Binder4

Mar.

The Cabin in theWoods Destroy youth in our culture

Megan is Missing fictational and authentic!

Glenn Hetrick

Inside to the Judge of Faceoff

Wrath of the Titans The Collapsed Rosamund Pikes speaks www.fangoria.com

MARCH 2012 Features 17 Megan is MIssing

Surfing the Internet is a deadly tip in Micheal Goi’s chilling cautionary tale.

10 The FX King

Interview with Glenn Hetrick the judge form the show Face Off, and master at FX make up.

24 Queen of Wrath

Actress Rosamund Pike essays a stronger heroine against mythical beasts

Departments 3 Letter to the editor 9 His Cabin Fever

The reason for the new look and style of the magazine

If you got the guts to redux a zombie classic, be careful they dont get ripped out.

16 Blood Under the Boardwalk

In the one place where you really dont go for a picnic. It will leave you shaking for more.

32 Book of the Month

Graveminder By Melissa Marr

Photography: Eduardo Rodriguez

Cover Story:

The Cabin in the Woods .3

MARCH 2012 Letter from the editor There are different parts to this letter.

Firstly the new design that the magazine has gone thru. Which is not only new and innovative, but also slick and more approachable to a wider audience. Making the on goer person grab a copy at first sight and flip through it, to then purchase it at its cheap price of $9.99 which makes it once again more accessible to the horror movie fanatic. The new layout it very modern and slick giving it a better feel to it and not making the viewer so overwhelmed with the gory and busyness that the magazine had before. So in the next pages you will find the new look of the magazine every part its tide up by elements, which are presented around the magazine.The second is the great amount of detail to create a friendlier feel to the magazine. The magazine needed it a big facelift, from its large history which started in 1979 it had the same old look, well the challenge was that yes the magazine has a great history but as film progressed the magazine had stayed the same. Films have a whole new feel to them; they make you feel the agony, pain and suffering of its characters; and their journeys. Well the magazine has to have the same feel to it but be able to keep up with the large competitor giving it the new look more modern and slick we are able to make look more up to date. Also we want to give gifts to our subscribers who have been loyal to us. From coupons for popcorn, candy and etc. To behind the scene DVDs of the new up coming films that will be featured in the issue. Also by changing the look of the magazine more companies will want to get ad space in it, so not only it will be special effect and costume companies but also much larger companies that will give the magazine more of a profit, so more issues like this one can me created.

Enlarging the market will create more subscribers. As we show our love to our subscribers they can show their love to us by submitting their art to the magazine to the featured in the back cover of different issues. A Big change that was made to the magazine is the format of it that it went from horizontal to vertical, the design to this big change was made b g ecause since the magazine is about movie and they are played in the widescreen why not give our magazine that look as well. With this change the magazine has more of a cohesive feel to the widescreen format. The layout of the magazine will make the person keep every issue, as it will become a type of coffee table book. The choice of paper that the magazine it printed on lets the user not is scared to take it around and read it and worry about if it would mess up. From what we can make out there is more to come. Enjoy!

-Eduardo Rodriguez, Editor ERodriguez@Flagler.edu

Editor: Eduardo Rodriguez In short: Horror film lover, under the radar, Colombian.

Features Editor: Mattew Snell In short: Surfer, Trifter, Nothing but Coronas and limes, “Be yourself”.

Ad Manager: Jim McNeill In short: Loves Ads, Deadlines? what deadlines!, Rugby guy .

“Everything is designed. Few things are designed well.”

— Brian Reed FANGORIA (ISSN 0164-2111, Canadian GST number: R-124704826) is published monthly except July and December by the Brooklyn Company, Inc. 250 West 49th Street, Suite 805, 8th Floor, New York, N.Y. 10019.

This is issue# 311; entire contents are copyright 2012 by The Brooklyn Company Inc. All right reserved, Reprint or reproduction of any material in part or whole- including the reprinting or posting of articles and graphics on any Internet or computer site- without the publishers’ written permission is strictly forbidden. Periodicals postage paid at New York, N.Y. and additional mailing offices. Subscription rates: $54.47 for one year (10 issues) delivered in the U.S. Canadian and foreign subscriptions: $63.97 IN US FUNDS ONLY. Postmaster: Send address changes to: FANGORIA SUBSCRIPTION DEPARTMENT, 250 West 49th Street Suit 805, 8th Floor,New York ,NY 1019 .Fangoria accepts no reposibility for unsolicited manuscripts, photos, art or other material but free lance submission are accompanied by self-addressed, stamped envelope, the will be seriously considered and, if necessary, returned. Printed in the U.S.A. FANGORIA is a trademark of the Brooklyn Company,Inc. Publication Agreement #40725002

Film Still provided by: Lionsgate Written by: Samuel Zimmerman

A pair of TV veterans have cooked up the year’s most surpring fright feature

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) is total 13 from lionsgate ril Ap ng ni pe (o oods e tone; its he cabin in the w the fun, aggressiv n; io pt ce in us rio apropos, and fu and finally’ and of ways: it’s fast h; er ut mb yo nu of y ng an ni in pio punk rock iry; its cham .” l insight and inqu riumphant nihilism wealth of societa ard refers to as “T know the story” and turn subgenre on dd Go ew Dr r te . you writ eta deconstruction ims that “You think what director/cods isn’t exactly a m riving with the cla

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ript very quick have an episode d sc g en ek itin we wr uld e of th , wo s er gle st episode slayer and an the next day and ov oftentimes, our be at night do it again rted noticing that sta that, because not e e W lik . and write until late at do th uld to co feature] we band-mentality [a eing rag try ga of of a nt lock yourself rry ide ca so e u very ve movie; yo interested in th cti ry te ve de re d te we ca we pli m so know, we could do e a really co come this way, emselves to it. Lik night and said, “you th e d on len ing God, or ink ing dr go re all films are I was like, “Oh my I think we we be interested it?” at, you need time. yo th d at ld an ite ou “ wr , “W d es id, an inu sa nt d om in a ro be fun” he co the big idea an d uld ha wo d at ha wh ss t Jo out ou d ab ing e not com rted talking a cabin movie” an tel and said, ‘We’r my alley. “We sta ho up a ht in s it’s rig , s lve se at ur rse th e co ou we locked til 3 a.m. Of yes.” becaus out the structure, a.m. and writing un ed 7 nd e ur ba lik fig eat we rag up g ga int e kin po th certain eryday, wa in terms of t,’ and it worked. Ev d and revised, but rip ise sc a rev d ve an ha aft we dr til at un took th ot that script. We those three days.” not like we then sh bin was created in Ca of ld ou sh e th r, g fo vibe we were lookin

So Cabin was a chance to specifically say that we’re debasing our culture by turning horror movies into a formula of ‘kill,kill,kill’

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Joss Whedon, producer/co-writer

Floor plans The starting point of The Cabin in the Woods is a deceptively simple one: college friend Dana [Kristen Connolly], Curt [Thor’s Chris Hemsworth], Jules [Anna Hutchison], Holden [Jesse Williams] and Marty [Fran Kranz] set out in their RV for a weekend trip to a you-know-what. And the soul of Cabin is vibrant, inquisitive one, vey much born of the the filmmakers at hand- and at odds, as their own personalities and personal preoccupations shine thought the movie. “It’s funny,” Goddard notes, “Because in some ways it’s really conversation between Joss and I. Joss has some angry opinions about the horror genre, and I share those opinions, yet I really wanted to celebrate the genre.”

“There’s a reactionary element that has always existed in horror.” Whedon says. “If you transgress.if you go near the dark side, or even into the woods, some thing bad will happen. I think is has really taken nastier tone in the last sort of generation of horror

movies, where it was more like these kids are party-driven assholes, and lets all just identify with the killer and take these suckers out. I find that attitude really nihilistic and to me, it undercuts the horror if I like the persons undercuts the horror if I like the person who;s trying to live. So Cabin was a chance to specifically say that we’re debasing our culture by turning horror movies into a formula of ‘kill,kill,kill’

“Along with the frustration, though, is an enormous love for

horror movies; both Drew and I are real aficionados. He might like blood a little more than I do; he might like blood ma little more that anybody [laughs]. We have slight generational differences as well, since I’m the older fella, but we love those movies. WE love horror, we love sic-fi, we love fantasy, we love anything that out there that makes us insanely tense. we didn’t want to write a lecture. We wanted to write a fun horror films.”

They also seem to be vested in how we feel about fright flicks, or more specifically, the age-old question of why we watch/create them.

“It was far more important, for me at least, to take it further and not make it just about the genre,” Goddard notes. “I was far more interested in what horror, as a genre, says about us as people. That was much more interesting to me than, ‘What do I have to say about the horror genre?’ there’s something about why we create horror movie in the first place, and what that says about us and who we are. To me, that was the fundamental question of The Cabin in the Woods, or one of the fundamental questions that got me exited. So it really came from a place of loving these movies, but also being interested in why the hell we feel the need to create them, as a culture.

And not just horror movies; why do we feel the need to look at the horrific side of ourselves to entertainment in general? That;s a very interesting question.”

It’s a loaded question as well-one that, as with any good, complex affair, only leads to larger concerns...

The Occupants When asked if he found what we was look for, Goddard quickly retorts, “No [laughs]. I mean, yes and no, much of what I have to say is in the film, but I also recognize its not an easy answer. There’s plenty a push/pull that happens in The Cabin in the Woods. there are two sides, very clearly, and at the end of the day, both sides are correct. So it’s not just about the horror it’s about what its is about us as a culture that need to destroy youth. If you look at most horror films. at least the ones we’re dealing with, its all about taking youth and subverting them and destroying them. That’s very much what has been going on in our culture. It’s pretty what what happens in a war. It’s all about the callousness of how we celebrate youth, built it up and then destroy it. That has been happening since the dawn of time, an its very interesting to me, in terms of what that says about us a people. I feel like that question is at the heart of Cabin.”

Today’s youth are no no strangers to the work of Whedon, who has famously never been one to count them out. “I tend to write kids as heros, because my experience of being young was very much of being frighten and bullied,” he says. “Not scary, heavy PSA bullies, just not every really feeling safe or accepted, so I like to write kids who do. But then you have horror movies, and you know what’s going to happen to kids in a horror movie, and the chance to bridge those two things was a lot of what was fun about Cabin.”

What’s great about the kids in Cabin is their outright rejection of being

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told who they are (the details of which can’t be expanded upon at the moment). This particular plot point feels like an extension of the current conversation and a pointed look at how Hollywood is more than a little It’s not just about the horror, it’s about what it is about us as misguided in its representation of the a culture that needs to derstroy youth young. “I would take it a step further Drew Goddard, director/co-writer and says its not just Hollywood, it’s everywhere,” Goddard notes. “We do it all the time with out even realizing it, and Cabin in the Woods and where our heads were at.” as I get older, I start to notice it much more. I watch The Breakfast “It’s also nice to be able to make a movie and talk openly to the Club now, and for the first time in my life, I start to sympathize with youth of America and say to them, pot will make you smarted,” Paul Gleason’s character. Now I’m like “These kids are going to take Whedon laughs. care of me in an old age home, and that’s scary.”

