JOSIE HO "DREAM HOME" INTERVIEW: PSYCHO KILLING PARTY!

"Dream Home": Beneath the soft, romantic title (1) lurks what might possibly be the craziest, bloodiest slasher film ever made in Hong Kong!

Produced, directed and written by the rebellious and prolific Pang Ho-cheung ("You Shoot I Shoot", "Men Suddenly In Black"), who doesn’t give a damn that its sexual and violent content guarantees it won’t be shown in Mainland China, "Dream Home" had an unparalleled $4 million production budget (amazing, considering the current Hong Kong cinema crisis) and is also the first movie produced and financed by 852 Films, a company co-founded by "Dream Home" lead actress Josie Ho.

While involved in her role as a young, hard working woman willing to do anything to have her own apartment, Josie Ho revealed to Action Queens some exclusive information and gruesome anecdotes about her work on the movie, both in front of and behind the camera. Let the massacre begin!...

Frederic Ambroisine: Tell me about the company that you founded, 852 Films.

Josie Ho: 852 Films is a film company I recently formed with my husband, Conroy Chan, and my manager in the States, Andrew Ooi. Our goal is to produce commercial films in Hong Kong that are more youthful, and edgier. We feel that Hong Kong produces a lot of films but it lacks edgy films, so we would really like to show people what we can do. We’d like to push our culture forward and be able to open up everyone’s view.

FA: When did you first hear about Pang Ho-cheung’s project, “Dream Home”?

JH: When I first heard about Pang Ho-cheung’s script I was really thrilled. It’s really unusual for somebody to write such a crazy, insane story about Hong Kong. I think what attracted me to the script is the general topic, which is a concern for every single Hong Kong citizen. Also, with the economic crisis happening all over the world right now, this topic concerns everybody. The script happens to be a psycho story about a very relevant topic.

Josie Ho & Pang Ho-cheung on the set of "Dream Home"

FA: Since you are a producer and actress for “Dream Home”, what has been your role during pre-production and while shooting?

JH: Conroy and I are based in Hong Kong, so we both went to every pre-production meeting with the director. Because we are new, we listened to the director regarding who he wanted to hire for each production department. We had some preferences, but we tried to work together to find the best people for each department. We were very much involved with the creative process of the film. The colors. I was really involved with the wardrobe and I was concerned with the visuals and the sound, basically the more creative and artistic parts of the film. Whereas money… we left that to my partner Andrew Ooi, who is based in Vancouver. He is a very well known manager to a lot of Asian artists in the States. He is my manager, and he is in charge of funding and sales. Conroy is also in charge of sales. He and Andrew work really well together; they make a really good pair and do really good Public Relations. They can talk to people and make people happy. I’m more of an introverted person, so I think I am better off as an actress and doing the creative aspects of the job.

Norman Chu & Josie Ho in "Dream Home" (2010)

FA: Can you describe your character in “Dream Home”?

JH: Her name is Cheng Lai-sheung. She is very stubborn. She comes from a very traditional Hong Kong Chinese background, where the family favors boys and not girls. She is a person who always felt that she could take on the responsibility of caring for her family, but her family doesn’t want her to do that because she’s a girl. They expect her to do what a girl should do. So she was born into this kind of family background, yet all her life she had only this one desire. She decided this when she was very young. She grew up in a tiny, packed, old beat up building in Hong Kong, and she has only a one inch view of the sea between buildings. She has dreamed since childhood of buying a big house with a sea view, like her classmates have. Sheung is a girl who sacrificed a lot for this. She received so much rejection from the system, the establishment, that she finally just flipped. I’m not going to tell you what happens in the end. She just goes insane and does something crazy in order to get an apartment.

Cheng Lai-sheung (Josie Ho) reaching the snapping point

FA: You’re playing a different kind of killer in “Dream Home” compared to your first movie “Purple Storm”.

JH: (laughs) Yeah.

FA: How do you work yourself into a state of insanity? What is your inspiration?

JH: I’m so introverted that I like to distance myself from people. That’s my comfort zone and it’s how I deal with friends. So I think the way I have to approach the role is to break the ice. I figured it out by myself while I was preparing for it: I have to break that ice. I have to get close to people; I have to be able to touch them and not be afraid to grab them and kick them and slap them. I’m very distant from people all the time, so I have to break that part of myself in order to become this girl. Because she is really not afraid to do that. I basically go through the whole script in my mind, the whole process of the whole incident. I also look at my own childhood. How would she play the role? Somehow I feel that it doesn’t matter how much homework I have prepared for the role; the most important thing is how well me as a child and me as an adult, in the role, match up. I think the most important thing is to work together with other people. I would walk onto the set every day and try, especially when it’s my “home”, to sit there and feel it. I would try to create memories that I would have from this house, this environment and atmosphere.. I go home and prepare, and then I would come to the set and try to improvise I work with my feelings. Like, I walk onto a set and pick up one or two of the props and try to build a relationship with them. I would build myself upon that, and somehow I would have to achieve a very different angle every time.

"What the hell..."

FA: You have worked with many different directors. What kind of director is Pang Ho-cheung compared to others? What does he have that is unique?

JH: Pang Ho-cheung is an excellent scriptwriter. He is a lot more daring and has a lot of fresh ideas. I like the way he shoots, although he is really tough to work with because he is very precise and he wants everybody to be as precise as he is. For example, because he is a script writer and a novelist, he is really precise with words. He would tell me exactly how many seconds he wanted to pause between each comma, each phrase. This is really hard for me, but as soon as my body started to kick in, I felt it was really fundamental to do it his way because it actually looks a lot better than just us actors going in there and trying to jam. Also, at times he is really, really hardcore (laughs). He wanted a lot of blood. He is hardcore in the way he wanted to torture people. He does not consider your feelings at all (laughs). A few characters died during the shooting (laughs), and I feel really bad about that, but they did an excellent job. I just hope they were (laughs) were glad that their unfortunate torture made them look better in the film. This includes myself. He shoots in a really special style.

Josie Ho & Pang Ho-cheung in the make-up room (Clearwater Bay studios)

FA: You think the movie will shock or affect people?

JH: I think this film will for sure shock all of Hong Kong. I’m not sure if we can shock everyone in the world, or even Asia, because Japan, Korea and Thailand produce a lot of really psychotic films. Hong Kong is just catching up. I think somebody has to take this step, and we’re trying. I hope we shock a lot of people. At the same time, our film is artistically wonderful to watch because we have the most amazing crew here. We have the best lighting in Hong Kong for our film: [Ringo] Wong Chi Ming. He is really hard to get because he’s very artistic and money doesn’t drive him. The quality of the project is what gives him the drive to work with you. He usually works on a lot of Wong Kar-wai films. It just so happened that this project interested him so much that he agreed to come and work for us, so I’m really, really glad. And it’s our honor to have another director, [Nelson] Yu Lik-wai, who is a really good New Wave director from Hong Kong. He is also a brilliant director of photography. He is on our crew, and that is amazing. And we have Hong Kong’s best computer graphics company, Fat Face [Production Ltd.], run by Ko Fai, who happens to be a childhood friend of mine. We also have Andrew Lin (2). He’s been known as an actor for so long in Hong Kong that nobody really knows he actually studied special effects makeup in Hollywood. He’s worked on films like "Alien" [3] He grabbed his friend Q from Thailand [founder of the company QFX] to come work on the special effects makeup team. Although it might not sound new to people abroad, because you guys have been making films like that for a long long time, this is all really new for Hong Kong. We are just starting to make films with CG and special effects. Now, using that in a psychotic thriller is really altogether new. I hope it will turn out well.

Teaser poster of "Dream Home" designed by Josie Ho herself

FA: In addition to Andrew Lin, several other cast and crew members, like Derek Tsang, Phat Chan, Conroy Chan and yourself, are members of AliveNotDead.com. Tell me about the website.

JH: AliveNotDead.com is one of the most innovative websites, and is basically the best platform for creative artists from everywhere in the world. It is the place to get to know different creative artists, to connect and to show everyone what we’ve got. It was originally made for a [fake] boy band called Alive formed by four guys: my husband Conroy Chan, Daniel Wu, Terence Yin, and Andrew Lin. They turned that into a mockumentary movie, “The Heavenly Kings”, and now AliveNotDead.com has evolved into a community artists website. I think it’s the most creative idea to have ever happened in Hong Kong.

Andrew Lin on the set of "Dream Home" (Clearwater Bay studios)

It’s a really good thing for all creative artists to get to know each other’s work through the site. We can comment on other people’s work. I think the most important thing is that it hooks up East and West so that people can work together. I think this website really works this way: to hook people up from different places so that they can work together. Without this website, it is really hard to gather people together and get to know them. Before, it was through a film festival. You would have to buy a plane ticket and fly somewhere to meet people. This website is an all-in-one, one-stop shop. I think the creative industry should grow this way. We can become more international. Different cultures can meet, mix and blend together.

Phat Chan on the set of "Dream Home" (Clearwater Bay studios)

FA: The special effects seem very well done. While filming on the set, when you see the blood and guts, does it look real? Or do you think it is fake and have to try to make yourself feel like it is really happening?

JH: No, when I am in a scene I never let myself feel that it’s a prop. I always feel that this is alive. I think everyone on the set has this feeling. There is a sense of violence in every single human being, and that’s a scary thing. That’s what we’re trying to talk about in this movie. The funny thing is, every time we bring out a prop out that we need to smash to death, everyone on the set is so excited because they all want to do it themselves. And we have to say, “Oh I’m sorry, the actor gets to do it,” or “The stuntman gets to touch it, you don’t get to touch it.” But everybody is so excited about it. That’s the scary thing: why is everybody so excited about violence? I think it’s a taboo; violence is wrong. It’s not right, but it’s such a taboo in the world: it shouldn’t happen to anyone so everyone is very curious about it.

Josie Ho on the set of "Dream Home" (Clearwater Bay studios)

FA: I heard that one of the actresses [Song Juan] couldn’t take the violence on the set of “Dream Home”. What happened?

JH: She cried when she saw me smash her own prop. She ran out crying and she actually vomited. I ran after her and said, “I’m so sorry. Why are you crying?” And she said, “It’s like that prop has been sitting in the makeup room every day, and now I kind of said goodbye to her.” You know, we have lunch and dinner with her in the same space and we wave goodbye to her every night when we go home. So she sort of had a relationship with her. Also, the prop looked exactly like her: the features, her pores, everything. So she just felt really sad when somebody did that to her prop. But the funny thing is, she didn’t cry when she did her own stunts. The prop was only there in between shots, like when we had to smash her head against the toilet bowl so hard her forehead actually breaks open. And her head is so hard, it breaks the toilet bowl as well. She did her own stunts, so the first few times I smashed her it was really her. Then we would insert a shot where her prop was smashed. Especially when her forehead gets broken. She didn’t cry when she was doing it herself, but she cried when she had to look at herself from the third person point of view. That was funny. To me. (laughs).

Josie Ho facing Felix Lok & Juno Mak in "Dream Home" (2010)

FA: Are you a big fan of horror movies?

JH: I do like horror movies. I’m not a huge fan but I do admire some of them. I think I’m more into admiring different personalities, like "American Psycho" . I won’t say I admire. That’s morally wrong because he is a very, very bad person. But I am almost fascinated with his characteristics: why would humanity turn out this way, what’s wrong with the world, what kind of pressure is put on us, why would this happen to that person? There are all these motives that drive him to do all these bad things to other people. I’m more interested in things like that.

Pang Ho-cheung & Josie Ho on the set of "Dream Home"

FA: How do you split your time between being a producer, actress, singer?

JH: It’s not easy. I have to put singing aside when I’m doing acting. I wish they didn’t cross, but sometimes if I have a busy schedule I have to do both. This time I managed to separate the two, and I’m really happy about that. I can concentrate on producing and acting. While I’m on the set, I’m an actress, not much of a producer. I think during the first few days I was a little nervous about the schedule being delayed, or not being able to finish what we needed to do, or that we might run over our budget. I knew we wouldn’t run over the budget in the first few days, but I was worried about a lot of different things. I got to the set really early and got dressed, got all made up. I would run onto the set and check out the lighting and the camera crew, and where my marks were. I just wanted to pressure everyone and make sure they were working. I think I only maintained that for a couple of days. Iin the end I was too tired. I just felt I had to leave that to Conroy because it just wasn’t working with my acting.

FA: When you finish shooting, will you be back as a producer?

JH: I will be back looking after the post production. We’re already having meetings on marketing and promotion. I like doing things like that. It’s fun, and we’re using new angles and exciting topics in the media, and we’re spinning stuff to scare people. That’s all fun to do, but it’s not fun when you’re an actress too. And I felt that. The funny thing is that in the meetings I felt I was kind of conflicted. I needed to get in to my character in about four hours, yet I was still sitting in that meeting. I was already getting into character and running out of ideas in the meeting. I felt bad about it.

FA: What is your hope for the future of “Dream Home”?

JH: I hope that a lot of people will like this movie, and I hope that this movie will shock the hell out of Hong Kong. I hope that everybody will go crazy; will go mad.

FA: And laugh too, because it’s funny!

JH: Yeah. (laughs) I think a lot of female office workers will like the movie because Sheung is a sort of an anti-hero. And, the topic touches everybody’s heart in Hong Kong. I think it’s gonna be crazy (3).

Interview conducted by Frédéric Ambroisine on the set of "Dream Home" (Clearwater Bay Studios – Hong Kong) in April 2009. Edited by Sylvia Rorem for ActionQueens.com. Thanks to Making Film (Subi Liang, Pang Ho-cheung & Quin Lau) & 852 Films (Josie Ho & Conroy Chan). Photos courtesy from 852 Films ("Dream Home" stills and behind the scenes - "Dream Home" posters designed by Josie Ho) and Fred Ambroisine (on the set of "Dream Home").

(1) The alternative English title of "Dream Home" is "Victoria Bay".
(2) Check out Andrew Lin video interview about the special make-up effects of "Dream Home".
(3) Originally planned for Halloween 2009, the Hong Kong release date of "Dream Home" had been postponed to May 13, 2010. The movie will also be released in France through Wild Side Films. Also, the worldwide rights of "Dream Home" had been picked up by Fortissimo Films.

UNE AFFAIRE D’ETAT: AN INTERVIEW WITH ERIC VALETTE (DIRECTOR)

Released in France on November 25th 2009, “Une Affaire d’Etat” is a suspenseful, action-packed thriller in which three characters cross paths: a corrupt politician (André Dussolier), his henchman (Thierry Frémont), and a hard-boiled female cop (Rachida Brakni). Before you read the lead actress’ interview, we’ll start with the director, Eric Valette, maker of three other feature films. His first, “Maléfique”, was a French production awarded by William Friedkin himself at the Gerardmer Fantastic Film Festival. The two others films were made in Hollywood: a remake of Takashi Miike’s “One-Missed Call”, released in the US (unfortunately not the director’s cut version) and “Hybrid” which involves a devilish car and another action queen (Shannon Beckner); there is still no release date scheduled for this film. In this exclusive interview, we focus on “Une Affaire d’Etat”, Eric Valette’s most personal work so far...


Frédéric Ambroisine: How did you discover the book that inspired “Une Affaire d’ Etat”?

Eric Valette: I discovered the novel “Une Affaire d’Etat” in 2003. The original title was “Nos fantastiques années fric” (1) [Dominique Manotti; 2001]. I was called by a French producer, Eric Névé, who produces a lot of genre-oriented movies in France. I got involved with two screenwriters I knew from my previous movie, “Maléfique”: Alexandre Charlot and Franck Magnier, and we all liked the book very much. Eric Névé had the rights. We decided to become involved, as screenwriters and director, in trying to do an adaptation of the novel in a French noir crime genre.

Rachida Brakni as Nora in "Une Affaire d'Etat" (2009)

FA: Let’s talk about the characters. What did you like about them in the book and how did you and the scriptwriter transform them into cinema characters?

EV: What we liked about the characters of the novel was the fact that they were shades of gray. Nothing was really black or white and they were all pretty ambiguous and complex. We decided to keep that edge for our material and keep the subtleties of the characters. But what we mainly changed was the character of Nora, the female cop, the “Action Queen” of the movie. We made her a little more physically involved in the action since most of the time in the novel she is more like a witness: she observes a lot, she learns a lot. She’s pretty cerebral; she doesn’t do a lot in the novel, especially in the second half. So we wanted her to be a little more physical, and also to provide a certain level of entertainment. We decided to have her more involved in the movie. Not being heroic in a silly way but in a kind of logical way. So that is what we changed quite radically in the second half of the movie.

Rachida Brakni as Nora in "Une Affaire d'Etat" (2009)

FA: Is the novel plot different than the movie plot?

EV: There’s no difference. The storyline of the novel and the movie are pretty similar. Basically, “Une Affaire d’Etat” is a story of the web of corruption in which three characters are entangled. One character is Victor Bornand. He is a secret adviser to the French president. He is a man of secrecy, a man in the shadows. He deals with all the dirty business of the state: weapons smuggling, blackmailing, all that stuff...

André Dussolier (right) as Bornand in "Une Affaire d'Etat" (2009)

...He has a right hand man who does the physical side of his actions, who is more like the nerve (laughs), the belly. This guy’s name is Michel Fernandez, played by Thierry Frémont. He is a kind of contract killer to some extent, so he will do all the dirty work for Bornand...

Thierry Frémont as Fernandez in "Une Affaire d'Etat" (2009)

...And there is a third character named Nora Chahyd. She is a female cop. She is just a busy cop who is doing some kind of routine investigation on the murder of an escort girl in a parking lot. Through her investigation she gets onto the trail of Fernandez, and ultimately Bornand, in the highest levels of the state. She then becomes a threat to national security. It’s all about corruption, danger, and how to survive in a political environment where everybody wants to take the biggest part of the cake and everybody is trying to survive.

Rachida Brakni and Gérald Laroche as Bonfils

FA: How did you work on the adaptation with your scriptwriters?

EV: Basically we tried to cut some parts, get rid of some characters and some of the novel’s backstory, in order to keep the tone and the general storyline intact. It’s all about making choices; trying not to soften the edges of the novel in order to make it an edgy movie. So that’s how we work with the screen writers. Mainly we tried to have a meeting once a week or once every two weeks, and we used a lot of post-its (laughs). We tried to establish a structure, and tried to see what is inside of every scene’s structure: the characters involved and the information we want to give out. It’s pretty complex, it’s like architectural work. Once this work is done, I don’t get involved much in the next part: to work on the dialogue, the characters... I get involved in the action stuff: choosing locations for some scenes, bits of action... So let’s say it is a collaboration. It is pretty structured but it takes a long time to make right because the political thriller is a complex genre. It is not completely linear. You have a lot of characters to deal with, so the writing process is pretty long. It’s not like doing a zombie movie.

Jean-Marie Winling as Macquart

FA: How was the choice of the lead actress [Rachida Brakni] made?

EV: Rachida Brakni... It is not easy to find a thirty year old French girl with North African origins who has bankability in terms of casting a movie and is pretty good with the physical side of acting. Rachida is the first name that comes to mind. Rachida earned a French Award, the César, in 2002 for a Colline Sérreau movie called “Chaos”. So she is kind of popular. Also, she is married to Eric Cantona, a famous French ex-soccer player. So for some reason she is kind of popular because of that. She is also a very, very good actress; she does a fantastic job. When she was a student she was pretty high ranking in athletics. She did a lot of high level competition for the Olympics: pretty serious stuff. So she was perfect for the genre, especially taking into consideration that you don’t come across many actors in France who have this physical ability...

Nora the cop (Rachida Brakni) never gives up

...Most French cinema is about dialogue and psychology. A lot of the time you get people who are talking heads. They do not really care about their body, they just speak. Most of the time they speak well but still, there is something lacking when a movie deals not only with psychology, obviously, but also with the physical ability of the actors. That is why it is pretty interesting to have people like Rachida or Thierry Frémont, who also won an Emmy Award in New York in 2005. He won Best Foreign Dramatic Actor for his performance as a serial killer, Francis Heaulme, in a French miniseries called “Dans la tête du tueur” [2004] which means “In the Head of the Killer”.

Fernandez (Thierry Frémont): always in trouble

FA: I want to see that! Do you have a copy?

EV: I don’t have a copy but it’s very good.

FA: An International Emmy Award for a French actor: that is rare.

EV: He is the only one.

FA: What is your opinion of the female action image in French cinema? I have the impression that they are rare. And when you see them, it is usually not very good...

