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Interview: Director Rob Jabbaz talks “The Sadness” Ahead of Fantasia Film Festival Premiere

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Having been selected for numerous festivals including Fantasia, Locarno and Fantastic Festival, The Sadness is the latest extremely violent Taiwanese horror film. The film sees a virus spontaneously mutate giving rise to a mind-altering plague causing the streets to erupt into violence as those infected are driven to enact the most cruel and ghastly things they can think of. The age of civility is no more. There is only “The Sadness”. We were lucky enough to talk to the film’s writer/director/editor Rob Jabbaz about his process making the film during the pandemic.


How does it feel to have your first feature film being selected for big festivals like Fantasia, Locarno and FrightFest?

At the risk of sounding pompous, it seemed pretty obvious to me. I’m very critical of my own work and I think the film is really good. When I made The Sadness, I was really uncompromising and just running on pure willpower. Anytime I ran into an obstacle of people trying to tone something down or make something less hard, I just had to bulldoze over them. And I really stressed myself out. I didn’t realise that I was getting so stressed until after it was all over. I was sleeping 16 hours a day for a couple weeks; I was just so tired. I was like, why am I so tired? And then it obviously dawned on me, like, oh, it’s because you’ve just been stressing yourself out for six weeks. Not necessarily physically, but just mentally and emotionally too.

When I was editing it, I thought, this is awesome, this is working exactly the way that I wanted. When I finished the first cut of the film, I felt really strongly about it like this is gonna make people shit their fucking pants. And then once I found Raven Banner as our distributor and seeing real horror people appreciate the film as opposed to just the casual horror audience like the Taiwanese horror audience and them realising what I had done, it was awesome. And then at that point, when they said that they wanted to do a festival run with it, what other movies got made during the pandemic? So I knew even just by default I would have at least one of the top 5 horror movies of 2021. So that’s part of what informs me to say it didn’t surprise me that we got into Fantasia and Fantastic Fest. Locarno did surprise me; it was really nice to see it get picked up by arthouse festival like that. That was the one that was really flattering.

 

How did the idea for the film come about?

I was working as a staff writer for this entertainment company, writing scripts that may or may not get made. This was before the pandemic when being able to work from home was cool and attractive at the time. But then when the pandemic happened, my boss was like, okay, Hollywood’s closed, we can make a movie right now and we won’t have any competition but we need to release it soon. And then he says it has to be a virus or zombie movie. I thought I don’t want to write a zombie movie, that’s boring, it’s all been done to death, what’s left to say with that? So I started thinking about ways to push the envelope without pushing the small budget. And I thought, what if we make them really cruel and really sadistic. They’re sadists, they take pleasure in harming other people. This made me think of a comic from years ago called Crossed. I took a look at those comics and I was like, this is cool, but this isn’t quite right because these characters are still being treated like zombies. They’re not talking enough, they’re not expressing themselves enough. So I tried to give myself memorable villains to work with and some ideas, but what you need is that one auxiliary idea connects it all together.

It really was just based around creating a lot of good gore gags and very painful effects and set pieces and stringing them all together. I’ve watched a lot of horror movies and I know where I can cut the fat. And I know where I could give a second helping. I really just thought let’s give the audience all the good stuff and keep the story enough there so that we know what needs to happen next. But I don’t want the story to trip over itself. Because there’s nothing worse than in a horror movie when you just you halt everything and then all of a sudden there’s an explanation and it’s about this and that. Show me someone getting their fucking lungs ripped out, show me something cool. Or show me something I’ve never seen before. Don’t just show me these stupid obvious emotional beats. If you want to show me an emotional beat, do it in a way that I’ve never seen before. And that’s what I tried to do with the very end of the film.

“I told them I want to always have at least 15 gallons of blood on hand every day so that we never run out”

Given your background in VFX and animation was there ever a tendency to rely on VFX or did you try and do things practically?

You use the right tool for the right task and The Sadness was all gore. I’ve yet to really see CG create realistic effects. It just doesn’t feel painful enough to me. What that boils down to is it needs to be messy, and you need to see the mess go all over the place and get stuck in hair. I knew right from the beginning that it needed to be practical effects. There are a couple of things where we use some VFX and there’s a bit of an amalgam of VFX and practical effects. You’re just trying to be practical and figuring out what works best and what is the cheapest, but at the same time not at the expense of it looking awesome.