“As I get older,” he continues, “I start to realize there is a Construction pull in society to do there sort of things- to marginalize, to undercut, Goddard makes his feature directing debut on Cabin in the Woods; to act, like we know what kids are going through, when we don’t; it between credits like Buffy the Vampire Slayer, Angle, Lost and doesn’t happen. And there’s something very primitive about that.

Cloverfield as a writer and producer, it might be easy to forget that.

I think that has happened although the course history, in there And when you witness Cabin in the Woods scope, it’ll be even of the marginalization of youth, and its fascinations. I grew up in

Los Alamos, New Mexico, this town the exists only because its where they set up the lab to design and build the atomic bomb. It’s strange. I feel, as much as anything, that seems like Cabin in the Woods, particularly the downstairs aspect, because it invoice very, very smart people designing weapons that are going to destroy the world. There’s something fascinating about that area to me, and every way, at the end of the day, is slaughtered. Because that;s still going in our culture, I think that as much as anything influenced

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easier. “One of the thing I’m proud of its that whenever people guess that budget, they invariably guess triple what it actually was, which is nice,” he says. “I think a big part of that was I was so naive, I just didn’t know any better. It’s funny; right before I started, I read a great interview with Danny Boyle, and he was talking about and I’m paraphrasing there’s no experience like your first movie, because

you’re so naive that you’ll do thing because you just don’t know better, and you just don’t know that you shouldn’t be able to do them. You’ll never have that again, because once you’re no longer naive, you won’t attempt to do those things.

“That is so true for Cabin in the Woods. There were so many situations where I just didn’t know any better, so I broke the first rule of everything. I just got tired of CGI, and frankly, we wouldn’t afford it, not too much, So [I said] lets do it practical; if we can great a monster physically, we’re doing it that way, and if we can do the stunt for real, then we’re going do that, and only go digital when we absolutely have to. It seems like an easy decision at the time, and then once you do it, but oh my God, it makes like so much harder. But I believe the movie really benefits from that. I feel it was the right choice.

“Luckily, I had such a good team. That was the other

thing: As a first-time director, the best thing to do is surround yourself with the people who are smarter and way more talented than you in every department, and then suddenly you life get way easier. That was really the secret. I had an incredible crew” including cinematographer Peter (Evil Dead II) Deming, production designer Martin Whist of Cloverfield and Super 8 and double Oscar-winning (for Men in Black and The Nutty Professor) makeup FX supervisor Dvid LeRoy Anderson.

Grand Opening It’s kind of miraculous that The Cabin in the Woods will be coming to theater near you. It was filmed three years ago, with an initial realize fate of February 2010, then delayed for a 3D post-controversion that ultimately never came to pass. MGM financial woes subsequently held the film back, leaving it on the

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Departament

His Cabin Fever I

’ve always thought th e the young , or resenti movie had element of the old ng the you says actor hating ng and The C abin in the for whatever reaso Kranz. Ad n,” Woods sc ding to th e sentime ene-steale Drew God nts r Fran dard in th youth him e precedin discussed by direc self. Kranz to g r p a ha ge show stop ping horro s a ground-lever vie s, and, well, being a r film. w of the s

ubtext of “Th this says of his ey’re young, they’re character beautiful, they’re op Marty and lives ahea timis his do these kids f them. [Others in th onscreen pals. “The tic,” he , trying to y have the e fi lm ] are, li ma ir kids aren’t . They’re d ke the stock type th terally, trying to co ntrol at we kno evelop in appear to such w, bu be trying to p or what we’ve seen a way that they’re n t these ut them in ot what th in the pas t. The adu ey that kind

lts in the fi of box.”

And Mart lm are y is not one site stone to be conta r” o ined. The actions, ra f the group, Marty seeming “r finds hims pidly catc equihing on to elf at odd always to s with his the fact th ok it as th friends’ at someth at kind of interestin in idea of co g to think ntrolling th g isn’t right. “I’ve about it in to market e young, b term of H movies ju ut out’s olly st as a pro sort of the duct to ge wood, and how the ultimate g y want t y ou to buy oal of mo just about them, wh st mainstr selling a p ic e h is a m ro that, from d fi the title, lo uct, and Cabin in th lms these days. It’s oks like a e Woods movie tha is a horror t been ma film de before . That in

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itself seems like a comment on the typical marketing of movies, even though Cabin is a completely original, crazy film and I’ve seen nothing like it, and read nothing like it.

“When I first read it, I honestly though it was one of the best scripts, I had ever read,” he continues. “I hadn’t gotten the part yet. I was close-or what ever they say, ‘in the mix; and whatnot. Son that made it much more brutal a process, because I knew what I potentially had. It was such an amazing script that I couldn’t stop thinking about it. It completely consumed my life, just the anticipation of having or not having, the role.

Poster by: Jon Smith

By: Micheal Gingold

he second season of SyFy’s make up competition reality program Face Off will have recently concluded when this issue comes out, and another contestant will have won and be on the way to presumed prosthetic glory. To do s, he or she will have had to impress a though roster of judges with many years of experiences in the field. One of this demanding trio is Gleen Hetrick who over the last decease has been responsible for some of the nastiest illusion to grace other small-screen projects.

The owner of Optic Nerve Studios, Hetrick first contributed to the television terror scene crafting demon and other fiends for Buffy the Vampire Slayer and Angel.

A number of features followed before the NBC crime drama Crossing Jordan opened the door for the artist to contriver to the new level of graphic realism on the networks. Hetrick and The Optic Nerve team would go on to work on Three Rivers, Heros and CSI: NY, while continuing to fit features like Legion and this month’s eagerly anticipated The Hunger Games in between seasons. And of corse he has made separate prep for himself as the toughest judge on Face Off, where the critiques the show’s hopefuls alongside fellow veterans Ve Neill and Patrick Tatopoulos.

When you’re on a show [w issues or curse words, you lot of scientific gore.

You can’t show how a victim got this way on a series like CSI:NY, but you can linger on the results.

FANGORIA: You’ve been referred to as “the Simon Cowel” of face off..

GLENN HETRICK: Yeah, I’d like to say I haven’t heard that before [laughs].

FANG: How did that “personality” for want of a better word, evolve during your participation in the show?

HETRICK: Well, really, what I’m doing there is analog to what I do with new [Optic Nerve] crew members. When people come into your shop, it’s this extremely complex dynamic; they have their art skills and goal s et, and you have what it is you need, and your name’s going on the work. And whether it’s features or, even worse, episodic TV, there’s so little time today. So it’s very important to get incised the head of someone who’s working for you, and one of the ways Ido that is by pressing to see how committed and disciplined they are. At the end of the day,

without] a lot of sexual u can get away with a

there are people who have artistic skills and there are people who have the passion to actually do what we do for a living. As anybody who’s

In the realm of macabre makeup, Hetrick has a fine eye for detail.

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ever worked in the effects industry will tell you, 18-hour days, seven days a week are no uncommon.

So a lot of what I do on Face Off it trying to, as well as possible, emulate the pressure of having a director or p producer changing thing and being extremely critical of your work, where nothing is good enough and it isn’t right until it’s exactly what they’re looking for. I don’t ride my existing core crew like that all the time. of corse. But when someone’s new to this job, I really put them thought their paces to make sure that when I go home to get some sleep before I have to go to set, what’s happening in the middle of the night at the studio is up to snuff, and the only what know that is to push these people to their limits and make sure they really want to be there.

i think Ve’s pretty hard on them, too; we’re just trying to emulate what happens in a shop and what happens on the set.You have to e able to handle that and now when to stand up for yourself, how to make subtle changes and how to assuage the ego of whoever it is who’s making the change. I think that’s important on the show, because if we just abackslap these kids for varying they do and are super-nice to them, they’re going to be very illprepared for what’s coming in their real careers.

FANG: Some viewers have noted hat few contestant on both season were fairly seasoned professional with a number of credits. Hoe do you feel when people ask if it’s fair for them to be competing agains others who don’t have a similar background?

HENTRICK: You know, the people who had some credits, a lot of them were really lowbudget indie films, so it’s not like they’e been working for a major block-buster and had the advantage of all this knowledge of the highest tech. The producers knew some of these kids were coming straight out of school, and some had worked in the industry in different functions, but they weren’t talking, like, a Steve Wang or a Miles Teves and putting them up agains kids who were new. They were looking at the level of work the contestant could accomplish in their audition with very limited amount of time, and making sure that playing field was fairly even. So if someone got their experience at a shop to opposed to at a school, so long as it;’s not a critically debilitating difference between Contested ‘s skill level and Contestant B’S skill level it’s fair FANG: Over the years your own TV work, the networks have become much freer in term of what you can show makeup-FX-wise; it seems in some cases hat you cant get away with perhaps a little more certain features can.

HETRICK: That’s absolutely true. I can distinctly remember there was a turning point when we were working on Crossing Jordan. I think in season two, if I’m not mistaken, they shifted time slot on us. And the studio and producers said “What cam we do to make the some more interesting, because we’re taking a time-slot hit, which always hurts ratings a bit, and we’re looking for ways to up the ante.” That was right when I’d taken over the show, so I pitched the idea of trying to makeup effect; it was great way to add producing value, because we were over bodies all the time but not really showing anything.

It was around then that [basic-cable] series like, I believe, The shield or early

FANG: When you of those shows, do you undertake a lot of research on real crime scenes and cadavers?

HETRICK: Yes, and each of the three forensic shows we’ve done has had their forensic expert; one of them actually worked in the LA coroner’s office. We do a ton of research online, but we almost get fresh crime-scene picture that the general public doesn’t have access to, to research the specific look of specific cause of death. For instance when we want to see hemorrhaging of the eye due to asphyxiation or hanging, we’ll actually look at a photograph of a person who died that way. Therese are extremely graphic, high-resolution pictures, and it’s disturbing; you end up with this sort of clinical detachment from it.

Tome. at this point, a lot of real death photos look fake, It’s interesting,because what we building has to more closely match what the director wants, because of what the audience will expect it to look like, rather than what it actually looks like in teal life. For instance when somebody falls from a greater height and the body endures all the physics go hitting the concrete from 20 stories up- when the bones don’t break, a lot of it doesn’t tear out, so it stretch the skin in bizarre ways, and when you see these real photographs, they’re are far more excessive than anything you could. If you build that and put it on screen it would look so fake that everyone wold say, “Boy that was a horrible effect.”

FANG: What can you tell us about your work onThe Hunger Games?

