACFADDEN DEPT. KISS路2000 CAL 35 Wilbur Street, Lynbrook, NY 11563
11.e oJ/icid l:iM :1.000 walL ~ Sed $1:1..99 (+ ~) r;.;u/. ~l:iM~!
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DFREE GIFT-ORDER 2 OR MORE! Add $3.00 for shipping. Plus $1.00 additional Postage for each additional 路calendar. TOTAL $_ _ __
Check or M.O. payable to STERLING/MACFADDEN VISA D MASTERCARD #_ _ _ _ _ _ _ _ __ Exp. Date _ __ Signature _ _ _ _ _ __ _ _ _ __ __
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Nome ------------Address - - - - - - -- - - - - - - City _ _ _ _ _ _ _ _Stote__ Zip_____ NY Siole residents add sales lox Conodo: odd S5.00 for postage. Foreign: odd S1 0.00 for postage
Seod lorl. M.O. for u.s.doll," drOWll 00 u.s.book.
F~
Tim
WHO CaNT &BT BNOUQR aRffff ~
Sl"lredder M ark 51. JOl1n is bac k wi tl1l1is besl effon to dal e in the form o f l"liS new band MSJ PROJECf. Mark along will"! vocalist P11i1 Naro (CRISS. Talis). basSiSt Sian Miczek (sass Jord o n . Ho neymoon Suile) and d rummer Roger Banks (Naro. Empire) g ive you a s m okin' five song Limited Edilion EP lI1al will floo r you a ll. Mark is back.
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Be e nlighte ned and entert ained b y 111e man who e ngineered a rock 'n ro ll pllenomenon. Legendary KJSS Manager Bill Aucoin d e livers 13 knockoul. lImold slories g iv ing KISS d iehards behind the scenes insight, jaw d ropping accounl s and side-splitting tales from his days a l the helm of the KISS m aclline.
1..001
with Special Guest
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N£~~
MON9'ER
with Special Guest
Spet'lallh'e performa nce by
Spet'lat U"e perfomlance by
CREATURES OF THE NIGHT
Milwaukee's tribute to KISS!
1'l'lilwa uket's tribute to KISS!
Sunday A u g us t 29th, '99 - II to 8pm Rollerworld Center - Parma, Ohio 53 10 Hauserman Rd (1-480 & Teideman)
Sunday October 3rd, ' 99 • II to 8pm Holiday Inn - Hillsid e, U1inois 4400 Fron ~ge Road (exit 17 oIT 1-290)
• KI SS dealers Irom USA, Canada & Europe! • Free door prizes and giveawaysl • KISS, KISS, KISS alt day long!
, KI SS dealers Irom USA, Canada & Europel • Free door prizes and givea ways! • KISS, KISS, KISS all day long!
$15.00 In Advance - $17.00 at the Door
$15,00 In Advance - $17.00 at the Door
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To charge call (216) 241-5555
P80JJOCrJON~
To charge call (312) 559-1212
$9.99 US
BILL AUCOIN 13 Cillssic KISS Stories $ 11.99 US (add 53.00 S&H to US/Canada - 55.00 Inl'l) and send to: L~
with Special Guest
Additional Special Guests!!
Mark St. John & Bruce Kulick Sptocialli.-c! performanct' by
a-SIDES KISS Wtslem New York's lribul e 10 KISS!
Sunday November 7th , '99 - II to 7pm ueensway Lions Center - Etobicoke, ON 3 Queensway Lions Ct (Kipling & QEW) • Dave 'The One Man KI SS Band' pertonns livel • KISS dealers Irom USA, Canada & Europel • Free door prizes and giveaways! • KISS. KISS, KISS all day long!
TIckets 515,00 at the Door onty
NH'i MO!oIUER RKOlUl'i
P.O. Box 39253, 235 Dixon Road Elobicoke, Ontario M9P 2M5 Canada YNIW.tochnessmonsler.net
1999 KISS EXPO LINE-UP...
with Special Guest
CREATURES OF THE NIGHT
MARK ST. JOHN PROJECT Limited Edition EP
WARNING!! CONTAINS VARIOUS NEVER BEFORE SEEN 'UNMASKE D' PIIOTOS
DONTBE TH E LAST ONE ON YOUR BLOCK!
-tr'r~~t
with Special Guest
Speclal li,'e performance by
DRESSED TO KILL New York's tribute to KISS!
OTHER GUESTS TO BE ADDED! Special lh'e performa nce by
PSYCHO CIRCUS
Sunday November 21st, '99 - 11 to 8pm Holiday Inn - King or Prussia, PA 260 Mall Blvd. (by King Of Prussia Mall)
Los Angeles' tribule 10 KISS!
• KISS dealers Irom USA, canada & Europe! • Free doo( prizes and giveaways! • KI SS, KISS, KISS alt day Iongl
• KISS dealers Irom USA. Canada & Europe! • Free door prizes and giveaways! • KISS, KISS, KISS all day long!
$15,00 In Advance· $17.00 at the Door
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February 2000 TO BE ANNOUNCED!
~2i2~
~~~~ To charge ca ll (215) 33&-2000
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For expo ill/ormatiol/ e-mail: productiol/s@locllllessmol/ster.l/et - For dealer il//ormatiol/ ol/Iy call: Stepltel/ (416) 242-3580
by Gerri Miller lIAs a kid growing up in Chicago, Adam Rifkin idolized KISS and dreamed of making movies. The fact that he directed a KISS movie is one of those dream come true things he's still pinching himself over several months after shooting wrapped and as the film is about to hit theaters. "It's really exciting," he says. "It's exactly the reason that I wanted to be a filmmaker, to make fun movies like
this that I relate to and believe other people will relate to as well." We talked about his Detroit Rock City experience for the fi rst time in January, while he was supervising the editing of the movie and again in April, during the final sound mixing on the film . G: Now t hat it 's done-the shooting at least-how do you fee l it went? Take me t hrough the process. A: I'm really happy with the way it all went. It all came together so well. It all fell into place. It's bizarre because never before have I experienced a movie green lit this fast, going into production this fast , and being released this fast. From our first meeting at New Line on June 29 last year, it's 13 1/ 2 months to the release . G: Pretty fast. Was that more difficult? A: Well, movies, when everything is going really right, they're still hard to do. There are so many factors. Making a movie would be a hell of a lot easier if you didn't care how it turned out, but everyone involved in this movie cared so much. It's such a personal project for everybody. There are so many KISS fans involved in making this movie, myself included of course, and in addition the people who aren't necessarily huge KISS fans grew up in the '70s and are big music fans. It really tapped into everyone's personaL .we all can relate to and are taken back to a certain time in
our lives as a result of this movie. It taps into some chord and I'm hoping it translates to the audience. 14, 15, 16 yearolds will relate to it because it's about 14, 15, 16 year-olds, and 35 year-olds and up will relate to it because it's nosI and it makes them feel
again. I'm hoping it will cross all age boundaries. G: You shot in Toronto. Why there? A: We decided to shoot in Toronto for a number of reasons, economics being a big one. Also, they have really good crews there. At one point we thought about shooting in Detroit but it was costprohibitive, as was Chicago, as was Los Angeles. Toronto offered us all the locations we needed for the best price. G: On the other hand, you had to deal wit h the cold. A: That wasn't the good part. G: What about the Canadian content rule? Did that limit your use of nonCanadian personnel?
A: We had to have a certain number of people in it from Canada and we could only bring a certain number of crew people from the U.S. There are gives and takes. Most of the character parts were
played by Canadians and played brilliantly. Canadians played the priest, the guy who robs the Smiley-Mart-many secondary and supporting characters. The crew was predominantly Canadian and they were phenomenal. G: What were the biggest challenges you faced on the shoot? A: One of the things that I like to do when I'm making a movie is really pre-
pare every shot. I do a lot of storyboarding. But this movie went so fast that there just wasn't time. A lot of this movie was captured by intuition more than preplanning. G: Was that a problem? A: In a way it actually worked better for this movie than I ever would have anticipated. It was way more spontaneous. As a result of everyone just sort of jumping into the fire without knowing really what to expect, there was a tremendous amount of energy and excitement and spontaneity that arose that would have been diffused to a certain degree had we stopped to prepare everything so meticulously. Still, every day was a new challenge because there was not one
easy day on this movie. Even th ough it's New Line, which is a big studio, and it's a big release, this movie was made on a rock 'n' roll budget. It's in the $15 million dollar range and for a studio movie that's a really low budget. One of the places there's compromise when you're working with a smaller budget is the
amount of days you have to shoot. We were working longer days and we were packing in more into the days. We were doing so many setups and scenes in a day that literally by the end of the day you'd have forgotten what you started out with. There were never any light, easy days. Every day was packing everything in to the gills, which also made for a great deal of spontaneity and excitement. There was no time to sec-
ond guess. That's not to say that we didn't do the amount of takes that we needed to get it right. We shot about 550,000 feet of film, which is a lot. If we'd had time to storyboard, we'd know exactly what shots we needed and only shoot those shots and be able to get the scene shot in a more economical way. We didn't so we had to cover ourselves. But it all added to this great rock 'n' roll spirit that I believe translates to the screen. G: What was the hardest day to shoot? The concert scene?
A: Yes. Every day was hard, but by far the most intense day I've had on any set on any movie I've ever made was shooting that concert scene, for a few different factors. We had one day to shoot the finale of the film . KISS' schedule was so tight. They played a concert the night before and had one the next night. We had th em for one day and one day only. And if we missed it, we were f.cked. If we missed it we'd have had to rewrite th e ending of the movie. It wasn't like we had another day to shoot it. We had 8000 or 9000 extras showing up to see
KISS that day and if we fumbled that ball we were screwed. G: Could you sleep the night before? A: Of course not! The pressure was definitely on. We had five cameras. They were in different spots each time we ran
through the song. Several days prior, Steve Hardie, our production deSigner, and his crew were constructing the set to the specifics of the original Love Gun stage. G: How close? A: Well, there was a little movie magic. On the real stage those steps light up, you can walk on them. G: And these are just for show. A: Exactly, but it looks great. (Unlike) a stage for a rock 'n' roll show that has to travel the country for two years, it doesn't matter how practical it is; it just has to look right. We all walked out on the stage and it blew us away because it was just like we remembered. So we got there pretty early, we were going to start shooting it around noon. But of course we didn't start shooting till about four. KISS got there around the time we arrived, around noon or one. If there was one day that we planned, this was it. I likened pulling this day off to what it must be like to pull off a bank heist. We had a certain number of hours to get everything we needed, we had to get in and get out. At the outset we knew we were going to lose KISS at 10 PM, but they ended up staying till one in the morning. We didn't know they were going to. They were so cool and so cooperative. They stayed till th e last shot. But anyway, we made floor plans of the stage and the arena. Each take we diagrammed where we were gonna put
the five cameras. There was no time to waste. Every time we'd run through the song we'd have to reload every camera and there'd be down time, and also there'd be down time reloading the pyro, which takes a half-hour. So we decided that in each set up we'd do one take with pyro and one without just to get additional coverage. The clock was ticking and I was getting really nervous, and the extras were showing up en masse. more
Finally we were ready to shoot the first _ _take, we had monitors off to the s,a'e,__ and the electricity in the air was really powerful. I got up on stage and told the extras not to hold back. I knew they - -weren't going to but I wanted an to get on stage so that I could announce the band. I told them to go crazy, and then I said, "You wanted the best, you got the best, the holiest band in the world, KISS!" They went nuts, and I had would be to put all th e famous icons of a a lifelong fantasy fulfilled . KISS went KISS show into the one song. Breathing through the song probably 10 times, five fire, spilling blood, smoking guitar, floatcameras each time so that's a lot of ing drum kit. Sure, the diehard purists footage. And here's why KISS is so cool. are gonna go, "Wait a minute ... " but it's Any other band, after the song would go in the spirit of the movie. Poetic license. away while we set up again. They hung We took the liberty, all of us, not just me. out on the stage, signing autographs. The band told me to do whatever I wantPeople would come up, very well ed; I'm the director. There I was with four behaved, to the lip of the stage and KISS nine-foot tall superheroes telling me, would lean down, and sign T-shirts, "We'll do whatever you tell us to do." women's breasts. Kids were being lifted That was pretty incredible. But KISS is up to take pictures with the band. They larger than life. The whole idea is to blow were so gracious and cool. KISS knew people out of the water. We can't show a that if they left the stage a lot of the whole KISS show, and they wouldn 't extras would leave because they weren't want to show a whole KISS show. They being paid. We did pay around 500 want to give people a taste of a KISS extras. The others were there because show so people will go see KISS live. they were KISS fans. So KISS stayed The idea was fo r the end of th e there and signed autographs and talked f ilm to be ind icative of the concert. to the crowd. Paul would keep them So after we finished shooting the song a number of times, we put all five cameras hyped up by yelling to them and stuff. The intensity of this day I can't put into on Gene and watched him blow fi re, and words. There was so much to get in so then we put all five cameras on Ace and short a time. After we finally got the first had his guitar smoke. G: Were there any technical difficulshot off around 3:00 or 4:00, we realized that our plans that we so meticulously ties? orchestrated were out the window. We A: Ace's guitar didn't smoke on the first had to wing it this day too, which worked take. Something broke. A small technical fine also. We threw away the plans and snafu. But we got it perfectly on the secgot what we could get. But the pressure ond take. There's a part at the end where was on because we didn't want to forget Peter throws his drumstick into the anything or blow anything. crowd, and Jam catches it-Peter's his G: Did you find out later that you idol and he's the drummer of their band, missed something? Mystery. Peter had a bucket of like 50 A: Just lillie things nobody else would drumsticks and threw drumstick after give a shit about. I wanted to get a d r u m stick. Sa m only caught a close-up of Gene's fingers on the bass few bu t we faked that w i th cuts. strings and it never happened. I could The last take we did with the band was have had one of the cameras get close Gene spilling blood because we couldduring one of the takes but I didn't, and n't clean him up [otherwise). That went when we were editing the concert fantastically. Got it on the first take. After sequence someone mentioned it. the band was gone, and all the extras Anyway, we had mapped out the song, that came to see KISS were gone, there verses and chorus, where things would were 500 extras left that we had paid. happen. This part of the song, Gene G: Why did you need paid extras if so breathes fire. That part of the song, many fans came willingly? Ace's guitar smokes. A: Because we couldn't tell the fans G: In concert, those things don't usuthat came for free that they had to stay. ally happen during "Detroit Rock They leave when they want to leave. City." We could keep the 500 for as long as A: We wanted the concert scene to be we wanted . We got them through larger than life. We can only show one an extras casti n g age n cy. song. We wanted people to leave the So we packed t hose peop l e theater feeling like they've seen a KISS around o ur four kids and put the camconcert even though they've only seen eras on their faces wh ile Holler than Hell one song. We felt a fun way to do it jumped around behind the cameras,
going through th e song a few times. We got a bunch of close-ups of the kids screaming and cheering. G: When it was over, how did you feel? A: I felt like I'd just been through Vietnam, like I'd been given my honorable discharge from some bailie somewhere. It was amazing, the weight that was lifted. The hardest thing was now over. You never know while you're shooting if by the end of the day you're gonna have everything you need to make this scene the best it can be. But we got everything we needed. G: After that, how many more days did you have left to shoot? A: Only about three days. It was weird. We went from shoo ting the most intense, the most exhilarating, the most raucous thing I've ever been involved in shooting before, with th e biggest scope, the most extras, everything, to a lillie scene with mom, Jam and the priest the next day. It wasn 't anticlimactic; it was a welcome relief. That was a heavy scene to shoot all in one day, but in comparison it was an easy day. If we had shot it before the KISS concert it would have seemed like a heavy day. Shooting it afterward, it seemed like a walk in the park. It was a welcome relief. We had a couple more days after that. Then we had the big cast and crew party at a bowling alley. G: But your work wasn 't over, was it?