EV: That is true. If you look back in time, action girls, action female characters are pretty scarce in French cinema. I think the name that first comes to mind, especially for foreign audiences, is “Nikita” [Luc Besson, 1991]. After “Nikita” then you can consider Cécile De France in “High Tension” [Alexandre Aja’s “Haute Tension”, 2003]. Aside from that, there are not a lot of names that come to mind...

German posters of "Nikita" + US poster of "Haute Tension"

...This is why it was interesting to try to humbly add a new building block to this genre. But it is very tough; there are not a lot of action films, thrillers or adventure movies in France. And most of them do not have a female lead. Most of the females are just spice, just the love interest or the whore. Basically what you see in most of the EuropaCorp movies [Luc Besson production company] is that most of them do not really deal with female characters in a serious way. They do it in a pretty standard way: either the love interest or the whore, or she is there just to add a sexy female spice into the mix. But they are not really considered to be characters.

FA: They are action whores.

EV: Action whores, yeah. Frederic, have you seen a female action lead in a EuropaCorp movie?

"Transporter 2", a EuropaCorp production

FA: No. But there are many, many female cop characters in French TV.

EV: That is true, but they are not action leads. That is the French tradition of the female TV cop. It is true that we have had a lot of series since the mid 80’s with female cops but most of them are more like social workers dealing with problems of drug addicts or people in distress. They are not really involved in serious action most of the time. It is more like a social worker kind of character, or a seated cop kind of character: with a big butt on a chair in an office. Luckily for foreign audiences, most of these series did not make it to other countries, so I guess that’s something you are safe from. I don’t see a “Julie Lescault” box set being released internationally with [English] subtitles, but there might be a niche and you might find a DVD company interested in trying to put that out. But I’m not sure.

FA: Have you seen any of those TV series?

EV: To be honest, I don’t think I have ever seen an entire episode of “Julie Lescault” [1992-present]…

The famous Julie Lescaut (played by Véronique Genest)
and the new TV cop series "Les Bleus"

FA: “Les Bleus”? [2006-present]

EV: Yeah, or “Clara Sheller” [2005-2008].... I don’t think I have seen any of these shows in its entirety. Just one episode, maybe fifteen or twenty minutes.

FA: Why? Because they lack realism?

EV: I think they are lacking a lot of elements. They lack scripts, they lack characters, they lack directing; they lack a lot. Most of the time I would say they lack scripts. I think the strongest point of American and English TV shows, over the French, is, even before directing, cinematography or acting, the strength of the script.

FA: What did you bring to the characters during the shooting? Did you exchange ideas with the actors?

EV: Yes, definitely. For me, a movie script is a guideline with a spine. You have to follow the spine, especially for a thriller because it has a structure. You don’t fuck with the structure. But in between this guideline and spine, you have a lot of flexibility for characters. This is why I like to build characters with the actors. Not necessarily on the shoot, because on the shoot you lack time and you have to rush through everything, especially when you’re short on money and shooting time. So what you can do is to prepare everything during pre-production. You can discuss the characters, you can tweak and change the dialogue, you can change certain action details if the actor has an idea because of some prop, or some wardrobe element. If the actor has an idea, you then discuss with him or her, and you change something in the scene. I would say there is a lot of room for flexibility, but right before the shoot. There is a little bit of room during the shoot, but I think you have to adapt everything to the actors right before the shoot in order not to stumble on some kind of weird surprise on the specific day of the shoot. All of a sudden you have an actor say, “Well, I just can’t say that line, it doesn’t work.” If you have already been through all the dialogue, if you did everything in a very methodical kind of way before the shoot, then it is pretty easy to go through the shoot. You don’t have to tweak the dialogue anymore. It has a lot to do with preparation.

"Une Affaire d'Etat" (2009)

F: Let’s compare your movie with a western. Let’s take a famous one like “The Good, The Bad and The Ugly”...

EV: Oh! This is nice. It’s better than “Blueberry” (laughs). [2004 western starring Vincent Cassel, Juliette Lewis & Michael Madsen, released in the US as “Renegade”]

FA: Nora Chahyd’s character would obviously be The Good. Bornand is The Bad. Fernandez is The Ugly. I feel that you have sympathy for The Ugly.

EV: Yes. Somehow, yes.

FA: I feel that the female character is the less complex character. She’s a rookie cop. There is not really any surprise with this character.

EV: That’s true. Hmm. It is like the cop character, Nora, is more of a guide. This is a very classic way to establish a plot. The guide of the movie viewer is going to be Nora. But it is not as simple as that because Nora is not a classic “good” character. She is pretty violent, a little bit stubborn, a little bit racist somehow; it’s not like she is a perfect angel and a very nice, sympathetic girl. You have to get used to her and understand her anger, and the way she will shift her anger into something more like reflection and wit. I would say she is not as simple as she seems. Regarding the two other characters: The Bad is obviously The Bad because he has a plan; he works for the dark side, in the dark corners of government power. Yes, you can see him as The Bad in “The Good, The Bad and The Ugly”. He can be Lee Van Cleef, no problem...

Bornand (André Dussolier) is not really good

... The Ugly is a little bit different because in “The Good, The Bad and the Ugly” The Ugly is kind of funny. There is a lot of irony to him. He speaks a lot, he tries to manipulate and cheat people. That is not really the case with Fernandez. He is playing a strange game but he’s pretty much the opposite arc of the Eli Wallach character. The Eli Wallach character In “The Good, the Bad and The Ugly” is kind of sympathetic at first sight because he is funny. Then you realize he is a son of a bitch. Fernandez is pretty much the opposite kind of part: he is a cold blooded killer in the first half of the movie, but then you gain sympathy because you realize he is trying to get out of the shit he’s in. He is thinking about moving to the next step and maybe changing his life. I think there is some kind of grandeur to him, which is not the case in terms of The Ugly character played by Eli Wallach...

Fernandez (Thierry Frémont) is not really bad

...The main relationship I can see between “The Good, The Bad and The Ugly” and my movie is that the three characters in both movies are sociopaths. They are all sociopaths. They are miming sociability because they have to. Otherwise they would die, or kill somebody. They are all sociopaths, and I am really interested in sociopaths. These are people I really like (laughs).

FA: Did the actors surprise you during the shooting?

EV: If you expect a lot, you’re not really surprised. I had really high expectations, which were reached. They are all great actors. That is what I love: they are professional, very serious, and they don’t have all the stupid ego problems or insecurities that you can see with other actors. It is also a choral movie, which means there is no star. There are three people; most of their screen time is equal and their name is the same on the poster. Because they have all been stage actors they know how to share a scene. All in all, you can see that these people are not defending their territory; they are defending the movie and their part in the movie. They are defending the plot, so there is no struggling for territory: “I’m going to have my close up.” “You’re not going to get your close up,” and so on. It’s really fair play, very relaxed, and everybody is trying to do their best to make the best movie we can. These are all professional actors who are not dealing with narcissistic stuff. That is why these people really reached my expectations, because I expect this level of professionalism and dignity.

"No way!"

FA: Most political thrillers contain a lot of dialogue and suspense, and a twist. Your movie also has action. Why did you decide to include action scenes in the story?

EV: The action was something we decided on right from the very start. It was part of the rough draft. We already had the action. I remember in the very first meeting I said, “You know what, at one point she should try to catch the guy. And maybe we should start in the part of Paris south of the Boulevard de Clichy near Pigalle so we can have a chase through Pigalle up to Montmartre and the Sacre Coeur and The Place Du Tertre". That was in my mind; I could visualize it before we had the first draft of the script. It was really part of the plan, to have short action scenes, bursts of violence, of physical action in order to thrill the audience. To make the movie exciting, obviously, but also it was a way to conceptually state that what is decided in the corridors of power is something that has a physical impact on reality. People die, people suffer very collateral damage. In the action scenes I wanted people to be hit by a bullet without their name on it, that kind of accident, in order to realize that all these decisions being made in high spheres of the state have a practical impact; practical consequences in our environment. It makes a movie exciting because you shift from dialogue to something totally kinetic, gutsy, sound and picture..

Chasing scene in Pigalle streets

FA: Usually good action scenes cost money. Do they scare producers? Do you have to cut the action in order to save money?

EV: The temptation was there. At one point we had to save money because we did not originally have all the money to make the movie. There was a thought of cutting some action but we kept everything as it was when we rewrote the script. My main request was, “Cut everything you want but don’t cut action. We keep it as it is.” Because we can cut shooting days by shooting with several cameras to make our schedule a little tighter. But in terms of what we are telling, I just wanted to be able to save the structure as it was, so I didn’t negotiate on action. I can negotiate on pretty much everything, but I didn’t negotiate on action. Because action is part of the fun of making a movie, and it’s pure movie making. It’s pure kinetic style. It is very exciting to make action. When we speak about action, it is not necessarily people chasing each other or people shooting at each other. It can be something as simple as a guy listening to another guy with a wire somewhere in an apartment. With that you have action, you have tension. There is no dialogue. You get a sense of suspense and tension. I call this “action” in a larger sense of the word. For me, action is not necessarily pyrotechnic.

"I see you."

FA: Your movie is presented as a political thriller… But do you think you made a political movie, or a politically driven movie?

EV: No! It is a movie that has some kind of political background and content but it is not a political movie in the strict sense. We are not trying to educate people. I think most people know about weapon smuggling between France and Africa, and so on. It is more about showing the web of corruption and deceit in which our characters are entangled and are making life and death decisions. We are trying to understand these characters, and trying to make them sympathetic for the audience. Not necessarily sympathetic but at least to understand what they do and feel. My goal is that you can have some kind of empathy for them. The political aspect is a little more bitter and cynical than it could have been in the 70’s. There was a lot more idealism involved. You voted for Democrats or the Left Wing. I think now we have been through a lot of governments in France, and the same goes for the US and so on. I don’t think there is the same kind of innocence and naivety anymore: you’re going to vote, and you’re going to change your life, and everything is going to be great. I think now my approach is more existentialist than political.

Politicians doing (legal?) business

FA: We know the name of the president in the book. In your movie, we do not.

EV: Yeah. The context of the book is the 80’s in France and François Mitterand was the president. We want our movie to be contemporary but kind of timeless. We decided to make it timeless because if you make a period movie you always run the risk of being considered as something “past”. People might say “Oh yeah, that was twenty years ago and that was happening, but now everything is perfect. Things have changed.” No way. I mean, it is always the same old shit going on. As long as you can buy a government in Africa, as long as you have oil and resources in Africa and other countries, then all the occidental countries are trying to get their share and acting like some kind of vampires. It is just part of the game, and it would be totally stupid and it would not make sense to think that this approach changes because you are under a left or right wing government. Everybody needs oil; everybody needs energy. You’re going to take it from where it is.

Bornand (André Dussolier) and Massembat (Jean-Michel Martial): partners in crime

FA: Let’s talk again about the female character. You said she was a bit racist. Where does this appear in the movie?

EV: When I say racist, well…at one point a North African dealer is making a phone call on his cell, and you might assume he is selling drugs or something. She says, “You know what, the only thing these guys deserve is a bullet through the head.” So I wouldn’t say she is racist, but she is very violent. She uses “Dirty Harry” or Charles Bronson kind of dialogue. It is not very common to hear that kind of dialogue in the mouth of a North African girl in a French movie. Especially from cops. Most of the time they are very human. Once again, a kind of social worker helping people and being very caring for and understanding of others. Which is not actually the case. She doesn’t give a fuck. It was pretty important to have this dialogue because it keeps the viewer on the edge. It is not the typical characterization for this kind of character.

"Do you feel lucky?"

FA: What do you think about the image of cops in French cinema? For example, rap musicians do not like cops. Young people in general do not like cops either...

EV: That’s true. They hate cops most of the time. I would say it’s easy to hate a cop (laughs). It’s pretty easy to hate a cop; it is not easy to like a cop. What I do, humbly, with “Une Affaire d’Etat” is to portray the cops, the politicians, the contract hit killer, as people with their own motivations, their reasons, and a job to do. That’s it. They are not necessarily evil, incredibly violent or sadistic or whatever. I just tried to establish a sense of understanding of them. Cops are a part of these people, so once again I don’t want to fall into a category like EuropaCorp movies: everything is set up in order to make the audience from the suburbs feel good because they see a racist cop or a stupid uniform cop doing something silly because he’s stupid. Or you have a kind of cool guy from the suburbs playing tricks on the cops and so on. I think that is pure demagogy so it is not something I like to use with the audience. I think audiences are way smarter than producers think they are, and I don’t want to lick their asses or kiss their feet just in order to make them feel good. I don’t think that they are going to feel good. I think that if you take them and put them in the position that they have to think a little bit, but at the same time they are entertained by the story, I think they are going to have a good experience and feel better after the movie. Generally I feel better after a movie if I didn’t necessarily hear what I wanted to hear.

FA: One more thing about the character Nora. In one scene she tells her mother on the phone that she’s not doing Ramadan. Was this from the book?

EV: No, it is not part of the book. We put it in because we wanted to establish a girl that doesn’t give a shit about tradition. Because I think most of the separations and most of the tensions between communities that we can feel in our society are based on religion. And I’m not necessarily against religion but I would say either Catholicism or Islam is… most of the time I don’t see them as elements of peace but as elements of aggression (laughs). That is my own judgment. I wanted to make a little bit of a statement where you realize that some people who are supposed to be Muslims because they come from a Muslim background: well they don’t give a fuck and they’re not Muslim and that’s it. You know, my mother is a Catholic and I’m not Catholic. That is part of life. So I wanted to establish this sort of feature for Nora. I thought that was pretty modern, especially for a girl.

Nora Chahyd (Rachida Brakni): hard-boiled cop & modern woman

FA: Is Nora more modern in the movie than in the novel?

EV: There is mention of a family in the novel but I don’t think there is mention of the religion. So you can assume she is Muslim but you don’t know. You can only assume.

FA: is your movie pessimistic?

EV: I wouldn’t say it’s totally pessimistic. I would say it is pretty dark, pretty downbeat. But there is a glimpse of hope in the movie that we wanted to hint at so that you can feel that maybe at one point you can change things a little bit. Playing your part in society so you can change things a little bit and make them slightly better. Not necessarily for a long time, but I would say you can make yourself better. So I think Nora is probably a better person at the end of the movie than she was in the beginning, or maybe she became smarter and she might be more vulnerable to corruption. I don’t know (laughs). That’s a question mark, definitely. It is not totally pessimist, but fairly so. I would say it would be totally mad and insane and not fair to try to be optimistic while showing a web of corruption. I mean, there is no way you can be optimistic and show that (laughs).

Fernandez (Thierry Frémont): still in trouble

FA: What do you think will happen to Nora in ten years?

EV: "I don’t know. Maybe she could become a high-ranking cop, but I would say she will probably stay in the ground work. I don’t see her having an office-like function. She likes to be in the street and to get down and dirty, so I don’t see her doing office work somehow. She has a big Vic MacKay (2) kind of side to her, I guess. I don’t know what is going to happen to her but it is pretty interesting. Maybe she’ll be there for a sequel. We’ll see.

Mado (Christine boisson) & her bodyguards vs Nora (Rachida Brakni)

FA: Can you talk about the other important female character in the movie, the “madam”?

EV: The madam is called Mado. Mado is a weird, weird, weird female character. She seems to pull strings a lot; she seems like a puppet master. She is pretty sneaky. It is difficult to sense whatever she feels but you can see she has a plan B, a plan C and maybe a plan D in the back of her mind. She is trying to pull the strings in order to grab one that is going to deliver something good for her. But you can sense that she comes from the gutter and she established herself as a madam in this kind of prostitution ring. But she still has this gutter background attitude, where you have to fight for everything and you have to protect yourself and life is a jungle. But even if she feels mixed feelings and opposite feelings about people that she might love and hate at the same time, ultimately… she will be ready to betray them for survival and her well being. So she is a pretty tricky, complex character; probably the most complex character in the movie. She is played by Christine Boisson who was a sexual icon in the 70’s in France. She is famous for movies like “Emmanuelle” and in the early 80’s “Identificazione Di Una Donna” by Antonioni. She has this kind of glamorous sexual feel to her and she is pretty magnetic and strong and weird. She did a lot of work for stage and TV in the last decade or 15 years, and it was pretty cool for us to have her back on the big screen to do this part. So I am happy to bring Christine Boisson back to the screen.

Mado (Christine Boisson): a very smart businesswoman

FA: How did you cast the actors and actresses? Did they accept the roles right away?

EV: We had been through several options before André Dussolier for the character Bornand. Once we had him we had a pretty strong idea that the movie could be financed. Otherwise it would have been a problem because André Dussolier is kind of a popular actor in France. So we went for him, but not after considering other options which would have been maybe a little more like contretype acting: like using a comedian to play this kind of role, playing against type. But André Dussolier was playing politicians, lawyers, people that are really established in society. It was probably one of the first times that he had to go that far into his darkest corners. I would say even that it was kind of a novelty for him, and for us too. He was pretty happy to explore this side of himself, especially after doing a lot of comedy like the latest Jean-Pierre Jeunet movie and lighter drama like the last Alain Resnais movie. So it was pretty interesting to have him, and pretty naturally he got us the financing. So we were able to have people that we really, really liked to be with him, like Rashida Brakni and Thierry Frémont. Once again the two of them are bankable stars in the classic sense of the term. It is not that easy to finance based only on one name, but I would say the ensemble cast make it like a viable investment. So that is how we decided to keep this thing together. Also there was another aspect: all these people don’t have any problem, they really share screen time; they don’t care. So once again, they like to act with each other; they don’t play against each other.

Bornand (André Dussolier) stays cool: for how long?

FA: What’s your next step?

EV: I am going to stay in France, probably for a while. I don’t know, we’ll see what comes up with the US and Canada and so on. Maybe Thailand, who knows. But I think I’m going to stay in France. I am doing a movie in France called “The Prey” / “La Proie” which is the story of a bank robber chasing a serial killer in rural France. The bank robber is a convict escaped from jail and is being chased by the cops. Basically it is a three-way chase movie. It is interesting: my producer likes to pitch it as a kind of French version of “The Fugitive” because it has that kind of sense and vibe. But it’s going to be darker.

Interview conducted in English by Frederic Ambroisine on November 10th, 2009. Editeb by Sylvia Rorem for ActionQueens.com.

(1) The novel by Dominique Manotti, "Affairs of State", which inspired the movie will be available in English in June 2010. http://tinyurl.com/yd36vx6
(2) Vic MacKay, a bad-ass corrupt cop, is the main character of the US Police television series “The Shield”.

ACTION QUEEN LISA CHENG: NEW PHOTOS!!

ActionQueens.com loves Lisa Cheng! Many thanks to Lisa for giving us the opportunity to share some of her fantastic new photos. First, a couple of black and white photos by French photographer Laurent Piram, a.k.a. Tilo, while he was in Hong Kong this November.

This outdoor photoshoot was done in Tsim Tsa Tsui near the Hong Kong Cultural Center. Check out other photos by Laurent on his Flickr page.

Action Queens is also delighted to share more Lisa photos with you that were shot the same week in China. Lisa herself supervised the art direction, which shows not only that she is sophisticated but that she has many stylish moves as a gorgeous Action Queen. Enjoy!

We think this is not the last time Action Queens will be talking about Lisa Cheng...

Fred Ambroisine

NB: More photos on Lisa Cheng Alive Not Dead blog.

BÉATRICE ROSEN INTERVIEW: MISS (END OF THE) WORLD "2012"

In “2012”, director Roland Emmerich literally blows the world away in a spectacular way never before seen on screen and shows us the worst that can happen to our beloved planet: Earthquakes, tsunamis a-go-go, eruptions in your face, mega-explosions, highways and buildings destroyed... very impressive technical success, no doubt. But the interest in “2012” would be a bit limited if it was only about world destruction because what usually makes the audience care about a movie is its people. In “2012”, gorgeous French American actress Béatrice Rosen plays Russian beauty Tamara, one of the main characters trying desperately to escape the impending Apocalypse.It’s her first major role in a Hollywood blockbuster after appearing a year ago in Christopher Nolan’s second Batman movie, “The Dark Knight”. In this exclusive interview for ActionQueens.com, Béatrice tells us about those two major experiences and her blossoming international acting career.

Frédéric Ambroisine: What are your origins?

Béatrice Rosen: My mother is French and my father has Hungarian origins but was raised in the US. I was raised entirely in Paris. [Béatrice was born in New York]

FA: Did you study acting or other studies related to cinema?