HETRICK:[Laughs] I think ninjas will come jumping out of the corners of my room and take my head off if I break the nondisclosure agreement on that movie. I can tell you I had not read the book when Ve gave me the script and asked me to do it. She and I had worked together a few years back- and it’s sad that this ended- on a huge-budget movie versions of the video game BioShock for Universal. I was so, so happy to be working on that because

Special FX make up for the show Face Off

seasons of Nip/Tuck were tarting to do extremely visceral effect in term of the forensic aspect, so all the rules started to evolve right at that time. I was very fortunate to be there, and three episodes later we were doing full body builds and getting into major autopsies to reveal cause of death in, like, every episode! It was one of the biggest shows I’ve ever been on, and we were getting ways with it because each studio has its own way of making sure they get throughout Standards and Practices, to make sure they’re not paying for things that will get cut out. There are all these very strange Rules about edits.

For instance, we cant show an actor getting shot in the face in prime time and have blood spurting out, which you might be able to do in a feature. However, if you just see the bullet wound occur without running blood, then we cut to an insert shot of that wound- and we did this is on CSI:NY all the time-without trying it in to the actors face, and then we cut back out, it’s totally acceptable, because it’s not on the actor. And especially, when it come to a scientific perspective-when we’re in a lab the person is deceased- we’re not allow to open the body up, root through organs, pull out a diseased liver... it’s incredible. And they do less sex and cursing, which is sort of weighed against the overall impact. When you’re on a show where there aren’t a lot of sexual issues or curse words, you can get away with a lot of scientific gore.

If we just back-slap these kids [on Face Off] for everything they do, they’re going to be illprepared for theur real carrers.

I’m huge fan of the game, but it turned out that there was some artistic conflict at the top lever. and eventually the production shut down. But we had built quite a lot of the main effects for it, like the Splicers, the genetically altered zombie villain from the game.

So I’d been look for another opportunity to collaborate with Ve- we work extremely well together- when Hunger Games came along. I read the script, and I gotta tell ya, by the time I was done, there was no saying no. It’s a great story, it’s rife with social metaphor and I knew the cast was all these brilliant up-and-coming actors. We did a lot of effect for that, any one who has read the books knows the basic premies, and that it lend itself to tons of makeup. But I have to say, it was one of the smoothes shows I’ve ever worked on, Even though we had a tight prep. We just had one big teleconference about general aesthetic and ideas, and went to work. It was the smallest amount of meeting I’d ever had. It was a nice smooth show.

FANG: The movie obviously deals with violence directed towards young people, and yet they are aiming for a PG-13 rating. did that affect your work at all?

HETRICK: I have to wait to se the final edit to be able to answer that question in full, but it didn’t affect what we built. The weren’t really restrictive about, “Hey, let’s not do that because of the rating,” It was more old-school in terms of, this is what the story is, this is what the make should look lie. A few effects were scaled back in term of ever it on the set. There were a couple of wounds and things that were a bit too big and egregious for the director’s [Gary Ross] persona taste once he saw it. So they pulled back on a couple of things, but not much. We’ll see what ends up in the movie, once they actually gotten the rating board to sit down and watch it.

Special FX make up for the show Face Off

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Rengífopreguntó Rengífo me meyy Eran las once Eran las once preguntó preguntó la hora. la hora. media.

Desde hacía media.

Desde hacía Eran las Eran once las yelonce y una hora buque hora buque media. una Desde media. hacía Desde hacíaaa empezó aa el escorar, empezó escorar, una hora i una nn elcchora lbuque aa buque r s e l i i annelescorar, empezóipeligrosamente empezó a escorar, a r s eaaa i n c peligrosamente l estribor. iestribor. i nn ca l A rAi stravés n ea rde s los e través de los peligrosamente peligrosamente arepitió alala altavoces se se repitió estribor. altavoces estribor.

A través A de través los los orden de la de noche orden de noche altavocesaltavoces se repitió se lala repitió la anterior: "Todo el personal el personal orden anterior: orden de la "Todo de lade noche ponerse alnoche lado babor", lado depersonal anterior: ponerse "Todo anterior: el al personal "Todo el Ramón Herrera yybabor", yo no Herrera yo no ponerse Ramón al ponerse lado de albabor", lado de babor", nos movimos, porque movimos, porque Ramón nos Herrera Ramón yHerrera yode noese yese yolado. no estábamos estábamos lado. nos movimos, nos movimos, porque Pensé en porque eldecabo Miguel Pensé cabo estábamos estábamos de en eseelaade lado. eseMiguel lado.

Ortega, quien un Ortega, quien un Pensé en Pensé el cabo en antes Miguel el cabo Miguel momento había visto antes había visto Ortega, momento Ortega, quien apero un quien aaaestribor, casi enunelel estribor, pero casi momento momento antes había antes visto había visto mismo instante lolo vivien pasar mismo pasar a estribor, atambaleando. estribor, pero instante casipero enSe el casi en elaa tumbó tambaleando.

Se mismo instante mismo lo instante vi pasar lotumbó vicon pasar babor, agonizando su babor, agonizando con suael tambaleando. tambaleando.

Se tumbó Seinstante ainstante tumbó mareo.

En ese mareo.

En ese el babor, agonizando babor, agonizando con con su buque se inclinó buque sesuinstante mareo. En mareo. ese instante En ese el seinclinó el pavorosamente; fue. fue. buque pavorosamente; buque se inclinó se se inclinó Aguanté lala respiración.

Una Aguanté Una pavorosamente; pavorosamente; serespiración. fue.se sobre fue. ola enorme reventó enorme reventó sobre Aguanté ola Aguanté la respiración. la respiración.

Una nosotros y Unaquedamos nosotros quedamos ola enorme ola enorme reventó y reventó sobre sobresisi empapados, como como nosotrosempapados, nosotros y quedamos yde quedamos acabáramos del mar. acabáramos desalir salir mar. empapados, empapados, como como si del si Con mucha lentitud, Con mucha acabáramos acabáramos de salir del demar. salir lentitud, del mar.elel trabajosamente, trabajosamente, Con Con mucha mucha lentitud, lentitud, destructor recobró su destructor recobró su trabajosamente, trabajosamente, el En ellala posición normal. posición normal. destructor destructor recobró recobró su Enestaba su guardia, Luis Rengifo Luis Rengifo estaba posición guardia, posición normal. normal.

En la En la lívido.

Dijo, nerviosamente: Dijo, guardia, lívido.

Luis guardia, Rengifo Luis nerviosamente: estaba Rengifo estaba -¡Qué vaina!

Este buque se -¡Qué vaina! buque se lívido. Dijo, lívido. nerviosamente: Dijo,yyEste nerviosamente: está yendo no quiere volver. está yendo no quiere volver.

-¡Qué vaina!

-¡Qué Este vaina! buque Este sebuque se Era la primera vez que veía Era la primera vez quevolver. veía está yendo está y no yendo quiere yLuis no volver. quiere nervioso aaLuis Rengifo.

Junto nervioso Junto Era la primera Era vez primera queRengifo. vez veíaque veía a lamí, Ramón Herrera, mí, Herrera, nerviosoanervioso apensativo, Luis Rengifo. a Ramón Luis Junto Rengifo.

Junto enteramente enteramente a mí, pensativo, amojado, Ramón mí, Ramón Herrera, Herrera, permanecía mojado, permanecía pensativo, pensativo, enteramente enteramente silencioso.

Hubo un instante Hubo un instante mojado, silencioso. mojado, permanecía permanecía de silencio total.

Luego, de silencio total.

Luego, silencioso. silencioso.

Hubo unHubo instante un -A instante Ramón Herrera dijo: lalahora Ramón Herrera dijo: -A hora de silencio de silencio total.

Luego, total.cabos Luego, que manden cortar para que manden cortar cabos Ramón Herrera Ramón dijo: Herrera -A lavaya dijo: hora -A la para hora que lalacarga se al agua, yo que carga se vaya al agua, yo que manden que cortar manden cabos cortar para cabos para soy elel primero en cortar.

Eran soy primero en Eran que la carga que se la vaya carga se agua, vayacortar. yo al agua, yo las once yyalcincuenta minutos. las cincuenta minutos. soy el primero soy el en primero cortar. enEran cortar.

Eran Yo once también pensaba que de también que deun un las onceYo las ymomento cincuenta once y pensaba cincuenta minutos. momento aaminutos. otro ordenarían otro ordenarían Yo también Yo pensaba también pensaba que de un que un cortar las amarras de lalade carga. cortar las amarras carga. momentomomento ordenarían a llama otrode ordenarían Esalolootro que se "zafarrancho que se llama "zafarrancho cortar lasEs cortar amarras las de amarras la carga. de la Radios, carga. de aligeramiento". aligeramiento".

Radios, Es lo quede Es selollama queyyse "zafarrancho llama habrían "zafarrancho neveras estufas caído neveras estufas habríanRadios, caído de aligeramiento". de aligeramiento". al agua tan pronto como agua tanRadios, como neveras al yneveras estufas yhabrían estufas habrían caído hubieran dado lapronto orden.

Pensé dado lacaído orden.

Pensé al aguahubieran al tan agua pronto tancaso pronto como como que en ese tendría que enal ese caso tendría quela hubieranque hubieran dado la orden. dado laPensé orden. bajar dormitorio, pues en al dormitorio, puesPensé enque la que en bajar ese que en ese tendría caso que tendría popacaso estábamos seguros bajar al popa dormitorio, bajar al estábamos dormitorio, pues en pues la seguros en la porque habíamos logrado porque habíamos logrado popa estábamos popa estábamos seguros seguros asegurarnos entre las yy asegurarnos entre lasneveras neveras porque porque habíamos habíamos logrado logrado las estufas.

Sin ellas nos habría las estufas.

Sin ellas nos habría asegurarnos asegurarnos entre las entre neveras yneveras y arrastrado lala ola.

Ellas buque seguía arrastrado ola. buque las estufas. las Sin estufas. ellas Sin nosEl ellas habría nosseguía habría defendiéndose del oleaje, pero defendiéndose oleaje, pero arrastradoarrastrado la ola.

El buque la ola.del El seguía buque seguía cada vez escoraba más.

Ramón cada vez más.

Ramón defendiéndose defendiéndose delescoraba oleaje, del pero oleaje, Herrera rodó una carpa ypero rodó una carpa y se se cada vezHerrera cada escoraba vezcon escoraba más.

Ramón más.

Ramón cubrió ella.

Una nueva ola, con ella.

Una nueva ola, Herrera cubrió Herrera rodó una rodó carpa una carpa se yvolvió se aa más grande que la volvió más grande que layanterior, anterior, cubrió con cubrió ella. con Una ella. nueva Una ola, nueva ola, ya reventar sobre nosotros, que reventar nosotros, que ya más grande más que grande la sobre anterior, que la volvió anterior, aporvolvió a estábamos protegidos por lala carpa. protegidos carpa. reventar estábamos reventar sobre nosotros, sobre nosotros, quecon ya las que ya Me sujeté la cabeza Me sujetépasaba laprotegidos cabeza con laslamanos, manos, estábamos estábamos protegidos porlalalaola, carpa. por carpa. mientras yymedio minuto mientras pasaba ola, medio minuto Me sujeté Me la sujeté cabeza lacon cabeza las manos, con las manos, después carraspearon los altavoces.