A: No. We came back from Toronto and immediately Pete Schink and our other editor Mark Goldblatt continued to assemble the picture. Pete had been assembling it all the way along. He was up in Toronto with us. The dailies are what we shoot, the raw footage, and he assembled it really quickly. It's called the edited assembly. I'd go in the evening and check it out, at the production offices. I'd check out some scenes and discuss what the best takes were. When we were done shooting they packed up all the editing equipment and shipped it back to L.A. Because of our accelerated schedule we had two full time editors, two secondary editors, and five AVI Ds in order to get this done in time. Pete worked on just about all the movies I di rect ed, The Chase, The Dark Backward. Mark Goldb latt edited Terminator, Terminator 2, The Last Boy
Scout, Armageddon, Starship Troopers , a lot. It's a phenomenal compliment to us that New line would feel so confident in the film that they would pay for someone of his caliber, and also that someone of his caliber would want to work on the movie. G: What's the biggest challenge at this stage of the process? A: The rough cut came in at about three hours long. The hard part is cutting stuff out without compromising the story and not losing too many good moments. The good news is that any scenes that get omitted will be on the special DVD edition. G: Did any scenes or characters get taken out completely? A: We didn't cut out any characters but a lot of scenes got cut, or cut shorter. Most of the stuff that was cut out was just fat, although there were a couple of great scenes with Eddie, great character stuff, that we had to shorten because they unfortunately slowed down the pace of the film and didn't really fit the tone. There are certain things you read and you think, "This doesn 't propel the story forward, why should we bother shooting it?" But then you shoot it and people love it so it's a good thing you didn 't cut it out. It's better to have too much than not enough. But the original came in at three hours, way too long for a comedy. The running time is now
about 88 minutes. G: How much did the story change from the original screenplay? A: The basic concept is the same, but a lot of dialogue got cut down. Say there's a three-page scene that establishes the fact that Jam is a sensitive kid, whereas Trip is a little crazier. You find that you can get that in the first three lines and you don't need three pages to get that across. The look in Jam's eyes tells you he's sensitive. You don't need to belabor the point with three pages of dialogue. Then there are scenes that get cut out
just because there's no time. There's a scene where Hawk, Trip and Lex break Jam out of St. Bernard's Catholic School and they 're off to the concert. What originally happens is they jump in the car, they fly down the road singing "Shout it Out Loud," and they give Jam some clothes to change into, and have a conversation about how Jam's mom is
gonna send him to Alcatraz for this but he doesn't care because he's gonna see KISS. They're all talking about the concert and as he's changing his clothes, he has his ass hanging out the window, and they pass another car with the girl he's in love with driving down the road with her parents. They see each other but before they can say anything the tire blows in the guys' car and they're stuck on the side of the road, late for their train to Detroit. Then we cut to the fact that they missed the train. In the current cut, most of that is out. They run out of the Catholic school, they're on the road singing "Shout it Out Loud," and the tire blows. It says everything that needs to be said. All the stuff with Beth and his ass hanging out the window wasn't essential for the storyline and when you're looking for things to cut out those are the kind of things you cut. It 's a fun scene and it will be on the DVD for people who want to see it. Everything that we cut out that's of any value in terms of it's an interesting scene or moment or a fun periormance will be on the DVD in an area called deleted
scenes. G: Are you doing the narration for it? A: Yes I am. There will be like 45 minutes of deleted scenes plus the director's commentary and interviews with a lot of people involved in making the film. But I'm very excited about the final cut. The movie was originally going to be released in April but we had a test screening in February and it went so well that New line decided to move it to August. The second screening, a month
The Slump'S Burgers reslauranl in Detroit Rock Gly is Ihe lalest installment of a running inside joke thol began when Rifkin direded The Dark BocKworJ, a 1991 film sloning Bill Paxton, Judd Nelson, and James (oon. -lI's on oddball blo(k (omedy and it lakes plo(e in its own reality, nallhe pasl nallhe future but its own urban timelessness," he explains. "Inorder to perpetuate that I didn't Wilntto have any recognizable products. So Icreated a compony coned Blump's that creates all the products. Slump'S bocon, Slump's vacuum deane~, whatever. Ever since then I've used Blump's in every movie ond olwoys will." In The Chase with Chorlie Sheen, ii's 0 Blump's truck thai jackknifes on I and Rifkin's production compony is coiled Slump'SInternotionol films. The womon's foce in the logo? "My grondmother," "She loves it."
after the first one, went even better so
they canceled the third one. Why waste time and test again when we can just get it finished? G: Was it the same cut both times? A: The second was shorter by about seven minutes.
G: Do you think test screenings a good indication? A: My feeling about test screenings is that the value is in watching the audience's reaction. If they laugh at a joke you know it works. If they're smiling
when they're walking out of the theater you can feel good . If they 're fidgeting and you can sense tension and boredom in the audience you know it's too
long. But where I do not think test screenings are of val ue is in the cards
that are filled out afterward . You can sit any audience down and show them the
best movie ever made and say, "Tell us what's wrong with this movie," and
they'll come up with something because they were asked . The idea is to read the crowd, to have the confidence to tell whether something's working or not by the reaction. You don't need to see scores and numbers. That to me is over-
rated. G: Who attends test screenings?
A: They recruit people that might be the audience for the film . But it's all kept very secret. It's a work in progress. You don't want people sneaking in and reviewing it on the Internet, though that might happen anyway. G: How involved are you in the music for the film and the soundtrack? A: Very involved. Picking the songs is as much a part of the creative process as
picking the actors and the sets. G: Soundtracks have become a very important part of marketing a movie. A: Yes. Anything that helps promote the movie, I'm all for. If the soundtrack is a hit and that helps the movie, great. G: Did you have any songs in mind for particular scenes as you were shooting?
A: Yeah, but I also want to keep an open mind, to see how it looks cut together with a certain song. The idea for the mu sic on the movie is we wanted to
have some really great KISS music in it because it's about kids going to a KISS concert. But we really wanted to make a soundtrack that was indicative of the decade, not only the KISS library. There are lots of songs by lots of great '70s acts. Right now we have Thin Lizzy's "Jailbreak" for the escape from the school scene. We've got Cheap Trick, "Surrender," we've got Sweet, T-Rex. We have disco songs, like "Makin' It. "
We have funny songs like "The Piiia Colada Song." We have the Sex Pistols' "Anarchy in the U.K." playing in one scene. Probably " Iron Man," Cat Scratch Fever." There will be dozens more songs in the movie than we'll be
able to fit on the soundtrack. In fact , we have more songs than New Line's previ-
And of course KISS recorded "1Was Made For Loving You."
ous biggest song movie, which was - -Boogie Nights , they had 35 songs we have about 56. G: Might there be two albums? _ _-A A: I hope so. If the first one does well. We've got a killer soundtrack with a ton of music. The opening title sequence will be cut to "Love Gun." G: You turned that over to Tommy Thayer to put together. Why? A: Tommy did a great job putting together The Second Coming. He's familiar with the footage and has a great sense of that type of editing and rock 'n' roll spirit. We didn't have time to do it ourselves, but he's working with us. He's implementing it but we've had meetings on what it's going to be. The idea of the credit sequence is that it's a montage cut to music that sums up '70s pop culture and that KISS was very present in '70s pop culture. [It includes) covers of magazines, newspaper headlines, and other things from the'70s that aren't directly related to KISS. G: Because it's a period piece, you had to be conscious of th~me and the accuracy, particularly about KISS. What did you do to ensure consistency and prevent anachronisms? A: Myself, the production designer, the costume deSigner, everyone involved
creatively all made sure that everything we created for the film was authentic for the period. The movie is set in 1978 so anything between 1973 and 1978 was fair game. We paid really close attention to detail. We knew that the diehard fans would notice. G: You couldn 't use modern products in the convenience store.
A: The products were all authentic from the decade. We got certain things from the companies themselves. But we had a real hard time with product placement, getting stuff for free or getting permission to use it because of the drug use in the movie. So we'd find an ad for a product in a magazine from the period and
feed it into a computer and make our own labels. G: And you had to recreate some of the KISS merchandise. A: Yes, a lot of stuff we recreated because the old stuff looks old. The Tshirts are faded, and we needed them to look like new T-shirts. G: KISS themselves don't look exactly like they did in '78 either. A: Again, poetic license. The fun of the movie is in its spirit not only in its detail. In the concert, the guys look great, they look phenomenal, they look young, and they look like the rock gods that they are. Sure, 1978 was over 20 years ago. Everybody changes a little bit over a 20 year period, but so what? They still
A: Exactly. That's sort of a cool little i that's fun for us and for the KISS_ fans. Another example, I knew there was a KISS bath towel, I remember a kid at camp had one. Tim Sullivan put the word on the Internet and we got one. If 1weren't a KISS fan I wouldn't have known about the bath towel. Walk me through the castingprocess. You were in on that from the beginning, right? A: Yes. The best way I can define my job as director is that any time there was a creative decision to be made it is my
embody the same spirit they did in '78, they have the same amount of energy, and the songs still sound just as rockin'. If somebody out there is gonna be so particular that they can't appreciate the film because of that, I say stay home because you're no fun . G: You've talked about being a KISS fan-do you think it was a prerequisite for this movie or could anyone else have directed it? A: I don't think it was a prerequisite just like don't think it would be a prerequisite to be a murderer to make a movie about a serial killer, but I think it's a lot more fun for me as a KISS fan to make this movie. Could another director have directed this movie and have it be great? Absolutely. For as many directors as there are there are as many interpretations of a piece of material. The reason I wanted to direct this movie was I'm a huge KISS fan, I relate to the characters, I lived in the decade. It's like a time capsule for me. It's like going back in time. G: But you didn't see KISS back then, did you? A: No, I like Jam was not allowed to as a kid. My mother had no problem with me watching horror movies, I've been a horror movie fanatic from the time I was a
little kid. But going to a KISS concert scared her so I didn't see them till much later. The whole package of making a movie about kids this age at this time spoke to me and that's why I feel my interpretation of this material is as valid as anybody's. G: Which of the characters do you identify with or relate to most? A: I say I'd relate to Lex the most, but there's a little part of all the characters in me. I think that's why they make a good group. They embody different aspects of a whole. More accurately, there's a little bit of all of them in me. But being a KISS fan I was able to add things that might have made it a little more fun. In the movie now, but wasn 't in the original script, Christine is in the car with the boys and is arguing with them about disco vs. rock 'n' roll. She says, "Disco is so big I bet that even KISS will do a disco song some day," and they all bust out laughing like that's the funniest thing they've ever heard.
responsibility to make it, and that includes from the lead down to the smallest extra role. It's other people's jobs to present me with lots of choices. I'm very collaborative with my producers and with everybody but ultimately it's my decision. The casting is as much of an importance in that decision-making
process as what color should the walls be in Jam's bedroom. But you hire cre-
ative and talented people, you have a good team and you trust their creative instincts and so on. But casting specifically, the most important thing to me when we started the movie was that the four leads have the perfect chemistry. I keep a completely open mind during the casting process. I might read the script and see Jam looking a certain way and if someone walked in that didn't look like that it would be easy for me to say, "He's not right for Jam" and not give him a chance. I know what kind of spirit I want from each character so when people come in and read a part they might be reading for one role but would be better for another role. G: Did that happen? A: Yeah, with Eddie Furlong. Eddie came in and read for the role of Trip but when he walked out of the room I said, "There's Hawk." The opposite example is Sam Huntington. He read for Jam and was perfect for Jam. He looks just like I pictured Jam; it was so easy. We saw
hundreds of Jams in LA and couldn't find anyone and then we got a videotape from New Hampshire that he made in his living room. We popped the tape in and we said, "That's Jam." It was that quick. That was the hardest role to cast until we saw that tape. We were at a complete loss prior to that. He was the last to get cast. The other three we cast from our first day or two or casting. They came in and blew us away and we thought, "It can't be this easy." So we kept seeing people but we didn't see anybody else that was any better. G: Were they there to audition at the same time?