BR: I went to a regular high school. I started theater courses when I was ten years old. I did a lot of theater. On Wednesdays and Saturdays we acted in small theatres to train ourselves, to rehearse. Then we acted in the Théatre de Boulogne. I went to a regular high school, and I earned a diploma in science, the French “Bac” [Baccalauréat]. After that I studied acting full time at the Cours Florent.

FA: Did you already know what you wanted to do after high school?

BR: I didn’t know exactly, but I had registered in college in Paris. I had to make a choice, and since I graduated a year early I decided to try acting because I had always wanted to do it. I told myself I would try the full time acting course, Cours Florent, for one year to see if I liked it. I ended up loving it, and then I started to work immediately in the film industry shooting movies. So in the end I never went back to science.

FA: Did Cours Florent help you find your first film job, or did you get it by yourself?

BR: It’s not really the Cours Florent that helped me find a job. But it gave me a good foundation. They offer master classes; actors like Vincent Lindon taught some classes. Actress Isabelle Nanty did as well. There were great teachers there. Cours Florent gives you the foundation to do your job. But you mostly really learn on set when you’re shooting. Also, theatre and cinema are two completely different techniques.

FA: You got your start in TV series and French movies.

BR: Exactly. I did a bit of everything: short movies, a lot of commercials, photoshoots and medium-length films. I was selected in the contest “Jeunes Talents” [Young Talent] organized by l’Adami [Civil Society to administer the rights of artists and performing musicians] at the Cannes International Film Festival, the same year as Audrey Tautou I think. I did a lot of things: TV series, TV movies...

In the short "Blindfolded" (2006) & with Sean Bean in the TV movie "Sharpe's Peril" (2008)

FA: Did you start with small roles?

BR: Absolutely. It was very progressive. I learned my craft by working. There are two types of careers. The Sophie Marceau type: at her first audition, she immediately got a lead role in a big movie, and her career started that way. And there is another type of career, which is built step by step. That was my case. Some parts here and there. There is one thing that I’m really grateful for: I was never typecast; I was never labeled. I did comedies, thrillers, and action movies. The kind of roles I have had so far are completely different from each other.

Béatrice Rosen: Man-hunting in the French short "Clown" (1999) &
kidnapped in the dark comedy "Bienvenue chez les Rozes" (2003)

FA: Is there one role that got you noticed and put you in the limelight?

BR: It was a bit of a mix. It was not just one role. Of course, when I was in the 2004 American movie “Chasing Liberty”, it opened a lot of doors for me in the US. After that, many agencies contacted me. That movie played a major part in my career, for sure.

Béatrice Rosen and Mandy Moore in "Chasing Liberty" (2004)
Photo: Jaap Buitendijk - © 2003 Daughter Productions LLC

FA: How did you succeed in making the transition from French movies to US movies? From auditioning for French movies to starring in Hollywood productions?

BR: I spoke English and I had an agent in London. From time to time I would go there for one day, via Eurostar, to audition for projects that my agent found for me. I got my part in “Chasing Liberty” in London. They needed a European girl. Originally the character was for a German girl but since they liked me they changed the German character into a French character. They changed the name and profile of the character. The shooting was done in Prague. I was delighted to work on an American movie, but I didn’t really get the American film experience because it was shot in Europe. When the film was released, the production company with whom I had a contract for a second movie flew me to Los Angeles for the premiere. That’s where I signed with an American agency, and we had general meetings with film studios.

FA: Have all of your jobs been obtained through agents?

BR: Yes. I had the lucky opportunity to get an agent very quickly. I was still in high school when I got one. I had the luxury to go to the Cours Florent already having an agent. I could apply what I was learning in class at auditions.

Béatrice Rosen modeling for Tim Fahlbusch

FA: You alternate between TV series and movies. How do you organize your schedule to act in both TV and movies?

BR: It depends. It’s really an atypical job. For example, I shot two TV series simutaneously. I did three episodes of “Charmed” while shooting “Cuts” at the same time. Luckily, both series were shot at Paramount Studios. It was funny because I had an assistant who was always waiting for me. In the morning I was in “Charmed” at studio 15, and the assistant would be waiting for me in a little golf cart to bring me to studio 23 were I was shooting “Cuts” in the afternoon. I had to switch costumes and learn my lines for “Cuts”. I did that for some time. It was fun. When I’m not shooting I go to meetings and auditions, and sometimes I have two jobs at the same time. I had to refuse another series named “Veronica Mars” because of a scheduling problem. I couldn’t take the job because everything fell on the same days.

Béatrice Rosen as Maya in "Charmed" (Season 8, Episode 3 - 2005)

FA: Have you been able to make a living by acting since the very beginning?

BR: That’s why I didn’t go back to school. Since the very beginning I started to make a living. I spent two years at the Cours Florent but I was working so much that I often couldn’t attend class. So it was useless to continue paying for a third year. When you are in a movie it is difficult to have other commitments.

Béatrice Rosen plays a real kick-ass model in "Charmed" (2005)

FA: Are “Charmed” and “Cut” your first American TV series appearances?

BR: The first TV series that I shot in the US was cursed because everybody had health problems during the production. It was delayed so much that they finally cancelled it. In this first series, “Commando Nanny”, I had one of the lead roles. But ultimately fate didn’t allow this show to make it. They lost so much money that they ended up giving up. Everyone had accidents. The lead actor broke his foot two days before production started. Then the actor who played my father discovered that he had a serious health problem. It was just a disaster.

"Commando Nanny" (2004 - Mark Burnett Productions)

FA: Can you describe the characters you play in “Charmed” and “Cut”?

BR: Here’s something funny about “Charmed”: I shot the pilot produced by Aaron Spelling [1923-2006], a mythical producer who created series like “Beverly Hills 90210”, “Melrose Place” and so on. I shot the pilot for his company but it never got picked up. They gave me three episodes on “Charmed” because the pilot shoot went very well and we had a very good relationship. In “Charmed” I played a model that speaks several languages and is accused of murder. A trio of witches [Alyssa Milano, Rose McGowan, Holly Marie Combs] help me out of trouble because they figure out that I’m innocent. In “Cuts” I played an American girl. It was a sitcom. We shot it in front of a live audience.

Béatrice Rosen: armed and tripled in "Charmed" (2005)

FA: Since then you have had several roles in the US, including “The Dark Knight”. What is the difference between working for big studios and for indie productions?

BR: I had already worked on all kind of movies. “Chasing Liberty” was not an indie film, it was a studio film, but it has nothing to do with “The Dark Knight”. Before “The Dark Knight” I had never worked at such a high level. Anyway, I think it’s very rare to work in a movie of that caliber. All the people on this movie were Oscar nominees or Golden Globe nominees. It was quite amazing and obviously very impressive. I admired Christopher Nolan before working with him. He’s really an amazing person. And there’s an obvious difference in budget between “The Dark Knight” and an indie film...

FA: What was the working relationship between you and a big production director? Since he has a lot of things to handle, do you think that you were able to spend enough time with him, or did you have to prepare by yourself?

BR: I was about to mention that! “The Dark Knight” was an atypical film because in general, big comic action movies like that are not necessarily very artistic, but “The Dark Knight” was fantastic. Christopher Nolan really took the time to come and talk with me about the character. He’s such a perfectionist. Roland Emmerich is the same, and that’s why those guys work at the highest level. The studios trust them and give them a big budget to handle because those directors are not really affected by pressure. Roland Emmerich carries a 200-250 million dollar budget on his shoulders, and every morning he arrives full of energy, smiling, and is nice to everyone. He’s in good mood, he’s relaxed. I had the impression that it was the same for Christopher Nolan. He really creates a peaceful atmosphere even if there is a lot of pressure and large stakes. They both are really exceptional people and incredible perfectionists.

Christian Bale and Béatrice Rosen in "The Dark Knight" (2008)

FA: You play a Russian in “The Dark Knight”. How did you land this role?

BR: I studied Russian as a second language in high school, and I’ve always been attracted to the Russian language. People often ask me if I’m Eastern European. I don’t know, people think that I look Russian, and I think maybe that’s because of my Hungarian background. So my agency sent me to the audition and I said to myself, “I’ll go because hey, it’s Batman, it’s Christopher Nolan, and it’s going to be an exceptional movie.” I could feel that already. But honestly, I didn’t think I would get the part. I just said to myself, “I’ll do my best.” So I started working on my Russian accent, and then that was it! They had a worldwide audition, so I could hardly believe it when I heard the good news!

Béatrice Rosen as Russian ballerina Natasha in "The Dark Knight" (2008)

FA: How long did you spend working on your accent before going to the audition?

BR: I had very little time. I think I had only two days before the audition. I had to recall my Russian classes from school. I called an actor friend who speaks Russian, and we trained together. He gives Russian lessons on the side to make money. So for 20 dollars I worked with him and rehearsed for an hour.

FA: That 20 dollars was a good investment!

BR: Oh yeah, for sure! (laughs) Those were the most productive 20 dollars I ever spent.

Christopher Nolan directing the restaurant scene with Béatrice Rosen and Aaron Eckhart

FA: How many days did you spend shooting the Batman movie?

BR: I spent one week in London for the restaurant scene with Christian Bale. It went very well. I did my week in London and went back to Los Angeles. I was delighted. It was an awesome, fantastic experience. And then a few months later, in September, against all odds, they called me and flew me to Chicago for another week to add me into the boat scene, which was unexpected.

Aaron Eckhart, Béatrice Rosen, Christian Bale & Maggie Gyllenhaal

FA: Did you receive more scripts in your mail box after “The Dark Knight”?

BR: Yeah, but again, everything moved gradually. Obviously it clearly helps to appear in “The Dark Knight”; a movie like that opens doors and people want to meet you. I remember when I was auditioning for “2012”, famous actors and actresses were coming to audition for other parts. There are so many actors that producers and directors have the luxury to make famous actors audition. So “The Dark Knight” opened doors and allowed me to meet a lot of people, but it’s not like I was on the front page of every magazine overnight.

FA: Did your agent get you the part in “2012”?

BR: Yes, and I played a Russian as well, so this time I was confident. My agent got me an appointment to meet with the producer and director. I went back several times; it was like a rollercoaster. Then one day, I was in Wales on the set of another movie, “The Big I Am” and my agent called and said, “ ‘2012’ is not gonna work. It won’t be you”. I said, “Too bad, that’s a pity.” But in fact, two weeks later, my agent called me back to tell me that they were making me an offer.

FA: What scene did you do for your “2012” audition?

BR: They made me do three different scenes

FA: Are all your scenes in front of a blue screen?

BR: Hmm…a lot of them. The audition was like a regular audition, you know. There’s nothing in the room so you have to pretend. There was dialogue but also a lot of action, so you have to use your imagination a lot.

FA: Where and for how long did you work on “2012”?

BR: “2012” shot in Vancouver for four and a half months.

FA: What is “2012” about?

BR: It’s about the Apocalypse, based on a Mayan prediction. December 2012 will be the end of the world... that’s it. I really can’t tell you any more because I signed a confidentiality contract. We’ll wait to see the movie. But in fact, I saw it last Saturday [July 25th, 2009], and the movie is really awesome.

Béatrice Rosen as Tamara in "2012"
©2009 Sony Pictures Digital Inc. All Rights Reserved.

FA: What can you reveal?

BR: Nothing. (laughs)

FA: Can you reveal anything about your character?

BR: My character is called Tamara. She’s Russian, and that’s all I can say (laughs).

Concerning confidentiality, when we were shooting “The Dark Knight” in the UK, it was very secretive as well. When we were passing through customs, or when we were making a phone call, we didn’t have the right to mention even the title of the movie. We had to use an alias for the title.

FA: Tell me about your collaboration with Roland Emmerich. Usually the technical aspect has a very important place in his movies. Does he have the time to take care of his cast?

BR: His personality is different from Christopher Nolan, but... For example, Christopher Nolan arrived on the set everyday in a suit. He’s very polite, very kind. Nolan always hires the same crew members so everybody knows each other. He works in silence and peace. It’s quiet, pleasant, nobody shouts, and it’s very efficient. He can move forward very very quickly... Roland Emmerich is the same. His sister was also a producer on the movie. Roland arrives on set each day with a smile. He works 18-20 hours a day. Because it’s very technical, he redoes each shot until it is perfect. So we did a lot of takes. He’s a real perfectionist. He comes on set, explains everything to the actors and is very present.

Roland Emmerich on the set of "2012"
©2009 Sony Pictures Digital Inc. All Rights Reserved.

FA: Who are the actors you were involved with on the “2012” set?

BR: Most of my scenes were with Amanda Peet, John Cusack and Thomas McCarthy, who is also a director. He recently did a movie called “The Visitor” which won a lot of film festival awards. I had also several scenes with Lisa Lu [lead actress of the Hong Kong blockbuster “The 14 Amazons”], a wonderful lady, very professional. It was such a great cast; everyone enjoyed working on Roland's set. Lisa was a trooper because some of the scenes were pretty physical. The atmosphere on the set was light and fun, even though we were shooting a film about the end of the world.

Chang Tseng, Lisa Lu, Morgan Lily and Béatrice Rosen are having some problems
©2009 Sony Pictures Digital Inc. All Rights Reserved.

FA: During the 4 ½ months of shooting “2012”, how long did you actually shoot?

BR: I don’t know exactly. It was a lot more than “The Dark Knight”.

FA: Do you ease up the pressure when you were not shooting?

BR: Yes, I would go back to LA for a few days, then return to Vancouver.

FA: Before shooting “2012”, had you already seen any Roland Emmerich movies?

BR: Most of them, I think.

FA: When you find out you will be working under a specific director do you try to see his work?

BR: Yes. The great thing about working in the US is that they give you quite a lot of information about the project when you go to an audition. So you can do research if you want. Obviously, it’s better to arrive prepared. It helps to know the director’s previous films. Through his work you can understand his taste, his creativity, what kind of actors he hires. So yes, I do some homework...

Béatrice Rosen in "2012": the calm before the storm
©2009 Sony Pictures Digital Inc. All Rights Reserved.

FA: Have you done any work since “2012”?

BR: In March I shot an independent movie in England because I want to alternate working with big productions. I had to play the role of an American. I wanted to diversify my roles and not just play Russian or French roles. But this movie had some financing problems. It happens to a lot independent movies. The release date has been delayed. I had two projects like that which have been delayed, and I’m waiting for the new schedule. I’ll shoot, but I have to wait. After big movies like “2012” I really have to be careful with my choice of projects. I have to be judicious, you know.

FA: Can you refuse certain projects from your agency? Do you have to do all the auditions they ask you to do?

BR: I must choose strategic projects. I won’t play another Russian character just to be in a film. It has to be coherent, and my projects have to be diversified. I have to have a logic, a strategy, a career plan. But, well, I love to work. It has to make sense, you know.

FA: You will soon be on the screen in “The Big I Am” and “Woodland Cross”.

BR: “Woodland Cross” is one of the two movies in pre-production right now. It’s an English movie. Last year I did two English movies. I started to work in France, then in the US, and then England. I’m negotiating another one right now. We’ll see…

FA: Any plan to shoot some more French movies?

BR: I would love to… In fact, ideally, in a perfect world, I’d like to work six months in France and six months in the US. That would be awesome. It would be ideal to work a bit everywhere: in the UK, the US, in France.

“2012” POST-SCREENING QUESTIONS (3 months later)

Frédéric Ambroisine: Where did you shoot the scenes that take place under heavy snow in China?

Béatrice Rosen: We shot in big studios with a blue screen. Part of the set was built in the studio, so we had snow and a feel of the glacier.

FA: Your best friend in "2012" is a little dog. How easy or difficult is it to work with an animal in a movie?

BR: We had a trainer on set, and she got him ready for his scenes. When you work with animals you need a lot of patience because they don't always want to comply.

FA: How was the "dog stunt scene" shot? Even though it looks very dangerous onscreen, was it safe?

BR: I can't reveal all the secrets; it would take away the magic. :-)

FA: Not a lot is explained about your character Tamara’s background. She has a relationship with some of the characters but the audience has to imagine her past. Did the director tell you more about the background of Tamara, or did you ask him?

BR: Of course when you sign on to play a character you always want to know her backstory. We talked about it with Roland, and I also made my own choices. Tamara evolves a lot during the movie as she is confronted with many very emotional situations. She's the girlfriend of a Russian billionaire [Zlatko Buric]. She's very spoiled, but as the movie progresses we get a better sense of who she really is, and all her superficial traits are replaced by very human qualities.

FA: Some of the most physical scenes you did in the movie were underwater. How did you prepare to shoot these scenes? Were they dangerous or oppressive?

BR: Those scenes were pretty scary to shoot, but Sony didn't take any unnecessary risks. We had medics on set ready to react to any threatening event. We spent many, many hours in the water but the crew made it as comfortable as possible for the actors.

Béatrice Rosen and Morgan Lily getting wet in "2012" (2009)
©2009 Sony Pictures Digital Inc. All Rights Reserved.

FA: What was your favorite scene as a viewer (even if you weren’t in it)?

BR: I love the first scene where the special effects really start; the car scene with J. Cusack and his family in LA. It sets the tone.

FA : After appearing in a blockbuster as action-packed as “2012”, does your experience give you any desire to play other more physical roles in the future, like action roles?

BR: I would love to be in another action movie and spend months training beforehand...maybe in martial arts. I have a lot of energy and I think it would be a lot of fun for me.

Check out the official Béatrice Rosen website at http://beatricerosen.net/

Pre-screening interview conducted in French by Frédéric Ambroisine on July 27th, 2009. Translated by Frédéric Ambroisine.
Post-screening interview conducted in English by Frédéric Ambroisine on October 29th, 2009.
Edited by Sylvia Rorem for ActionQueens.com in October 2009.
Mega thanks to Béatrice Rosen for her kindness and time!
Thanks also to Stéphane Ribola (Miam), Tim Fahlbusch, Axel Foy & Anne Lara (Sony Pictures).


“2012” will be released worldwide in more than 70 countries between November 11th and 13th, 2009. Check out Sony Pictures website for dates.
Also, take a look at “2012” trailers & video clips on Yahoo Movies & Sony Pictures YouTube channel.

NEYTIRI: WARRIOR PRINCESS (JAMES CAMERON’S “AVATAR”)

Neytiri, the female lead of James Cameron’s new and most anticipated sci-fi 3D/live action movie “Avatar”, is not human, but she sure has heart. Neytiri is a Na’vi, an extraterrestial humanoid race with blue skin, four fingers, a long tail, and stands approximately 3 meters high. Neytiri lives on a planet named Pandora. The Na’vi are usually peaceful and live in perfect harmony with other life on their planet but they can become quite agressive when it comes to protect their land, especially from humans.

On August 21st, 2009, 15 minutes of the 3-hour “Avatar” was screened free in selected theaters worldwide (102 screens in the U.S. and 342 international screens in 58 countries). During “Avatar Day”, the audience discovered excerpts from seven scenes. One scene features beautiful, athletic and courageous Neytiri skilfully killing mad forest beasts in order to save Jake Sully, a human in a Na’vi’s body sent to Pandora for an Army mission. Jake, a former Marine paralyzed in combat, is given a chance through the Avatar program to walk again and discover an incredible new world.

On September 7th, 2009, 10 more minutes of footage were shown during a special press screening in Paris. Most of the additional footage was extended versions of “Avatar Day” scenes with more dialogue and explanation about the story and characters. Between scenes, producer Jon Landau, who came to Paris for this special press event, divulged more details about the story and character background (for example, Jake had a twin brother who died, and because he has the same DNA, he can replace him in the Avatar program).


In “Avatar”, Neytiri and Jake are respectively played by Zoe Saldana, who recently starred in the “Star Trek” remake by J.J. Abrams, and Sam Worthington, who played a half human-half robot character in “Terminator: Salvation”.


At the end of the press meeting, ActionQueens.com had the opportunity to ask Jon Landau about the choice of actors, Zoe and Sam, for “Avatar”. This is what he answered:

“Finding somebody to play Jake was not an easy task. What was important for us was to find someone who could have a wide range and create the vulnerability of Jake at the beginning of the movie, and the leadership at the end of the movie when he leads people into battle and he rallies them with his speech. Sam Worthington possessed the acting ability to do those things.


And for Zoe to play Neytiri, we wanted somebody who embodied the whole character. It was not just about a voice, it was not just about a look, it was about the whole embodiment, of embracing that character, in the movement, and becoming this regal, noble, beautiful heroine of our film. And Zoe, to train for the part, she worked with somebody from Circe du Soleil on movements, she took archery lessons on how to use a bow, she took riding lessons on how to use a horse, so we indoctrinated her in all the things she needed to do in the movie...”