"Van carraspearon los "Van mientrasdespués mientras pasaba ola, yde medio la cortar ola, minuto y altavoces. medio minuto apasaba dar lalala orden la carga", pensé. a dar orden de cortar carga", pensé. después después carraspearon carraspearon los altavoces. losladada altavoces.

"Vancon "Van Pero lala orden fue otra, una voz fue otra, dada con una voz en a dar la Pero orden asegura dar la deorden de la cortar carga", lapensé. carga", pensé. yorden reposada: "-Personal que transita ycortar reposada: "-Personal que Pero la segura orden Pero lafue orden otra, fue dada otra, condada unaCalmadamente, con voztransita una vozen Luis cubierta, usar salvavidas". usar salvavidas".

Calmadamente, segura ycubierta, segura reposada: y reposada: "-Personal que transita que transita en yLuis Rengifo sostuvo con"-Personal una mano los auriculares se una losen auriculares se cubierta,Rengifo cubierta, usarelelsostuvo salvavidas". usar con salvavidas".

Calmadamente, Calmadamente, Luis yde Luis puso salvavidas con lalamano otra.

Como después puso salvavidas con otra.

Como después de Rengifo sostuvo Rengifo con sostuvo una mano con una los mano auriculares los auriculares yun se se cada ola grande, yo sentía primero gran cada ola grande, yo sentía primero un Vi granyde puso el salvavidas puso el salvavidas con la otra. con Como la otra. después Como después de vacío y después un profundo silencio. yola después unyo profundo silencio.

Vi agran a cada olavacío cada grande, yo grande, sentía primero sentía un primero gran un Luis Rengifo que, con elel salvavidas Luis Rengifo que, con salvavidas vacío y después vacío y después unvolvió profundo unaaprofundo silencio.

Vi silencio. a los Vi a puesto, colocarse puesto, colocarse los Luis Rengifo Luis Rengifo que,volvió con que, el con salvavidas el salvavidas auriculares.

Entonces cerré los ojos yy auriculares.

Entonces los ojos puesto, puesto, volvió avolvió colocarse aelcerré colocarse losde oíoí perfectamente el tic-tac mi perfectamente de ojos mi los auriculares. auriculares.

Entonces Entonces cerré lostic-tac cerré ojos ylos reloj.

Escuché elelreloj durante un reloj.

Escuché reloj durante unmiy oí perfectamente oí perfectamente el tic-tac eldetic-tac mi de minuto, aproximadamente. minuto, aproximadamente. reloj. Escuché reloj. Escuché el Herrera reloj durante el no reloj un durante un Ramón movía.

Herrera no se se movía. minuto, Ramón minuto, aproximadamente. aproximadamente.

Calculé que debla faltar un que faltar un Ramón Calculé Herrera Ramónpara Herrera no las sedebla movía. no Dos se movía. cuarto doce. horas para las doce.

Dos horas Calculé cuarto Calculé que debla que faltar debla un faltar un para llegar a Cartagena.

El para a suspendido Cartagena. cuarto para cuarto lasllegar doce. para las Dos doce. horas Dos horas buque pareció enElelel buque para llegar para apareció llegar Cartagena. asuspendido Cartagena.

El lalaen El aire un segundo.

Saqué mano aire un segundo.

Saqué mano buque pareció buque suspendido pareció suspendido enpero el en enese el para mirar lala hora, para mirar pero en ese aire un segundo. aire un segundo.

Saqué labrazo, Saqué mano mano instante no vivihora, el brazo, ninila instante noNo lamano, mano, para mirar para lareloj. hora, mirar pero lael hora, pero ese en ese ni elel vivi laen ola.

Sentí que lala No ola. instanteni no instante vireloj. el brazo, no vi ni ella la brazo, mano, ni lalaque mano, nave se iba del todo yySentí que carga nave se iba del todo que la cargala ni el reloj. niNo elque vi reloj. la ola.

No Sentí vi la ola. que Sentí la que en me apoyaba se que me apoyaba se estaba estaba nave se en iba nave del se todo iba ydel que todo la en carga y que la carga rodando.

Me puse pie, en una Me puse en una en querodando. en me que apoyaba me apoyaba se en estaba se estaba fracción de segundo, yypie, el agua me de segundo, el agua rodando.fracción rodando.

Me puse en puse pie, Con en en una pie, en me una llegaba al cuello. los ojos alMe cuello.

Con fracción llegaba de fracción segundo, de segundo, y el agua y me ellos aguaojos meyy desorbitados, verde verde llegaba desorbitados, al llegaba cuello.al Con cuello. los Con ojoslosRengifo ojos silencioso, vivi aa Luis silencioso, Rengifo desorbitados, desorbitados, verde verde y que trataba deLuisysobresalir, que silencioso, silencioso, vitrataba avi Luis de aRengifo Luissobresalir, Rengifo sosteniendo los sosteniendo los que trataba que trataba de sobresalir, de sobresalir, auriculares en auriculares en sosteniendo sosteniendo los elelagua los aal lttoo. .

Entonces Entonces agua auriculares auriculares en en m e cubrió por pory a l t o . ma l teo .

Entoncescubrió Entonces el agua el agua completo y m e m e cubrió completo cubrió por a nadar por empecé completoempecé completo y hacia y a nadar arriba. arriba. empecé hacia empecé aTratando nadar ade nadar salir salir hacia Tratando hacia a arriba. flote,dearriba. nadé TratandoaTratando de flote, salirarriba denadé salir hacía por arriba por a flote,hacía aespacio nadé flote, de uno, espacio denadé uno, hacía arriba hacía arriba por dos, por tres tres espacio dos, espacio de uno, de Seguí uno, segundos. segundos. dos, dos, tres Seguí tres nadando hacia nadando hacia segundos. segundos.

Seguí Seguí arriba.

Me Mefaltaba faltaba nadandoarriba. nadando hacia hacia aire.

Me aire.

Me arriba. Me arriba. faltaba MeTraté faltaba asfixiaba. de asfixiaba. dela aire. aire.

Me TratéaaMe amarrarme lala asfixiaba.amarrarme asfixiaba.

Traté de Traté de carga, pero ya carga, ya amarrarme amarrarme a pero la a la la carga no estaba carga no estaba carga, pero carga, ya lano ya la allí.

Ya había allí.

Yapero no había carga no carga estaba no estaba nada alrededor. nada allí. Ya no allí. había Ya alrededor. no Cuando salí ahabía Cuando salí aflote flote nada alrededor. nada no vivien torno mío no enalrededor. torno mío Cuando salí Cuando a flote salí a flote nada distinto del distinto del no vi en nada torno no vi en mío torno mío mar.

Un segundo mar.

Un segundo nada distinto nada del distinto del aa después, como como mar. Un después, mar. segundo Un segundo cien metros de elelbuque surgió metros dedistancia, distancia, buqueagua surgiópor después,cien después, como alas como a chorreando de entre olas, de entre lasde olas, chorreando agua por cien metros cien de metros distancia, distancia, el buque el surgió buque surgió todos lados, como un submarino.

Sólo lados, como unde submarino.

Sólo de entretodos de lasentre olas, las chorreando olas, chorreando agua por agua poralal entonces me di cuenta que había caído entonces me di cuenta de que había caído todos lados, todos como lados, un como submarino. un submarino.

Sólo Sólo agua.Un minuto de silencio Luis Rengífo me minuto de silencio Luis Rengífo me entoncesagua.Un entonces me di cuenta me di de cuenta que había delas que caído había al yycaído al preguntó lala hora.

Eran once media. preguntó hora.

Eran las once media. agua.Un Desde minuto agua.Un de minuto silencio Luis silencio Rengífo Luis me Rengífo meaa hacía unadehora el buque empezó Desde hacía hora el las buque preguntó preguntó la hora.

Eran la una hora. las Eran once y media. onceempezó media. escorar, aainclinarse peligrosamente ayaestribor. escorar, inclinarse peligrosamente Desde A hacía una hacía hora una el buque hora se elempezó buque empezó alaestribor. a través de los altavoces repitió la orden de ADesde través de los altavoces orden de escorar,la aescorar, inclinarse aanterior: inclinarse peligrosamente peligrosamente arepitió estribor. aponerse estribor. noche anterior: "Todo else personal ponerse alal la "Todo elHerrera personal A travéslado de Anoche través los de los altavoces se repitió se la repitió orden la orden de de babor", Ramón yy de yo no nos lado dealtavoces babor", Ramón Herrera yo noPensé nosal la noche laanterior: noche anterior: "Todo el "Todo personal el personal ponerse ponerse al movimos, porque estábamos de ese lado. movimos, porque estábamos de ese lado.

Pensé lado deen lado babor", de Ramón babor", Herrera Ramón yHerrera no yun nos yomomento no nos elel cabo Miguel Ortega, aayo quien en cabo Miguel Ortega, quien un momento movimos, movimos, porque estábamos porque estábamos de ese lado. decasi ese Pensé lado.

Pensé antes había visto aa estribor, pero en el mismo antes visto pero casi en mismo en el cabo en Miguel elhabía cabolo Ortega, Miguel aOrtega, quien un a quien momento un el momento instante viviestribor, pasar tambaleando.

Se instante lo pasar tambaleando.

Se antes había antes visto había a estribor, visto a estribor, pero casi pero en el casi mismo en mareo. el mismo tumbó a babor, agonizando con su En tumbó a babor, agonizando con mareo. instanteese instante lo vi el lo pasar vi se tambaleando. pasar tambaleando.

Seóó instante i i nsu cSe l l i i nnEn ese instante el buque buque se n su c En tumbó pavorosamente; apavorosamente; tumbó babor, aagonizando babor, agonizando su mareo. con mareo. En se fue.

Aguanté la se fue. secon ese instante ese instante el buqueel se buque i n c Aguanté li enorme in nc ól reventó ireventó n laó respiración.

Una ola respiración.

Una ola pavorosamente; pavorosamente; se nosotros fue. se fue.

Aguanté enorme Aguanté la la sobre y quedamos sobre nosotros quedamos respiración. respiración.

Una enorme ycomo enorme reventó reventó eem ddUna ooss, , ola sisi mppaapola paanosotros como sobre nosotros sobre y quedamos y salir acabáramos de del mar. acabáramos salirquedamos mar.si CC oo nnel e m p a pm am edm como de como sidel uouspc,ca phha adao s , lentitud, trabajosamente, trabajosamente, acabáramos acabáramos de salirlentitud, de del salir mar. del C mar. o n normal.

C o eln destructor recobró su posición su posición m u c destructor hma u clalah a lentitud,recobró lentitud, trabajosamente, trabajosamente, el normal.

En guardia, Luis Rengifo estabael En guardia, Luis Rengifo destructor recobró su recobró posición su posición normal. estaba normal. l lídestructor v i d o .

Dijo, nerviosamente: -¡Qué vi indao! . la nerviosamente: -¡Qué En laíEn guardia,Dijo, Luis guardia, Rengifo Luis Rengifo estaba va Este buque se está yendo yy Este seestaba está yendo l í v i d o va . l íi vn oiaod! o .