A: We saw them all individually. G: How did you know they'd be right together? A: You have to have trust in your own intuition about these things. Sometimes you're right, sometimes you're wrong
but I had a vi be. I think one of my strengths is casting and reading people's presence and chemistry and how their chemistry might work together. So far, so good. We put all of their auditions on tape and watched them in continuity and it felt right. G: Were your intuitions right when they finally met? A: They had the perfect chemistry. I was blown away. When you saw these guys together you believed they had grown up together and were best friends. You know how friends will tell each other to
f.ck off and it doesn't mean anything because they're comfortable with each other, or they're palling around one minute and pissed the next, th en palling around again? That's how these four were. Ed and Giuseppe worked together before on American History X. But the four of them were perfect together. I wouldn't have wanted anybody different in any of the roles. G: Did you do have to do anything specifically to get the best performances out of them?
A: I was always pushing them to do certain things . For example , Eddie Furlong's character is the leader of the pack, and Eddie Furlong as a person is a really mellow, hang back, take it easy and be cool type so that was one of the things we worked on together, that Hawk is a leader and a take charge kind of guy. With all of them, part of my job is to push so I get the things that I nlled from the characters, and another part of my job is to hang back and let them do what they do best and there was a great balance of both. They're playing juvenile delinquent burnouts, and there was a bit of playing that so well that it carried over into life on the set. But there was -never
any problem, it was all in the spirit of fu n. They all have their own style of working. Giuseppe is very quiet, hangs back. Wants to be a filmmaker himself. He sits back, takes everything in, always watching. He's the least demanding actor I've
actors that are underage. We knew that going into it. Eddie's a really cool guy, he's extremely intense, he keeps to himself but he's not reclusive. He plays it cool and he wears it well. When it came to being the leader in the movie we had to work on it a bit but that's all part of the process. Natasha's hysterical; she's hilarious. She's always saying things to shock people and it's absolutely impossible to shock me so she kept trying and it didn't work. But it's easy to shock a lot of people and she got a big kick out of shocking many.
writing it. I write pretty quickly so I hope it's not too far down the line. Hopefully we'll be making it pretty soon. G: Anything else in the works? A: Real Monsters is first and foremost, but I have a film I'm doing with my producing partner from my previous films, Brad Wyman. Can' t talk about it in detail, but it's a comedy, a big budget comedy
G: She was only on set for a brief time.
ment but I'd rather not talk about specifics. You know how things go. You put 20 balls in the air and two of th em stick and those are the ones you do, and I don't want to talk about ones that might not happen.
A: 10 days. But she does a great job in the movie. She and Eddie hit it off, they're still together. She's a great gal, really funny , great actress . Great comedic timing. Melanie is super sweet, really talented, takes her craft really seriously. The entire supporting cast was phenomenal. Every actor that came in did their job and did it perfectly every take. Ron Jeremy did a brilliant job. Shannon is one of th e most underrated actresses working today. She's done a lot of those late night erotic thrillers and as a result has gotten herself pigeonholed, but she's a phenomenal actress and is a consummate professional. And if and when people give her better roles in different kinds of movies she will prove to them beyond the shadow of a doubt that she can transcend that. G: So you'd work with any of the cast again?
A: Absolutely, I look forward to the sequel. G: Will t here be one? A: I hope so. G: What would be the premise, and would you write it and or direct? A: If this movie is successfu l enough to spawn a sequel I would want to recreate the same team that brought the original to the screen so I would want Carl to write it. There are a lot of ideas floating around about a sequel but I don't want to jinx it. I think that too much talk about
ever worked with in that he never
a sequel before the first one comes out
required coddling, he's not a prima donna in any way. None of them were prima donnas in that th ey were demanding. But he would hang back, do his job, and then hang back on his chair and just watch. Jimmy, on the other hand, was
is bad luck. It wouldn't be about a KISS concert. It would be about these four guys and the next chapter in their lives. We'll see.
always around. Any time there was a
you take a break? A: No, I hate to take breaks. I don't sit still for a minute. G: I understand you 're going to work
huddle he wanted to be in on it. Anytime there was a meeting, he wanted in on
that meeting. He always wanted to know what's going on, what you're talking about. Very curious, very much wanting to be a part of everything. G: Did that annoy you? A: Yes, but you know, that's kinda part of his charm. And that's why he was perfect for the role of Trip. Sam is the sweetest kid. Great kid, always well prepared. He's underage so he was there with his mom and had school on the set. There are certain restrictions you have to work within when you're dealing with
G: What's next for you after you 're done with the post-production? Will
with Gene Simmons again, and Tim
Sullivan. A: Yes, at New Line Cinema. Real Monsters. All I can tell you right now is that it's a big comedy with lots of laughs and lots of scares, inspired by films such as Abbott and Costello Meef Frankenstein and the like. Lots of physical comedy, lots of scary monsters. Lots of special effects. G: When would you shoot it? A: It hasn't even been written yet. I'm
in a tropical setting. I also owe some scripts to some other companies and
I've got some other movies, I have other scripts I want to write. There are a lot of projects in various stages of develop-
G: Given your choice, what actors do you want to work with?
A: That's difficult to say because for me it's about the material. I'm sure there are
a lot of great actors out there that would be a blast to work with , and Ilike th e idea of casting against type, taking someone known for really serious work and putting them in a comedy. Or the reverse. If I'm doing a movie that is perfect for someone I admire and would
love to work with, great but I wouldn 't want to work with ' somebody just because. It would have to be the right material and the right project. G: Is comedy your forte? A: I want to do a variety. I think comedy is fun , I love it and I think I'm pretty good at it, but I love drama, I love action, I love horror. I love all kinds of movies and I want to keep making as many as possi-
ble before I die. I'm 32. I plan to make a lot of movies. G: You 've come very far for someone
your age. A: I've been very, very lucky but I also work very hard. I sold the script Mouse Hunt to Dreamworks a couple years ago. It was a big movie and a great experience for me, but that was the 30th script I wrote. A few of them I've made as independent fi lms. I've made six independent films. But those are apart from the 30 scripts that didn't sell. G: Are you getting more interest for them now that you 're better known?
A: Yes, which is fine with me. I believe they're as strong today as when I wrote them, and I have no problem with that because I want to make them all. I think they'd all make really cool movies. They're all different kinds of movies. Some I'd like to be seen made as an HBO movie, maybe produce and let a young director that I think is really good direct. Some may translate into a series
that I could executive produce. But most of them I want to see made as movies because I love movies.
G: Th ere 's going to be a big premiere for Detroit Rock City. Will you be there? A: Of course! I wouldn't miss it. â&#x20AC;˘
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â&#x20AC;˘ Edward Furlong became a movie star at the tender age of 13 as John (annor in Terminator 2: Judgment Day, and segued from there to roles in such diverse but largely dramatic films asAmerican Hearl, Unle Odessa, Brainscan, Before and Aher, Peeker, and America~ History X. Now he's taking a decidedly lighter turn in Detroit Rock City, which brings t~e actor who appeared in Aerosmith's ' livin' on the Edge" video together with another legendary rock band---ilnd fulfills both a '70s rock fantasy and an exhibitionil1 one, thanks to a memorable I1rip dub scene. G: What attracted you to the movie? E: I'V e always wanted to a a '70s movie, where you're smoking pot going a a cancert-just a fun movie. That's what aHractea e to il.l knew it would have cool music, be a fun time. It's a rock 'n' roll movie and that's one of th reason Itook it in the first place. G: What did you like best about the experience? E: Working with the cosl. They're all greal. While we were up there we got to hong out one night with Marilyn Manson, that was coal. We got to go to the KISS concert in Buffalo which was cool, and we could walk around backstage becouse we got all access passes. G: Were you into KISS before? E: Iwasn't on ovid KISS fan. This is the most I've ever listened to KISS though I have Destroyer. I like music from the time, Led Zeppelin, Pink Floyd. G: Did you do any research on the '70s? E: No not really.lthmk teenagers going to a concert are the same way today. G: How do you see your character, Hawk? E: Hawk is what I'mlike going to see a concert with friends. The fun port of me, Iguess. It's four guys goin~ to a KISS concert and their adventures. Hawk is the leader of the group, the guy who's the moll willing to go through anything to get to the concert. He has the most determination. G: Are you a determined person? E: Under the right ollum\1anl8\_ G: What was it like doiDg the striptease? E: It was fun. I think in the balk of my mind I always wanted to do a strip for people, and now Igot to. 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .~
srARS G: There's such a glut of teen movies now. How does Detroit Rock aty stand apart from the crowd? E: I think it's a real authentic movie, a rock 'n' roll movie with Gene Simmons aNached to it. There are almost too many teen movies out now but this one stands out on i~ owo. It's more intimate. Adam Rilkin and John leoneNi, the cinematographer have given the movie a real authentic look. like the 70s. It doesn't look like any other teen movie. It's more like a Fast Times [at Ridgemont High]. that kind of movie. G: You've done mainly serious fUms like American History X and Before anti After. Do you like comedy as much? E: Oh yeah. Ilike doing both. They're both totally different types of acting. It's change, it'ssome路 thing new. It's cool to have variety. My goal is to work on good stories with good directors and good people. G: What are your criteria in choosing a project? Is it the script first, the director? The other people in it? E: It depends. Vou get a lot of so-so scripts but with really good directors or you might get a great script with a first time director. It all depends. G: What kind of port would you like nut? E: I don't know. I wont to playa psycho one of these days. [Aher this interview, Furlong was cast as a low student wrongly accused of trofficking cocaine and sent to prison in Animal
Factory, opposite Willem Dofoe.l G: Do you like to go from movie to movie without a break? E: No, but I'd love to always have a job. G: Who would you like to work with? E:There are so many directors and actors I'd like to work with that it's preHy hard to pick one. I don't know. I would have liked to work with Stanley Kubrick. I'd love to work with Robert DeNiro. Dustin Hoffman. G: Would you be interested in television or theater? E: That's a tough one, too. Idefinitely wont to do theater. TV. Idon't know. Maybe if the right thing comes along. G: You got into acting by accident, didn't ou? : Iwas ot on arcade and a costing director come up to me and asked me if I wonted to try out for T2. That's preHy much when I decided I wonted to be on actor, I guess. It wasn't something thot was planned or I wonted to get into bur it was like, ' I'll go with it: G: What do you think you'd be doing if that never hci~ed? E: Being a bog lody. I don't know. It's hard to
l
conttnued on page 88
DRC's CAST * DRC's CA • AI Ihe age of 15, Sam Huntington mode his tab DII seriously btcause I lived in New S: Yes. A101 of whot we shot was cut out, to tighten movie debul 01 lim Allen's loindolh·weoring son in H......., laur hau~ out of New York. The next ~ up. But ~ was cool because she's really a great Jungle 2 Jungle, launching a promising career Ihot day aItIr I .......... for th. agenli had live audio gi~. It was kind of fun. You know whot my favorite conlinues wilh Detroit Rock Gty and his role of tiOIlS. scene is? Eddie and the scolpe~. Sonlono's playing Jeremiah 'Jam' Bruce, drummer of Myslery and G: How _ .... 1fIat cId get J.p. 2 in the background, it's jus! a cool scene. And the loser (Ihonks, Mom!) of Ihe precious KISS lickets. Jung"? COIK8fI scene was awesome. Hunlinglon, who found working on Ihe Toronlo sel S: About 10 " ' . 1 started. G: Was tfIat the flrsl time saw KISS ' like coming 10 work for friends every day," hod ' a G: Anythi..... w• . , IIavt _ ,OU Ia? Iv.? blosl" making Ihe movie, as we discussed during S: I did on epilade 01 t.rr & Otdet but that's basi· S: No, we saw them in Bullalo the _k before and oher Ihe shoal. cally il. It's 0 with me bemuse I needed a break. that. The only other toIKert I've been to was a Dove G: You audilioned for Detroit Rock aty by Jungle 2Jun'rjl was lour months 01 the hordest Mat1h8W\cDllCert. I'ma huge Metallica fan, but I've videolape, I heard. work of my I"" reaIy inhIJse. I wanted to get never seen them live and I'mdying 10. I like their S: I never hod 10 leave my house. I mode a couple home, see my f and celox. old stull bener than their new stuff. I jus! gal of videolopes and senllhem 10 the cosling director. . G: Whal memo you have fr ....I!!!!!:...... Garage Inc., I have the black album, Master of I live in New Hampshire. ing Detroit Rock City? ~f5. They're.-my av~e bond in the whole G: How did you get inlo the movie business, S: Lole nights, Ihe cold, fun times with the guys. It world. Iii e a lot of ro , 00. I like Redmon and living so lor Irom Hollywood? was a very good experience. Melhod Mon. Redmon's my av ite. S: It's actually a long story. Since Iwas nine Iwont· G: Was being Ihe youngesl ,asl member a G: Are you a KISS fan? ed 10 be a movie actor and my mom said, "Wait problem? S: I am now. Now I have CDs, videola , mogo· until you're 13 and if you're slill serious about it S: No, everyone gal along real well. We're all very zines. Before the shoot I did a lot of research we'll see what we can do." Meanwhile I did profes· differenl bUI we mesh well. G: You were born way alter Ihe 'lOs so sionol theater at Ihe Peterborough Players, in G: What scenes sland oul in your mind? whal did you have 10 learn aboullhe lime? Peterborough, NH. When I turned 13 I asked my S: The bOlhroom scene's righl up Ihere. S: How 10 dress I guess, Ihough they kind of mom if we could go to New York so I could audition G: How aboullhe scene in Ihe confessional? dressed me. I hod to gel hair exlensions. My hair's for on ogenl. She said yes, bUI didn't think Ihey'd Was il your firsl love scene? usually about three inches long and now ii's shaul· der length. It's kind of ironic because both the movies Ihat I've been in, I've hod to have hair exlensions. They were such a pain in the ass. They were li"le pieces of plastic really dOle 10 the scalp and when I'd loy my head down at night they'd job inlo the side of my head. I couldn't gel away from them unless Islepl on my face. Not too fun . Ge"ing them out hurt. They tried to toke them out with sol· vent and oher about Ihree hou~ Ihey decided just to cut it. It WO\ ridiculous. It happened on Jungle Jungle, 100. Those hod 10 be put in every day, on hour and a hoH in the choir. I've hod exten~ons on both of the h1ms. I hope I can wear short hair the next time. G: W., dld.'1 wear • wig? S: That's what I wanted to do but my head looked big and swelled with the hair under ~. G: SlIce JOI'n • 1IiIor, ,..1Iad to have a
,II
,II
'0
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btor I I the set. S: Yeah. h's the wurst thing 011 earth. h's jumping into school for 20 minutes to learn absaIuteIy noth· ing but ft jumbles yaur mind just enough SO when
sCAST G: Are you Ibe only actor in your family? S: My mom was on actress and ~nger whenshe was younger. She's a wriler and loughl acting dasses for kids at Ihe Block Box Thealer Compony. My dod owns a lommercial woodworking b~ness, lobi· nelry. He Ion do anything. Built practically our entire house. He's been doing it for like 23 years. He majored in art. I have a 19 yeor·old sisler, Emily, 01 Emerson College in Boslon. G: Whal kind of ports are you looking for now? S: I'd love 10 do more lomedies. I love physical lomedy; I love when Ihere's slunl work 10 do. There wos more in Jung/e Jung/e Ihon in De'roi" bUI we hod Ihe fighl slene allhe end, Ihol was fun. Bul I'd like 10 gel inlo some kind of dramolil role. Somelhing I can really sink my leelh inlo. Areally in deplh character Ihol lakes a 101 of Ihoughl. Somelhing fun and good. It doesn'l really maHer as long as I like Ihe scripl and ii's gonno be a good movie. G: Does your mom help you decide? S: My mom usually reads mosl of Ihe scripls; she's Ihe manager 100. She's Ihe coolesl mom on earth. G: Do you know whol you're going 10 work
'0
on next?