After Sarah Connors in the first explosive “Terminator” movies and Ellen Ripley in warriored “Aliens”, we can bet that James Cameron will once again create, in Neytiri, an iconic female heroine that will be imprinted on moviegoers’ minds forever.


“Avatar” will be released worldwide on December 16-18th, 2009. Check out the impressive new “Avatar” new trailer which just hit the Net a few hours ago.

NATHALIE HAUWELLE INTERVIEW ("CALIBRE 9"): THE GIRL "IN" THE GUN

Everybody loves “Girls with Guns” movies, but “Calibre 9”, an indie action feature marking the debut of young French director Jean-Christian Tassy, may start a brand new trend: “Girls in Guns”! This low-budget, wacky flick stars Nathalie Hauwelle as a murdered prostitute whose spirit possesses her own murder weapon, and Laurent Collombert as the naive urban planner she manipulates to take bloody revenge. Check out the following trailer for a taste of what “Calibre 9” is all about!


In this exclusive Action Queens interview, actress, contemporary dancer, singer and performer Nathalie Hauwelle talks about her passionate theatre acting career (which includes a brand new version of Peter Weiss's “Marat/Sade”), the electro band LMZ (1), and her collaboration with the film company Dark Factory (2), responsible for intense alternative movies like the martial arts action horror flick “John 32” (3) and of course “Calibre 9”, now in post-production and hopefully ready for the next Marché du Film Market at the 2010 Cannes Film Festival.


Frédéric Ambroisine: You’re a contemporary theater writer/director and actress. What did you start doing first?

Nathalie Hauwelle: I started relatively late as an actress, around 22 years old. It’s funny because I never imagined doing this job when I was a kid. I wanted to be librarian or florist, and I studied surreal literature. Dancing was a hobby. Then, bang! The magic of life! I took a theater class, and the director offered me a part in his production. This was Mladen Materić from Yugoslavia, who has a theater company called Tatoo Theatre. He became my theater master. I have spent seven years of my life with Tatoo Theatre doing wordless theater, subtext theater and silent theater. I learned everything from him: the presence, the sacredness of the plateau, the requirement of work. He gave me the fire. I thank him.

FA: What are the main differences between acting for theater and acting for cinema?

NH: It’s just not the same job at all. It’s like comparing distance running to a speed race. The theater is more related to ritual. We invite a crew, we rehearse for a very long time, we search for a month, and the show builds up like an improbable, wonderful alchemy. We prepare, we heat up, and then we make-up. A few hours before the show we have to remove ourselves from life and enter a dark, unknown world. We’re about to jump into a vacuum, and suddenly (it’s always a surprise!): It’s show time! People are here to see us perform; stomach ache, nervousness, and then the lights, and you have to go on. It always seems impossible, and it is! The theater is an unlimited space.


In cinema there is often time to do research. In general, the director knows quite well what he wants, and that’s why he chooses you. Your face plays a major role in his decision making. Cinema places actors into specific categories. There is less time but more money. Everything is expensive, and suddenly it’s your turn to act and you have to do it again and again, just tailoring it and tailoring it. It’s difficult and exciting at the same time because you have to give everything, but with a sense of discontinuity. I like the challenge of this kind of work, but interesting roles are rare. In “Calibre 9” I was able to develop personal traits, imbalances which touched me as a character. The role is a junkie prostitute, damaged by life.

Nathalie Hauwelle in JC Tassy's "Calibre 9" (2010)

FA: Do you have different approaches to working on a play and working on a movie?

NH: In theater, you have to search a lot on stage. Your part is written for the play, but you still have to invent everything! All the subtext, all the things which create a character. Where does he or she come from? What does he or she think? What is he or she dreaming of? I come from the moving theater, so my approach to a character is primarily physical. How does he or she move? How does he or she dance? What does he or she do in the silence? I use the same technique for the cinema: Where do I come from? Where am I going? Who am I? Those are the three questions I always ask myself before going on stage or on a movie set.

Nathalie Hauwelle on the set of "Calibre 9" (June 2007) - Photo: JF Daviaud

FA: When did you get involved in “Calibre 9”?

NH: I knew the director Jean-Christian [JC] Tassy, ever since Eric Cherriere’s “John 32”, another film from Dark Factory in which I also played a prostitute. “John 32” is a history of prostitution as it relates to power, like a little Mafia town. Prostitution, pimps. It was written by Eric, who also wrote “Calibre 9”, so it’s a bit in the same vein. But it was done some years before, so it’s less complex and more confusing. I would say that it is a kind of an embryo of “Calibre 9”. I think that JC wanted to work with me since “John 32”... I don’t know, you’ll have to ask him!

FA: In “John 32” you’re not really playing a prostitute but a former porn actress who becomes a kickboxer.

NH: Yes, after stopping her porn activities she does kickboxing. I trained with Sabrina [Bendjema], who is a real [Tae Kwon Do] fighter. She was a European champion, I think. She’s my partner on screen and plays my opponent. She’s a real champion, but in “John 32” I beat the shit out of her of course, since I became so strong after three sessions (laughs).

FA: Did you have any sport training background before working on “John 32”?

NH: I have always been quite physical, but I never did martial arts before. I did flamenco and contemporary dancing. Dancing is really my thing, but it’s really close to martial arts in its requirements and endurance. Ultimately, the goals and final results are not the same, but I found myself into it. And Sabrina was really cool. She helped me a lot and encouraged me. It’s not in my nature to beat people up (laughs), but I think she succeeded in channelling my rage into kickboxing training. I think it’s really well shot: it doesn’t show that I’m fighting like a pussy.

Nathalie Hauwelle vs. Sabrina Bendjema in "John 32" (2006)

FA: So you had only three training sessions, and then shot the scenes?

NH: Yeah, three or so. It was a long time ago, so it’s a bit blurry for me. But I trained seriously; first with Eric [director] and then with Sabrina. She gave me simple things to do. And because I’m an angry person, my rage hid my lack of technical skill.

Sabrina Bendjema vs. Nathalie Hauwelle in "John 32" (2006)

FA: Where does your rage come from?

NH: Oh, well. I don’t know. This is the way I am.

FA: You were born with it?

NH: Yeah. Yeah. I’m quite angry.

FA: About what?

NH: Nothing in general. I don’t know. But in life you have to fight against everything all the time, so I think you have to have some rage in you to succeed in doing what you want to do. I want to do what I want to do, so I’m fighting for that.

Nathalie knocks Sabrina out

FA: Everything on the kickboxing set went along smoothly? No accidents?

NH: It was super to have Sabrina as opponent because we trained together, but if you watching the action scenes closely, she’s always superior to me. She’s a very intelligent girl and she knows how to diminish herself to make me look more powerful (laughs). In real life, I would not have been able to stand up one second against her.

The Rage of Nathalie

I was using full contact, hitting without restrictions, and she remained tranquil because she knew what she was doing. She just countered my attacks. It is funny to see this champion let herself lose just because I am supposed to win. In “John 32” I also have a gunfight scene alongside Maurice Poli. We saw each other only once on the set. He’s a great man. He has an incredible face.

Nathalie Hauwelle and Maurice Poli on the set + Nathalie starting
the big shootout of "John 32" (2006)

FA: When did you shoot “Calibre 9”?

NH: Wow, a long time ago. Two years ago, I think. [June 2007](4)

FA: What was your reaction when you found out that for most of the movie you would have to embody... a gun?

NH: I found the proposal original, offbeat and uncommon. I like adventures. I always step into the unknown.

JC Tassy direcs Nathalie Hauwelle on the set of "Calibre 9"
Photo: Maurice Salmon (June 2007)

FA: Where did you shoot your character’s pre-death scenes?

NH: We worked in a hotel (now closed) in Toulouse called the Hotel de Bourse, with real illegal immigrants and Bulgarian an amazing mix! Jean-Christian knows me very well. He had seen several of my plays. He knows that I love to improvise, and that there’s a certain madness in me, so he gave me a lot of freedom with a couple scenes. And he tightly controlled me in other scenes. It was a good cocktail for me.

Deadly make-up for Nathalie Hauwelle on the set of "Calibre 9"
Photo: Maurice Salmon (June 2007)

FA: Can you give me some examples of improvisations that you proposed to the director?

NH: We shot the scene in this insalubrious hotel which was about to be destroyed. There were cockroaches everywhere! The whore [Nathalie’s character] lives there. Her pimp comes to visit her, and will, in fact, kill her. I did quite a long improv scene: she gets high, then has hallucinations and starts to do nonsense: dancing, singing, putting on makeup. She’s all alone so she indulges herself doing all this nonsense, you know, crazy girl stuff.

Nathalie Hauwelle flying high in "Calibre 9" (2010)

FA: Did you do research for your role in “Calibre 9”?

NH: You haven’t seen the movie yet, so how do you know if I did a good job or if my acting sucks?

FA: (Laughs) Because the trailer looks great, and you look quite credible as a prostitute who gets high and shoots a gun. Did you play the character in an extravagant way?

NH: Not at all, I played her quite dark and deep. It was a hell of an experience because the location where we shot was already dark. It was cockroach infested. And that was a super way to get into the character of a chick who renounced herself. Because being a whore and a junkie is a consequence. We don’t wake up one morning and say “I’ll be a junkie whore.” It’s because you renounced your own life, and a lot of other things, and suddenly you don’t have any other way to eat except by selling your body. This is such a horrible thing that you have to get high. And this situation makes her look even lousier in her own eyes. She’s really burnt out, you know. She’s not like Godard’s prostitutes, who are sexual and very attractive. She’s more of a super desperate chick, like I played her. So, if you want, I won’t say I played a junkie prostitute; I will say that this girl became like that because of the terrible things that happened in her life.

Nathalie Hauwelle "has" the gun

FA: Tell me about her spiritual evolution after her death, after she becomes a weapon.

NH: After this resurrection, it’s like she starts a new life. She wants to take revenge against life in general, against men, against everything she has suffered. She becomes a kind of ultra-bloody, infernal killer. But not without morality. She wants to cleanse the town of all those bastards. She’s a kind of vengeful weapon.

Nathalie Hauwelle "is" the gun

FA: “John 32” and “Calibre 9” are genre movies, but is this your type of movie, as a viewer?

NH: Not at all. Actually, I am a dirty art-house film snob. For example, I’m obsessed with silent films and I also love 60’s movies. Genre movies are not really my world, but I’m quite an adventurer. I felt very enthusiastic working on Eric’s and JC’s projects. They invited me to join them on their adventures, and they succeeded in charming me and bringing me along… I’m a very bad example of an Action Queen! (laughs).

The Whore and the Euros

FA: How did you prepare for your action scenes in “Calibre 9”?

NH: JC knew very well what he wanted. He already had the edited scenes in his head so he was very clear, very professional. He told me “Do this here, do that there,” so I let myself be guided. My action scenes are exclusive to the dialogue between the prostitute and her pimp, in scenes where he beats her. I had the chance to get to know my acting partner [Jean-Jacques Lelté]. and to get along with him very well. So, no arguments on the set. Legit and professional.

Harsh times - Jean-Jacques Lelté and Nathalie Hauwelle in "Calibre 9" (2010)

FA: You’re also a theater director. Did this make your work and your professional relationship with Tassy easier?

NH: I’m not really a director. I see myself rather as somebody who’s into everything, without label, avid, restless, looking for the improbable! Cinema one day, theater the next, or the circus. I hate being bored!

FA: How was the “virtual” part of shooting “Calibre 9”? Were you on the set for the scenes in which you are not physically on screen? Or did you do all the gun voice-overs during post-production?

NH: I was not on the set for those scenes. That was nice! I had never worked on post-production voice-over before, and we recorded in a studio at one of Jean-Christian’s friends’ place. It gave me ideas for future; if I ever record tales, or if I sing…and then, poems! Ah, life is beautiful!

FA: Did you see any footage other than the trailer?

NH: No. I did the voice-over pretty blindly, based on the teaser trailer and the script. I just did [a rough] voice-over to help JC with the editing. Later I will do a real, definitive voice-over.

FA: When did you find out you would have to do that?

NH: I figure I would have to when I did the first voice-over almost a year after the shooting. It was in a studio, one year later, with no footage to watch. I knew it would not be very good and that we would have to do a new sound take after the editing.

FA: Do you know when you will do it?

NH: I don’t know. JC is still working on the editing.

2009 Tentative poster for "Calibre 9"

FA: Let’s talk about your many other activities. You sing in an electro band named LMZ, right?

NH: I don’t really sing in LMZ. I recite poems, excerpts from “Pierrot le Fou” and from a poet named Laura. And I dance and perform during the concerts. Originally LMZ was a duo with Philo Fournier from the 80’s band Les Ablettes, and Franck Flies. After he left Les Ablettes, Philo started to make electro music. We met each other at a show where I was making costumes...

Philo Fournier and Franck Flies: The creators of LMZ

FA: And now LMZ is a trio...

NH: Hmm. We were a trio. Now we are only a duo, without a drummer. But we can have two or three people. It depends. Philo is a guy who likes strange adventures. There were two dancers in his live shows and two pianists including him, and a lot of people on stage. He had created a kind of live performance event around the previous album. When we met, he wanted things a little off-beat, so we started talking about what we would be able to do together. And then we started to work together.

Philo Fournier and Nathalie Hauwelle (LMZ press photo for "La Machine Zoo")

FA: When you joined the band in 2005, was it to work on the third LMZ album or just for the live performances?

NH: To work on the album. He was composing the album with Frank when I came. We were rehearsing in a tiny cellar. I created characters for their songs.

LMZ: "La Machine Zoo" front cover (2008)

FA: What kind of characters?

NH: Crazy kinds of characters: a kind of squeaky mouse that eats apples, a woman who is devoured by her children, some ogresses and other little odd characters (laughs).

LMZ mosaic video (from the song "Un monde Parfait")

FA: Do these characters recite poems and perform on stage?

NH: Exactly.

FA: Where do these characters come from?

NH: This was not improvisation. We searched quite a lot while they were working on the songs. …After that it became a kind of zoo machine. There are different kinds of monster-plants (laughs)...ogres, half angel-half demons... they derived from the research we did together. LMZ means “The Zarma Manifest”, and it became a zoo machine, you know, a big mixture of species...I don’t know, it’s something a little weird, and that's what Philo wanted. It has become a three-headed monster or something like that.

LMZ mosaic video (from the song "Un monde Parfait")

FA: I saw some excerpts of LMZ concerts. If you just listen to the album, will there be something missing?

NH: The album was recorded in a studio, so it's definitely more sanitized. It is something different. I guess when you see a live band, you expect something different than the studio. It is true that the album is smoother. The concert that we did in Fumel was quite extraordinary. When my characters started to speak, it became a kind of trance. Even if we rehearse in a certain way, it becomes something else during a live performance. Like in Seville, the end of the show completely changed (laughs). That is what is so great about it: you never know what will happen to you. You are always the first to be surprised by your own production.

LMZ mosaic video (from the song "Un monde Parfait")

FA: Where have you toured with LMZ?

NH: We did Toulouse, Fumel, and the Seville Festival. We toured a little bit, but things happened and Philou started a trip around the world. So now, regarding the band, everything is on stand-by. Philo is still away. He's in Brazil right now. He’s a crazy guy! He’s a great traveller. I think travel was missing him. But I think LMZ will get back on track because we have both been tickled by our adventure.

LMZ mosaic video (from the song "Un monde Parfait")

FA: Why and when did you create your theater company, Groenland Paradise [Greenland Paradise]?

NH: I didn’t want to just work for other people. I created Groenland Paradise two years ago. I was always making installations and doing small performances alongside my job as a performer and actress. So Thierry De Chaunac and I set up a company that blends installations and theater, and installations and performances. We did our first show, which is a work based on a text by Lagarce [Le Bain - 1993]. During the show I do live installations in a micro-space and then a larger version, which creates other mental spaces.

Nathalie Hauwelle + Thierry de Chaunac = Groenland Paradise

FA: How did you learn the art of installation performance?

NH: Savagely, I can say (laughs). I don’t know, I like to try a little bit of everything. I do a lot of things and I always want to show it somewhere. So “J'aimais un homme a tête de squelette, a tête demesurée” [I loved a man with a skeleton head, a disproportionately large head], which is the name of the show, is like a hybrid between installation and theater. It is interesting to question things differently, and especially to go places I don’t know. I wanted to do it because I didn’t know how to do it. I like to put myself in danger; that's why we’re preparing a new performance for March [2009]. It is crazy because I feel like I’ll never succeed in finishing it. We have several people working on the project, which is from a biography of King Louis II de Bavière. It’s also about a construction in real-time. Because we have several people it is damn disturbing, but it is what drives us to move forward. Without that, I would stop.

“J'aimais un homme a tête de squelette, a tête demesurée”

FA: Do you prefer to stage your own creations?

NH: Yes, I want to share. The new work we are doing and thinking about is: Do we want to share? Because theater is about sharing. The public is on one side and the actors are on the other side. But who are the professionals? We’re questioning ourselves about all that. But for now, our company is not commercial at all; we’re not earning any money. We’re really doing it for the research, you know.

“J'aimais un homme a tête de squelette, a tête demesurée”

FA: How long have you had the desire to create?

NH: Since always. I have been an actress, but when I do acting for too long it pisses me off because I need to do my own thing. I enjoy working with others, it brings me a lot, and I very much like working with people, but it is not enough. I need to recharge in more intimate ways.

“J'aimais un homme a tête de squelette, a tête demesurée”

FA: You have a very loaded schedule right now. You’re working on five projects. Can you tell me about them?

NH: We just created "Marat/Sade" [directed by Eric Sanjou], which will tour this year. I also have a show for children, “La princesse au petit poids” [The Princess and the Pea] (5), in which I dance.

FA: What role do you play in “Marat/Sade”?

NH: Charlotte Corday.

Nathalie Hauwelle as Charlotte Corday in "Marat/Sade" directed by Eric Sanjou
(Photos: ©2009 Djeyo / Le Clou dans la Planche)

FA: While preparing for this role were you inspired by what has been done before, by watching old plays or movies? Or did you approach this play in a fresh way?

NH: This is the first time that I have worked with Eric Sanjou, and I wanted to start working on this play like a virgin, you know? It's always a great adventure to work with another person whose work you admire. So I wanted to be very receptive to what he proposed, and really get into his research. So I did not watch a lot of movies. I went to see exhibitions and thought about the play. In “Marat/Sade”, a lunatic plays Charlotte, so there are different levels of interpretation. I thought about it, but I did not do too much work in advance because I told myself that I know how he [Sanjou] works; I don’t want to arrive already prepared and show off.

Nat Hauwelle with Frédéric Klein as Marat and Christian de Miègeville as Sade
(Photos: ©2009 Djeyo / Le Clou dans la Planche)

FA: Did you do further research after meeting Sanjou?

NH: When you see how the other person works, you can help him or her by getting into their research, but for this work I didn’t want to arrive with plenty of "Charlotte is like this, Charlotte is like that." I said to myself, “He’s a super complex director, so let yourself be guided.” And it was true; I was right for once (laughs).

Nathalie Hauwelle and Frédéric Klein in "Marat/Sade"
(Photo: ©2009 Djeyo / Le Clou dans la Planche)

FA: What do you think of Peter Brook’s “Marat/Sade” [1967 movie adaptation of the play]?

NH: I found it very boring. I have a bizarre relationship with Brook’s work. I like him a lot. He’s a part of theater history. When you go to see “Le Costume”, it’s super, but only for the 70’s. He was such an important guy that everybody copied him, but now we have gone further. It’s super to see Peter Brook’s work. He’s a super intelligent guy, and he shares a lot. But he’s a bit like the archeology of theater. It’s interesting, but I find it super “old school”. When I saw “Marat/Sade” I got super bored.

FA: So what is your version of “Marat/Sade”?

NH: Crazier, because there are several levels. We are actors playing insane people who play actors, so it’s an abyss in which we are playing on all these levels. We act insane, and we act like we’re acting insane. It’s very interesting for us as actors because we’re always acting on different levels.

FA: That is the same situation as the movie version.

NH: Yes, but I think they did too much insanity. I don’t trust intelligence. I am very wary. I love instinctive actors and…. I love actors less and less, actually.

FA: Really?

NH: Yes (laughs) because I find that actors are tricky. You know, Peter Brook wrote super things in his memoirs but he said that “Marat/Sade” was not good. I think it’s great that a director can say, “I messed up; it happens.” He said they tried to be smart. They used acting study techniques, spent 15 days in a psychiatric hospital and then played lunatics. But they admitted they were wrong. It’s seducing to play lunatics. It’s seducing, but false. We’re not crazy. We act crazy. So for me, the movie didn’t work.