Dijo, nerviosamente: Dijo,buque nerviosamente: -¡Qué -¡Qué n quiere volver.

Era lalaprimera quiere volver.

Era va i n a ! n Este buque Este se buque estánervioso yendo se está yprimera y vvva eezizn a ! que veía ayendo Luis que veía Luis n o n o quiere volver. quiere Era volver. lanervioso primera Era laaaaprimera Rengifo.

Junto mí, vez vez que veíaRengifo. que nervioso veía Junto nervioso a LuisHerrera, a mí, Luis Ramón Rengifo.Ramón Rengifo.

Junto aJunto mí,Herrera, a mí, pensativo, enteramente pensativo, enteramente Ramón mojado, Ramón Herrera, Herrera, permanecía mojado, permanecía pensativo, pensativo, enteramente enteramente silencioso.

Hubo un Hubo un mojado,silencioso. mojado, permanecía instante de silencio instante depermanecía silencio silencioso. silencioso.

Hubo un Hubo un total.

Luego, Ramón Ramón instantetotal. instante de Luego, silencio de-A silencio Herrera dijo: hora Herrera dijo: -Alala hora total. Luego, total.manden Ramón Luego, Ramón que cortar manden cortar Herrera que dijo: Herrera -A la dijo: hora -A la hora cabos para que lala cabos para quecortar que manden que manden cortar carga se vaya alal carga se cabos para cabos que para lavaya queel agua, yo soy agua, ellaal carga se carga vayayo se alsoy vaya primero en cortar. primero en cortar. agua, yo agua, soylas yo elonce soy yyel Eran las once primero Eran cortar. cprimero i i nn cc uuen e ncortar. aa cen n ttYo Eran las Eran once lasye once y minutos. minutos. c i n c también uc ei n ct au e n Yo t a pensaba pensaba minutos.también minutos.

Yo Yo que de un depensaba un tambiénque también pensaba momento a otro momento que de un un oque r d e n aaarríotro an ocortar r ad otro e nde n momento momento aí alas otro o r d e ncortar o a r ídaenn ade r ílas alalan amarras de cortar amarras cortar las las carga.

Es que carga.

Eslolollama que amarras se amarras de la de la se carga. Es carga. lo queEs llama lo que "zafarrancho de "zafarrancho de se se llama llama aligeramiento". aligeramiento". "zafarrancho "zafarrancho de neveras de Radios, Radios, neveras aligeramiento". yaligeramiento". estufas estufas Radios, yneveras Radios, caído neveras habrían alal habrían caído y y estufas estufas agua tan pronto tan pronto noche anterior: "Todo el personal habrían agua caído habrían al caído al como hubieran dado once como hubieran dado toya agua tan pronto tanPensé pronto laagua orden. que en laese orden.

Pensé que enbajar como hubieran como hubieran dado dado caso tendría que ponerse al lado de babor", Ramón caso tendría queen bajar media. mí, la orden.ese la Pensé orden. que Pensé enpues que en al dormitorio, lalapopa dormitorio, pues en popa ese casoalestábamos ese tendría casoque tendría bajar que bajar seguros porque estábamos seguros porqueentre Herrera y yo no nos movimos, porque Ra al dormitorio, alhabíamos dormitorio, pues en la pues popa en la popa habíamos logrado asegurarnos Desde logrado asegurarnos entre estábamos estábamos seguros seguros porque las neveras yy las estufas.

Sin ellas nos las neveras lasporque estufas.

Sinbuque ellas nos mó habíamos habíamos logrado asegurarnos logrado entre entre habría arrastrado laasegurarnos ola.

ElEl seguía estábamos de ese lado. Pensé en el cabo habría arrastrado laSin ola. buque seguía hacía las neveras las yneveras las estufas. y lasdel estufas. ellas Sin nos ellas nosvez defendiéndose oleaje, pero cada defendiéndose del oleaje, pero cada vez n habría arrastrado habría arrastrado la ola.Ramón Ellabuque ola.

Elseguía buque seguía escoraba más.

Herrera rodó una carpa Miguel Ortega, a quien un momento escoraba más.

Ramón Herrera rodó una carpa una hora defendiéndose defendiéndose del oleaje, del pero oleaje, cada pero vezcada vez y se con ella.

Una nueva ola, más grande secubrió cubrió conHerrera ella.

Una nueva más grande Her escorabayescoraba más.

Ramón más.

Ramón rodó una ola, rodó carpa unanosotros, carpa que lala anterior, volvió aHerrera reventar sobre que anterior, aola, reventar sobre antes había visto a estribor, pero casi en y se cubrió yque se con cubrió ella.

Una con volvió ella. nueva Una nueva más grande ola, más grande ya estábamos protegidos por lalanosotros, carpa.

Me el buque que ya estábamos protegidos por carpa.

Me la rera que la anterior, que la volvió anterior, a reventar volvió alas sobre reventar nosotros, sobre nosotros, sujeté la cabeza con las manos, mientras pasaba sujeté cabeza con manos, mientras pasaba que ya estábamos que protegidos protegidos por la carpa. por carraspearon laMe carpa.

Melalos ola, ya yla medio minuto después el mismo instante lo vi pasar y estábamos medio minuto después carraspearon los empezó , sujeté la ola, sujeté cabeza lacon cabeza las manos, con lasmientras manos, mientras pasaba lapasaba la altavoces.

"Van aa dar la de cortar lala carga", altavoces.

"Van dar la orden orden decarraspearon cortar carga", ola, y medio ola, y minuto medio después minuto carraspearon los los pensé.

Pero lalaorden fue otra, dada con una voz segura pensé.

Pero orden fuedespués otra, dada una voz segura tambaleando. Se tumbó a babor, pen altavoces. altavoces. a dar "Van la aorden dar lade orden cortar decon la cortar carga", la carga", yy"Van reposada: "-Personal que transita en cubierta, usar a escorar, reposada: "-Personal transita ensegura cubierta, usar pensé. Pero pensé. la orden Perofue la orden otra, dada fueque otra, con dada una Rengifo voz con una voz segura salvavidas".

Calmadamente, Luis sostuvo con salvavidas".

Calmadamente, Luis Rengifo sostuvo con sa y reposada: yuna reposada: "-Personal "-Personal que transita queyyen transita cubierta, en cubierta, usar usar mano los auriculares se puso elelsalvavidas con agonizando con su mareo. En ese una mano los auriculares se puso salvavidas con a salvavidas". salvavidas".

Calmadamente, Luis Rengifo Luis sostuvo Rengifo con sostuvo con lalaCalmadamente, otra.

Como después de ola yo sentía otra.

Como después decada olagrande, grande, yo sentía ti una mano una los mano auriculares los auriculares y sevacío puso ycada el salvavidas puso el salvavidas con con primero un gran yse después un profundo instante el buque se inclinó primero un gran vacío ygrande, después un profundo in la otra. Como lasilencio. otra. después Como después de cada ola de cada olayo grande, sentía yo sentía Vi a Luis Rengifo que, con elel salvavidas a gran Luis Rengifo que, con primero silencio. primero un granVi un vacío vacío después y los después un profundo unsalvavidas profundo puesto, volvió a ycolocarse auriculares.

Entonces volvió los auriculares.

Entonces pavorosamente; se fue. Aguanté la silencio. puesto, silencio.

Vicerré a Luis ViRengifo a aLuis Rengifo con que, el salvavidas con salvavidas los ojos ycolocarse oíoíque, perfectamente elelel tic-tac de cerré ojos perfectamente tic-tac de mi mi puesto, volvió puesto, alos colocarse volvió ay colocarse los auriculares. losdurante auriculares.

Entonces Entonces reloj.

Escuché elel reloj un minuto, reloj.

Escuché reloj un minuto, cerré loscerré ojos ylosoíojos perfectamente y oí perfectamente eldurante tic-tac elde tic-tac mise de mi aproximadamente.

Ramón Herrera no movía. respiración. Una ola enorme reventó aproximadamente.

Herrera no movía. reloj. Escuché reloj.

Escuché elquereloj elRamón durante relojun un minuto, unselas minuto, Calculé que debla faltar cuarto para doce.

Calculé debla faltar undurante cuarto para las doce. aproximadamente. aproximadamente.

Ramón Herrera Ramón no Herrera se ElEl movía. no se movía.

Dos horas para llegar aaCartagena. buque pareció Dos horas para llegar Cartagena. buque pareció sobre nosotros y quedamos empapados, Calculé suspendido que Calculé debla que faltar debla faltar cuarto un para cuarto las Saqué doce. para las doce. en elelun aire un segundo. la mano suspendido en aire segundo.

Saqué laelpareció mano Dos horas Dos para horas llegar a Cartagena. llegar aun Cartagena.

El buque El pareció buque para mirar la para hora, pero en ese instante no brazo, para mirar en instante novivila ella brazo, suspendido en el laaire en un elpero segundo. aire un segundo.

Saqué la Saqué mano mano ni lalamano, ninihora, el reloj.

No viviese lala ola.

Sentí que nave se como si acabáramos de salir del nisuspendido mano, elhora, reloj.

No ola.

Sentí que la se para mirar para la hora, mirar pero la en ese pero instante en ese no instante vi elme brazo, noapoyaba vi nave el brazo, iba del todo y que la carga en que se ibani del todo yNo que carga que apoyaba ni la mano, la ni mano, elrodando. reloj.ni el vi reloj. lalapuse ola.

No Sentí vien laen ola. que Sentí la me nave que se la navese se estaba Me pie, en una fracción de mar. Con mucha lentitud, estaba Me puse en pie, en una fracción de iba delsegundo, todo iba del y rodando. que todo yagua carga queme la enllegaba carga que me en que apoyaba meCon apoyaba se los se yy elellaagua alal cuello. segundo, me llegaba cuello.

Con los ojos ojos estaba desorbitados, rodando. estaba rodando.

Me puse Me en puse pie, en en una pie, fracción en una de fracción de verde y silencioso, vi a Luis Rengifo que desorbitados, verde ysosteniendo silencioso, vi acuello.

Luis que trabajosamente, el segundo, segundo, y el de agua y me el agua llegaba me alllegaba cuello.los al Con los Rengifo ojos Con en los ojos trataba sobresalir, auriculares trataba deel sobresalir, sosteniendo los auriculares enalto. alto. desorbitados, desorbitados, verde y silencioso, verde silencioso, vi apor Luis viRengifo a Luisyque Rengifo que Entonces agua me completo empecé aa Entonces elarriba. agua me ycubrió cubrió por empecé tratabanadar de trataba sobresalir, de sobresalir, sosteniendo sosteniendo lossalir auriculares los auriculares en yalto. en alto. hacia Tratando de acompleto flote, nadé hacía arriba destructor recobró nadar hacia arriba.

Tratando de salir a flote, nadé arriba Entonces Entonces el agua me el agua cubrió me por cubrió completo por completo y empecé yhacía empecé anadando a por espacio de uno, dos, tres segundos.

Seguí por espacio de uno, dos, segundos.