I was pushed against trying to do like a lot of this stuff practically. One of the people who was working for me had a lot of experience and he was said you shouldn’t do practical effects, because maybe the blood isn’t going to work the way that you want it to and if one of those things doesn’t work properly, it’s going to take a long time to reset. Every day when we make a film like this you’re just shovelling money into a furnace essentially so you have to be efficient with time. I was just like, what the fuck are you talking about? Have you ever heard of editing? We just shoot everything. We do every gore gag as an insert so the audience can see it. It’s not like I want these things happening in the background. I want the camera in there so you can see it. I’m not trying to do some bullshit like The Revenant where the cameras are doing everything in one take. It’s distracting, I don’t like that shit. Ironically, I think that a long take for an action scene is less cinematic then if it’s edited because editing is part of cinema. I don’t want to do any of this all in one take. I want to do this like a movie. I told them one thing you need to remember, I don’t want to run out of blood. I want to always have at least 15 gallons of blood on hand every day so that we never run out.

How did you end up directing The Sadness? Was it something you always wanted to do?

I wrote the script, and I gave it to the guy. He said he liked it and then he went to go look for a director and no one wanted to do it for the price that we had. And then he came to me and said, ‘Hey, Rob, do you want to try doing it?’ And I said, ‘Oh, God, I don’t know.’ We hear all the horror stories of directing a film and then getting fucked with the whole time, people telling you not to do this, or people telling you that you’ve got to do it this way. You end up stressing yourself out every single day and then in the 11th hour, they give it to some fucking shithead to do the edit and you don’t get final cut. I said I can do this film but there’s only two ways I can do it. The first way is I can phone the whole thing in, and I’ll show up to the job, I’ll facilitate the production and I won’t give a fuck about it but I’ll get it done. Or I can make it my life and I can take it to heart as much as one can take something to heart. But in order to do this, you need to let me do it exactly the way that I want and you need to give me final cut. He said I don’t want you to phone it in, I want to give you number two.

Once I had that, I felt happy about it. I’ve done shorts and I like telling stories and I can create worlds so I I’ve always wanted to do a feature. I liked this script and I like the energy of the film and how it works as it is, but if you were to read the screenplay of The Sadness, it’s not the best screenplay to be honest. It’s decent, but it’s not showcasing my ability as a writer as much. I knew that if anyone was going to do it properly, it was going to be me. And I’m looking forward to The Sadness heralding the beginning of my feature filmmaking career. I look at some of my favourite filmmakers like Paul Thomas Anderson and I just think ‘how does he do that?’. That’s what I aspire to be like. I don’t know if that’s really possible for me but it’s about having an aspiration and working towards that.

 

When you were making The Sadness did you ever have any second thoughts about how extreme and violent you were making it?

For me that kind of just seemed like fair play. There’s a particular tone to it, maybe my film feels more violent because it’s happening to innocent people, and it’s presented in a more realistic way. Whenever you’re making a horror movie you’re trying to tap into people’s fears at the time. And at the time, the spread of the virus actually wasn’t really a big concern in Taiwan. People weren’t wearing masks, people were out at bars dancing with no masks and the rest of the world was fucked. You guys were all inside, depressed, and meanwhile Taiwan is having outdoor music festivals and stuff. The virus aspect of the film was not really that much of a big deal.

For me, what was kind of a big deal was tapping into a fear that is very specifically Taiwanese and East Asian, this fear of unprovoked violence. There’s this idea that you just mind your own business and you do your job, work hard, and don’t get involved in someone else’s affairs if you don’t have to. It’s like a fundamental foundation for morality in East Asian culture from my perspective at least. The idea of just a random act of violence, like somebody on the train, just pulling out a knife and starting to stab people. And then you’re like, holy shit, and next thing you know, a guy is stabbing a pregnant woman with a set of keys and then another guy is biting off a guy’s Achilles tendon and some guy’s stabbing a girl in the face with an umbrella. It’s just completely senseless. There’s no political motivation, there’s no reason or logic to any of it. It’s just mindless, senseless violence. I was trying to tap into that fear of unprovoked violence. And I think that a lot of people here in Taiwan might have thought that crossed the line. But you know, that’s the price we pay for the freedom of artistic expression.