Peter Brook's "Marat/Sade" (1967) starring Patrick Magee (Sade),
Glenda Jackson (Corday) and Ian Richardson (Marat)

FA: How do you play your character? Do you use your instinct, or did you do any research?

NH: I don’t know how to say this: I try not to act. It’s horrible, I’m telling you. My goal is this: to not act, to be the least technical. I don’t want to be technical. Maybe that’s why I always change roles and mediums. I don’t trust know-how. I’m very wary. Or, at least you have to be very strong. I like imperfect things.

Nathalie Hauwelle as Charlotte Corday in "Marat/Sade" directed by Eric Sanjou
(Photo: ©2009 Djeyo / Le Clou dans la Planche)

FA: Can you choose the theater plays in which you want to act, or the people you want to work with? In films, you may not always have the choice…

NH: I'm lucky enough now to be able to choose my projects, so I choose people whose inner search excites me. I don’t want to do things that do not bring me something more. What is hard in cinema is that before being a star, you have to do a lot of roles as nurses and prostitutes. I think that what is good about theater is that you can really do everything. Even if you’re not well-known, you have the opportunity to play very interesting roles and work with people who have very complex worlds. On another hand, it's not easy to have a starring role in a movie with a guy that you're passionate about. I think that's why theater gives me more joy today. That’s certain.

FA: It sounds like you can have more fun doing what you want in theater.

NH: No, it's not like that. I work harder at theater, so it has become more my way of functioning. I do not know if this will last, but I hope I have the opportunity to work with people I admire. So that's great. And these people give me roles that interest me, so it's a nice exchange. Whereas in cinema, it is very rare to get a big role. You are often stereotyped because of your face. I find it more difficult to be adventurous in cinema. That’s my opinion, anyway.

FA: When the role of prostitute in “Calibre 9”was offered to you, you could easily have refused.

NH: Yes, I could have, but JC knows me well now (laughs). He saw a lot of things that I did and he knew that I need to improvise, to be able flip out, to do things that I want to do on the spur of the moment. And he was a wise director because at times he was very controlling, and when he saw I was reaching my limits he would tell me to improvise. So we found a nice balance. I proposed a lot of ideas he may not keep, but it was important for me to show him so he could take what he wanted. This was hard sometimes. There was a good understanding between us, and he was super smart for doing it that way.

FA: Is there a commonality between the different characters you have played? I have the impression that you often play off-beat characters. Is this on purpose? Have you ever played a “normal” character?

NH: Yes, I played a housewife. But it was quite strange to me. I went through that stage; I learned to act by playing those kinds of roles. But now I want to do different things, weirder, crazier. But it’s difficult to play a common character and make it interesting. It’s a much more difficult thing to do than to play crazy characters.

FA: Do you think people want to work with you because of your “crazy characters”?

NH: I don’t know. I like to work. Right now, I’m doing some very serious things. I think that people hire me because I like to work. And I’m not reluctant. I like adventures, places that I don’t know. I don’t think everybody likes to do that.

FA: Tell me about your other projects.

NH: I work with a circus called Palais Nibo.

Left: Nathalie Hauwelle dancing at the Palais Nibo
Right: Philippe Decouflé's "Cœurs croisés" (Photo: ©2007 Suzanne Brun)

FA: What do you do in it?

NH: I dance, and I eat…an apple (laughs). I am also working in a play called “Coeurs Croisés” [“Crossed Hearts”], a burlesque play by Philippe Decouflé. There is also work being prepared with Groenland Paradise for the March performance. That’s quite a lot of work. We have a big tour with “Coeurs Croisés” and “La Princesse au Petit Pois”. And in between…

FA:…you’re working on your personal project with Groenland.

NH: Yes, I still work when I’m not touring. Right now, I’m working on my own adventures. I’m relaxing.

FA: Relaxing while you work?

NH: Yeah! (laughs) Holidays are boring.

FA: Do you plan to take any real holidays?

NH: In 2015 (laughs). No, maybe before that, but I have a lot of things that I want to do. And because I still have some energy, I’m taking this opportunity to do all my projects. I mean, I’m trying (laughs).

FA: Any other movies planned for the future?

NH: I'm not going to look for it but if you come to me, why not? But I don’t go to casting and all that. I have no energy to put into it. Doing that takes too much of my energy. I did it a little bit, and I thought it was not for me. Going to castings, and playing only very small parts, I felt that I would become totally depressed. Now I have found a nice balance of the projects I want to explore. I like that, it suits me better. Paths are ultimately so personal. If for example Jean-Luc Godard wants to work with me, or Terence Malick, of course, I’ll say I’ll be there (laughs), but there is so far no news regarding this. I have no scoop to reveal about that.

FA: Tell me about your work with Jean-François Daviaud (6). It’s almost impossible to find a photo of you except the ones taken by him.

NH: Jean-François is a friend of mine. He’s one of my Dark Factory buddies. He’s not only a photographer, but also a director of photography. He also organized the photography festival ManifestO. I’ve known him for a very long time, at least ten years.

Left: 'Hija de pelicula' (Nat wears a dress made with a Super 16 mm film (Creation 2002,2004)
Right: 3 of the 8 allegorical boards of 'Goldfish' (Installation Performance ManifestO - 2007)

FA: How did he get you to participate in his photo projects?

NH: Well, he always needs models. So he called when he wanted me to do something, that’s all. We’re buddies. We help each other. I work on his projects, he helps me with mine. It’s a free exchange.

Left: One of the 6 actual size photos of 'Frigo radeau de la méduse'
Right: Floating art work of the same series on the river Garonne (Sept. 2004)

FA: Do you pose for other photographers or do casting photos?

NH: I’m not interested in that. I did a commercial once, and I hated it. I don’t really like to be photographed, but I do it for Jean-François because he’s a friend. I don’t like my image circulating. I don’t like that! I’m not on FaceBook. My job is to be an actress, but I don’t want photos of me everywhere. It’s just not my thing.

FA: Would you prefer to focus on your acting and leave your marketing to others?

NH: I don’t want to create a cult of my own image. I just want to be a good actress, and to be hired on that basis. That’s it. The rest, the blah blah blah, I’m not into it. I do photos for JF or for my friend Kathy Sebbah, or I shoot a movie with my friends. But I’m not looking for a job from it. I have other preoccupations.

FA: So you don’t have agent, you take care of everything yourself?

NH: Yes, and it’s too much work! (laughs). Last year, there was a lot of tension for me. I was doing a show in the morning and another one at night. I had to stay focused. And this year will be hardcore as well. But now I’m doing a lot theater work in a circus and for big companies. They handle all the tours, and so on.

Nathalie Hauwelle in "La Princesse au Petit Poids" - Written and illustrated by
Anne Herbauts, directed by Nathalie Bensard and produced by Compagnie La Rousse

FA: You seem to be in an ideal situation.

NH: You think so?

FA: You’re working with several companies. They handle everything and you can just concentrate on your acting.

NH: That’s right. That’s great! It’s true. I have to remind myself of that. I do complain, but ultimately, it’s super. I’m lucky.

Interview conducted in French in August 2009 by Frédéric Ambroisine. Translated by Frédéric Ambroisine and edited by Sylvia Rorem for ActionQueens.com in October 2009.


Many thanks to Jean-Christian Tassy, Nathalie Hauwelle, Jean-François Daviaud, Eric Cherrière, Axel Guyot, Maurice Salmon (photos "Calibre 9"), Pidz, Polo Garat, Odessa photographies, Palais Nibo, Groenland Paradise, Compagnie La Rousse, LMZ, Djeyo / Le Clou dans la Planche, K Production, Les Films d’Avalon, & Dark Factory.

(1) Check out the LMZ official website and MySpace page and the following videos featuring Nathalie Hauwelle: Un Monde Parfait + Live in Fumel
(2) Dark Factory was created in 2004 by Eric Cherrière. It is composed of Cherrière and four other directors from Toulouse: Catherine Aïra, Julien Fournet, Kevin Favillier and JC Tassy. Dark Factory’s mission is to produce indie genre movies in southwest France. Contact: ladarkfactory@gmail.com
(3) “John 32” first cut (27 minutes) is available as an extra on the French DVD version of “Beyond Re-animator” (released in 2006). A new, more energetic 23 minute cut has just been edited by JC Tassy.
(4) JC Tassy shot “Calibre 9” in June and August 2007 and in June 2008 (Total days of shooting: 45). Nathalie Hauwelle shot her scenes in one week during June 2007.
(5) This play is adapted from Anne Herbauts, not from the Hans Christian Andersen fairy tale.
(6) Check out JF Daviaud works with Nathalie Hauwelle here: 'Frigo radeau...', 'Goldfish', 'Hija de pelicula', 'Daunless film suit', 'Jardin Japonais' & 'Blood Doll' (on the set of "Calibre 9")

LISA CHENG INTERVIEW: HONG KONG SPIDER GIRL

Known as the “Hong Kong Spider Girl”, world champion rock climber Lisa Cheng (鄭麗莎) is also an accomplished gymnast, martial artist, successful bodybuilder, and for the last four years has been the reigning queen of the Miss BodyFitness event at the Hong Kong Bodybuilding Championships.

Lisa’s extraordinary physical abilities and multiple athletic activities have led her into a career as actress, stuntwoman and fitness model, as well as sports broadcaster for the Chinese TV program Now Sports. Action Queens is proud to present Lisa Cheng’s first-ever interview in English! Enjoy...

Frédéric Ambroisine: Your real name is Lisa Cheng, but you’re also known as Lisa Sa. How did you choose this name?

Lisa Cheng: Actually, my real name is Cheng Lai Sho Lisa. I used Lisa Sa just for fun on FaceBook and it became really popular. Then people started to call me Sa-Sa, and I liked it (laughs)! That's why I am Lisa Sa.

FA: Does Sa-Sa have a meaning in English?

LC: No, it doesn’t. It’s just a short form of Lisa: Sa or Sa-Sa. I’m fine with people calling me by any name…

FA: You are involved in a lot of sports activities like climbing, bodybuilding, Thai boxing, gymnastics etc... When did you start practicing these sports?

LC: I have ten years experience climbing and four years in body fitness. I think climbing is my strength; I am “Spider Girl”! I started climbing in 1998, started body fitness in 2005, gymnastics and boxing in 2006, and Muay Thai in 2007. I’ve been a member of the Hong Kong Elite Sport Climbing Team since 2002, the Hong Kong Elite Body Building & Fitness Team since 2006, and I was on the Hong Kong Elite Aerobic Gymnastics Team in 2006 and 2007.

Lisa Cheng's daily routine: Working out, jumping and climbing!

FA: Have you ever used your climbing skills in real life for any reason?

LC: Um…. Climbing trees and catching a ball a few times, haha …Actually, I’ll climb anywhere if I think it’s not dangerous. It usually isn’t too high, and it’s just for fun.

FA: Why did you quit the Aerobic Gymnastics Team?

LC: The main reason I quit is because I broke my knee and incurred ligament injuries while training in 2006. I had surgery in 2007. Also, to be a member of the team I had to pay a training fee every month, which was quite expensive. So, right now I choose to do my gymnastics training in China. It’s cheaper than Hong Kong, more extensive, and very, very good.

Lisa Cheng: gymnastics training

FA: What contests have you won so far?

LC: I won the 2006 World Cup Championship in the World Speed Climbing Competition. In body fitness, I was the 2006 Miss East Asian Fitness Champion, and I also won the 2008 East Asian Championship. For the last six years I have won first place in the Hong Kong Women’s Speed Climbing Competition, and for the last four years I have consistently won the Hong Kong Body Fitness Championship.

Lisa Cheng: competing for Miss Fitness at the East Asian Bodybuilding and
Body Fitness Championships (Mongolia 2008/Singapore 2006). Guess who won?

FA: You're also a model, stuntwoman, personal trainer and actress. How do you manage your time?

LC: Right now I’m living in Guangzhou, China and am focusing 100% on training for the August 2009 Asian Body Fitness and Miss Fitness Championships in Thailand (1). I am also preparing to compete in the December 2009 East Asian Games in Hong Kong. I currently work and train full time Monday through Friday: three hours of belly dancing and modeling in the morning, two hours of gymnastics in the afternoon, and two hours of body fitness workout at the the gym in the evening. I’ll probably keep up this work pace until December 2009. On Saturdays and Sundays I sometimes go back to Hong Kong to do some personal training at the gym, visit my family or do other activities.

Lisa Cheng in 2009: strong is beautiful!

FA: Tell me about your action movie role!

LC: I played a hit woman in the 2008 movie “Mutant Cop” (<變種警察> or <狙击黑白森林>) [unreleased movie starring Simon Yam and Michael Miu]. I’m sorry I don’t know the English title!! I was a stuntwoman for this movie, so I used a gun and other weapons to kill a few guys... In the end, their friends shot me back and I died (laughs)! Actually, being an action actress has been my dream since childhood. Now that I am getting older and can afford to obtain more training, I really want to keep learning different skills and continue to improve myself. I want to be ready and able to handle all the different requirements of any job opportunity I might get!

FA: Who are your favorite actors and actresses?

LC: 100% Angelina and her man! I like her character in “Tomb Raider”. She’s elegant, special, beautiful, healthy and sexy. As far as Hong Kong actors, I like Michelle Yeoh and Andy Lau.


Left: Lisa Cheng & Angelina Jolie (montage) - Right: ready for Halloween! (2008)

FA: You also had a role in the movie “Blood Money”. When was that?

LC: The shooting of “Blood Money” took place in December 2008. It’s an Australian action thriller directed by Greg McQualter. They shot it in Hong Kong, China and Australia, so there were three different production crews: one for each country. The action directors came from different countries as well. I knew one of them, Zheng Liu from Beijing. As far as I remember, the story is about a drug dealer who kills somebody’s parents so their son comes back to seek revenge…

FA: What role did you play?

LC: Actually, I just played a pretty chick in this movie….I didn’t have any action! Haha! But I found a lot of guns on the set and wanted to show them some action. So I held a gun, played with my friends, and took some pictures. I love action! I hope to show it in front of the camera, not behind. Haha!

FA: You recently had a role in the comedy “All's Well Ends Well 2009”. Tell me about it.

LC: I play one of Ronald Cheng’s unlucky girlfriends. We shot it in May 2008. I spent nine hours working on my stunt, but it only appears in the movie for a couple seconds! Basically, I get hit by a carpet being carried in a passing car, and get carried away by the carpet! I personally knew a lot of the people involved with the film, and the director Vincent Kok took good care of me because the scene was a little dangerous. But I had so much fun filming that I didn’t consider it as work at all!

Ronald Cheng and Lisa Cheng in “All's Well Ends Well 2009”

FA: What kind of characters would you like to play in the future?

LC: I would like to try all different kinds of roles, but I think I'd be better at doing action movies.

Lisa Cheng: photoshoot for the August 2009 edition of Sportsoho (#7)

FA: When did you do your first TV or movie work?

LC: Let’s see… if I remember right, it was in 2006. Once I had won the World Cup in the World Speed Climbing Competition, more people started to notice me. This has enabled me to begin working in TV and movies.

FA: Do you have a manager or managing company who takes care of all your work, or are you your own manager?

LC: I handle everything myself!

FA: What have you had to do as a stuntwoman? Do you think stunt work is a tough or dangerous job?

LC: I actually don’t have very much stunt experience; just a couple times… but I used to play around just for fun. I feel that being a stunt woman is quite a dangerous job. However, if I am not confident that I can safely perform the required action, I will not take the risk. I have seen quite a lot of people get hurt. I want be an actress more than a stunt woman. I haven’t done much film work but I want to do more in the future. I don’t think my stunt experiences have been very dangerous. I thought it was all good fun: jumping into the sea, getting hit by a car a little bit, getting shot and dying, shooting people, stabbing people with a knife, fighting, climbing... I don’t think this is too dangerous. It’s so much fun! I have never had any stunt training for movies and I have never gotten hurt. But I have been injured during my regular training.

Lisa Cheng: Just some regular “Spider Girl” training!

FA: What happened?

LC: I tore my right knee ligament when I was practicing a high-to-low flip with a rotating landing. I tore my ACL ligament. So sad…

FA: For which TV and movie companies have you worked?

LC: I have worked freelance for different companies, but have spent most of my time at Now TV doing work for their sports program Now Sports.

Lisa Cheng with the Now Sports team

FA: You seem to feel comfortable talking in front of the camera for your TV interviews. Is this natural for you or did you have to gradually learn how to do it?

LC: I feel very natural in front of the camera because I just talk about my real life. I have no special training but I do have a little bit of experience. I have been interviewed by many different sport medias since I was a child.

Edcon Gabriel and Lisa Cheng preparing for an episode for Now Sports (June 2008)

FA: When were you contacted by the TV channel Now Sports to be a TV broadcaster?

LC: I’ve been working for Now Sports since January 2008. When I started, I did voice-over behind the screen once or twice a week for about three months. After that, Now Sports wanted me to sign a contract with them as full-time staff but I didn’t want to work under contract so I refused. Instead I have been doing freelance work for them.

FA: What are the easy parts, or difficult parts, about this job?

LC: I think I can communicate easily with everybody. I have discovered that many people enjoy talking with me and dialoguing. I think that the difficult part of this job is when I’m expected to talk about the rules of a sport I am not familiar with. I need to study the game and memorize all the rules in a very short period of time.

FA: How long do you spend preparing for one episode of the TV program?

LC: The truth is that I never really have much time to prepare. I work under a research team; they give me the information I need right before the deadline, or face to face on the actual day of shooting. So sometimes I need to do some extra research myself.

Lisa Cheng revising before a monologue for Now Sports (July 2008)

FA: Are the episodes scripted or improvised?

LC: They provide me with voice-over scripts for each episode. And they also provide me with recommended questions and reference materials when I interview somebody.

FA: Why did you choose to learn boxing and Muay Thai?

LC: I started boxing because I have a friend in gymnastics who is also a boxer. So it was easy for me to begin. A few months after I started regular training, I had an accident - my knee injury - so I couldn’t train anymore. But I didn’t want to give up on it, so I took a boxing coach course to learn about the theory. At that time I had a friend who was a Hong Kong boxing team committee coach. The Hong Kong team were about to enter a Muay Thai competition in Thailand. I wanted to travel and I wanted to watch fights so I bought a ticket and followed them. I found that Muay Thai is more skilled, more useful and more dynamic than boxing. And I found out that Muay Thai training in Thailand is cheap and professional: very systematic training programs are the norm there. So I started to come to Thailand by myself. I go back from time to time….

Lisa Cheng: Muay Thai Action Queen! (Thailand 2008)

FA: Did you choose to train in Muay Thai in order to attend a Mixed Martial Arts competition?

LC: I worked as a K-1 commentator for Now Sports and have also often watched MMA fights. Doing these things was motivation for me to want to train in fighting. I think Muay Thai is the most harmful fighting in the MMA (laughs)!!

Lisa Cheng & Master Noi: Muay Thai training in Bangkok (2008)

FA: Have you ever fought in real life?

LC: The last time I really fought was when I was a kid… haha! No more after that… I think I changed my attitude after I got into the sports field. It’s been a long time since I have even argued with anyone.

FA: And have you fought in a martial arts competition before?

LC: I have not yet entered a fight competition but I think I will someday. I want to win, so I want to be well prepared.

FA: Women with too much muscle are not really...“feminine”, right? I assume there are different categories and different kinds of training for female bodybuilders. Can you explain a little bit about your bodybuilding training?

LC: I agree that women should not have too much muscle. I’m in the Body Fitness and Miss Fitness categories, which are different from the Bodybuilding category. So I don’t need to build up too much muscle. I need to be more feminine, pretty, sexy, and have a healthy muscle style for the Body Fitness category. So I usually just put a lot of energy into training at the gym: five days a week, two hours per session. Concerning Miss Fitness, we are judged on the level of the physical ability of our bodies. There is a 90-second aerobic session in which you have to show off your physical skills onstage. That’s why I’m learning gymnastics right now. (2)

FA: Is there any female bodybuilder that you like?

LC: Yes! Roongtawan “Sing” Jindasing. She’s a Body Fitness, Bodybuilding and Miss Fitness champion. She’s from Thailand and was my idol when I started out in the field. On top of her multiple championships, I really like her face…and her heart.

FA: Which category do you prefer: Body Fitness or Miss Fitness?

LC: The goal of Body Fitness is to have a perfect body, and Miss Fitness is for showing off physical skills. I like the Miss Fitness category more, but Body Fitness is actually easier for me to win. I hope that more hard work will help me have better results in both categories.