back 10 sel you're a mess. It sucks octu· ally. I hole il. G: Couldn'l you jusl gel your equivalen,y? s: Iwonllo go Ihrough high s,hool, Iplan on going 10 ,allege, 100. G: To sludy drama? S: Probably, or film. Thai's all I'minleresled in. I'm on amy person ingeneral. I'd like 10 wrile and be a director. I'd like 10 wrile and direct my own films. I'd like 10 go 10 USC or UCLA. My grades are pretty good bUll don'l know if Ihey're good enough for UCLA, Ihough. I'm Ihinking heavily oboul USc. They have a good film program. I'mgonno end up living in LA., as soon as I groduole. I have onolher year 10 go. G: Do people bad< home Ireal you differenl.Iy because you're in movies? S: No Ihey don'l. I live in a lown of 1500 people. I've known all my friends since Iwas a boby. Some of Ihem come 10 visit me in Toronlo. Nobody gives me shil for iI. When I lome bock [from a sel]1 gel bock in the swing of things. II's fun. I like geffing bode 10 school. Everyone in my school gels along pretty well even though there ore a 101 of diques. Ifs a pretty friend~ group of lcids. I hove a great group 01 friends and when I'maway I really miss them.
S: I came dose 10 a couple of TV Ihings bUll don'l really wonllo do TV because I don'l wonllo move 10 l.A. yel. I wonl 10 groduole wilh my doss. I jusl audilioned for a few movies so we'll see. G: Whol actors would you like 10 work wilh? S: I'd love 10 work wilh Kevin Spacey, Anlhony Hopkins. G: Would you like 10 act in plays again? S: I'd love 10 gel bock inlo il 01 some poinl. Righi now I'm jusl building Ihis kind of career. Righi now I'mhaving a good lime so why stop? I know evenlually I'll gel bock 10 theoler, ii's where my rools are, where Islorted. G: Are you planning 10 attend the Detroit Rod City premiere? S: Of 10Urse, and I hope 10 hove 0 huge crowd of my friends with me. I'm really pSYlhed oboul Ihe movie. I think ft'5 goqna kick oss. I con'l wail for illo lome out 'lOuse fcan'l wail for everyone 10 see iI. •
DRC's CAST * DRC's CA~ • Bock home in LA. aher Detroit Rock City fin· ished shooting, James DeBello and Edward Furlong made plans to go to a Marilyn Manson concert. "We went out 01 our way to get the tick· ets and then our limo was late and we had to walk five blocks since [the driver1couldn't get up the hill, but we wenLond we got screwed!"Monson sprained his ankle and stopped the show less than hallway through. Fortunately things work out a lot be"er for his movie oller ego Trip and his buddies. But playing the spaced out Ace Frehley 01 the group "the one with the weed," was a bit of a stretch lor him, as our conversation reveals. G: Do you relate to Trip at all? J: I don't even smoke pot, so it's weird. But we have the some sense of humor. We both soy things out 01 the blue to get a laugh. G: What memories of making the movie stand out? J: Ge"ing sprayed with water in the bathroom scene. I did that twice over a period of two days. Got preHy wet. The lost day stands out because we took the cor lor a li"le spin. Did some donuts. Got screamed at by the line producer. Took a li"le detour, pretending we were James Bond. It was fun. G: Any other favorite scenes? J: I like the strip bar scene. I like the backstage scene with lex. Naked chicks in a hot tub. Iwas in it, in disguise. I hod glosses on. I was all that day but I showed up. I wasn't doing anything and I wonted to work. Iwas there, gaWking at the girls. G: How was working with Adam Rifkin? J: Great, really helplul. He's so laid bock, not forceful with anything. He lets you work into everything. He's not pushy. He's on amazing per· son. His forte seems to be in the editing room. What I've seen looks amazing. G: Were you a KfSS fan when you were growing up? . J: I wasn't exactly a KISS Ion growing up but Dazed & Confused is one 01 my favor~e movies and favar~e soundtrocks, and they hod KISS on there. "Rock and Roll All N~e" is one of the best porty songs you can have. G: Did you do any research for this? J:They gave In a bunch of KISS topes and I went out and got some books on the 70s, the lifestyle and how kids were living. Ithink it was a lot more harmless back then. No AIDS, gangs...everyone was ius! smoking pot and having a gOod time. G: You had to wear a wig for the movie. J: Yeah. It bothered me sometimes, having the hair in my fO(e. I never thouaht ~ was goi.ng to foil off, bUt ~ was in my way. fknew ~ was luke. 56
G: Did you ever have long hair? J: It was longer than it is now. Iwas a Kurt Cobain wanna·be. Iwas Kurt Coboin for Halloween a lew years ago. G: Did you bond with your castmates, hang out with them? J:Oh yeah, it was a blast, especiallr the lost few weeks. We got Nintendo in the hate rooms, ploy· ing videa games all night. We got to meet KISS. The rema~e of the concert was unbelievable. It felt like 1978. So many fans come out to support the film. I think we come out with some amazing stull. We got to see one of the KISS concerts. It was ~reat. We had all access posses, we could go anywhere. G: Was !bat the first time you saw KISS
Ive? J: Yeah, it was on~ my third concert. Isaw U2my all time favaritel !,,!riIvn Monson, and KISS. I'm not a big concert Kina of guy. I'm a movie guy. Idon't listen to music that mum. Idon't have a CD
player. G: Do you stm see guys from the cast? J: Eddie and I hong out. We've become really good Iriends. G: You're in another summer comedy, American Pie. J: Yeah. Another high school sex comedy. That's a smaller port, I only worked on that for a week. I have like four scenes. [I play1a guy who likes to watch sex on the Internet. G: Do you have scenes with Natasha Lyonne? J: No. G: You had a smaU part in the miniseries The '60s. J: Yeah, I auditioned for one role that I thought I gol but they gove me another role. I ~ayed a DJ. I'min ~ like six seconds. But wilen I was there I foundout I got Detroit Rock City. G: You were 011 EI a few years • J: Yeah, I did a guest spat. It was one Of my first
* DRC'
jobs.llwos my first job. Iplayed Donny, a juvenile delinquent that breaks out of juvie by faking seizures and I come into the ER and GearJle Oooney realizes I'mfaking. II wos amazing for me. I've an~ been acting for two years. G: How cScI you get into actiJ!g? J: I wos playing pool in Los Angeles. I wonted to be a professional pool player when I wos 16. An agent come up to me at this celebrity benefit pool tournament, Pool Aid, and asked me if I hod any representation. Ihod no idea what he wos talking about. He asked if I wos on actor and I soid ·Yeah.· Two years later, here 10m. G: Do you plan to continue? J: I'mgonna just go with the flow. The one thing about acting is you get to touch a lot of peo~e and I think that's real~ cool. As long os I'mgeHinp' work I'mgonno keep rockin'. Don't fix what oin t broken. G: What's next for you? J: A movie loosely bUsed on [DosIoyevsky's] Crime ano Punishment. II's defin~ely a heavy drama. G: What do you Who else is in • ? When wi! it be J: Monico her boyfriend, Jimmy. ~,~~(~I;;; a stalker guy. Jeffrey Michael Ironside ploys Monico and I kill. II's G2 Films,
and MGM. It should be out the end of this year or early next year. G: So you're following a comedy with a drama. Would you like to keep having that kind of variety1 J: I don't know, whatever comes up. I would love ploy logo in Othello and if the opportun~ arose that would be (001, but I don't know. I'mnot a writer but I'm working on a pilot with a friend of mine. A(Omedy. As for as acting, it doesn't maHer to me. I'd rather do films, but whatever comes up. I'ddo TV but I'd rather do movies. We'll see what happens. G: Have you done any theater? J: No. I'mSlored of that. I'm not honored enough to be a theater actor, I'd have to go study or something. I'mhappy where Iam. I'dlove to do theater, one of the great ploys. G: Who do you want to willi! with, DIIors 1IICI.ectors?
J: !here are a marIOn people I'd like to work with. Scorsese, I'ma movie bull and I loved watching movies when I wos growing up, I'dgo tothe movies and ~ wouId mokemyday. Actors, I'dlove to work with Mrybody_I'd love to . . - odors i/I!ing what Ihiy love 10 do, on allev8Is. G: You're the . , odor iI
J: Yeah. My brother'sa lawyer, one sister'sateacher and the other'sa librorion. What Iwonted to be was apool player. I'mfrom Philadelphia. I(orne to LA. when Iwas 14. Not on my own, my mom come out. Istarted playing pool when Iwas five. That was my gool in lile. What does a medium pizzo and a ~ro lessionol pool player have in (Om man? Neither of them can feed a family of four. So I'mleaving ~ool for acting. Not exactly like Iwas leaving my doctorol thesis. But I toke things seriously. II's a business and I do what I have to do to su«eed. G: Do you feel like you missed out on anything? . J: Of course. I didn't go to the prom, I didn't go to (Ollege, I don't know what it's like to walk around high school as a senior, Idon't know what it's like to dote. I've never been in a relationship. Igrew up playing pool and went to Las Angeles. I was going to clubs and hanging out. I feel that I've missed a lot of stuff in that sense but I also feel that I haven't missed a lot of stuff. I don't think there's a lot of kids (ominJl out of high school with the insight I have. My friends are 32. The lost girl Iwent on a dote ~h was 26 and hod a seven year-old kid. Of course I feel older than my years. I grewup fast. G: Do you plan to get your high school
equjyalelKY~
J: No. If I wont to go to (allege I'll get my GED. Otherwise I don't see any reason to pay 5150 to toke a test. G: Haw do your parents feel about your career? J: They're excited, of (ourse. How many parents (on say ' My kid's in a movie?' G: Do you miss playing pool? J: Napel -
yourfanfy?
~"""""""""""". 57
DRC's CAST * DRC's CA~ • You've seen him os Randy Quoid's son in Independence Oar and in small roles in Pleosontville and Never Been Kissed. Now he ploys Delroil Rock CitYs lex, probably the smartest of the group and its superego, constantly worried about tlle trouble the boys are going to get into. His acting (oreer is definitely on the upswing with a title role in the movie Pump'kin, now in the works, but what Andrews really wonts to do is direct, as he told me in our conversation. G: What memories of the De/roil Rock Ci/y experience stand aut in your mind? GA: GeNinll-,he chance to work with Adam lKifkinJ.lthought he wos great, one of the best ~irec· tors I've ever worked with. G: What's your favorite scene? GA: All the cor stuff when we meet the disco guys, the scene in the cor when we're ~riving along the highwoy. I like the things 1 do with the dogs, like when I find my Volvo in the chop shop and I rescue the girl and turn the dogs against these guys. It's 0 ~retty cool scene. Ii: The dogs were trained, I hope? GA: Kinda troined. It took 0 while to get the shot but it turned out greal. There's anoth· er scene I really enjoy. Alter we find out that Trip has lost the tickets, we can't get the tickets at the radio station, we're in the elevator and we're deiected. And that stupid ' Pina Colada Song" is ~Iaying. It reallt works great. Ii: Are you a KISS fan? GA: I never really listened to them. But I got into them. They gave us some CDs and I watched some topes. G: You werea' t bom in the '70s. Was that a chaUenge? Did you do some research on flie period? ever Iwonted with it. It's very muchlike me in a GA:l like the mlllic from bock then though I did· !1IY. n't know much about if. It's not too hard 10 Ag. G: How do YOl (0IIP.!W8 h to thIags ure out. Ye_~~? A: EYe!YtlIing I've doni has been a little adG: VAat to tile nile at Lex? What did ,.. Ike ...... " cllaracter? • '~ Ocwwos a big sci-A-.PkGA: The fad"ftIaIlmuld be myself and do whot· lure and this is tota different Ironi that. They
attract" ,.