Seguí nadando nadar hacia nadar arriba. hacia Tratando arriba.

Tratando de salir tres aaire. de flote, salir nadé a flote, hacía nadé arriba hacía arriba hacia arriba.

Me faltaba Me asfixiaba.

Traté de hacia arriba.

Me faltaba aire.

Me asfixiaba. de su posición por espacio por de espacio uno, dos, uno, tres dos, segundos. tres segundos.

Seguí nadando SeguíTraté nadando amarrarme aa lalade carga, pero ya lala carga no estaba allí.

Ya amarrarme carga, pero ya carga noasfixiaba. estaba allí.

Ya no no hacia había arriba. hacia Me arriba. faltaba Me aire. faltaba Me aire. asfixiaba.

Me Traté de Traté de nada alrededor.

Cuando salí a flote no vi torno mío había alrededor.

Cuando salí flote no noallí. vi en en torno amarrarme amarrarme a nada la nada carga, la pero carga, ya la pero carga ya no laasegundo carga estaba estaba Ya no allí.

Yamío noaa distinto del mar.

Un después, como normal. nadaaalrededor. distinto del mar.

Un segundo después, como había nada había alrededor. nada Cuando Cuando a flote salíel no vi flote en no torno vi en mío torno mío cien metros de distancia, surgió de entre las cien metros desalí distancia, elabuque buque surgió de lasa nada distinto nada del distinto mar. del Un mar. segundo Un segundo después, después, como aentre como olas, chorreando agua por todos lados, como un En la olas, chorreando agua por todos como unlas cien metros ciende metros distancia, deentonces distancia, el buque elsurgió buque delados, surgió entre de las entre submarino.

Sólo me didicuenta de había submarino.

Sólo entonces me cuenta deque que habíame olas, chorreando olas, alalchorreando agua por agua todos por lados, todos como lados, uncomo un caído agua.Un minuto de silencio Luis Rengífo caído minuto deme silencio Luis me hora submarino. submarino.

Sólo agua.Un entonces SóloEran entonces melas di once cuenta dimedia. decuenta que había deRengífo que había preguntó la hora. yymedia.

Desde hacía una preguntó la hora.

Eran las once Desde hacía una caído alelelcaído agua.Un alempezó agua.Un minutoaaescorar, de minuto silencio Luis silencio Rengífo Luis me Rengífo me buque aade inclinarse peligrosamente aahora estribor.

AA buque empezó escorar, inclinarse peligrosamente estribor. preguntó preguntó la hora. la hora. las once Eran ylas media. once Desde y media. hacía Desde una hora una hora "Todo través de los altavoces se repitió lala orden de lalahacía noche anterior: el través deEran altavoces se repitió orden de noche anterior: "Todo el buque el empezó buque alos empezó escorar, aaescorar, inclinarse ababor", inclinarse peligrosamente peligrosamente a estribor. a Aestribor.

A el personal ponerse alal lado de Ramón Herrera yy yo no nos movimos, personal ponerse lado de babor", Ramón Herrera yo no nos través de altavoces los altavoces se repitió selalado. repitió orden la deorden laen noche de la anterior: noche anterior: "Todo el movimos, "Todo el un p través oolos rrqquu eede estábamos de ese Pensé elel cabo Miguel Ortega, aaquien estábamos ese lado.

Pensé en Miguel Ortega, quien un personalp personal ponerse ponerse al lado dealde babor", lado de Ramón babor", Herrera Ramón ycabo Herrera yo no nos y yocasi movimos, no nos movimos, momento antes había visto aa estribor, pero en el momento antes había pero enagonizando ela mismo mismoun p o r q u e pestábamos o r q u e estábamos de ese lado. de Pensé lado. envisto Pensé el cabo enestribor, Miguel elSe cabo Ortega, Miguel aOrtega, quien un quien instante lo viviese pasar tambaleando. tumbó aacasi babor, instante lo pasar tambaleando.

Se tumbó agonizando momento antes había antes visto había a estribor, visto a estribor, pero casi pero enbabor, el casimismo en el mismo cc omomento n su mareo.

En ese instante el buque se inclinó o ninstante lo suvi pasar mareo.

En tambaleando. ese Se instante el buque se inclinó instante lo tambaleando. vipavorosamente; pasar tumbó Se a Aguanté babor, tumbó agonizando a la babor, agonizando se fue. respiración. se fue.

Aguanté lainclinó respiración. con c o nsu mareo. su mareo.

En pavorosamente; ese En instante ese instante el reventó buque el sobre se buque se inclinó Una ola enorme nosotros yy Una ola enorme sobre nosotros pavorosamente; pavorosamente; se fue.

Aguanté sereventó fue. como Aguanté la respiración. la respiración. quedamos empapados, sisi acabáramos quedamos empapados, como acabáramos Una ola de Una enorme ola enorme reventó reventó sobre nosotros sobre nosotros y lentitud, y salir del mar.

Con mucha de salir del mar.

Con mucha lentitud, quedamos quedamos empapados, empapados, como si como acabáramos si recobró acabáramos trabajosamente, elel destructor su destructor recobró su de salirtrabajosamente, de delsalir mar. delCon mar. lentitud, mucha lentitud, posición normal.

En lalaCon guardia, Luis posición normal.

Enmucha guardia, Luis Rengifo Rengifo

to en m

hile Gleen Hetrick and other artist have made thing more macabre on the basic networks, premium cable stations have continued to take advantage of their freedom to be as explicit as they want to be. One of the most celebrated series is HBO’s Boardwalk Empire, a saga of Prohibition-era crime and punishment that has offered ample opportunities for on screen bloodshed.

That has meant steady work for a ground of talented artist among them Mike (Black Swan) Marino, Craig Linberg, Steven Lawrence and department head Michele Paris. Also part of a few of the grisliest moment of Boardwalk’s second season (coming soon on DVD and Blu-ray) was Jermey Selenfriend, whose credit include such East Coast fright feature as Blood Nights: The legend of Mary Hatchet and The Bleeding House.

“The work I did on Boardwalk came out of nowhere thank to a meant in the field, who dropped my name to Michele,” Slenefriend recalls.

“Having never met me, she gave me a chance on an effects heavy episode involving a scalping and a head-bashing with a giant 1920’s wrench. The budget was very decent and, once sent it, was approved in a matter of hours. This was a nice change of pace from the backand-forth dickering that often take place in features- though this is of course due to television incredibly fast-pace schedule.”

Further on that note, he recalls “When I took the job, they wee already in the middle of shooting one episode, and I was on for the next, That one hadn’t yet been schedule, so I had to begin work under the assumption that either effects needed to be ready for day one. I spent the first four days working nearly around the clock, napping only a critically necessary.

silen meypregun once media Un minuto hora peligrosamente ellasbuque empezó de preguntó silencio Luis inclinarse a Rengífo me la hora. de los altavoces se repitió la orde Eran lasempezó once y media.

Desde una anterior: "Todo elnopersonal ponerse al l hora aelestribor. buque alosescorar, asehacía inclinarse Ramón Herrera y yo nos movimos, porq peligrosamente A través de altavoces repitió la lado.

Pensé en el cabo Miguel a qu orden yde la noche anterior: "Todo el estábamos personal ponerse ladoPensé de babor", antesese había a estribor, pero casi enOrtega, el mismo in Ramón Herrera nos movimos, porque depero ese al lado. en el tambaleando.

Sevisto tumbó a babor, agonizando con su mare caboloMiguel Ortega, a quienyo unno momento antesagonizando había visto con a estribor, casi eninstante el mismo buque se inclinó pavorosamente; se fue.

Aguanté la si respiraci instante vi pasar tambaleando.

Se tumbó a babor, su ola mareo.

En ese el reventó sobre nosotros y quedamos empapados, como acabár buque se inclinó pavorosamente; se fue.

Aguanté la respiración.

Una enorme reventó sobre Con mucha lentitud, trabajosamente, el destructor recobró su posició nosotros y quedamos empapados, como si acabáramos delasalir del mar. Rengifo Con mucha lentitud, guardia, Luis Rengifo lívido. Dijo, -¡Qué vaina!

Es trabajosamente, el destructor recobró subuque posición normal.

En guardia, lívido. yendo y no quiere volver. estaba Era lamojado, primera vez nerviosamente: que veía nervioso a Luis Rengifo Dijo, nerviosamente: -¡QuéRengifo. vaina!

Este está yendo y no quiereLuis volver.

Era laestaba primera vez Herrera, pensativo, enteramente permanecía silencioso.

Hubo un insta que veía nervioso a Luis Junto a silencio mí,seRamón Herrera, pensativo, enteramente mojado, Luego, Ramón Herrera dijo:once -A layhora que manden cortar cabos para que la carga permanecía silencioso.

Hubo unlainstante devaya total.

Herrera dijo: -A lalas hora que el primero en cortar.

Eran las cincuenta minutos.

Yo"zafarrancho también pensaba que de manden cortar cabos para que carga se al agua, yoLuego, soy el Ramón primero en cortar.

Eran once y ordenarían cortar lasalamarras la carga.

Es hubieran lo que sedado llama deque aligeramien cincuenta minutos.

Yollama también pensaba que de un momento a otro ordenarían cortarhabrían las amarras de estufas habrían caído agua tande pronto como la orden.

Pensé en ese c la carga.

Es lo que se "zafarrancho de aligeramiento".

Radios, neveras y estufas caído al dormitorio, pues en la popa estábamos seguros porque habíamos logrado asegurarnos entre agua tan pronto como hubieran dado laporque orden.habíamos Pensé quelogrado en ese asegurarnos caso tendría entre que bajar al dormitorio, Sin ellas nosuna habría arrastrado la ola. buque seguía defendiéndose del oleaje, pero cada vez pues en Sin la popa estábamos seguros las neveras ycada las Herrera rodó carpa y se cubrió conElella. nueva ola, más grande que la mientras anterior, volvió estufas. ellas nos habríaHerrera arrastrado ola.carpa El buque seguía defendiéndose del oleaje, pero que ya estábamos protegidos por la"Van carpa.

MeUna lade cabeza las manos, pasabaaful vez escoraba más.

Ramón rodólanosotros, una y se ya cubrió con ella.protegidos Una nueva ola,lamás grande después carraspearon los altavoces. a dar lasujeté orden cortarcon la carga", pensé.

Pero Luis la orden que la la anterior, volvió a manos, reventarmientras sobre que estábamos por carpa.

Me segura y reposada: "-Personal que transita en cubierta, usar salvavidas".

Calmadamente, Rengi sujeté cabeza con las pasaba la ola, yPero medio minuto después carraspearon los los auriculares y se puso el salvavidas con la otra.

Como después de cada ola grande, yo sentía prim altavoces.

"Van a dar la orden de cortar la carga", pensé. la orden fue otra, dada con una voz después silencio. a Luis que, con elelsalvavidas puesto, volvió aaproximadame colocarse los segura ycon reposada: "-Personal que transita en cubierta, usar salvavidas".