I’ve been spoiled. I wrote it, directed it, edited and had final cut, I’m spoiled. I’m like when the Coen brothers did Blood Simple and they didn’t have to listen to anybody. It’s kind of like a precedent was set, I don’t go backwards, I go forwards. I’m going to try to maintain that kind of control over the work that I do. And my argument for that would be in order for you to get me to create something like The Sadness, you’re going to have to try to recreate the similar circumstances. I can’t work feeling like the shit’s gonna get pulled out from under me. I have to feel in control of the work. I have to be in love with the work.

The Sadness had its European premiere at the Locarno Film Festival and will have its North American premiere at Fantasia later this month.

Read our review of The Sadness HERE

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Batman

Why Michael Keaton is the Best Batman

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I know that it’s been a little while since “The Flash” came out in theaters, but I got to say that after seeing the movie again on Max, I think that it’s clear to say that Michael Keatonis the best actor that has played the Caped Crusader.

Keaton played the hero in the Tim Burton-directed superhero flick way back in 1989. Many fans were skeptical of the controversial casting but were happy to have him in the film after it was released and welcomed him back for the sequel in 1992.

Here is why Keaton reigns supreme as the comic-book hero.

HE LAID THE FOUNDATION FOR “DARK” BATMAN

Batman 1989 [credit: Warner Bros.]

 

Before Michael Keaton, the only thing that fans had for Batman was Adam West on the 1960s tv series and while the series had its moments, they seemed more campy than actually dark. West had a more comical take on the character which might have been fine for the 1960s but it doesn’t really honor the source material.

Keaton brought the character into darker territory and allowed Batmen after him to run, but only after he had to walk in the batsuit and it was a breath of fresh air to see it.

 

HIS ORIGIN STORY IS MORE TRAGIC

Batman 1989 [credit: Warner Bros.]

 

In the original comics, Bruce Wayne’s parents are killed by the criminal Joe Chill. And the tragic event is what made him the caped crusader. That is a great origin story, however, the 1989 film changes a few things.

In the Tim Burton movie, Jack Napier a.k.a., the Joker kills Wayne’s parents. Albeit, this is before Napier becomes the Joker  but it makes for a great connection as to why Batman has such a true and deep disdain for the Joker, thus making their hero-villain dynamic more palpable to watch.

 

HE TOOK ON A KRYPTONIAN WITHOUT KRYPTONITE

The Flash 2023 [credit: Warner Bros.]

 

If you haven’t seen The Flash, spoiler alert because Keaton’s Batman takes down the kryptonian Nam-ek in the coolest and briefest showdown in the DCEU, where Batman grapples the Kryptonian by the neck attaching bombs to him and finally knocking the alien to the ground with a final explosion.

Keaton can rest easy knowing that he was the only Batman to knock down a Kryptonian without Kryptonite. Not even Affleck could attest to that.

FILM RATING
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Action

‘Heart Of Stone’ Review: Gal Gadot Shines in Netflix’s Predictable Yet Entertaining Action Fiesta

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Gal Gadot as Rachel Stone in 'Heart of Stone' (Netflix)

In recent years, Netflix has invested in a lot of high-profile action thrillers. Films such as ‘Red Notice’ and ‘The Gray Man’ exceeded all the expectations with hi-octane action and Hollywood A-listers. The streaming platform seems to be in no mood to stop and has come forward with another banger, titled ‘Heart of Stone.’ Starring Gal Gadot in the lead role, the film chronicles the journey of a secret agent named Stone (Gadot) and how she becomes a part of an operation to catch a man. However, things go awry as they move forward.

Over the years, we have seen a lot of action movies with really good twists and turns. ‘Heart of Stone’ is similar and has some really extraordinary twists, keeping fans at the edge of their seats. The film is packed with adrenaline-pumping action sequences that keep viewers glued to the screen. From intense hand-to-hand combat scenes to daring chase sequences, the film delivers on the promise of thrilling entertainment. The stylish cinematography and slick visual effects enhance the overall experience, making each action set piece visually stunning. Director Tom Harper successfully crafts visually appealing and dynamic action scenes that further immerse audiences in the world of espionage and danger. The plot twists and turns, ensuring unpredictable surprises that keep viewers guessing.