Lisa Cheng:Miss Fitness event, 2008 Asian Bodybuilding and Fitness Championships

FA: I noticed that most of the magazines about Hong Kong movie stars primarily gossip about their private lives. But it seems that magazines about sports celebrities are more serious and respectful. Am I right or wrong?

LC: Absolutely right!! I think everybody in Hong Kong, not just magazines, has respect for athletes. I like my image because I represent Hong Kong when I compete with other countries. On the other hand, regarding movie stars, this is just the way Hong Kong is… Everybody likes to talk about the stars so the media likes to follow them around and expose their private lives.

FA: For which magazines have you modeled? Was it only for Fitness magazines? Or for fashion magazines too? Any other sports magazines?

LC: I have been interviewed by almost all the Hong Kong magazines and newspapers but the interviews were mostly about my life. Occasionally they ask me to do a bit of fashion modeling, which I am happy to do. I have mostly appeared in teen and sport magazines. I have also done photo shoots for catalogues, posters and things like that for different sports companies like Nike, High Peak, Sport Direction, Exxtasy, Orca and SSI.

FA: What commercial and/or fitness videos have you shot recently?

LC: I recently shot an instructional video on how to use the fitness facilities in the Hong Kong Police fitness rooms. It was a project for the Police sponsored by the Hong Kong Government.

FA: How do you feel about the July 2009 cancellation of the Bodybuilding events by the East Asian Games Association?(3)

LC: It was unbelievable! When I heard that the Bodybuilding events were suddenly cancelled, my heart was totally broken! I had been excited and looking forward to joining the competition for an entire year. The East Asian Games Association had decided to host the Bodybuilding events and they were to take place in my home town, Hong Kong. I had East Asian competitor experience and I believed that I would be very successful and do well if I just worked hard. I decided to give up my job and even paid to go all by myself to China to do some hard training. I still feel really sad and disappointed. Now I will attend a different tournament in China. I usually use the China competition to warm up for the East Asian Games, but now I will put all my heart into the upcoming China tournament. I will actually compete in the several Miss China Fitness competitions held throughout China in September and November 2009.

Lisa Cheng - Hong Kong - September 2009

FA: Any other projects?

LC: I tutor school fitness courses because I want to save money for travelling, training and other goals! I also plan to begin preparing to do more work in commercial jobs. I’ll tell you something: I don’t know why, but I have a special feeling that something is coming up for me soon. I really hope so! Haha!

Interview conducted by Frédéric Ambroisine July-September 2009. Edited for ActionQueens.com by Sylvia Rorem and Patty Keung (Gig Creations). Photos: Lisa Cheng's personnal collection. Research for ActionQueens.com: Victor Gee, Adeline C. Kayee, Michael Ortega and dleedlee (HKMDB forum). Mega-thanks to Lisa Cheng for her kindness and patience!

(1) This section of the interview was done in early July 2009. Since then, Lisa Cheng won both the August 2009 Asian Body Fitness and Miss Fitness Championships in Thailand.
(2) Additional comment by Lisa Cheng: “Since the cancellation of the Bodybuilding events at the 2009 East Asian Games, I am now training at the gym seven days a week, two hours or more per session.”
(3) Read more about the cancellation here Bodybuilding muscled out of 2009 EAG (China Daily) and
here Lisa Cheng feels lost at Bodybuildong contest being cu (Ta Kung Pao) (Chinese only)

Translation of above article - Ta Kung Pao - July 22nd, 2009: Hong Kong athlete Lisa Cheng is in Guangzhou preparing for the East Asian Games. She feels very shocked and disappointed that the Bodybuilding events have been cut. When asked to comment regarding the incident, she said, “I was only informed by a friend this afternoon. I feel hurt and almost unable to accept this reality. I’ve only just pulled myself together. Ever since I found out that there would be Bodybuilding events at this year’s East Asian Games I have been practicing diligently. In fact, I am training with China’s Guangzhou body building team right now. I have a lot of advantage in this contest and am very confident I could win a medal. Now that I know the contest has been cut, I feel lost and very upset. Originally I intended to use the East Asian Games as a warm up before I entered the national contest in Thailand. Now I can only focus on the Thailand contest.” There is a rumor that there are conflicts between the International Federation of Bodybuilding and Fitness (IFBB) and the Asian Bodybuilding and Fitness Federation (ABBF). The IFBB has apparently tried to block the official capacity of the ABBF. About this, Lisa comments, “I have heard before that there were conflicts between the two federations, but as an athlete, not everything is under my control. I can only do my best within my own arena.”

Lisa Cheng's Official Website - Lisa's blog on Alive Not Dead
Lisa's videos on Youtube - Lisa Cheng on ThaiBody.com

CANDACE KITA INTERVIEW PART 1: HOLLYWOOD HOTTIE

After playing an American housewife turned Super Villainess in the Fox Kids television show “Masked Rider” while still a teenager, actress and model Candace Kita quickly moved on to sexier characters in movies (“Barb Wire”, “I now Pronounce You Chuck and Larry”) and television (“Complete Savages”, “Son of the Beach”, “Two and a Half Men”, “Nip/Tuck”).

Candace is also a women’s safety advocate and created a weekly radio show in L.A. called Hottie Help with Candace Kita in October 2008. This year she will publish The Hottie Handbook: A Girl's Guide to Safety. She also recently inspired an action comic book, Kyu-Shin, closed a deal with iPhone, is appearing in a 2010 calendar and is launching a cosmetics line for Asian women. Before you read about Candace’s future projects, please enjoy this first part of her interview in which she discusses her modeling and acting careers….

Frédéric Ambroisine: Kita is not your real last name. Why did you change it?

Candace Kita: I changed my last name several years ago after “Masked Rider” when I joined a new agency. People at the agency thought Candace Bender (my real name) varied by only a few letters to the actress Candice Bergen. So it was changed on their advice. Kita means "north" in Japanese. Many times actors change their names because their real names are too close or exactly the same to someone who is already famous. Funny, huh?

FA: You are Japanese-American. Were you born in Japan or in the US?

CK: I was born in the United States and was raised all over including California, Texas, Florida, Belgium and England.

FA: Do you speak Japanese?

CK: I speak very little Japanese unfortunately. I was primarily raised in areas where there weren’t a lot of Japanese-speaking people and didn’t have the opportunity to go to Japanese school on the weekends like a lot of Japanese Americans. Sometimes I watch the Japanese soaps and game shows on TV and can sort of make out what is going on.

FA: How often do you go to Japan?

CK: I’ve actually only been to Japan once; it was a great experience and one of my goals is to go back very soon.

FA: How long did you live in Belgium and England before moving to Texas?

CK: I was in England for two years and I was in Belgium for a year.

FA: Why did you choose to study philosophy and religion in college?

CK: I have always been interested in philosophy. Where I went to school, the philosophy and religion departments were tied together so I ended up double majoring in both. I also have an equivalent to an art minor. After college I pursued a Master’s degree in sociology. But I am lacking my thesis because I got bitten by the acting bug and quit to pursue a career in the dramatic arts.

FA: You started your artistic activities as a flautist. When was that?

CK: I started playing the flute when I was 11 years old. I love music and was interested in a woodwind instrument in particular. I ended up playing in the Palm Beach Symphony Orchestra and had many wonderful experiences because of it.

FA: You also studied sign language. When and why?

CK: I studied American Sign Language in college because I had always been interested in it as a language. It is a conceptual language and the signs really correspond to their meaning. Because of this, I felt like it would be an easy language to pick up. It has actually really helped in acting as I’ve booked quite a few roles doing sign language over the years. I can be seen doing sign language in the movie “VIP” with Pamela Anderson.

FA: How did you get the opportunity to start modeling?

CK: One day I walked into a hair salon with a girlfriend of mine. She was going to get her haircut and I was just along for the ride. I have very long hair and was sitting in the foyer waiting for her. The owner of the salon asked if I would appear in an advertisement for the salon. That was my first job and it sort of went from there. I didn’t initially pursue it at all, but opportunities began to present themselves when I was out and about. I was eventually with the Wilhelmina Agency in Los Angeles for five years.

FA: What did you learn from the agency?

CK: I learned the importance of keeping your book fresh with new pictures all of the time. It is really important to shoot often to get new looks. And it is important to build good relations with clients so they will ask you back each year.

FA: What kind of work did they give you?

CK: I had campaigns for Nordstrom, Marshall Fields, Neiman Marcus, The Little Book, XOXO, Diesel, Chinese Laundry, Brighton Shoes and Accessories, Life Stride. These and others were my main clients that I worked with each year.


FA: When and how did you make the transition into acting? And where did you study?

CK: Modeling opportunities may have presented themselves to me, but beginning to act was a concerted effort. I first had to move to Los Angeles in the 90’s and then began pounding the pavement just like every other actor out there. I have always had a private coach whom I’ve worked with for years and hire him for every theatrical audition. But I’ve also studied with some great commercial and theatrical teachers in Los Angeles. Most recently, I’m taking a comedy class that will begin next month. So it is never-ending studying in a nutshell.

FA: Did you move to L.A. specifically to become an actress?

CK: Yes, I moved to L.A. with the express interest in being an actor. Good thing I didn't know how difficult it would be until I got here or I might have never moved!

FA: Your first movie appearance was in the 1991 film “Stealth Hunters”. How did this opportunity happen? Were you still living in Texas at that time?

CK: Yes, this is a great question. Sometimes things literally fall into your lap. I was living in Texas at the time and was in graduate school. A friend of mine was a special effects makeup artist and considered the best in Texas. His friend did all of the special effects weaponry on “Robocop” which was filmed in Dallas. He had a friend who was directing a film and needed a newscaster. I came in and got the part. Ironically, they changed the end of the film at the last minute and I got cut out.

FA: How easy or difficult is it to work with the right people when you’re a beginner?

CK: I was lucky; within two weeks of moving to L.A. I had both a commercial and theatrical agent. But I also didn't sit around either. I immediately found a bookstore that catered to actors, found an agent and managers book, and made over 80 submissions by mail. I'll never forget. I received calls within a week and had met with over twelve agencies within the next two weeks, and chose my agent and manager then.

FA: "Masked Rider" was your first major role. How did you get the part?

CK: I auditioned five times for the part. This took place over the course of a month. Usually you find out quickly if you’ve landed a role. For this part, every time I went to a callback, I thought that was it and moved on. Then, a week later, I’d get a call to go back again. I was much younger than the role so at first this was a problem for them. At the 4th audition, they paired me up with a few people to see who I looked right with. And the 5th I finally went to network. And after I got the part they had me come in a few times so hair and makeup could play with my look to get it just right for actual shooting.

Candace Kita in Saban's "Mask Rider" (1995)

FA: Can you describe your character in "Masked Rider"?

CK: My character, Barbara Stewart, was married to Hal Stewart. They were the typical American couple, but I was Asian and we had two adopted children, one Caucasian and one African American. We were FOX-KIDS’ first multi-racial family. Our family adopts another son who is from a far-away planet. We don’t know this and all sorts of funny things start to happen because of this. My character was kidnapped to Spider Base in outer space and becomes a villain, Barbaria. She then fights the Masked Rider.

Candace Kita as Barbaria on the set of "Mask Rider" (1995)

FA: After playing the calm, soft, typical housewife Barbara, you go to the dark side as Barbaria. It seems that you had a lot of fun playing the bad girl. How did you prepare yourself to play Barbaria?

CK: Barbara Stewart and Barbaria are two completely different characters, to say the least. I basically prepared myself by getting into the costume. I remember a quote from Jimmy Stewart; he said if he got into the shoes of his character he would become the person. Getting into the costume, which is quite elaborate, helped immensely. Also, as a sidenote, becoming Barbara Stewart was no easy task either. I don't look like Barbara, and was always the first one in the makeup chair at 5:45 a.m. each day. It involved heavy makeup and a laquered hairdo. It looked very simple on camera, but was actually not. A few times we rehearsed a scene early on set before going into makeup. The crew with whom I had worked for over a year did not recognize me.

FA: “Masked Rider” is basically an Americanized version of "Kamen Rider", right?

CK: Yes, the American version took pre-existing footage of “Kamen Rider” in Japan and used it in the new series here in the States. We did three seasons and 40 episodes, including one episode, “Ferbus’ First Christmas”, that won the Film Advisory Board Award for Excellence in Portraying Family Values. The concept was basically an alien from a distant planet, Edenoi, is marooned on earth. While on earth, he is adopted by a kind family, the Stewarts, and learns about life on earth while fighting the evil Count Dregon and his minions. The villains were great on the show and were my favorite to watch.

FA: Were you familiar with "Kamen Rider" before working on "Masked Rider"?

CK: No I was not, and researched as soon as I was told I got the part. It is funny, last July I was a guest at Comicon, San Diego. When I was there I was introduced to the director and producer of the new “Masked Rider” series. Many of the cast members in the new show had also not heard of “Masked Rider” and did the exact same thing I did as soon as they found out they got the part!

FA: Other than “Masked Rider”, you also appeared regularly in two other TV series between 2001 and 2004...

CK: Yes, I was a series recurring in a show for ABC called “Complete Savages”. I play Mel Gibson’s girlfriend, Misty, and die a funny death in three episodes. It is the only time Mel Gibson has acted on American television.

Candace Kita & Mel Gibson: Two Misty's deaths in "Complete Savages" (2004)

FA: You and Mel Gibson did some hilarious spoof safety videos for the series. Four years later you have your own radio show about safety, Hottie Help. Is this a coincidence?

CK: I know; it is funny. I realized that a while back too. Mel Gibson was executive producer of the series so he would cameo as Officer Steve Cox. Each week I died an unusual death like Kenny in “South Park”. So it is ironic. Mel and I actually spoke about people behaving inappropriately, but little did I know I'd write a book about it.

Mel & Candace in "Complete Savages" (2004 - Episode: "Thanksgiving with the Savages")

FA: How did you meet Mel Gibson for the first time, and how was it to work with the star of “Mad Max”, “Lethal Weapon”, “Braveheart” and “Payback”?

CK: Mel is a super nice, easy going, energetic person. He has more energy than almost any other person I have met. I met him the first day on set and he was full of life and made me laugh. He is actually known for being a prankster on set. He had me put on fake chest hair in the makeup department once for fun. Then in rehearsals for the hot tub scene, he told me to very casually take off my robe and get into the tub with him. The crew was so shocked for a moment no one said anything. Then, they all burst out laughing.

Candace & Mel on the set of "Complete Savages" (2004 - Episode: "Hot Water")

FA: Your “Complete Savages” safety videos are hilarious! They should have appeared more often!

CK: Mel had plans for many more episodes with me, but the series was cancelled. His next episode involved me getting attacked by giant ants at a picnic. That would have been super! And another episode where Officer Steve Cox has flashbacks and imagines me in a rice patty with a gun and huge bamboo hat on. I told him that was too stereotypical and I didn't think it would make it on air. Haha. I was also a regular on “Son of the Beach” - a spoof of “Baywatch” - on FX. I did five episodes with Tim Stack.

Candace Kita in "Son of the Beach" (2001 - Episode: "Rod Strikes Back")

FA: In the beginning of your acting career, you appeared briefly in the great erotic thriller “Wild Side” starring Christopher Walken, Anne Heche, Joan Chen and Steven Bauer...

CK: My part was cut out of “Wild Side” although I appear in the credits.

FA: Actually, you appear in the 110-minute director's cut of "Wild Side"! I read that the movie was taken from director Donald Cammel and was cut by the studio. He was so upset that he committed suicide. Four years later in 2000, the original editor restored it and made the director's cut available on DVD (Tartan UK). Did you know about that?

CK: How funny, I was cut out of one version and not the other! Yes, I knew about Donald Cammel committing suicide a few years after the fact. I knew his wife, China Kong, and felt badly for her afterwards. I don't know what she is doing now as it has been several years. Donald co-directed a very good movie starring Mick Jagger in 1970, “Performance”.

Christopher Waken, Candace Kita and Anne Heche in "Wild Side" (1996)

FA: You’re very funny as a prison convict in an episode of "Pepper Dennis" with Rebecca Romijn. What was it like shooting?

CK: It was interesting because we shot for one week in a real women's correctional facility in Los Angeles; it was high security and very interesting being in a real jail. Haha. We wore the real orange jumpsuits and were in tiny 9 x 12' cells. It made me realize you really don't want to ever go to jail; the food is just terrible!

Candace Kita and Rebecca Rominj in "Pepper Denis" (2006)

FA: You’re going to be in the very last episode of "Nip/Tuck". Can you tell me more about it?

CK: I am only allowed to say that I am a guest star on the final episode of “Nip/Tuck”. This is the very last show of the entire series, not season, and will show sometime in 2010. They said it is a "cheeky" ending to a "cheeky" series. I had actually never seen an episode until after I got the part. It is a very tongue-in-cheek show. The cast is great and Famke Janssen (“X-Men”) also has a role in the series finale.

Candace Kita on the set of "Nip/Tuck" (2009)

FA: Have you always had full control of your image as a model and actress?

CK: No and this is something that is difficult. Sometimes it is very difficult to control your image. I suggest to new models to always read the contract carefully; take the time to read it fully. And if you have any questions, ask.

End of part 1. Coming soon: Candace Kita: The Hottie Helper. In this second and final part of her interview, Candace will talk about her women’s safety radio show, Hottie Help with Candace Kita; her charity work with Hotties with a Heart; the Comic Con; the action fantasy comic book Kyu-shin, and her many other new projects!

More Candace Kita's photos by Mike Rollerson on Flikr

Interview conducted by Frédéric Ambroisine in July/August 2009 and edited by Sylvia Rorem in September 2009 for ActionQueens.com. Thanks to Mike Rollerson & Candace Kita.

Candace Kita Official Website
Candace's Blog (AliveNotDead)
Follow Candace on Twitter
Candace Kita on Facebook
Friend Candace on My Space
Candace’s videos on Youtube
Mike Rollerson photos on Flickr
Hottie Help Poscast (LA Talk Radio)
Hottie Help on MySpace
Hottie Help on FaceBook
Hotties with a ♥ on FaceBook

MAGGIE Q: THE "NAKED WEAPON" INTERVIEW

While “Naked Weapon” may not be the greatest movie ever made, it nevertheless made a deep impression on Hong Kong audiences and, perhaps more importantly, gave Maggie Q her first major acting role. Directed by Ching Siu-Tung (“A Chinese Ghost Story”, “Swordsman II”) and produced/written by Wong Jing (“Naked Killer”), “Naked Weapon” mixes Hollywood high-tech blockbuster with Hong Kong style exploitaction and is the movie that showcased Maggie Q’s talent and kickstarted her international career.

This is the second part of a pre-Hollywood Maggie Q interview done in 2004, two years after the Hong Kong theatrical release of “Naked Weapon”. Parts of the following interview can be found on the “Naked Weapon” French CTV International DVD (the 20-minute documentary entitled “Maggie Q & A” - in English with French subtitles) released since June 2007 (1). The full “Naked Weapon” interview with Maggie Q is now published for the first time on the Action Queens website! Enjoy...

Frédéric Ambroisine : How did you get involved in “Naked Weapon”?

Maggie Q: Hmm, it was actually Wong Jing who first came to me with the script. I didn’t like the script when I got it. I hated it, I literally felt like, “It’s out the window.” And then what happened was, I didn’t want to work on a project that included the kind of content that it had at that time. So Wong Jing went to Media Asia and said “Look, we want to do this movie; you guys should produce it.” Media Asia agreed to do it. And because I signed with them as a company, it was a very smart move on Wong Jing’s part (laughs). I had a certain amount of films I had to complete for my contract, and I told Media Asia what I thought of the script: “Look, I don’t like it, and I know I have to do films for you but I don’t like the script, and unless it’s gonna change, I’m not doing it.” They said, “Okay, let’s talk.” I have to tell you, it wasn’t really fighting, but there was a lot of discussion before I would actually take the film. I felt that the premise of the film was really good, but it went off on certain tangents that were unnecessary. So we went through a lot of negotiation and months of changing the script, rewriting and redoing the concept, and when it was done I finally agreed to take the script annd we ending up doing it. In the end, I’m really happy I did it because I have a lot of respect for the director. We got on really well, and he pushed me really far. He pushed me further than a lot of people have done. It was difficult, but at the end of the day you’re very pleased that it happened.

Maggie Q in "Naked Weapon" (2002)

FA: What was it like working with Ching Siu-tung?