eJ
really capture a cool thing with the guys hanging out. G: Did you always want to be an actor? GA:l wos living in my von and we needed monel so I decided I would audition or on agenl. Thot wos five years ago. I'm from Key largo, FL I come out to LA. lor my dod's job and end!!i.1!JI doing this. G: WIIat's your fayorite role to date? GA: I think Unstrung Heroes which Keoton directed. l working with her. I the mom guy's best hod a lot of scenes with Richards and John
American ou hang out an the other odors on or off the set? GA: Not really, I kind of go to work and do my job and go home. I like to sit by myself and think about things. G: Do you prefer drama to comedy? GA: They're kind of the some. I understand both and both feel right but I p'refer drama. I wont to get. out of comedy. G: 'What else haye you got !!Ianned for the future? GA: I'll definitely be directing in a couple of years. I'mgoin.llto be directing and doing my hlms wilhin five years and maybe move bock to Rorida. I love it there. I don't hove any family there but I gq bock to kiy on the beach and rilax. G: Do IOU want to both act unci direct? GA: Probably I·ust be a director. Irs what I love. I love ~. wonIlo maIc,1iIms. G: HaYe 101 wrllt.. scretlplay..? GA: Sure, yeah. I've gat one finished now !hal I'm pitching around. I'mgannatrylojlarl aJDdudion IOIIIJIOIIY soon. I wanllo make my CNII
l
58 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .
r * DRC' films. I'm wr~ing all the time. G: Who are your favorite directors? GA: My favor~e director is [Werner1Fassbinder, the German director. I like a French director named Godard. G: I heard you were in a Smashing Pumpkins videa. GA: leah, I was in one called "1979: which won Best Ahernative Videa. BillY (organ saw Ind~ndence Oar and liked me, liked my look and asked me to do ~. G: Are 1.0u interested in d"lI'ecting videas? GA: No, just features. G: I hicir you're from a muskal famUy. Can y'ou elaborate? GA: My dod pl!JYed gu~ar for 25 years. He II.layed with The Bee Gees on the So/u;doy Night Fever rMord, with a lot of people. He's on Ibe Joe Walsh record But SeflOUl/y Folks, ~ hod "life's Been Good" on it. He gave ~ up. He thinks he's too old now. G: Do you play? GA: Yeah, l've been playing for about five years. When I start directing my films I'd like to use lOme of my music in ~. G: Who are your fovorite bands? GA: I listen to Wagl)l'r, the German com'p oser. I don't listen to. g,lot of rock but I like Ron Sexsm~h, he's f(om Canada, and a group coiled Sun Yah. d Block Sabbath.-
While nol a KISS fon before Detroit Roele Gty, Andrews has since gollen to know the band' s music and picks "Shout it Oul Loudn Dnd "the whole Destroyer record" os his favorites. He was thrilled with the finished film. "I loved il. I wos blown away by Adam's vision of it," he praised director Rifkin. "lI's great."
• She won raves for her performance in Ihe caming·af·age comedy Slums of Beverly Hilh in 1998, and before Ihol appeared in everything from Dennis Ihe Menace 10 Woody Allen's Everyone Sa" I love You. This summer, Nalasha lyanne k on streen in two high·profile comedies, American Pie and Delroit Rock City, and wilh a few more movies in Ihe can and awailing release, iI's guaranleed Ihol audio ences will be seeing a 101 more of her in Ihe fulure. ORC direclor Adam Rifl<in praises her comedic liming, and iI's nol ~ard 10 see why-she's bOlh funny on screen and off, wilh a sense of humor Ihal had me laughing when we 'alked aboul her life, her career, and portraying Ihe infamous (hrisline Sixleen. G: How does De'roi, Rock a,y compare to other movies you've done? N: It was a small rale, and we shol my scenes at the very beginning, in the first two weeks. It was defi· nitely a change of pace. I don't really relate to disco in the first place, let alone disco bitches with really big mouths. The character's funny but you're laughing at her, not with her. I thought that would hopefully be
inspiration and Iwatched the movie Thank God iI's fridoy and I watched Saturdoy Nighl Fever a bunch of times. And if (her would come on TV I'd funny. G: This takes place before yo. were bam. Do watch n. I'd listen to 70s disco hits albums. any researm, or did being in Slums of 'ererly G: Were you a KISS fan. or aware of them Hills, which afsa ,ook pface In the '70s, help before you made the IIIOVIe? N: AbsoIute~. I have these shoes I've been weoring you wilh Ihe time frame? N: It definitely helped but the characte~ were so dif· for the lost three yea~ and peaple have been con· ferent. (hrktine's impres~on of the 70s would have stant~ making fun of me, like what do I think 10m, been so differenl from rOYian's. Vivian's no party girl; in KISS? Now I can soy yes. she's the complete op~te, she's [about] fomi~ life G: Have you seen them Ive? and dealing withall the basic things. Thk was a little N: Yeah I did, I sow them ploy on Halloween. That more difficult b«ouse there's no real bock·story and racked. it's really only two scenes with dialogue. It was more G: Is it true you were debatmg wbether to take tbe role GIld GetIe Sim_s coaviaced about geHing her ottitude and how she would talk. G: Did the costume yOll wore help yoo gel you at his birthday party? N: I think I was the first peoon to ~gn an to the into il? N: Absolutely, that wIIol, fa e rabbit fur sort of thing movie. I went to thk meeting and I'mtrying 10 get and bigstileHos. But Ithink what helped the most was the ·ab and I'mthi ing, "lhk k going to be the lost listening to the music. Ilistened to ' Christine Sixteen" cool movie o~the millennlUllI • and seeing thot it was off the love Gun olbum-my role was to bring that the KISS movie Iwas all exhi!or ed. Then they invito song to life. I mode sure I hod all the KISS albums for ed me down to Gene Simmons' stri dub birthday party, and I show up in leather. I was 10 go. As soon as I walk in, Gene walks up 10 me a d puts baseball halon my head and storts talking to me. Someone else walks up to him from Fox Searchlight, who says, ' Do you know NOlosho lyonne? She was in our movie." And he goes, "Of course I know Notosho lyonne, she is in MY movie." Ifelt like Iwas Ihe shit. It was hot. They tried to get me to slrip dance and I said, ' You know man, thaI's cool, but I don't really need the lop dance, it's not really my style: G: Since your scenes were shot early, you weren't there when they did the concert scene. N: No, I wasn't Ihere for that much of it, which was
kind of a bummer. But I definitely got some good friends from this. Me and Ed [Furlong] and Jimmy [DeBello] are all good friends. We all liked hanging oul a lot there and still like hanging out here [in LA.]. Melanie [lynskey 1. too, I did another movie wilh Melanie oher that. G: You've made a f.w mms since thlroit RocIc Can you /ill me in? N: Directiy from there I went to Vancouver to make this movie called Confessions of D Tridcboby. II'Sbasi· cal~ about a girl who's a bulimic convict. She escapes life in prison and goes on the run with her ~dekidc who's a sex offender. They both have life sentences. Her .kick knows this nun in Mexico named Sister Gomez who turns out to be fmcenl Galla in drag. There or. 1015 of bufIe1s and it's hk. Ham.£ & Gretel but really !.eked up. G: WIIo's thellrector? N: Matthew Bright, who diredlcl "-y. Hopefully ft wiD gel a distributar. It's gat same preHy dassk
at,.
·DRC's CAST* DRC's CAST stuff in it. I did a movie aher that called But I'm a Cheerleader. I ploy th~ Chriman cheerleader from a really proper fami~, her parents are [played by] Bud Cart and Mink Stole. She comes home one day uher cheerleading and finds all her fami~ and friends there-they're doing on interv~on because they think she's gay. They send her off to rehab and she doesn't understand why. She's a naive Christian cheerleader. So she goes to homosexual rehab and falb in love and becomes gay. G: Melanie's in that. N: Yeah. And Jimmy's in American Pie, which I did before Detroit Rock [tty. It's a real~ funny movie. I'mthe an~ maracter who doesn't have sex. I'mthe old wise one who hos had sex sa I don't mess around wnh high school boys. I just give advice. I tell them what sex ~ all about and how to go along. G: Are there more? N: There wos one movie Iwm supposed to do but the financing fell out, a little independent. [When Autumn Leavesl. We're mil trying to make n. I went off and did Oelroit Rock my and Ameri<an Pie, and the director, my good friend Z~00", Williams, did a movie for MGM. But we ope to ao-th~ in JalJllory. G: You've been a ternating between big stu" dia movies a small independent films. Is that by dn'gn? N: It's no eolly, I just like to go with the natural wove..hhings. G: What attracts you to a pari-the script, the character, the director? N: It's usually a combination of script, director, and co·stor. G: Anyone in particular you'd like to work with actors or directors? N: There's lots of people. Gena Rowlands. Classic [directorsllike Scorsese, Lars Von Trier, Mike Leigh. G: Do you have a preference between come" dy and drama? N: My favorite movies are a combination of the two. In real life it's the some way, everything that's funny is dramatic and vice verso. The Coen brothers do that really well, they have a really interesting story going on but there are absurd things. I'mmore of on obsur· dist than a comedic or a dramatic person. I really like lonesco's stuff and stuff like that, that throws you
back a bit. It's a comedy but it's a lot more than that. Soph~cated (omedy is really what Ilike.
G: Do y04l write at all? N: I've tried writing a (ouple of ~mes. I've got ideas. It's real~ hard, though. I real~ respect ..ners and directors because Ws a real~ hard job. It takes a lot of focus and dedica~on and iI's a lot easier said than done. It's a lot easier to come up with a concept than put n all down. My gool is to work with people who are real~ good and ~nce I'm not going to (allege they'll be giving me an educ~on just being in their presen<e. G: Y",VI *Hdy decided not to go? N: Iended up skipping my senior year of high school and was enrolled in NYU for film and philosophy. I went for a little bn, but freshman film closs ...1 wanted to do more hands-on stuff. I think if I completed a semester I probab~ would have learned a lot. G: Ally .......s .f _!Iaulng your studies later? N: Yeah, something more general that I enjoy, like EngtlSh Of philosophy, and then go to graduate film school. In the mean time Ithink that self·educating, if you do it with commitment, can be really good, too. I just have to learn what I wont to learn and I can still do this. At some point in my life I hope to go back to college. I just want to learn a lot. But it's hard for me because I've never really been a school person. I've never liked staying in doss and being told what to do. I don't like siHing with a bunch of strangers and ask· ing them for their notes and trying to cheat off their papers. Acting is something thaI's on education in its own way because film is really interesting to me. G: You get something new out of each expe" rience. N: Absolutely. G: Did you ever act in plays? N: I did, in high school I did a lot of stage work and summer camp, but professionally I've never done anything. Actually I've been trying to get a produc· tion of one of lonesco's ploys going. I wont to do this one coiled The Lesson. It's about on older man who eols his students. I want to do it with someone like Alan Arkin or Peter Folk or Ben Gazzara. G: How about TV? N: I wm on Peewee's Playhouse. That was my first
"I'm just a pawn in Ihe game of KISS," lyonne, on location with good friend Edward furlong here, sums up her place in Ihe wortd of De'roi, Rock City. Her favorite scene? "Eddie's strip scene, definitely. 11' 5 hysterical."
thing. That was rackin'! Idon't see how I'mgonna top Peewee', Playhouse. Any 1V Ido is never gonna live up to that dossic. There were originally 13 episodes and Iwas in nine of them. G: How did you break into that? Did you always want to do this as a child? N: It was more like on extracurricular activity because I had excess energy. Ahyperactive kid. I think that's why mom got me mixed up in it. It just seemed like a logical... Iwas a loudmouthed kid. Iwas bouncing off the wolb. And I don't know if they had Rnolin bock then. I remember Iwent on my first oudi· ~on, Strawberry Shortcake and I cried. G: Y04I ctHin't get It? N: Right. My second audition wm for Minute Maid and I got n. It wus pretty smooth, and I (onlinued n because I enjoyed it. But it wus more of a hobby. Then when I got into high sdlool and started hating everyone around me, nbecome a stream in my head, "Some day I'Ushow all you evil motherf.deers." Iget a lot of sotisIcKtion _ because these kids were such obnoxious brats and !bey were sa mean to me. My mom was a single parent and !bey were reol~ rich priYota school kids and I was a schoIaBhlp kid. I did· oontInued on .... Ie
_ _ _ _ _ _ _ _ _ _ _ _ 61
DRC's CAST * DRC's CA, • How does a New Zeolonder who lives in Loodon end up playing al~Americon Be1h BOO1SIein in Detroit RiKJc Gty? II's been on unexpected but won· derful journey for Meionie Lynslie~ whose big break came opposite Kole Winslel in ihe allfurbi~ drama Heavenly Creatures. Since then, she s appeared os Drew Barrymore's nice stepsister in Ever Aher and filmed the dark comedy ButI'm a Cheerleader with ORC costmole Nolosho Lyonne. The busy young actress lalked about these roles and athers during a visillo Los Angeles earlier th~ year. G: How ctHi you become involved in ading? M: I was in high school and pea~e were casting a movie and Ihey audnioned 600 actresses. Iwas 15. They wenllo high schook in desperation. I always wanled 10 go 10 drama school and alilhol but all of a sudden I was doing Ihis movie, Heavenly Creatures. Iwas 1Bwhen il come aul. G: it was your big break M: Yeah il was. Iwasn'l expecting Ihol allhe age of 1B. I'm21 now. All of a sudden Iwas coming over here and going 10 New York when I hod lime off from school. It was a weird conlrosl. II was crazy. Bul il was amazing. I'mso lucky to have done Ihal film. I look a couple of years to decide whelher I could handle iI, being here in the international film world. G: Abig change from New Zealand? M: Yea~, but I love il. I find nreally excning. I just needed to have enough inner strength. I'd love 10 have a career thatlosts forever and Idon't believe you con work when you're not secure in yourself or whol you don'l know whol you're doing. So I thought I'dgel myself togelher. G: Alter that you ctHi a movie with Michael J. Fox. M: Ihod a liny lillie comea in thol. The Frighteners. II waslhe director of Heavenly Creatures. G: And Ever After. How was working with Drew Barrymore? M: She's amazing. II's a sweel movie, the on~ movie I've done thai my lillie sister could watch. She adored n. G: Any others? M: I did a movie version of The Cherry Orchard. I played the servant girl, very flighty, sort of sexy, I wos in lears the whole lime. ARUSlian ditz. And Foreign CorrespondenJs, a little i !dependent fiin. I play a VOU!1!I American c.oIege stUdent who . groiluoted from college who gets obsessed French guy who's ~ pOsIards 10 someone who used to live in her aparlmlllll. It's about hq in LA. and being 1o!JeIy. It's a Iia role. ~
:l:
Creatrnswosas
Welallllinnt. ~ ..... 1 m:
I've done has been
ished But I'm a 62
~
, a CIII11Idy GItout a
Place where gay and Lesbian Ieer1cJgen ore sent to be cured of hOniosex~.lI's a LesIJian love story.