Luis Rengifo los ojos Calculé yunoíprofundo perfectamente el Vi tic-tac deRengifo mipara reloj.las Escuché reloj durante un minuto, sostuvo una mano los un auriculares y se puso el salvavidas consilencio. la otra.Calmadamente, Como después de cada ola movía. queSaqué debla la faltar un para cuarto doce.

Dos para llegar a Cartagena.

El mano buqu grande, yo sentía primero gran vacío y después un profundo Vi a Luis Rengifo aire un mano mirar la hora, pero en horas esese instante no vi el brazo, ni la el salvavidas puesto, volvió a colocarse los auriculares.

Entonces cerré los ojos que, y oí con que la segundo. naveyse iba delme todo y que carga en que me estaba rodando.

Me puse p perfectamente el de miCalculé reloj.

Escuché el faltar reloj durante un minuto, aproximadamente. segundo, el agua llegaba allacuello.

Con losEntonces ojosapoyaba desorbitados, verde y silencioso, vi aen Ramón Herrera notic-tac se movía. que debla un para las doce.

Dos horas sobresalir, sosteniendo losnadé auriculares en alto. aguados, me cubrió por completo yLuis em para llegar a Cartagena.

El buque pareció suspendido en cuarto el ni aire un segundo.

Saqué Tratando de salir a flote, hacía arriba por espacio deel uno, tres segundos. nad mano para mirar la hora, pero en ese instante no vilaelcarga brazo, la mano, ni el reloj.

No la aire.

Me asfixiaba.

Traté de amarrarme a la carga, pero ya la carga no estaba allí.

YaSeguí no había vi la ola.

Sentí que la nave se iba del todo y que en que me apoyaba se flote nolas vi olas, en torno mío nada distinto del mar.

Un segundo después, como aentonces cien metros d estaba al rodando.

Me los puse endesorbitados, pie, en una verde fracción de segundo, y el Rengifo agua me entre chorreando agua por todos lados, como un submarino.

Sólo me d e o d b a a l llegaba cuello.

Con ojos y silencioso, vi a Luis b l o a r ", Ramó se agua.Un minuto de silencio Luispeligrosamente Rengífo me preguntó la hora.

Eran de laslos once y media.seDr que cubrió tratabapor de sobresalir, sosteniendo los auriculares en alto.

Entonces el agua empezó a "Todo escorar, a inclinarse a estribor.

A través altavoces n Herr poner me completo y empecé a de nadar hacia Tratando deSeguí salir a anterior: elelpersonal ponerse al lado de babor", Ramón Herrera y yo no nos mov era y flote, nadé hacía arriba espacio uno, dos,arriba. tres de segundos. onal lado.

Pensé cabo Miguel Ortega, a quien momento antescon había a estri nadando hacia arriba.

Mepor faltaba aire. Me asfixiaba.

Traté amarrarme yo pers instante lo en vi pasar Se tumbó a un babor, agonizando su visto mareo.

En la carga,salí pero ya no la carga no estaba allí.distinto Ya no había nada alrededor. a pavorosamente; setambaleando. fue.

Aguanté lamar. respiración.

Unalentitud, ola enorme reventó sobre nos o el Cuando a flote vimetros en torno mío nada del mar.

Unde segundo d d e o d b a a l b l o o como si acabáramos de salir del Con mucha trabajosamente, el des a r " , después, como a cien de distancia, el buque surgió entre e Ramón ers En la guardia, Rengifo estaba Dijo,a nerviosamente: -¡Qué vaina!

Este : "T las olas, chorreando aguade por todos lados, como un submarino.

Sólo Herre volver.

Erapermanecía la Luis primera vez que veíalívido. nervioso Luis Rengifo.

Junto a mí, Ramón al pon entonces meRengífo di cuenta que había caído al agua.Un minuto de rior mojado, silencioso. unse instante silencio total.

Luego, Ra ra y y silencio Luis meel preguntó la hora. las once y media. rson nte manden cortar cabos para que Hubo la carga vaya alde agua, yo ordenarían soy el primero en Desde hacía unaa estribor. hora buque empezó aEran escorar, a repitió inclinarse o no el pe minutos.

Yo también pensaba que de un momento a otro cortar ea peligrosamente través de los altavoces llama "zafarrancho de aligeramiento".

Radios, neveras y estufas habrían caí nos orden deRamón la noche anterior: A el ponersese alporque lado dela ch odo dado la orden.

Pensé que en ese caso tendría queneveras bajar al ydormitorio, pue babor", Herrera y"Todo yo en nopersonal nos movimos, mo r: "T porque habíamos logrado asegurarnos entre las las estufas.

SR no estábamos de ese lado.

Pensé el cabo Miguel Ortega, a o i v r buque seguía defendiéndose del oleaje, pero cada vez escoraba más. a imo quien uninstante momento había visto a estribor, pero casi en el l cubrió con ella.

Una nueva ola, más grande que la la cabeza anterior,con volvió a rev mismo losuviantes pasar tambaleando.

Se tumbó a babor, nte s, p e a estábamos protegidos por la carpa.

Me sujeté las man agonizando con mareo.

En ese instante el buque se e minuto después carraspearon altavoces."-Personal "Van a darque la orden de e c orq inclinó pavorosamente; sesobre fue. Aguanté la respiración.

Una otra, dada con una vozRengifo seguralos ysostuvo reposada: transita ch ola enorme reventó nosotros y quedamos ue Calmadamente, Luis con una mano losun auriculare U n empapados, como si acabáramos de salir del mar. Con no e Como después de cada ola grande, yo sentía primero gran va mucha lentitud, trabajosamente, el destructor recobró su s a táb l Luis Rengifo que,elcon el salvavidas puesto, volvió a colocarse lo minuto de posición normal. En la -¡Qué guardia, Luis Rengifo estaba perfectamente tic-tac de mi que reloj.

Escuché elun reloj durante e Dijo, nerviosamente: vaina!

Este buque se lívido. está am Herrera no se Calculé debla faltar cuarto paraula silencio yendo y no quiere volver.Junto Era laa primera vez Herrera, que veía os Cartagena.

Elmovía. buque pareció suspendido enniel aire un No segun nervioso a Luis Rengifo. mí, Ramón en ese instante no vi el brazo, ni la mano, el reloj. vi la L u i s pensativo, Hubo enteramente mojado, permanecía de que la me carga en que me apoyaba se ojos estaba rodando. Me p silencioso. un instante de silencio total.

Luego, es agua llegaba al cuello.

Con los desorbitados, verd Rengífo Ramón Herrera dijo: -A la hora que manden cortar de sobresalir, sosteniendo los Tratando auriculares en alto.

Entonc el cabos para que la carga vayaonce al agua, yo soy el empecé a nadar hacia arriba. deMe salir a flote, na m e primero entambién cortar.

Eranse las ymomento cincuenta ad segundos. nadando hacia arriba. aire minutos.

Yo pensaba que de un o. pero yadistinto la Seguí carga no estaba allí. Ya no después, había faltaba nada alrede preguntó otro ordenarían las amarras dealigeramiento". la carga.

Es loa nada del mar.

Un segundo como a Pe que seneveras llama cortar "zafarrancho decaído entre las olas, chorreando agua por todos lados, com la hora.

Radios, y estufas habrían al agua tan n de queyhabía caído al agua.Un minuto debuque silencio L sé pronto como hubieran dado orden.

Pensépues que once media.

Desde hacía una hora el em Eran las en ese caso tendría que bajarlaalporque dormitorio, en estribor.

Aaltravés debabor", los altavoces se repitióylayo orn en la popa estábamos seguros habíamos ponerse lado de Ramón Herrera once y logrado asegurarnos entre las neveras y las el lado.

Pensé cabo Miguel Ortega, a quien estufas.

Sin ellas nos habría arrastrado la ola.

El pero casimareo. enenelelmismo instante lo vibuque pasar tam media. ca buque seguía defendiéndose delHerrera oleaje, pero con su En ese instante el se in cada vez escoraba más.

Ramón rodó b respiración.

Una ola enorme reventó sobrelen n Desde oM una carpa y se cubrió con ella.

Una anueva ola, acabáramos de salir del mar.

Con mucha más grande que la anterior, volvió reventar recobró su posición normal. la guardia, hacía una sobre quesujeté ya estábamos protegidos igu nerviosamente: vaina!EnEste buque por la nosotros, carpa.

Me las primera vezenteramente que-¡Qué veía nervioso a Luis Rens hora el manos, mientras pasaba lala cabeza ola,altavoces. y con medio el pensativo, mojado, perman minuto después carraspearon los Or silencio total.

Luego, Ramón Herr b u q u e "Van aladar la orden cortar la carga", pensé.

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By:Chris ChrisAlexander Alexander Written by

here are monster out there. Real ones. They’re walking among us, standing in lines at stores, gripping the same subway poles we do, laughing a the same movie in the same theaters... and that’s a reality more horrifying than any pithy pulp fiction could ever detail.

In writer/director Micheals Goi’s devastating docudrama Megan is Missing, the audience is treated to a one such story of the hollow void that is human evil-and, in this case, how that evil uses technology to manipulate and destroy its vulnerably prey.

The movie was quietly realized on DVD by Anchor Bay last year without fanfare-much to the mixed feeling of Goi, who pored every ounce of conviction into creating a real “dead teenager” film, an authentic horror feature that shows the unglamorous consequences of sexual murder and serves as warning to the parents to carefully monitor what their children are doing on their laptops,in their rooms, alone. “This is a movie born out of rage.” says Goi, a celebrated cinematographer whose recent assignments include, appopritatly , the hit teen TV series Glee and the far darker American horror story.

“The tech advisor on an action movie I was working on was also a professional forensic pathologist, and he was assigned to a case I had seen on TV about a missing girl who had gone to meet an Internet buddy. I started to ask him about it, and he poured out his soul on the topic. I asked him about other cases I had heard about, and he put me in touch with the investigations. They showed me file photos, surveillance videos, court transcripts, and all of it was horrifying.