MQ: If you know anything about Hong Kong films, you know he has a reputation as the toughest action director in Asia. It was very tough on the set. He was always very tough on me. It was difficult for me to ever back down because I knew there were things that were not possible for me to do. But it’s almost as if he believed in me more than I believed in myself. And because he did, I was able to do things that I never though I would accomplish in an action film. And I’m happy about that. I’m so grateful to him.

Tony Ching Siu-tung & Maggie Q on the set of "Naked Weapon"

FA: What about the things in the script that you didn’t like and that you wanted changed?

MQ: We changed a lot of things that I didn’t like. There was only one thing that they kept that I did not like. You can’t win them all, I have to say. I would say I got 80% of what I wanted removed from the script, and I had to compromise on the other 20%. Which I understand. I’m not completely happy with the film. There are things I wish they would have re-edited. But as far as the action goes, and as far as the drama goes… it’s always difficult to put drama into an action film. It’s a very fine line. Sometimes it can be very tacky; sometimes it can be very good. It really depends on being able to balance it correctly. I think Ching Siu-tung did a good job; he’s not used to directing drama and action together, so it was okay!

FA: Did you practice martial arts before you made this movie?

MQ: The funny thing about Hong Kong movies is that there are two things we don’t have: time and money (laughs). So when a production is going to go, they’re gonna go right away, they don’t want to waste any more money. Which is smart, but it’s difficult for us actors sometimes. Because, I mean, you need time; there is a process. Especially with action: you’re gonna need time to go over it with the choregraphers, and I never got that time. I mean, when I took the film we started production a week later, and that same week I was finishing up another project. And boom, I just went right into working with the toughest action director in Asia and doing some of the toughest sequences I’ve ever done in my life! It was very difficult, I have to tell you. On my down time, when I was not onscreen, I was working it out, trying to get it down, going through it with the action choreographer and my stuntwomen, and all those kinds of things. It was completely exhausting; I never had a moment to rest because I was always worried about my action on screen. Ching Siu-tung never wanted doubles to jump in front of me because I was the star of the film. He’d say, “I want to show your face. I want to show people that this is you, this is what you’re doing, and this is what we’ve turned you into. That’s gonna make me proud. I don’t want doubles, I want Maggie.” And I was like, “Jesus!” (She laughes and makes the sign of the cross). It was an honor for me that he thought I was so capable, but for me it was terrifying. I really wish I had time to do more training. If I did, it would probably have been even better. But I think, considering the limited amount of time and money we had, and the lack of experience and all these things, it came out really well.

Ching Siu-tung's "Naked Weapon" (2002)

FA: Did you discover that you had any special skills during your training for “Naked Weapon”?

MQ: I did actually. To be honest, before I started training in this way, I was the most inflexible person you could ever meet in your life. I was an athlete, so I was strong. I was a runner and a swimmer, and did things like that. Normally when you’re strong, you’re not usually flexible. You’re either one or the other. If you’re both, you’re pretty special! (laughs) I wasn’t. It is hard to pinpoint what you are good at. Ching Siu-tung told me that normally, smaller movements make women look a lot better onscreen. But we found out when I was filming that bigger movements and very dramatic moves for some reason made me look better as a woman. So he started training me with the men instead of with the women. He wanted me to get the male techniques down instead of the female techniques because it was visually better for me. That was very strange because men are tougher (laughs). So it was quite a ride. There was not a night I went home when I wasn’t bruised from head to toe, or bleeding, or had lumps somewhere. It was like five months of boot camp!

Ching Siu-tung's "Naked Weapon" (2002)

FA: Did you watch any previous Ching Siu-tung movies before or during the shooting?

MQ: Ching Siu-tung actually started out as an actor. He was an action actor for the Shaw Brothers back in the day. He did two movies which were very old and very funny. My friend, who is one of the Shaw’s sons, dug them out of the archives for me. I actually brought them to the set and played them for everybody, and he was so mad at me because he’s very shy about being known as an actor! He didn’t want anybody to know. He’s amazing; he is able to tell stories with his action. I love that.

Tony Ching Siu-tung & Maggie Q on the set of "Naked Weapon"

If you look at Hong Kong movies from 20-30 years ago, that’s what we were doing at that time: we were telling stories with movement. It was a very physical kind of storytelling. Hollywood is just now starting to catch on to that. And now everybody says “Oh it’s so special, look at “The Matrix”, look at this and that.” But in Hong Kong we were saying, “That’s not special. We’ve been doing that forever!” (laughs) I find it very interesting that people who have been around for so long, like Ching-Siu-tung, are still able to reinvent themselves and tell new stories, modern stories. The kind of movies we make now are what they were making back then. It’s just a transition in their lives. It makes me really proud to be able to work with them because I’m working with a piece of history.

Maggie Q on the set of "Naked Weapon"

FA: What was this movie with Ching Siu-tung that you found?

MQ: It’s called “Monkey Kung-Fu”! (laughs) Oh, if you could get a hold of this movie! He actually looked a bit like Jackie when he was young. He’s a small guy and he moves very well. It was unbelievable. It was so nice to see that he’s been in front of the camera as well, so he knows how I feel. Even though he’s tough he knows how to empathize with actors. So I finally learned where that empathy came from.

FA: Ching Siu-tung was also in the Shaw Brothers movie “Come Drink With Me” with Cheng Pei-pei, who plays your mother in “Naked Weapon”...

MQ: Yeah! But she didn’t get to do any action in “Naked Weapon”, which is really unfortunate, because she’s the best! She was so mad at Ching Siu-tung on the set. She said, “Next time we work together, I’d better be fighting!” And he said “Okay, I promise, I promise!” (laughs). She was great in “Naked Weapon”; I really liked her.

Cheng Pei-pei in "Naked Weapon" (2002)

FA: Have you seen any of Cheng Pei-pei’s movies?

MQ: Absolutely. I didn’t know who she was before “Crouching Tiger, Hidden Dragon” because I was not a Hong Kong film buff. When I saw “Crouching Tiger” I asked, “Who is this woman?!” They told me she is from Hong Kong and she has daughters who are martial artists and I said, “Oh my goodness!!” I asked a friend of mine who is a producer to dig up her old stuff. He edited a bunch of stuff together for me to see. This woman blows my mind! The way she moves! She’s not a small woman: she’s tall and she’s substantial. It’s amazing, amazing. She’s great!

FA: Most of the dialogue in “Naked Weapon” are in English. I guess this is for the international market? Who made this decision?

MQ: It was Media Asia. This thing [exploitaction] was sort of catching on in the west, and they wanted to use new generation actors. You know, British-born Chinese, American-born Chinese, Canadian-born Chinese. All those people who are coming back to Hong Kong and are bilingual. They wanted to make a film that showed the international audience that we have talent here, and that we can also speak English, do action, and that we’re not confined to one genre. There is an eclectic mix of people that live in Hong Kong, and we’re able to make these sort of movies on a Western level without any budget. I mean, if you look at what we did with “Naked Weapon” with the budget we had… people in the West would die if they knew how much we spent on that movie! It looks like a bigger movie because we made it look like a bigger movie. But it’s not a big movie (laughs). It’s amazing. I’m really proud of what we do in Hong Kong because we don’t have much, but we still get it done. And when you’ve worked in an industry like that, you can work anywhere.

FA: What about the eroticism in the movie? Did you have any problems with the “hot” scenes?

MQ: I didn’t have any problems with the love scenes or things like that because falling in love and being with people in that way is a natural part of life. So that wasn’t a very big problem, except logistically with what you can and cannot show. I did have a problem with some of the violation scenes. I knew what they were trying to do with it. I knew they were trying to prove what these girls had been through. But I thought the execution was not right. It really could have been edited out. Because if you don’t it execute it right, it doesn’t mean anything to the audience. It’s just gratuitous violence and sex. And that’s what I felt about it. I’ve never had too much of a problem with love scenes because I think love is a big big part of life, and it comes up in every single movie all the time. That wasn’t a big problem. The other stuff was very difficult for me.

Daniel Wu & Maggie Q in "Naked Weapon" (2002)

FA: What was your reaction when you saw “Naked Weapon” on the big screen?

MQ: I hated seeing the entire movie onscreen! I went to the premiere and… I find myself sometimes looking away whenever I see myself onscreen. Because it’s very odd. And in addition to it being odd, you’re always your worse critic. In whatever business you do, you’re always the one that is hardest on yourself. You think, “maybe I should have done that, or maybe that wasn’t right…” But, when I saw it I thought, “You know, honestly, being in the movie and knowing the conditions we worked under, we really belted it out, didn’t we!” I was really surprised how it turned out because I knew how difficult it was to make. And when you watch it on screen, it doesn’t seem that way. I think that’s the magic of movie making: that we are fooling you guys (laughs). I think we were able to do that, and I was really happy. To be honest, I was most pleased with the action. The action is, to me, the highlight of the film and the thing I’m most proud of.

Maggie Q in "Naked Weapon" (2002)

FA: Do you have something to say to readers about to discover “Naked Weapon” and Maggie Q?

MQ: Oh, my Goodness!!! (laughs) Oh God, I hate being put on the spot! Simply, I hope they will enjoy it. I really do. It was a tough film to make. It’s not the best, but look out for me! I’ll be coming out with bigger and better stuff soon!

Interview conducted in 2004 by Frédéric Ambroisine at The Drop (Lan Kwai Fong, Hong Kong). Edited in September 2009 by Sylvia Rorem for ActionQueens.com
Thanks to Antony Szeto, Colette Koo, Bey Logan, Laurence Ambroisine & Maggie Q.

(1) The French DVD of “Naked Weapon” will be re-released in October 2009. The movie is also available in UK (Hong Kong Legends), Germany (Ascot Elite) and of course, Hong Kong (Mega Star)

• “Naked Weapon” UK trailer (1:47)
• “Naked Weapon” Hong Kong trailer – English version (3:16)
• “Naked Weapon” Hong Kong trailer – Cantonese version (2:22)

Maggie Q Pre-Hollywood Interview (Part 1)

KATE FREUND INTERVIEW PART 2: COMEDY CENTERED

In the second and last part of her interview, D.I.Y. writer-director-actress Kate Freund talks about some of her great Channel 101 (unhopefully) rejected shows, the TV series “The Sarah Silverman Program”, Steve Agee, animation, music, and her new projects. Enjoy...

Frédéric Ambroisine: Five of the eleven shows that you did for Channel 101 have been successfully screened (“Pussy Talk”, “Mega Bitch Meltdown”, “The Day My Boyfriend Became”, “Turdy Longbows” and “The Vacationaires”). What are the titles of the unselected six others shows, and where can they be seen?

Kate Freund: Oh the list of rejected shows. I made “Astral Girl”, “Cast or Kill”, “Anna Manesia”, “Enders of Love”, “Death's Best Friend” and “Sushi Rocka”. Some of them I put up on my youtube channel, some of them lives on tape never to see the light of day.

Kate Freund in "Anna Manesia" (2007)

FA: “Anna Manesia” aired on VH1 in a TV program called Acceptable TV. Can you tell me more about it ?

KF: Acceptable TV was a sketch series that ran on VH1 for one season. Each week an internet audience would pick a user generated short that they wanted to see on TV. “Anna Manesia” was selected to play in the first episode. The plot for “Anna Manesia” revolves around a girl (played by Amy Roiland) who gets hit by a car and looses her memory. Instead of taking her to the hospital my character tells her she is a robot and forces her into slavery.

Amy Roiland as Anna in "Anna Manesia" (2007)

FA: How many “Anna Manesia” episodes did you make?

KF: I only made two episodes of “Anna”. The second Episode I think I shot in a day on a whim.

FA: Episode 2 can be seen on Rob Schrab's Youtube channel, but what happened to episode 1?

KF: For some reason, the first episode of “Anna Manesia” was yanked down from Youtube. I need to re upload that, thanks for reminding me.

FA: In “Death’s Best Friend”, you play... Death! Where did the idea come from?

I was at the gym and I was thinking about what if you were like the angel of death and didn't know it and slowly all of your friends started dying off. The I thought, maybe it would be more interesting if it was this kinda nerdy, sweet girl who's best friend was actually death. I just loved the concept of someone saying they're death's best friend and then having it be literal. It is unfortunate that this show got rejected because I really liked Kelsy Abbott and JD Ryznar in it.

“Death’s Best Friend” artwork by Hedzo (2007)

FA: All the work you've directed are obviously personnal, but what is your most personnal work so far among all your shorts so far?

KF: I think, “The Day My Boyfriend Became”. I was the most nervous about that project because I was the only girl on set. I was working with so many talented comedians and I was worried that they wouldn't think it was funny. I really tried to be as over prepared as possible and make the shoot go by quick. It's difficult when you are working with so many people, trying to direct and then act in scenes. I just wanted everyone to have a good time. I think that is the trick with actors. If they have fun the first time they work with you they will come back again.

Kate Freund in “The Day My Boyfriend Became” (2009)

FA: How did you get involved in the “The Sarah Silverman Program”?

KF: I have the lovely, Sarah Silverman to thank for casting me in her show. I just was in the right place at the right time and she thought of me.

FA: Did you know her previous work like the movie “Jesus is Magic”?

KF: I saw “Jesus is Magic” in the theater and thought it was hysterical. I also remember her from “There's Something About Mary” and thought wow, this woman is funny. I’m really fortunate to get to be around her when she performs. Sarah is so fearless on stage. She’s really an inspiration because she’s a writer, a singer and can play the guitar. She’s a true entertainer in addition to being a pretty face.

Sarah Silverman and Kate Freund in “The Sarah Silverman Program”

(Season 1 , Episode 3: Positively Negative)

FA: Do you think “nasty humour” (“Borat”, “Sarah Silverman”...) is better accepted nowadays?

KF: I think people just want to laugh. “The Sarah Silverman Program” can be nasty or raunchy but it usually is juxtaposed with something sweet or tragic. I don’t know, the second you start analyzing why something is funny, it sorta looses its humor. For me, comedy is like a reflex test. When something is so funny, your body just reacts to it.

FA: You played one character in Season 1 of “The Sarah Silverman Program” and another one in Season 2. How did that happen?

KF: Second season, I did the Margaret character at the table read. I was just subbing in, because they hadn't cast that character yet. When they cast Carrie Aizley, they thought it would be funny if I was her minion because we had a similar haircut and coloring. I just got really lucky.

Kate Freund and Carrie Aizley on the set of “The Sarah Silverman Program”

(Season 2, Episode 1: "Bored of the Rings") - Photo by Steve Agee

FA:Can you describe both of the characters that you played? (Photo below from Season 1 , Episode 3)

KF: First season, I played Whitney. She works for Sarah as an AIDS awareness volunteer. During a meeting, I say something that makes Sarah feel like I am challenging her authority and she fires me. I get her back in the end when I throw a tomato at her during a rally for AIDS.

Second season, I was cast as Margaret. She’s an uptight, Christian conservative with an extremist agenda. Sarah mistakes my character as an angry lesbian and doesn’t realize that I am helping Carrie’s character plan to blow up an abortion clinic. It was fun, I got to wear an ugly pair of ridiculously high-waisted pants and have a gun.

FA: Did you follow the script 100%? Or did you add some personnal elements or improvise?

KF: The scripts are so funny that you don’t want to go off page. However it is a pretty loose set and they give you the opportunity to make the character your own.

FA: Did you also work on the third season of “The Sarah Silverman Program”? (Photo below by Kate Freund - 2009)

Yes, I cameo as a waitress who gives Sarah a dirty look when she finds out Sarah is a bed wetter. I also did the voice of Stu the crab. They are still shooting the third season. But so far, I have been a drug induced partier and a few weeks ago, I helped choreograph a dance piece between Steve Agee and Brian Posehn. Those two guys are so, so funny. I also contributed some T-shirt designs for Sarah to wear this season.

FA: Steve Agee is best known now for his work on “The Sarah Silverman Program”, but you also collaborated with him before that on one of his 101 Channel shorts, “Just The Three Of Us”. Can you tell me more about him?

KF: Steve Agee is an American comedian. He's hilarious and just an all around great guy. I've worked with a lot. He is the voice of Treenie from “Enders of Love”, he was in the VH1 version of “Anna Manesia”, and he did me a huge favor and actually is the tall monster in “Mega Bitch Meltdown”. He's a great guy to have on set because he's funny and takes awesome pictures. This last year, I animated a teaser for his project he is doing with Matt Berry. Berry is an English comedian and the two of them write insulting songs about each other. It's pretty funny and the songs are really good.

Steve Agee and Kate Freund - Photo by Kate Freund

FA: You edit your own movies. Do you do this because you have no choice or because you like it?

KF: When it comes to editing, it’s too easy to pass it off to someone else. I have worked with director’s who have absolutely no vision or concept of what they are doing and the shoot is terrible but then they hand it off to an editor and they make it into something incredible. It’s really unfair, I feel like so many times, directors get the credit when the editor is responsible for making the film watchable. That being said, I never want to be at the mercy of an editor. When I was 22, I was producing an entertainment tonight like show called “Rough Cut LA”...

Kate Freund in “Rough Cut LA” (2005)

...I was working with my editor and I wanted a series of fast, quick cuts that would flip back and forth between the inside of the club and the outside signage. The editor looked at me like I was an idiot. He said, “Um do you know how long and how many cuts you would need for it to flicker back and forth like that? I don’t have time to do that and besides it looks good already. I mean, I guess I could do it if you want but it will be a waste of time.” I felt stupid, so I said it was fine and we called it a night. I went home and was all bummed out. I told Rob what happened and he said, “It’s called a blink filter. You just slap it on the clip.” I was stunned. The editor just wanted to go home early. I never want to be in that position where I have to compromise what I am doing because I don’t know the software. From that day forward, I learned how to edit.

Kate Freund in a Channy Special for the 2008 Channel 101 Awards

FA: You direct both animation and live-action films. Which one is more difficult to do?

KF: With animation, you have full control. If you forget to get a shot, you can just draw it up real quickly. I get more frustrated when I shoot live action. I work with a very small crew but even still the idea of a re-shoot because we forgot something always makes my stomach drop. Also with animation, you don't have to worry about locations, getting all your actors there at the same time, losing your daylight or weather conditions.

Kate Freund's “Enders of Love”

FA: Doing Animation requires time and patience. So you must actually be a very calm person, not at all like the characters that you’re usually playing?

KF: I drink a lot of caffeine when I'm animating. That helps me focus. My favorite tea is Yerba Matte when I'm animating. It's super strong but it doesn't make me feel like I'm having a heart attack. It's hard to be tethered to a computer for more then a few hours without getting distracted and start looking up crap online. Doing animation by yourself can be very lonely.

FA: Are you working on Mac or PC? (Photo below by Matt Freund)

KF: I'm a Mac girl. I use the MacBook Pro for editing and animation. The software I prefer is final cut and after effects. I'd love to learn Maya but I don't know when I would find the time. I have a habit of picking up too many hobbies.

FA: When did you start to get involved in animation and special effects?

KF: Sevan Najarian mentored me with animation. I always enjoyed drawing little cartoons. My first cartoon was a music video for Rob’s birthday. It featured all of my friends dancing on a green screen to the song Pretty in Pink. I animated the singer. It’s so wonky but I still like that video. I followed that up with another animated music video for The Magnetic Fields. I just did it for fun, because I loved the song so much and was bummed there was no music video. I thought if I animate one, it would be a great opportunity for me to practice using after effects. Little did I realize, it's more difficult to sync up the mouths when there is music embedded in the vocal track. I couldn't scrub through the audio so I had to listen to the song over and over and over again just to get the mouth movements correct. It's really a testament to how great The Magnetic Fields are. I listened to that song probably close to a thousand times and still love it. It’s been pretty well received on youtube and has over 80,000 hits. The band even contacted me and thanked me for the video so that was beyond cool.

Kate Freund's music video for “I Don't Want To Get Over You” (The Magnetic Fields)

FA: By the way, why did you choose to learn the banjo?

KF: I always wanted to play an instrument. I played drums very briefly in a band in college but then got kicked out. I was over at my friend Kevin's house and he had so many instruments on his walls. I saw the banjo hanging there and he let me borrow it. I think this was around 2004. My brother is super cool and for my birthday got me my banjo. Actually we just wrote a new song together titled, “Damn You Woman”. It's up on Rob Schrab's youtube page.

Kate Freund in “Mega Bitch Meltdown” (2007)

FA: Who are your favorite music artists /bands?

KF: The Magnetic Fields obviously. I like The Mountain Goats, Tegan and Sarah, Bright Eyes, ELO, John Lennon, Elliot Smith, Buddy Holly, Coconut Records and I just started to listen to Chad VanGaalen. He is an animator and musician. I'm obsessed with his song "Molten Light".