[my characters] with becoming slruighi, and I graduate. G: You've used til American CXCIIIII sevn
messob
M: I find nmuch easier than English oaenI5. G: Did you have a coach? M: No. When Idid Oetruit Rode City Iwas living in London \0 Iwent to aWIice teacher for afew lessOns 10 try and gel Hback a hH. You hear American accents \0 much 011 television it's easy 10 switch H011. G: What was It . . til the "."., Rtd City set? M: It was \0 much !wi. hwas the only movie I've been on where if \O~~, "The producers ore going to be here lodor,' youlre like "Yeah!" MiiSTo Ihe lime [on olher movies] you'd be on your best behavior or moping around. Everyone working on Ih~ movie was \0 much fun. Ihung oul with Sam a 101.
G: The confessional scene was his lirst love scene, bUI not yours.
M: I've done scenes where I had to be making out with someone. I've never done a sex scene, and thankfully they didn'l ask for too much writhing. Sam's mOther was right there~. But she wos too cool about H. Between tokes she dgo, ' Don'1 you think you should be more pcmionoIe and kiss· ing each either everywhere?" I thouoht she'd be more allOpprOVing bUt she was lilce 'tome on, go for H!" He wos \0 nervous 0I1irst and Iwas nervous because I'm five yeoB older. I'm hotino that I'll 16. But Hwas actually !wi in the end. II's a : ;scene, it's not just about that we're hovino sex. ssort of Irilrig and the police corne in ani!
althat.
G: What abOIt _ of the other scenes? M: AI my scenes were with Sam. People have asked me, "WIiot's Eddie Furlong lice 10 work with?" I don't know.
G: Were Y'!I scene? M: No l-wishrd I'd been 01 the cast party. Iwenl G: Did you go to Ihe KISS M: No.1wenllo the KISS concert i Ihod come bock 10 LA. for about wenl bock and finMed. II wos incredible.
sCAST Bates. BIy Bob 1harnaI, I ...... Iin. 1hn was a I088I1ing inli saw lin artnrds, but Iwas too nerYOU5 to maellin. G: Have you been 1'8110,.,.... _ ..... uached bvfllls? M: vemtllllDlllllllllliti!'limes. It's ria! when peope lellielmer. but l've 'never looked rdy pretty in a moYie 50 I think IITlISI be having a bOd day When anyone 18(. 0!Pizes me. EspeOOIy frorn Heavenly CreaIrxes bemuse I look IIlirtie in that film. G: What irterests do you have open from act-
.II!I.
~
M: Iwrite a lot, poetry and short stories and things. G: Have you been ~ M: Alittle bit, trterory iOlIrna~ in New Zeelond but nof
G: Your first tine
• them?
M: Yeah. I'dbeen a!~~'IiIem, 1 knewwho1hey were and who! they looked like, and I knew the songs but not knowing !hey were bvlhem. G: Did you _ell the '70s for ~ role? M: The scenes in this moYie are thinas that any kid am relate to, it's just a 100/ added tfiing that it's . !he '70s. Iloved Ihat n~tRe mes are . But IcfMln't think I ~ tf do reseml . G: Did you understand the signifilanle of your ~'s name, Beth?" M: h was llie on~ song of theirs I didn't know. ~his relOrd store in Toronto wnh KISS stuff everywhere and Iwent with Jimmy [DeBello! and the guy fhere had met Jimmy before and asked how the movie wos going. He soid, "This is Melanie, she pla}'l Beth." He laughed and soid, "It's the name of their biggest hn." I had no ideo. Tim [Sullivan] gave me an adorable Peter Criss tedd~ bear and CD fhot hod the song on n.It's a beautiful song. G: How did you like hearing Peter sing it Ive? M: IWO\ transfixed. G: What other memories stand out from the 1iIning? M: Everything about nWO\ fun. I'mused to extros on movies grumbling and being angry but the extros on th~ movie turned up Iierouse they love !he bond so mum and Isaw hoW devoted !hey reel· ~ were. If WO\ freezing roId in the middle of the night when we were shOOting and they were happy to be there. They lame in IOIIumes and mokeupto IJiay _ who were !JOi!tg to !he amrt. I thoUgh! tflat was \0 great. When I went to the ron· !ell at Dodue!" Stadium and they finished playing and !he aaWd was .P.I9 ~ Ilooked arOund at aD these DIIOIIIe CIId ~ht, Oh my God, we rouId be in a bIodclxI5Iari' G: How tid you get the role? Did you fly ill Io ......? M: The me in fIw After and !Gil I was in IDndon, I _a put me on.owrtlae. pII'IOI1 whO CIUIItian.I.
G: Wild's IIXf for you? M: I'mdoina a British movie in September lolled
U/y and tire ~~. I'm lily . She ~ won·
deiIuI. a lovely l1li1 of shy iJir! and ihe hos a won· detM SU«lIS5 wnh plon!injj flowers. It's a lovely story about her perD grOwth. The diredor ~ a
woman lOlled Heffie McD~. She did a movie lolled BeoutifulThings.I don't know who else ~ in ~. It'sfilming in London, right by my house. It will toke me five minutes to get to work every dar' I'm still warring to hear on a few other fhings. may be doing a movie in Australia. G: What interests you in a proiect? Is it the smpt the role, the people involved? M: Airof thot IOmes info it. I try and do thinDs that are different every time so I don't feel like I'm doing the some old thing again. G: You've been doing 10mectH!slately. M: I'd like ta do something dramatk next. Heavenly Creatures WO\ a drama and Foreign Corresponoenll, but then Idid three IOmed~ roles in a raw. Ilove IOmedy so mum but if IlOul~ moose next time I'dlike to ~o something different. G: Is there a partiadar dlarader you'd like to bring to the meen? M: Hedda Gabler; some totally wild woman. Idid a reeding rerently of alom~etelv amazing IO'ipt.lt's about awoman who's lome off heroin and been off nfor a yeer but goes bock On and goes crazy. It's greot berause nsJiows both sides,l tlh when there's a journey !hey go on. G: Ally c&rectars yau'd . e to m with? M: Lots of people. I'd love to work wnh Adam [Rifkin] ogoin. He's 10 m um fun. He looks about 12. I'd Work with him anytime. There's an Australian diector mIIed Geoffrey Wright I'dlike to m with. He did ROffl/!fI' Stomper and a movie mBed Meld SUr. Kind Of violent. IIke people who have areoIy idaib1i.., vision. And the cDtOr 01 BII rm aa..... .biie WDtt, is i1aecI& 1Iis
wasl.-lIstleabn. G: ......, ......
anything major. G: Any interest in writing mipts? M: Yooh inoybe. h'sawhale other thing to me and it's 50 dilliruh.I'dlove fo some dny. G: Interested in theater at all? M: I on~ did a lifffe bit of themer. I(s nat leel~ my strength. G: What about television? M: Iwouldn'frool~wonfta IOmm~ myseK fo aseries. Ws sum along time, like sixyoors or something.To be playing. one !harader for thot long would drive me crazy.Things like FriencJswhere yOU!Dn rool~ see the ensemble thing working and everyone hos a grem working vibe...but ayou get on aseries thot's popular you get known os th~ one morader.I'dlove to do a guest spot on a felevision show. I love television. I wofm Frasierond Iused to love Seinfe/r1. G: And a series would mean moving to !be Stales. M: Iknow. IIOn'f bring myseK fo leave London. And I've never loomed to drive. Poo~e think I'mcrezy when I tell them .•
DRC's CAST * DRC's C. • Over the posI2B yeo~, lin Shove has oppeared in nearly 50 h1m ond lV roles ~oying everything from nu~ to nannies to moms of every stripe, moking 0 memoroble impression more rlKenr/y as the londlody in Kingpin ond wacky neighbor Mogdo in There~ Something About Mary. In Oelro" Rock Oty, she's back in mother mode with o vengeance as Mis. Bruce, the stern, choin·smok· ing onti·KISS crusader who burns her IOn's cher· islied concert ticke~. Off screen, Shoye,who WU\ born ond roised in Delron, ~ the mother of 0 10 year-old who hos be<ome 0 KISS fan ond she does· n't mind in the leost. '1hey're fObulous," roves Shoye, who become porticulorly fond of ORe pro· ducer Gene Simmons. "He'sfontostic, he'skind, he's completely on torge!. He hos one of these minds thor goes 0 thousand miles on hour ond never skips a bea!." When she coiled him to tell him how excit· ed she was obout the movie ond obout her IOn lee J's interest in the bond, the next doY,"o FedEx box oppeored ot the door lull of KISS stuH." Shoye feek the lOme about her diredor ond co·sto~, as she revealed in a recent converlOtion. G: Did you enjoy' mokin~ the movie? L: I! wos 0 wondeilul experience. Adam Rifkin was terrific. He runs a very low key but energetic ship. He's 0 tireless worker. He keeps everything on on even keel ond he's complete~ open to ony ques· tions ond IOlving the problems of the scene on~ for on odor thors terrific. He ollows you to be really creative. And the guys were 0 reolnoot, all of them. They're all real odo~, ond they really put it out ond give bock. They were 01110 greot to work wtth. Sam, my IOn, WU\ wonderful. Most of my scenes were wtth him ond we reollv hn noff. He's 0 real profes· sionol. He's one of rliese odo~ who ~ DWOre of everything oround him. He'snot 10 impressed by h~ own presence thor he forge~ there ore other people in the scene and other elemen~ to work out. IWU\ kind of touched, I hod 0 lot of props I WU\ dealing wtth, like the cigoreHes\ ond he WU\ looking out for me to moke lUre I hOD n out. And M~. BrIKe ~ 0 wonderful choroder.I'm10 hoppy with n.1think we real~ creored 0 three dimensional mom, ond thor WU\ my biggest job. Even (orl Dupre odmiRed to me thor on the page she's just ongry, 0 bnch. But Iom 0 mom, ond Itried to go info the realtty of whor ~ is 011 obout for her. Icon see how inaediblv d'r/liruh n could be. 1M. Bruce betleves her jlDinf ofview is the right one and she's 0 control freak in thor way. But it's 0 Iremendously diIIicuh rhina lor 0 parent to ocknow/edQe change ond let go 01 their kid. Ihove rhot 10 look Iorworillo. AI the end, l took the Iiber· ty of adding the tme, "They grow up IusI don'l !hey?," and if was a ~ poignonI moment reoh· ing I'mnat going to chGrige, he's moving ~
G: UnUke Ihe kids in it, you
were actu~ around in the '70s. Oil fWIg bring lIlY melliolies? L: 19781 hod just corne out to Los Angeles, octuol~ the end of 77. I'ma Motown girl. My music WU\ not 10 much KISS bur '60s stull, rOck stull, all the stull thor was hOPlJ8f1ing in Son Fron<isco. Ilove the old rhythm and blues like HowIin' Wolf and Muddy Waters, thurs my favorite. And '60s rock ttke the 'MIo and the BeotIes and the StDl'leS and Crosby Sh11s & Nosh. Iknew of KISS and Iwas very token by the dromotic osped of their perIormonces. I had never seen them tlVe bur I'dseen them on Win the was in a big period of Ironsition and wasn't as in the pop cuhure as wifb my own per. !",~". ".''', :to tell you the /ruth. I tlVed in New York doing Io~ and loll of theorer, one ~1m in New Hesler Keo~, ..... ",,,1,,',~"." Polisn prostitute. 0 couple credits read, Un Shoye-Whore. My 10 upset she walked out of the theorer . Thor was my entree into the film business. to your question, the 70s were 0 time of transition for me ond this movie ~ about tronsttion, too, 10 I was in on oppropriore ploce. I wos growing into IOmething new then and 10 ore these ~ids. G: How did you gel Ihe pori? I know your brother, Bob Shoye, is Presidenl 01 New Shoye had fun shopping while on locolion in Toronto. "I hove more leather (Dais thon I'll ever need in a lifetime," she says. On the other hand, " My character's wordrobe, I left there."
ond I have to let go ond thor's whor every porent foces. (orl thonked me ond lOid nwas the perfect cop for thor scene ond the choroder. He did a phe· nomenol job with the writing. And the fost·paced, angular style rhot Adom chose to shOOt the film ... one early review lOid n aKin't seem like a movie obout the 70s bur a movie mode in the 70s. I! has 0 real olmost documentory feel obout n. It tokes you in com~ete~. G: A!rt favorite S<eIIes? L: I love the scenes where the kids are in the cor, singing the disco. I love the pizzo place, and the \C8t18 in the bar where Eddie dOes his dorKe.And the scene between Jam and I, the last scene we hove logether. Iloved the guys r.1IIinQ frlJ!ll the school to the (01' and the entry to the sdIooI, wifb the gar. !mfes. hhas so much style.Sieve Hcrdie did agreoI ~.