It was like looking into the face of evil. I felt like I need it to do something. Around this time, my producing partners Mark Gragnani and Melanie Harrison were anxious for me to direct a movie for them, so I decided to make it about this subject. I ended up doing two years of research into seven specific cases that formed the basis of the script. “I purposely made the victim cute white girls,” he continues, “because I wanted the

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wrenching horror when a fetish site reports photos of the missing Megan in a torture device. We see the pictures. Our blood runs cold. and then... were shown footage detailing the fates of both girls. “I’ve heard those photos describe by viewers as ‘the point of no return,’”Goi says. “It’s such a shocking jolt of reality that any lingering disbelief just goes audience right out the window. Those are to feel like recreation of two photos that were they had posted by someone on a friend’s ...deeply immersed in a seen this website of a young girl who shoot before in them on the next to last day of sexual, drug-fueled social their own filming, I was trying to convey to scene... homes Rachel what we were going to do, so Michael Goi, director/writer on the she wouldn’t be taken by surprise. news; then She kept insisting that I should let I would take them to the reality to what happens in many of these he see the real photos, and in a massive lapse of judgment I regret to cases. I was interested in making a Hollywood movie on the topic, this day, I agreed to let her see one of them on my computer just for where the police show up in the nick of time to save the day, or a moment. She immediately froze, then started crying and couldn’t things like the rape child are presented as soft-focus shots of the stop for 20 minutes. I had been living with all these images of horrific sun streaming thought trees. I wanted the audience to feel what evil for years, but she was having fun making a movie until this point.” was happening.” Mission accomplished. The film uses webcam and

Megan is missions is certainly many things, but “Fun” mobile device footage to chart the friendship between damage teen isn’t one of them. It couldn’t be. It’s once of the few genre related Megan (Rachel Quinn), deeply immersed in a sexual, drug-fueled pictures that has a responsibility to damage its audience, not for social scene, and her sweet, awkward best friend Amy (Amber exploration proposes (though not everyone feel this way; the move Perkins). One night while surfing a chat-room, Megan meets “Josh,” was recently banned in Australia), but to shock people and parents a surfer who can never show his face because his webcam is broken about the realties and accessibility of evil in contemporary tech(varyingly attributed to his little brother, his dog...) After Megan tells obseed times. Perhaps no more telling is the endorsement of Mark Amy she’s going to meet “Josh,” she promptly vanishes, launching Klaas, whose daughter Polly was abducted, raped and murdered in a media frenzy that only escalates when Amy goes missing as a heavily publicized case in 1993. On the DVD special features, an well. This gripping bit of verity suddenly free falls into stomachintimate interview with Klass closes with him urging the audience to

I wanted the audience to feel like they had seen this before in their own homes on the news.

Michael Goi, director/writer

Every day 4 women are killed during a rape

watch the film and be aware that “ what happened to me does not happen to you” It’s dose of reality that further hammers home Goi’s unsparing fiction.

“Marc asked to see a copy of Megan is Missing very soon after I had completed editing,” Goi recalls. “I sent him a DVD and flew out to San Francisco to meet him. I was very nervous, because here was a man who lived through the kind of evens that the movie depicts.

Marc told me that he and his wife watch the film twice, and thought they felt emotionally devastate, the immediately recognized what I was trying to do in term of shaking people up and making the subject of Internet predators and abducted children a topic at the forefront of the public’s mind. He pledged his support for me, and has traveled with me to screening to speak about how people can individually do

75% of rapes are commited by a man the victim knows.

Every 2 minutes a woman is raped in the USA

25% of rapes take place in a public place

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Outcomes After a Kidnap

15%

67%

Released without payment

7%

9% 2%

Rescued

Killed Escaped Ransom Paid

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thing to safeguard their families. Marc Klass is,my hero; he has taken a personal tragedy, the endortmity of which I cannot even begging to comprehend, and turned in into a vehicle to do good though his organization the Klaas-Kids Foundation. Which is dedicated to child-search activities and increasing awareness of child protection methods�

And even thought Goi, who spend two years researching and preparing Megan is Missing , is immensely proud of the impact his work has had upon the audience slowly discovering it, he still has trouble separating the craft form the movies ultimate power. “ I myself find it hard to watch. Some of the more emotionally gut wrenching moments are not thing you want to relieve over and over.

The filming was actually fun and relaxed for the actors and crew, but the final product is pretty disturbing. I want people to experience the movie, not just watch it and forget about it. If they remembered how it made the m feel, perhaps they will look at those news broadcast a bit differently, or think about checking out registered Sex-offenders sites to see who living in on their blocks , or just to sake more interested in how their kids are using social-networking media to communicate. I guarantee you that kids know more about there thins than their patents do.�

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Departament

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British Actress Rosamund Pike brings her beauty and talent to a world of gods and monsters in Warth of the Titans.

Written by: Chris Alexander Filmstills Proived by Warner Bros.

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The 2010 remake of the classic Ray Harryhausen fantasy

spectacle The Clash of the Titans was a surprise box-office hit, though very few critic embrace it as enthusiastically. Its converted 3D and simplistic plot nonplussed film journalist, while devout dans raised on the charms of the stop-motion original scoffed at the lack of magic and model FX on display.

What some of those fans may have forgotten was the previous generation’s monster-movie buffs desires the first pictures for it assimilation do a studio enforced post-Star Wars sensibility

(what is Bubo the owl if not a fowl R2D2?) and critic were also indifferent, both set pining for the own chid hoods Sinbad and Jason and the Argonaut Harryhausen adventures But the only audience that really mattered the and now-the kidsspoke loudly enough to ensure that Warner Bros., would mine the dusty annals of Greek mythology again for a follow up, that even more epic Wrath of the Titan (opening march 30). Under director Jonathan Liebesman (of Texas Chainsaw Massacre: The Beginning and Mattle Los Angeles, taking over from Clash’s louis Letterrie, sam (Avatar) Worthington reprises his role as Persus, the halfgod son of Zeus. After battling all manner of creatures and killing both Medusa and the Kraken in the first picture, he has now retired to a quiet life as a fisherman and father, living humbly and keeping his powerful lineage a secret.

Taking over ht role of the beautiful Queen Andromeda is the British actress Rosamund Pike, a classically trained veteran of UK stage and television who made a massive pop-cult impact after appeared in-at age 21- as a bond girl in the final Pierce Brosnan 007 adventure Die Another Day. Since then, Pike has evolved her craft while straddling two worlds: classic period picture (Pride and Prejudice) and glossy genre epics {she played Samantha Grimm in Doom and Opposite Bruise Willis in the underrated Surrogates). Like many f the actor filling the roles of gods and mortals in

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Wrath-also including Liam Neeson as Aeus, Ralph Fiennes as Hades, etc- Pike has a grandiose gravitas (it’s no surprise that her father was a celebrated opera house singer.) that elevates the monster-riddle hokum above the realm of B-flick into something approaching serious theater. Well, sort of... Fangoria spoke with the intelligent and focused Pike about her wild, and steadily accelerating, Hollywood ride.

PIKE: Thats a question better suited for Luam and Ralph, as a their characters dialogue and persona call form much more grandiose oration. I tried to keep’m my performance grounded in smoothing as immediate as as contemporary as possible FANG: Clash of the titans was post-converted into 3D. Was wrath actually shot in the process?

FANGORIA: You came from British TV and stage work and fell right into the middle of the Hollywood whirlwind a with Die Another Day. How did Wrath of the Titans stack up again that shoot?

Rosamunds PIKE: I felt much more on the top of ting making Wrath than on the Bond film, because Im so much more experienced and with fill, experiences serves you in good instead. You understand camera angle and positions and how it all works.

FANG: You’d replaces Alexa Davalos as Andromeda in Wrath. How was the character changed?

Pike: Well she’s far more empowered. I mean, after all the humiliatin things she went through in Clash of the TItan- she was tied up to be sacrificed to a monster all because of soothing her mother said, an offend prashe, and had to be rescued. Son ow she’s very different. I stood on a cliff over looking an army of 500 men in Tenerife, in Canrary Islands, where we filmed.It was unbelievable. And Andromeda leads those men. She’s not a victim and refuses to be one.

Fang: like that you said “an army of 500 men” and not “500 digital men...”..

Pike: Oh, absolutely. The islander of tenerife were so excited about the movie, and they all came out to be in it. It was fantastic. I was like a sort of Henry V. The director, Jonathan Leibesman, was adamant that we shoot as much of it practically as possible. there was some green screen but the movie is not ruled by it.

FANG: Epic fantasy films like clash and Wrath always employ theatrically trained actor, and you yourself aren to stranger to the Bard. You just mentioned Henry V. Do you call on that Shakespearean training when playing in a picture like this?

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PIKE: No, it wasn’t shot in 3D. That’s because Jonathan instead that we film on 35MM, and to do the proper digital 3D you obviously have to shoot digitally. But we did have the 3D conversion people on set converting as we went. Jonathan was well aware how disappointed people were by the 3Din the film. so the paid very special attention to ensure they got it right this time.

FANG: You’ve said that you’re a fan of classic Hollywood and how you pine for the loss of the glamour and mystery that were part of those earl, golden years. Do you think that myth so much more the mechanism of movie making now recoiled, some of the magic is lost?

PIKE: You mean, because magazine like your tell people how monsters are made?

FANG: Thats part of it. but i mean on every level...

PIKE: No way I don’t think that at all. I believe that when it come to the mystery surrounding actors craft and personal lives, that has been lost, yes, but when you have productions like Wrath and you see it all, it blows you away. You can look at some of these pictures and see how much effort went into each shot. In Wrath we had so many different thing in front of us, and we were in constant stat of awe all the time it doesn’t detract when you know the secrets, it accentuates it.

FANG: As far as the art is concerned, is acting in something as massice and fantastical as Wrath as rewarding as , say , a movie like The Liberine or Bareny’s version?

Jonathan w as aware o people wer f how disap e by the 3D pointed in the first paid very s film, so the pecial atte y tion to gett ing it right this time.

PIKE: AHHHH. Barney’s version was lots of fun. It was such rich material, and Paul Giamatti- well, I wouldn’t of as far as say he’s is my hero,but certainly he is one of the people I mist admire in this business. But moving from that to the action world, especially in film like Wrath of the Titans... It;s total chaos, it fires all your sense, as opposed to your mental and intellectual faculties. The first scene we shot awes set in the under world, and there were rocks falling on use from the celling, rivers of fire, pillars of flame being busted by guys in boiler suits wind turbines, you walk into it and you just try to survive it. You’re thorn into a maelstrom and you;re tying to run from point A to B; there sort of a primitive skill thats required.

FANG: It’s interesting how one person can common two very desisting audiences. The audience that files out the Barney’s Version will appreciate it, Talk about the movie, critics will view it well. The kids who come out of Wrath of the titans....it might actually change their livers!

PIKE: What? Do you thinks so?

FANG: Yes. when i saw Clash theatrically upon exiting, two 12 year old boys were being picked up by their dad, and when he asked how they like it they said, “That was the best movie we’ve ever seen1” If you’re the right ager, films like this have an important effect.

PIKE: Thats hilarious. Well, this one has even better point of entry for the kids because Persus has a 10 year old son who is oblibliouse to who his dad is, and when he finds out, he’s blown away by all these gods and monsters, and as far as my role,the hope with Andromeda, girls will want to be like her, that she’s a strong role model. And that the boys, well... I hope thy’ll enjoy her too!

FANG: I was a going to ask you if you were still having fun in this acting adventure of yours, but I think my question has been answered!

PIKE: [Laughs] I am. Im having a great time, and I think as I from and learn more and become more confident in what I can do, I’ll have an even better time.

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10.6 | PARADISE ROCK CLUB | BOSTON MA

Departament

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Pg.33

in for on how Absentia was pulled off on a micro budget. The result looks and sounds fully pro on disc, with plenty of spooky atmosphere in the widescreen transfer and 5.1 Surround Sound.

T

Phase 4’s ABSENTIA

Departament

Melissa Marr’s GRAVEMINDER

.99 .99 Pg.34

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