FA: How do you split your time between your personal projects and your paid jobs? (Photo below by Sammy Primero - 2009)

KF: I don't have weekends. My creative projects are how I socialize. I usually hang out with the people who I like working with and we spend our time being creative instead of going to the beach or shopping.

FA: Because you’re creating puppets and doing animation, do you ever think about making a puppet animation movie?

KF: I'd love to do that some day.

FA: You just did a short horror? Can you tell me more about it?

KF: “Debbie” is an experimental Horror Film. It's about a creature being held against her will and forced to listen to this agonizing voice that represents the disconnected upper class. It's a surreal torture film. What was interesting for me as a participant in the project was I was the body of the creature and also the voice of the tormentor. To be honest, I love playing monsters or creatures. I spent 6 hours completely blind for the “Debbie” shoot but loved every minute of it. “Debbie” is directed by Jonathon Sims. I met him about 5 years ago when I cast a horror project. He just called me out of the blue and said:"Do you want to dress up in a Quinceniera dress and play a tortured blind creature? ". The short should be up online in September 2009.

Kate Freund on the set of “Debbie” (2009) - Photos by Robin Von Swank

FA: What are your new projects? Your next projects?

KF: Right now I'm working on a new cartoon, a pilot and a baby blanket for my sister.

Interview done in July/August 2009. Thanks to Kate Freund, Matt Freund, Sammy Primero, Robin Von Swank, Hedzo, Channel 101 & Comedy Central. Check out the first part by clicking on the picture below.

Kate Freund: The 101 Connection

Some Kate Freund's streaming videos:

"Anna Manesia": Episode 1 - Episode 2 - "Mega Bitch Meltdown": Trailer - Episode 1 - "The Day My Boyfriend Became": Episode 1 - "Turdy Longbows": Episode 1 - "The Vacationaires": Episode 1 - Episode 2 - "Pussy Talk": Episode 1 - "Water and Power: Miami": Episode 1 - Episode 2 - "Just the Three of Us": Episode 1 - "The Pop": Episode 1 - Episode 2 - Episode 3 - Kate Freund's Converse Ad - Magnetic Fields: I Don't Want To Get Over You - "Sushi Rocka" (Short) - "The Lonely Sink" (Short) - Holiday Song (Animation / Music Video)

"THE DESCENT 2" : BLOOD AND (MONSTERS) SHIT

Today was held the very first French press screening of “The Descent: Part 2”, the efficient sequel of Neil Marshall 2005 spelunking claustrophobic horror monster movie. This sequel marks the directorial debut of Jon Harris, who worked for the last 15 years as an editor (He did in particular, Guy Ritchie’s “Snatch”, Matthew Vaughn’s “Layer Cake”, James Watkins’s “Eden Lake” and the first part of “The Descent”).

If you watched the director’s cut of “The Descent”, you probably know that there’s no way to make a sequel to it, at least with the same characters of the first film, because they all died or were about to die, lost in an underground labyrinth of tunnels and caves, populated with blind angry/hungry devil-esque creatures.

But it was finally decided that “The Descent: Part 2” would be a direct follow-up to the North American version of the original film, where the character of Sarah Carter (played by Shauna Macdonald) succeeds to escape from the monstered caves.

Sometimes you have to let go.

Still, why would she go back in hell instead of staying safely at home? Well, the scripwriters had the practical idea to make her amnesiac. So basically, after her escape, heavily traumatized and covered in (others’s people) blood, Sarah is questionned by two cops, and is obviously suspected by one of them, the veteran Vaines (Gavan O’Herlihy). The other one, Elen Rios (Krysten Cummings) who’s also a mother, feels empathy for Sarah (who has lost a child in an accident one year earlier) and think she has nothing to do with the missing of her friends.

Sarah is going back to hell.

When a good cop dog find the entrance to an old well at the place of an old farmer (Michael J. Reynolds), Vaines decides to go underground and look for the missing girls, with Elen, Sarah and also a rescue team, composed by the experimented Dan Sheperd (Douglas Hodge) and two younger volunteers, Cath (Anna Skellern) and Greg (Joshua Dallas).

Deep underground floor please.

Then, you probably guess how things will go. By the time Sarah will start to recover her memory, very uncool things will happen, and mostly to human beings. In the dark and oppressive depths of the unknown cave system, people will be lost, stuck, chased, scratched, dismembered, shitted on (litterally), bitten, and eventually eaten, unless they fight back...savagely.

Will they make it?

“The Descent: Part 2” will be released in the French theaters on October 14th, 2009

KATE FREUND INTERVIEW PART 1: THE 101 CONNECTION

If you know the great Comedy Central TV show “The Sarah Silverman Program”, you surely have seen Kate Freund in a couple of episodes from seasons 1 (Positively Negative) & 2 (Bored of the Rings).

But if you’re familiar to the short film festival Channel 101 and its website (created by Dan Harmon and Rob Schrab – who also co-created “The Sarah Silverman Program”), you probably have seen her a lot more, since she directed and/or played in numerous hilarious short movies since 2005, including her action horror “Mega Bitch Meltdown” (Super Chicks vs. Zombies), the Swedished “Turdy Longbows” (the “Pippi Longstocking” of the new millennium) and the totally insane “The Vacationaires” (the part 2 was just put online).

Here is the first half of the two-part interview of this multitalented artist who likes to make movies in the living room (Kate's pink hair photo by Sammy Primero).

Frédéric Ambroisine: Is your name Freund German?

Kate Freund: My last name is German for “friend”. I'm German, Italian but I was raised in Los Angeles my entire life.

FA: You are an actress, director, writer, editor, music composer, banjo performer, producer, animator, make-up and digital effect artist, costume designer, casting director and illustrator. Did I forget something?

KF: I also make little stuffed animals and puppets. I sell the stuffed animals through www.katerdoll.etsy.com Also, if you watch “The Sarah Silverman Program”, there is a puppet named Ookie that I made.

Rob Schrab, Ookie, Kurt Scholler, Chris Romano - "The Sarah Silverman Program"

FA: Among all those activities, what was the first one who attracted you? The one that gave you the desire to work in the entertainment business?

KF: When I was little, I hated school. I didn’t see the point in going. It felt like I was doing a bunch of work and not getting paid for it. When I was six, some kids from a higher grade came into our classroom and said, “who is trying out for the talent show?” Several kids raised their hands and got to leave class. Obviously, I wanted to get out of class and I raised my hand. Sure enough I was dismissed. I couldn’t believe it. They just let me leave because I said I had a talent. Something sorta clicked in my head, if you had talent you could get out of doing normal work.

They lead me into the auditorium and put me on stage. Then said, “what’s your talent?” Honestly, I didn’t have one so I faked it. I started singing and acting out the song, My Boyfriend’s Back. Unfortunately, I couldn’t remember the song lyrics so I just made up my own hoping no one would notice. I thought for sure that they would be mad at me for acting like I had a talent but everyone thought it was funny. They actually thought it was all part of my routine and put me in the show. From then on, I said I wanted to be an entertainer.

Kate Freund by Matt Freund (the previous and next one too)

FA: Did you study acting or filmmaking?

KF: From around 9-15, I performed regularly at The Santa Monica Playhouse. Then for some reason, I lost all interest in theater and starting studying film acting from David Wells and Sally Piper and did workshop classes with my then manager Hines and Hunt. I almost didn’t go to college because I was cast in a pilot that was a “sure” go. Like every “sure” go, the show didn’t get picked up and it really bummed me out. I felt like I had put so much time and energy into acting that it was time for a break and enrolled in the University of California, Irvine as a Biology Major. I had always been interested in science and for some reason that seemed logical. However, for Christmas that year, my dad got me a video camera and I started making little movies with my dorm mates. I lasted one more quarter at UCI and then transferred to USC to study creative writing and screenwriting. At USC, I collaborated on over 30 student films. It was a great environment but honestly, I think the best film school out there is Channel 101 and it is free.

FA: On your “official” – but incomplete - filmography (IMDB), you started to work as an actress, and then a casting director? How did that happened?

KF: When I was 17, I was cast in “Once & Again” as an out of control party girl. It was a bit part but I really enjoyed working and getting out of school. The director was a family friend and knew I was interested in the entertainment industry. I asked if I could get an internship in editing and he said, “no but we have something in the casting department.” I had already met all the casting women because they used me on their show, so I thought great I know I’ll get this internship. I interned and then was an assistant for Amy Lippens Casting for about two years. When I was at USC, I wanted to work on as many projects as possible but unless you were in the directing/production program everyone was kinda snooty. I didn’t want to P.A and had all this casting experience so I just became the go to girl for casting at that film school. I got to meet all the budding directors and didn’t have to lug around a bunch of heavy gear.

FA: What do you have to do as a casting director?

KF: Basically what a casting director does is a lot of work that most people take for granted. You’re sent hundreds of actor submissions and from those you pick people to come in and read for the part. It was really interesting for me to see the other side of the audition process. At then end of the day, it gets really stressful because you just want to find that perfect person that the director, producers and network all like.

FA: How did you met Rob Schrab? Did you know about his work before knowing him personally?

KF: I met Rob in 2005. I was working as a producer for “Rough Cut LA”, it was an entertainment news show minus the gossip. We’d constantly pitch stories that were about talented filmmakers or film festivals and then send a camera crew and a host to interview. My friend had just shown me Channel101.com. They were a huge fan of Justin Roiland’s “House of Cosby’s.” I looked at the site and couldn’t believe how funny the videos were and that people were making these out of their living rooms with out a big budget. It was the complete opposite of USC, you could make something for dirt cheap and still entertain people.

I suggested that we do a piece on Channel 101 and the Executive Producer signed off on it and then told me I should host it. I went down there with a camera crew and interviewed everyone. Rob was the last person we interviewed. I had seen his show Twigger’s Holiday and thought he was brilliant. After the interview we became email friends and then he asked me out. We celebrated our 4 year anniversary in April.

Kate Freund and Rob Schrab on the set of "The Sarah Silverman Program" (Season 3)

FA: Was he (Is he) a kind of mentor for you?

KF: Rob is a genius. His attention to detail and his comedic timing would inspire anyone. I’m very fortunate to be around someone who is so talented because it makes me try harder as a creative because I know he is going to see it. Rob’s my biggest fan but also my hardest critic.

FA: When did you hear about Channel 101?

KF: A friend of mine showed me the Channel 101 website in 2005.

FA: Can you explain a little bit the concept of the 101 Channel. The (failed) pilots and episodes etc.?

KF: Channel 101 is like a mini TV network. There are five shows in Primetime. These shows are the top voted shows from the screening. And each month, 4-6 new shows are screened alongside the Primetime shows. The audience can only vote for 5 shows. The shows that are the most popular become Primetime shows and they get to make another episode. The shows with the least amount of votes are “failed” pilots because they only get to make the one episode. During any screening a Primetime show can get canceled if a new show gets more votes. Does that make sense?

FA: You started as an actress in some 101 Channel shorts in 2005 and then you started to direct your own shorts. Did you have any directing experience before that?

KF: I directed some artsy student films at UCI and USC before delving into 101. The thing is, 101 is one of the best training grounds for honing your craft. It teaches you discipline. You have one month to make something and then it gets rejected or it gets screened in front of a live audience and you instantly know if you are good or not. If the room goes quiet or worse people talk over your show, you know that you have to do better next time. Usually when you submit to a festival you can’t see the initial reaction from the audience until months later. There is a certain immediacy to 101, which is great because you can be timely with your comedy. I helped Rob with “Thriller, Chiller Theater” and then I was a fairy in “Yacht Rock” but I kinda felt like a hypocrite for praising 101 so much and then never making my own show. I wanted to prove that I could make something and contribute too. I’ve made 11 shows for Channel 101 but only 5 have been screened. You never know what the panel is going to react to. Last June I finally got a show into Primetime with co-creators Kelsy Abbott and Kyle Reiter. It’s called "The Vacationaires", watch it!

Kyle Reiter, Kate Freund and Kelsy Abbot in "The Vacationaires" (2009)

FA: Where did the idea of “Mega Bitch Meltdown” come from?

KF: I wanted to do a show that had a mix of female and male talent. At the time, most of the 101 shows were all staring dudes. I had just watched “Switchblade Sisters” and “Naked Killer” and wanted to do a kick ass girls with guns show with a twist.

Kate Freund's "Mega Bitch Meltdown" (2007)

FA: How much did it cost?

KF: Around 80 bucks. I bought a few rubber masks, the glowing hand communicators and some tape stock. I had lights, and my brother Matt Freund, shot it with his camera. We borrowed guns from fellow 101er David Hartman.

FA: How long was the shooting and the editing?

KF: We shot in Topanga Canyon in January and it was around 30 degrees and it started raining so we had to go up the next weekend to get Myke dancing in his underwear. I was so worried he was going to get sick. I think it took around 3 half days of shooting. The editing took about a week and a half. Rob really helped me with the first action scene.

FA: Did you also cut the trailer for the SXSW Grindhouse Contest Video in 2007?

KF: I saw the SXSW Grindhouse trailer late in the game and was so bummed out because I really wanted to make one. I knew I didn't have time to shoot something new so I just cut up Mega Bitch and wrote a voice over track. I think I did that trailer in one night and fed exed it out in the morning. It was on aintitcool's pick for grindhouse trailers.

Kate Freund's "Mega Bitch Meltdown" (2007)

FA: Why did you choose comedy as your main genre?

KF: I don’t know. I’ve never really thought about it before. I just do projects that I want to do and ultimately, they fall in the comedy genre. I think it goes back to wanting to be an entertainer and some choice words Rob shared with me, “Don’t bore your audience.”

FA: There are different levels of craziness in comedy, and it seems that you’re trying to exeed the limits of madness a little bit more one short after another?

KF: When I make something all I am consciously trying to do is finish it. That being said, I think with each project I am trying to top myself. I mean, who wants to go backward?

Kate Freund's "Pussy Talk" (2006)

FA: To know if your work will be efficient, do you have to laugh at your own jokes or make your friends laugh?

KF: I live with Rob Schrab. I like to edit in the living room. Rob will pass by and if what I’m working on catches his eye and he stops what he is doing to laugh. I know I am in good shape.

FA: In your shorts, you’re directing and acting at the same time. How do you manage to focus on your work behind and in front of the camera?

KF: Sometimes I watch stuff and it doesn't work. I go eck, why did I do that? If I was behind the monitor I would have changed that but oh well. I just try and make it work in the edit. There's a lot of great actors and there's a lot of great actors out there with baggage. I use myself because I don't want to deal with another person. It just makes things easier. The bigger the cast, the harder the shoot becomes to coordinate. I mean if I had a line producer and a budget then yeah I would work with more people. But we tend to shoot guerilla style. I have a five seater car. If you can all pile in one car it makes life so much easier. That way people are not running late or looking for parking.

Kate Freund's "The Day My Boyfriend Became" (2009)

FA: In the 101 Channels shorts that you played in and didn’t direct, which one are your favorites?

KF: Working with Sevan Narjarian on “The Pop” was a great experience. I was cast as Olive Oyl and it was so special because that's a role that my dad always wanted to see me play. As a kid he'd joke with me and tell me I looked just like Olive Oyl because I was so skinny. But back to working with Sevan. It's such a treat. He is so good with effects and direction. I know that whenever he asks me to do something, I want to do it because it is going to look kickass. I also really liked working with Danny Jelinek on “Arrow”.

Kyle Kinane and Kate Freund in Abed Gheith & Sevan Najarian's "The Pop" (2008)

FA: Concerning “Turdy Longbows”, which (kind of) movies inspired you? Did you use some footage from old movie(s) or is it 100% your creation?

KF: I was totally inspired by “Pippi Longstocking”. My brother, Matt was the DP on this shoot and he made it look very cinematic. I don't think we used any footage from other movies. I just had to re watch it to make sure. Rob helped color correct the footage to give it a washed out, old VHS tape look. Rob also made the opening logo for 1000 milleniums.

Kate Freund in "Turdy Longbows" (2009)

FA: How was the post-production of “Turdy Longbows”? The color work and (voluntarily) bad post-synchro are weirdly awesome...

KF: I had a script for the show but I wanted it to have that "Pippi Longstocking" bad dubbed feel. I wanted to push that to an extreme. I really wanted to make it feel old and familiar. There are so many weird shows I watched as a kid, that I never thought were that bizarre but when I go to rewatch them, I'm like why is this edited like this??? Why did they have that character do that? None of this show makes any sense but as a kid I loved it. My favorite shots we did were in front of the abandoned house where I am coming down the hill. To me that totally looks like the original show.

Kate Freund and Armen Weitzman in "Turdy Longbows" (2009)

FA: Since it’s a pure nonsense comedy, how did you explain to the actors what’s it’s about?

KF: I gave them a script and sent them links to “Pippi Longstocking” clips. I've worked with Todd Bishop before. He was in Astral girl and “The Day My Boyfriend Became”. He's creative and just gets it. I'll tell him to come dressed as a cowboy and he won't show up dressed as a clown. He understands exactly what I'm going for. Deanna Rooney who plays Leena is also extremely awesome. I had worked with her briefly on a channy video and she just brought so much to the table. I had been wanting to work with her for a while. She also does cartoons. Look her up, her art is rad. I know Armen (Weitzman) , through the “Sarah Silverman Program”. He plays the fantasimart clerk and has appeared in several episodes. He was game to do anything.

FA: “The Vacationaires” contains probably the worst green screen effects that I’ve ever seen. You did it on purpose, right?

KF: Ha ha ha. I love “The Vacationaires”. That’s a show I co created with Kelsy Abbott and Kyle Reiter. Originally we were planning on doing a completely different show. We knew that we wanted to work together and that we wanted to be extremely tan to the point of looking filthy. The day of shooting we swapped out our original idea and came up with a show about a family who loves to go on vacations. It was not going to be a green screen show. I think we hung up the blue sheet so it would look like the ocean in the background but that didn’t read at all. When we shot it, the blue screen blanket was stained and wrinkled and not well lit. When I went to key it out it looked terrible. We all started laughing and the gag became about how bad it looked. That show is so ridiculous but I really had a ton of fun working on it for two months. Sad to see that it got cancelled.

Kate Freund in "The Vacationaires" (2009)

FA: Do you think about making one of your shorts into a feature film?

KF: I'd like to do a feature version of “Anna Manesia” or “Mega Bitch Meltdown”. I'd do “Anna” because of the premise and “Mega” for the characters and action. We'll see maybe one day.

End of part 1. Coming soon on part 2: Kate Freund about “The Sarah Silverman Program”, animation and special effects, editing, music videos, Sarah Silverman, Steve Agee, and her new projects.

Thanks to: Kate Freund, Rob Schrab, Steve Agee, Matt Freund and Sammy Primero.

You can watch a lot of Kate Freund short movies on Channel 101 (download) or Youtube (streaming). Check out the links below.

• Channel 101 (official) - Channel 101 (Youtube channel)
• Kate Freund (official) - Kate Freund (Youtube channel)
• Rob Schrab (official) - Rob Schrab (Youtube channel)

LUCY LIU VS NICOLETTE SHERIDAN : CATFIGHT FOR A “CLEANER”

That’s the best you will get from “Code Name: The Cleaner”, but it lasts only a minute (on a 88-minute movie). Leaded by actor/comedian Cedric Kyles, best known as his stage name Cedric the Entertainer, this action-spy comedy is available in France on DVD since July 1st, 2009 by Metropolitan as “Nom de Code: The Clearner”.

Imagine the annoying Bosley from “Charlie’s Angels: Full Throttle” becoming the lead character instead of the kick-ass ladies and you’ll know what to expect from “Code Name: The Cleaner”: Stupid jokes, overacting, a not a lot of action.

Cedric the Entertainer and Nicolette Sheridan in "Code Name: The Cleaner"

The story is about a guy who lost his memory and doesn’t remember if he’s a “cleaner” (hitman) or cleaner. The two women who cross his path during his recovery, are maybe his wife (Nicolette Sheridan – nominated for Worst Supporting Actress at the Razzie Award in 2008) and girlfriend (Lucy Liu – also executive producer of the movie) or maybe not...

Lucy Liu and Nicolette Sheridan in "Code Name: The Cleaner"

"Code Name: The Cleaner": Behind the scenes

The DVD also contains a 20-minute making-of featuring interviews of the cast (who also includes action actor Mark “Crying Freeman” Dacascos) and crew, and some behind the scenes footage.

Shooting the catfight scene.

Mark Dacascos (right): Alive and Kicking