Une. L: He didn't know Ihod on oudttion for th~. Icome
in ond oudttioned like any other odor. But whor I didn't know ond Borrr levine ond TIm Sullivon told me lorer, they lOid, If you just come in ond sol there we still wanted you for the role." They'd seen ...Moryond knew obOut me from Kingpin ond were huge fons. G: ...Mary reaDy moved you to another level. L: Yes. The secret behind n was Kil!llpin. Alter ...Mary come out all the Kingpin freaks felf comfort· able to reveal themselves. I gel stoooed more for Ki'JJi". 'MIen people find out I've dOne both they can I believe if: ~ is great, It makes me 50 happy. G: As a charader actress, yau're a charneIeoIl. L: And I'mgoing to continue to do thor. I love if,l'm open to onYrhiia and I think this movie wit move me info .,. moiher mfegory. I aeoted a niIhe lor myseI\ I dink. G: iii you ftm w.t to cia dis? L: Yes. Bill Ididn'ID, if wasn'l, "Db IwanllG be amovie sIar." '_1Iiought Ihat.We dDl'l have
64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .
r * DRC' alot of kids living oroood me. I'dtoke aU my doIhes out of the doset, stand in front of the mirrored Frend! ~ put on the doIhes, unci make up dif· ferent voKes unci put on a ploy. And I'd (ontinue n the next dov. hWDS the WIlY. I exp:-t my!8!I. I did nfrom If.e time IWDS really smoD. It's!llllielting I've oIwoys been good 01. IIaiow how 10 InmsIonii somehow. It's like stepping into atomodo ahie lit one! II1II8 you're in nnoIfUng!on be wrong. G: How tid you tr.slate the desh to daIng It 1IIVfes~? L: 1was oIwovs in sdIooI J!Ic!ys, from kindeIgorten
on. I went Iolf.e Unimily ofMidUgon and I ciIwuys 1111 ploys 01 sdIooI. They hod a wOnderful theater .~ilent, but I WDS on uri history major. The ad· i1g WDS something I cW on the side. I was oIwavs in shOws, like ~ Bye BinIie, IVoodsm/ 10IIII. Yt1ien I Iirished wliege I thought .I'd go 10 do a year in lDndon. I opP&ed 10 uri sd100I but IK!n't get in. I went with my porents onywoy and met up with a gir\fr!end on the Spanish Steps in Rome. I stayed Wi1h her for a month unci theri look off on my 0IIII. I ended up getting a job 01 a smoI theater in the
Westfnd. mtlme!lon~~up in Emnburgh 01 ~I met aguy.wIri1e sit· ting hcMniI ru;,; day. This guy says, "Are you on Ameriam? Arexou looking for ajob?"and Isoid, "Yeah: He soia, ' I'mapoet. Here sthe number to IOU and Q loce where you can stay." And it wasall on the up and up and I'm still friends with this man today. I introducedhim to my husbond and my son in london last summer. When I came bock from london I thought I'd go to graduate school for the· ater. I went to Columbia in New York and that fed into the Off Broadway and Off Off Broadway scene. I can't live without it. I hope I give as much, and I know Ido, and Ithink that's my success, to tell you the truth. G: You've aeated some memorable chara<ters L: Sa for, so~ Ihope there's many, many more. G: What a pari attrads you? 15 it Q (ombination of saipt, director, Ond character? L: Irs defin~eIy a combination of things. If I know there's a wonderful director working on .some· thing... Neil loBute, who did Your Friends and Neighlm, is doing a mavie and nwasn't a greol part but Iwonted to work with him so bad. Ilfnln't get nand IWD5 reo~ppointed. G: Whim other OIl would you lie to
watkwlth? L: MIte Nichols, Woody Alieni Noro Ephron, Baine May, SpielJerg. Ron Howara, Rob Reiner, Steven Frem, the Coen bro1hen. Paul Thomas AndMon. Tun Burton. G:Adon?
L: De Hiro. Who woo\dn't? Joan Cusack. I '" her nwl1lide where !be's IIII1!Ig frirn. !MrII ~ M!t ~ Ed Harris.1b8se are aD pe0ple fJim tbi theatIr.
G: Do yw tIiIk that Ir1tiIg rounds on ador out more?
L: AbsGIuteIy. You tI1iIk about the role in a different way. TheaI8r InIi\q is more extensive. I wos !OO!# 10 work with objeI1s 10 think about the ~, middle and eric! J a scene, the arc of a scenm efim day Iworked an Delroff Rock Gtywos the scene wnh Sam in the bedroom where I'mtelling him to hurry and Ret ready for school and he'strying to hide the KISS tickets. It wos a long scene for afilm scene. I approached ~ like ~ wos ascene in a play and 0\ soon 0\ I did that I found my behavior, the sweep of thescene, the arcof the scene. And Ifound whol was happening in my relationshi~ to my son. If Ihad no theatertraining Imight have been at leD . G: Do rou wont to do more stage work? L: later. wont todo movies now. G: What's next? L: I'mgoing to do the Farrel~ Brothe~' next movie. Ifs going to be a small role, just a few scenes but they're wnh Jim Carrey. I'mreal~ ex(~ed to work with him. Renee ZellweQer is the lead in~.lfs called Me, Myself and Irene. then I'mdoing an independent film, through New Une, and again, my brother Inln't know aboUt ~. It's called W"JSij You Were Dead. Irs a dark comedv written by ScaH Firestone. It will be directed by Va~rie McCoffery who is New Une's costing director. It will star Cotherine O'Hara and Rose MIGowan.1play a manirurist but Idon't know
too much about her yet. I'mready to rock and roll. 0\ Gene would soy. G: You've done a lot of (omedies. Do you prefer it to drama? L: I love comedy. You can't live without laughter. Irs a high form of art. But I'dlove to do drama, too and Ithink I'mequal~ strong on both. My emo~ons are right on the surface. G: Are you interested in TV? l ANer DetlOff Rock Cily I aud~ioned for a lot of guest star stuff and consistently came in se<ond. I tested for one TV pilot and Iwosn't sod Ididn't get ~. Iwos up for a port ina Joon Cusack pilot but ~ relocates to Chicago. But I have my son and the idea of ~gning a seven year contrad ... ~ didn't go very for and that wos OK. G: What are you proudest of? l Kingpin. They didn't want to see me for the role. They soid, "You re too young, you're too attractive." Everyone wos saying no and final~ at the last minute Icalled and soid "I've worked aut this whole presentation, please see me." And he soid OK. And I came in and ~nocked their SOIks off. G: That must have felt good. L: It did. Ilook at those scenes and Ilaugh myself to tea~. It's still my favorite thing I've ever done. ...Mary is a very dose se<ond. Detroit Rock Gty ~ going to be up there. Ithink it's going to be huge. •
GJffilJlffi0C8ffi ~'V0GJ
[3
continued from page 61
n't lit in and they really abused me. In time [acting] become my thing. I always really loved movies and they were on escape lor me. But Ireally consider my career starting at 16 when I did the Woody Allen movie [Everyone Says I Love You]. That was when I storted to understand how much work was involved. G: How'd you get that part? N: I did like six auditions, with Woody there. G: How was it working with him? N: Amazing. I don't think I grasped that much because it was my lirst real port, with real octors and a real director, and I was really intimidated so I don't think I grasped lully what was going on. It was the lirst time without my mom there-she was there sometimes but not all the time. It's weird, I'll be working on a scene now and Woody's voice will start ringing in my ears. "Focus on the work, don't put the audience to sleep." That's what's amazing about working with someone who's a genius, you really learn something. G: Want to work with him again? N: I'd love to. G: Was your mom in show business? N: She was a dancer when she was younger, bal·
let and stulf. I have one brother. He kind of toyed with it but never took it seriously. lost time we spake he had one of those stockbroker things going but before that he had bought a gym in South Beach [in Miami], so I try to ask no ques· tions. G: What goals do you set for yourself? N: Try to enjoy myself and don't take this shit tao seriously. Try to like myself, stay inspired, not get apathetic too ohen. Hopefully make a couple of movies that I'mproud of and enjoy watching. G: Which one are you proudest of so for? N: Slums of Beverly Hills is the one I con octually watch without cringing. It was definitely the movie that changed my coreer. I really liked the other actors in that movie a lot. Alan Arkin and Kevin (orrigan who's actually in Detroit, he's one of the guys at the chop shop that are about to rope me. Anyway, it was a great cost in that movie. I talk to them every now and then. I really like all of them. And Tomaro [Jenkins] really taught me a lot. I just learned a lot on that movie. I hod to work really hard. Working really hard and actually having a product that's satisfying is a great surprise. It feels really good, because you never know what these things are gonno turn out like. G: Have any of the films you've done reolIy chonged in the edit? N: I haven't Seen the finished product of Cheerleader or Trickbaby, the two independents I did.
G: How about American Pie? N: I was definitely pleasantly surprised. It's not a teen movie; it's a really funny classic comedy. I was like, "How is this gonna turn out? Will it be a dumb teen movie I would never see?" That's not what it turned out to be at all and I was really happy about that. Eugene levy, that guy from Waiting for Guffman, is in it and this new guy Joson Biggs is in it and the two of them together are just hysterical. It's a really funny movie and I think that out of all these teen movies it will be the one that has longevity. It's a real classic movie. It's not like some bullshit teen movie. It's gonna break a bunch of careers. It's really funny stuff. G: Do you think the some of Detroit City? N: I don't see Detroit Rack City as a teen movie, I see it as a KISS movie. It's not about a couple of kids in high school. It's about four guys with a goal. They have a mission, and it's fun to watch the mission get f.cked up along the way. They meet so many weird people and have these strange adventures. I think the texture of the film is great. It looks like an authentic '70s movie but it has all these really great comera moves. It's a believable story and the guys in it are really great. It's like this rock 'n' roll adventure through the '70s. Vou get to see them from home to school to the road and being wild on their own. Bul ii's nol 01 all a '90s movie. It has a whole olher thing 10 ii, which is cool. II's whall was hoping il would be and it is. •
Debuting in 1991 as young John Connor in Terminator 2: Judgment Day, Edward Furlong has more recently portrayed a young man implicated in the death of his girlfriend in Before and After (1996) with John Heard, Liam Neeson, and Meryl Streep, and last year as Edward Norton's Neo-Nazi skinhead brother Danny in American History X and in the title role in Peeker.
Sam Huntington got his first screen exposure as Mimi-Siku in Jungle 2 Jungle, which had something in common with his role as ORe' s Jam: he had to wear hair extensions, something he hopes to avoid in future roles.
Although she's been acting for 28 years, Lin Shaye has gotten the most attention for her recent roles as landlady Mrs. Dumars in Kingpin (1996) and as the hypertanned neighbor Magda in There 's Something About Mary. As the latter character, she appears on a greeting card that pictures her "looking out the window with nothing on but a shirt around my shoulders and my boom-booms looming out at you. On the inside it says, 'Let it all hang out! Happy Birthday.'" And yes, she gave approval, "because it's not me, it's Magda. But it's still kind of neat," says Shaye, who has trouble picking out a favorite Mary scene. "Matt Dillon resuscitating the dog, Ben [Stiller] with the zipper, and I love the fight scene with the dog, which Ben choreographed himself. It's a masterpiece of physical comedy."
Giuseppe Andrews can be seen in the early present-day scenes in Pleasantville (1998), chowing down with schoolmate Tobey Maguire. He's also in the current comedy American Pie .
Melanie Lynskey made her 111m debut as Pauline Parker opposite Kate Winslet in Heavenly Creatures (1994), about a friendship that grows more and more twisted. " I kind of had a love scene with Kate," says Melanie, for whom the Lesbian theme continues in the forthcoming But I'm a Cheerleader, starring ORe's Natasha Lyonne. For the record, she does have a boyfriend, an actor she met doing a 111m adaptation of The Cherry Orchard. Lynskey is recognized more for a smaller role, nice stepsister Jacqueline in Ever After with Drew Barrymore. Megan Dodds played the wicked one.
Natasha Lyonne played Richard Dreyfuss' daughter Shelly in Krippendorf's Tribe and boy~ crazy narrator OJ in Woody Allen's musical comedy Everyone Says I Love You , but it was her portrayal of Vivian Abramowitz in The Slums of Beverly Hiffs (in which she starred with Alan Arkin and Jessica Walter) that won her raves and higher profile roles. She can currently be seen as Jessica in the teen sex comedy American Pie.
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Blueprints and rendering 01 KISS Love Gun stage and lighting plat
by Gerri Miller STEVE HARDIE PRODUCTION DESIGNER â&#x20AC;˘ His impressive list of credits ranges from Return of the Jedihis first job, as a camera traineeto the original Highlander movie (makeup effects) to one season of Buffy the Vampire Slayer. But on Detroit Rock City, instead of helping to create future worlds or
supernatural beings, production designer Steve Hardie took on the assignment of recreating 1978 two decades later, and faced unique challenges and tricky problems to solve . "Every day's a challenge on a film," says the British-born Hardie, whose involvement with DRC stems from his prior work with director Adam Rifkin on Denial the year before. That said, DRC posed some especially tough ones, start-
ing with filming on location in Toronto, Canada. "I've worked in all sorts of places and Toronto doesn't have prop houses like here in L.A.," says Hardie, who He now lives in Hollywood. worked with a local set decorator, who helped obtain items at antique stores and thrift shops that sold items from 1978. "We requested certain items over the Internet. We had KISS fanatics get us things like the towel, " used to hurriedly cover items the gang doesn't want Mrs. Bruce to see. Finding vehicles of the period that looked new was another formidable task. "We needed about 200 cars of the '70s. In California, older cars keep better because of the weather, but not in Toronto. Neil Montgomery, the transportation coordinator, was able to track down a lot of cars, " many of which were needed for a traffic jam. Also, "The script called for a 1978 Volvo 242DL. It was one of the first Volvos that came over from Sweden," Hardie notes. "We needed two identical Volvos to save time, because one has to go on a car rig, with its tires low so it looks like it's on the road, and the other has to have the tires pumped up normally. They were bought locally, and repainted to look new. We had to buy
them because there was potential damage from the car chase and we couldn't rent them ." Hardie and his team made a scouting mission to the titular setting of the movie "so we could make Toronto look like Detroit, and found the necessary round building, the Canadian
National Exhibition Center, to substitute for the exterior of Cobo Hall. "We put up 35 foot high signs that said KISS with 500 or 600 lightbulbs on the side of the building. "
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The lonlept for how the exterior of Cobo Hall would look (olluolly shot in Toronto) and the plan for the sign, lomprised of 25' lellers.