Gal Gadot as Rachel Stone in a still from ‘Heart of Stone’ (Netflix)

Even though there is some good suspense and action, the film has a familiar storyline and as it progresses, viewers start to successfully foreshadow what will happen in the next few scenes. The predictability of the script is really annoying and leads viewers to a direction that has already been tried and tested by the ‘Mission: Impossible’ series.

But when it comes to action, ‘Heart of Stone’ is packed with adrenaline-pumping sequences. It is one of those movies that will keep the audiences because of insane action pieces and how every actor performs in those particular scenes.

Jamie Dornan as Parker in a still from ‘Heart of Stone’ (Netflix)

Acting wise, Gal Gadot shines in her most intense role yet. Her performance as Rachel Stone is really good. She delivers an outstanding performance as the skilled and enigmatic operative. Gadot’s performance elevates the film, making her a compelling action heroine to root for throughout the gripping storyline. Meanwhile, Jamie Dornan is excellent as Parker and is a part of one of the most insane twists in recent movie history.On the other hand, Indian actor Alia Bhatt is brilliant in her Hollywood debut. At first, her dialogue delivery might unsettle you, but as the movie moves forward, she lets the world know why she was chosen for this role.

Alia Bhatt as Keya in a still from ‘Heart of Stone’ (Netflix)

All in all, ‘Heart of Stone’ is a good one-time watch that keeps viewers glued to their screens because of excellent action scenes, good twists, and brilliant performances. The film is shot beautifully, but the script turns out to be a little flat when it has to show all the other elements. Nevertheless, it is a decent movie that successfully provides the entertainment it promises.

FILM RATING
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Entertainment

Twisted Metal Season 1 Review: Explosive And Deadly

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Peacock

The following piece was written during the 2023 Writers Guild of America (WGA) and Screen Actors Guild and American Federation of Television and Radio Artists (SAG-AFTRA) strikes. Without the labor of the writers and actors currently on strike, the comic book material being covered here wouldn’t exist.

Twisted Metal Plot

The series’ primary protagonist, John Doe, is a motormouthed outsider with no memory of his past, who is offered a once-in-a-lifetime opportunity to make his wish of finding a community to belong to come true, but only if he can successfully deliver a mysterious package across a post-apocalyptic wasteland.

With the help of Quiet, a trigger-happy car thief searching for revenge, he faces twisted marauders driving vehicles of destruction and other dangers of the open road, including a highway patrolman, a deranged clown who drives an all too familiar ice cream truck and many other brutal drivers with their own agenda.

Review (No Spoilers)

The TV series is an adaptation of the famous Twisted Metal video games of Sony PlayStation. The gameplay revolves around weaponized motor vehicles battling out in various arenas and the victor moved on through various stages until you beat all of the other drivers in the tournament. The series didn’t follow any tournament format, but the destructive and weaponized cars brought back many childhood memories of late nights with Twisted Metal 4. The series teases a lot of elements of the video game such as the one game poster, a cheat code and many names of the various characters from the video game.

Twisted Metal [credit: peacocktv]

Anthony Mackie and Stephanie Beatriz were a potent combination on-screen and I really enjoyed the energy they brought to the Twisted Metal series. There are various cast members joining us for short intervals and many you many recognize from other productions. Thomas Haden Church and Will Arnett / Samoa Joe play the part of the series’ antagonists, Agent Stone and Sweet Tooth respectively. They really played their parts to perfection.

There are ten episodes in the series, with an average of 30 minutes per episode. The story doesn’t beat around the bush and speeds off to the main points and actions scenes. I really wish the last episode could have been longer because the action scenes were explosive.

Make sure to catch the post-credits at the end of the last episode. This series is meant for a mature audience. Lots of blood, language and semi-revealing clothing.

This series is a 4.5 of out 5 for me. Thank you Peacock for bringing a childhood video game to life. Really hopeful that we get to see a sequel to Twisted Metal Season 1.

 

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