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To get it right, "I looked at a lot of video footage, I went through KISSTORY page by page . It became an invaluable bible," Hardie says. "Mine looks like it's 10 years old, there are Post-its all over it. Gene gave it to me before we went to Toronto and I d i d n ~ t know how useful it would be. He gave me video footage from 1978 as well. We looked at two cassettes, two nights from Houston to see the stage set." Originally, says Hardie, "We thought that the Love Gun stage was in storage at KISS'
from the L.A. Sports Arena to the Copps Coliseum in Hamilton , Ontario turned out to be an advantage. "We could use our same crew, which made it easier and cheaper, and better for me since I like to be on top of everything. I couldn't be in two places at once." Because ":I(IIIIII""~""''' the concert scene is the big climax of ...................... the movie, "It had to do in what song warehouse. They don't throw anywhat normally would be done over thing away so the assumption was whole concert, " Hardie explains. a it was all still there but it wasn't. We "We had to make mechanical balalso thought that they were going conies that descend. We used to put the stage together for us. KISS' pyrotechs· because of the But at the eleventh hour they cost and because KISS were comcouldn't. Not that I minded, but it fortable with them . Four large flame was a bit of a surprise. We had to throwers come up, called dragons, start from scratch." As it turned pumping fire through the floor out, moving the concert scene
In Conce rt
Hardie's team created flyers, posters, tilkets, and balkstage passes based on original '78 designs. He olso mode crew passes for the lonlert shoot. throughout the song and make it look spectacular. But we made the two staircases non-practical because no one had to walk on them. That made them less expensive to build. We added to the lighting technology because lighting has come a long way since 1978. But it was touchy for me. Gene wanted punchier lighting so I used it in a way that you never saw it move in the shots so you can't tell. It made it look better, though . The problem with a period film, showing it to a '90s audience. you have to jazz it up a bit:' Hardie says. If we had showed it exactly as it was, it might have looked lame." The idea, he says, is to take the period "and adapt it to a more contemporary feeling. If you did it to the letter it would look like a 20 year-old movie." On a smaller scale, Hardie faced the challenges of designing the movie's other interior sets, including the Smiley-Mart conve-
PROP LAMINATE FOR 8ACKSTAGE EXTRAS
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DnROIT ROCK CITY
FILM CREW LA MINATE DPASSES FORCONCERTSHOOT
nience store , the basement rehearsal space, and the public and Catholic schools. For the Smiley-Mart, the main problem was that many of the products around in '78 have changed or no longer exist. So Hardie's team had to recreate labels on a computer and re-wrap packages. Many films make "product placement" deals with companies to get items free in exchange for exposure, but said com panies are fairly particular about presentation and context. " It isn 't really a drug movie, but because of that [companies) didn't want to endorse it. It became very difficult with the legal department at New Line because of clearances, " says Hardie, who got around that wherever possible by not focusing on anyone package. "The general rule of thumb is if a shot incl udes more than 10 packages you don't have to clear them. And, because convenience stores weren 't as high-tech back then, we filled in the scene with pinball machines, Detroit souvenirs, greeting cards, wrapping paper. " Ironically, the space used during the shoot was an actual
convenience store that had been shut down-and unexpectedly, gutted. "The deal was they'd leave whatever they could and we w9uld take out what we wanted to. But they left nothing but the shelving so it made it difficult. Even threw out the magazine racks," Hardie sighs. The Smiley-Mart was a "weather cover" set, always on standby to use if bad weather necessitated a switch from an exterior to interior scene. For that reason, explains Hardie, "We needed it for three
,- ' -
months." The basement rehearsal space, however, was a soundstage creation . " Basements are very impractical to work in so it was built from scratch with a low ceiling. We used the paneling and exposed brick they used then." Props like a lava lamp, beanbag chair, and numerous KISS items provided the set dressing , the bulk of the latter coming from Gene Simmons' collection including original KISS posters. "I had them all duplicated, " says Hardie, who didn't want to ruin the originals and risk the God of Thunder's wrath. Other posters, including Day-Glo and black light ones, came from local shops. "Toronto has great head shops. I got a Farrah [Fawcett] poster at one for about $30." Other obsolete items weren't that difficult to find . "Eight-track players were plentiful at pawn shops, and one of the prop guys has a vinyl record collection and
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DETROIT ROCK CITY â&#x20AC;˘ GIRLS M THROOM â&#x20AC;˘ RFK ~
was able to bring a lot in," Hardie notes. As for the schools, "We looked at six before we found one
that looked right," Hard ie says. "We painted the lockers orange and yellow, very '70s. It had to be done with a certain kind of enamel , but we couldn 't paint during the day because of the fumes. We had to change the murals on the walls without ruining the ones that were there, so we did [new murals] on paper so they could be removed without damaging anything ." Outside scenes posed a different set of problems . "Exteriors are always difficu lt because you 're dealing with the real w orld . Road signs have changed. The speed limits. When you 're dealing with period , it's tricky. When on location we had to find locations that looked right and made it easier. " . While in Hardie's opinion, "The '70s were a pretty ugly period ," he feels that being able to approach recreating the time in America from the perspective of an English outsider worked to his advantage . " Sometimes you become more objective and analytical about it not using your own experience. I've never been an astronaut but neither has anyone who has designed a space movie, " he points out. While he's yet to design one of those, Hardie did work on Revenge of the Jedi fresh out film school in London, where his passion was originally cinematography and he'd studied for three years. He spent a year as a camera department trainee, moved into the art department with the Bond movie Never Say Never Again, and worked his way up from there. "I could always draw," he explains. His first break as a designer was Clive Barker's Nightbreed, and he went on to do others with Barker. He has also done makeup affects in London and in the U.S, where he has been living for 10 years though he's been back and forth to England for jobs such as The Brylcream Boys , about the RAF in 1941 Ireland , shot two years ago on the Isle of Man. What's next? "Who knows," says Hardie. "I 've done all sorts of things-comedy, period, horror. I haven 't done anything futuristic. Horror and fantasy aren't my favorite as a moviegoer, however they're much more fun to work
on. You're always doing something completely mad that requires special effects and fantastic things. Sometimes contemporary films can get a bit boring," he admits. "Recreating a police station isn 't that challenging . But I'm pretty eclectic in taste and as scripts come along and they take my fancy," he trails off, mentioning his one season of Buffy the Vampire Slayer. "It was a lot of fun," Hardie says of his first American TV experience. " It was great because it was
slightly gothic. I didn't want to get stuck and do another season. But I enjoyed it because it was offbeat. Part of the fun of freelance work is you don't know what it will be next or where it will be," he offers. "I look at the positive elements of that rather than the insecure part of it. Even tj10ugh it is insecure, it's exciting." â&#x20AC;˘
especial effects have replaced alot of humans in some aspects of moviemaking, Norton happily points out that costuming still uires the human touch. "It's the last handmade product," says the designer, who makes her own clothing and purses. On screen, she'd to~o aperiod show, 17 century, but I'm open to anything."
â&#x20AC;˘ With all the nostalgia for things retro and the '70s in particular, you'd think it would be easy to find period clothing to dress the cast and extras in Detroit Rock City, and to some extent it was. But one-of-akind items don't work when you need wardrobe pieces in multiples, which meant creating lots of clothes from scratch , most of the time on tight deadline. This was the challenge costume designer Rosanna Norton faced, but it was one she embraced eagerly. In fact, having worked with director Adam Rifkin on Barb Wire and the TV series Bone Chillers, she "would have been furious" if he'd hired anyone else.
"He's a lot of fun because he lets you go wild and helps you go wild . A lot of directors are conservative. He's great," says Norton, praising Rifkin's artistic sense and vision . "Adam and I really communicate well and he can tell me what he wants. He'd go through racks of clothes, see something he liked, and then I'd figure out how to make it. He comes to the fittings. He's so helpful." But even with Rifkin's support , time remained Norton 's biggest obstacle. Production on Detroit Rock City began so quickly that there was no time to plan , and casting was so last-minute that Norton saw Edward Furlong and Sam Huntington for the first time on the set in Toronto (she had briefly met James DeBello and Giuseppe Andrews in l.A.). "We got the actors the day before they worked and we really had to scramble. We did [costumes for] the four boys in 48 hours," she says. While thousands of authentic '70s garments were rented or bought for the movie at stores in l.A. and Toronto to clothe the actors and many extras needed for the crowd , school , and concert scenes ("I heard the last movie that had this many period extras was Gandhi," Norton notes), a workshop of seamstresses "made tons of stuff. They'd stay up all night and make clothes ." Because the four male leads go through hell on their way to the KISS concert, their clothes were subject to catastrophe and Norton needed several identical versions for each actor. James DeBello's Trip wears an old burgundy hooded sweatshirt , but because multiples were required , "We started with new gray sweatshirts, dyed them burgundy, and bathed and sanded them down." Norton had assistants doing nothing but aging clothes to make them worn or torn.
Jam (Sam Huntington) "wears a T-shirt with one of those rubberized stencils that has worn off, so we sandpapered it and spray painted it through a screen," Norton reveals. "Making clothes look real , like they belong so you don't notice them is the most difficult thing. It's much easier when you can go wild and design something from the ground up and you know what you have available to use," she says. For Natasha Lyonne (Christine) , "We found this perfect jacket but it was a man's, so we cut it down and made two out of it," reveals Norton . For Shannon Tweed's Amanda, "I copied the Diane Von Furstenberg wrap dress that was so popular then ." Lin Shaye, who plays Mrs. Bruce, tried on clothes from the multitude of wardrobe racks that filled every available room in the production office "so we could see the styles we liked" before her outfits were made from scratch. "We found one store that had great fabric, a whole basement full of
Hamilton shop had a lot of '70s suits on hand. But dressing some of the female extras was more difficult. "We could get lots of coats, it was easy dressing the Mothers Against KISS. But the stuff for the groupies and hot-looking girls was harder because that stuff doesn't last." Those outfits were needed for the scene in which Lex (Giuseppe Andrews) climbs onto a ledge overlooking backstage, where a party is going on . "In the original script there were five groupies, but now we had hundreds of people. That was a little tough ," notes Norton. She used old fashion, teen, and rock magazines to do research on '70s styles, and refreshed her memory by watching Saturday Night Fever and Carrie, a movie she worked on over two decades earlier. "It was funny to watch it since I hadn't seen it since the cast and crew screening, but it was useful ," Norton says. The KISSTORY book came in handy as well, as did KISS magazines like Psycho Circus and Alive Worldwide. Even though she did not dress KISS for the big concert scene-"They did their own
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polyester crap forthat wanted except me. It paradise-if I ever do an,oth,er I '70s movie , I know where go," Norton laughs. Stores also ed bell-bottomed pants designer jeans, and
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continued
wardrobe and came with their own person ," says Norton, who in fact never met the band on that very hectic day-she did work with stand-ins Hotter Than Hell, who wore actual duplicate KISS costumes. Norton also had to garb the thousands of extras in the crowd. "We made hundreds of denim jackets, leather jackets. I had an artist paint KISS things on them, like the fans do. We couldn't count on the fans to bring enough," she explains. "We made belt buckles and Tshirts, caps, and a lot of handmade things, studded and painted. Gene was kind enough to give us his archival things and we copied them." A lot of fans did show up in authentic 70s outfits, "But we had to make sure they didn't have anything on that was from after [1978]." Norton was aware of KISS because her son , now a 32 year-old reggae musician called Dread Flimstone , was a KISS fan and attended concerts in his youth. ''This could have been his story," she says of Detroit Rock City. She had a lot of fun on the set, despite the cold Toronto weather, and chalks that up to the people involved. "The thing that makes it a good working experience is the people and if you've got good people like we did on Detroit Rock City it's pleasant, and if you have bad people you're in hell and it doesn't matter how good the project is. One person who doesn't have a good attitude ruins it," Norton points out. In 28 years in the business
working on about 50 films, she has been around long enough to know. Her credits include 70s-set The Brady Bunch Movie and its sequel , which proved to be good preparation for DRC, and The Flintstones, for which she had to make everything from scratch but had lots of time and money to do so. She's discovered that she doesn't care for sports-themed pictures-"I did a baseball movie [Angels in the Outfieldj and I'm not a sports fan, and it's not that creative," the designer says, noting the painstaking detail required for uniforms. "On the other hand, I had a great time doing Operation Dumbo Drop with Danny Glover in Thailand," she says of the military comedy. "You go into a project and there's always something interesting. You don't know what will end up being fun ." ' Norton got into the costume design field by accident. "I majored in painting at UCLA but I knew I COUldn't survive on that. I always drew clothes as a little girl. I've always loved clothes and I've always loved designing. But my father was an architect and my mother was an English professor and a poet. There's no movie business in my fam ily," she says , explaining that she met film industry people while at UCLA through her first husband, a director. Together, they worked on the movie Cisco Pike with Gene Hackman and Kris Kristofferson, and she did double duty as art director and costume designer, but found that "it was too hard doing both ." Back then, too, there weren't many female art directors and she felt more comfortable in the costume realm. "I guess it was just fate, but I really love it," Norton says of her career. "It's really a great life. You get to meet lots of people, travel. There's always a challenge." She finds that she often gets jobs "because of people I worked with in the past; and enjoys the diversity of each. "You never know what's gonna happen. Every movie is different. The actors are always fun . And I always learn how to do something I never knew how to do before or I fail at something and have to study up. I can make wetsuits now; she says. "There's always something you get to do." â&#x20AC;˘
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