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Capone With George A. Romero!!
Hey everyone. Capone in Chicago here.
There's a slim chance you've heard that Mr. George A. Romero has a new zombie flick out. You may have also heard that the mainstream critical press has pretty much gotten behind his new zombie flick, both as a scary-ass movie and as a dead-on, scorpion-sting of social commentary. At age 67, Romero is just as angry at the establishment as he's always been--maybe even a little bit angrier. There's no reason to go into his filmography or even his list of projects he'd like to do next (that list doesn't change much year after year); you know what he's done and what he's capable of. And DIARY OF THE DEAD is pretty darn magnificent.
I've interviewed Romero a couple times before this, but I've never heard him quite so excited about a film. I think the early response to DIARY has energized him to a degree. He's made a film that he's not only proud of, but also others outside of his normal fan base are excited about as well.
I only spoke to George for about 15 minutes this time around (on Valentine's Day no less), but there's a good chance I'll be talking to him again later this year in connection with a Chicago-area appearance he'll by making June 27-29 as part of the Flashback Weekend Horror Convention (www.flashbackweekend.com). This year marks the 40th anniversary of the release of the original NIGHT OF THE LIVING DEAD, and there's a fantastic cast reunion planned here in Chicago (from what I understand this is part of a world tour the cast and Romero are doing; this appearance marks the exclusive Midwest engagement). More on the event when it gets a little closer on the calendar, but there are few things more enjoyable in the world than hanging out with Romero in his element, surrounded by his adoring fans.
Anyway, here is my conversation with the often-imitated, never-matched George Romero. We cover a lot of ground in our short time.
Enjoy…
Capone: Hey, George how are you doing?
George Romero: The mighty Capone. Good to talk to you again.
Capone: Thanks, and congratulations on this seriously kick-ass movie.
GR: [laughs] Thank you.
Capone: And I'm looking forward to you in Chicago in June. That'll be fun as always. And I don't know if they told you, but I'm hosting a screening of DIARY tonight. Zombies on Valentine's Day.
GR: Oh my god. It's not exactly a loving movie, is it?
Capone: DIARY reminded me of conversations I've had with friends in recent years about where people would turn if the dead did actually rise. Back in 1968, people would have turned to radio and television. Today, it's the internet. It's blogs, YouTube, all sorts of viral videos. How does that fact sit with you? Anytime a major catastrophe happens, people race to their computers for the latest updates.
GR: Well, I don't think that it's 100 percent that way yet, but that's certainly the way it's leaning. I was watching CNN on Super Tuesday, and right in the middle of all this political discourse, a Hurricane was hitting Arkansas.
And Wolf Blitzer turns away from the political screen, and says, "Okay, anyone out there in Arkansas who can get me a shot of this hurricane, I'll put it on the air and I'll send you a CNN mug!" It's like everyone is being invited to report on the news and being seduced into it. But at the moment, it's still being reported by the mainstream media. At least news is or at least what pretends to be information.
Unfortunately what's out there in the blogosphere and the dangers of it, is that it's not so much information as it is opinion, observation, viewpoints, perspectives.
So in this film, I think I'm trying to talk about both things, about people who are being seduced into becoming reporters and believing that they're doing good and believing that they might even be able to save lives or help, almost to the point of losing track of their own survival even. At the same time, this whole twisting thing. What concerns me the most is that this whole new media world, it can really be used to twist.
If Hitler were alive today, he'd never have to go into the town square; he could throw up a blog. He wouldn't have to risk taking tomatoes from the few people that disagreed with him. Any reasonable-sounding viewpoint would have an outlet. Jim Jones, man, we'd all be drinking the Kool Aid [laughs].
Capone: Old-fashioned, word-of-mouth days are gone.
GR: Really! You don't have to be there, that's the difference. We're all connected. There's this web that is more than just a…the word web was always used to describe the Web. It's a web and it's just as sticky as a spider's web.
Capone: With a capital W and a small one.
GR: [laughs] Yeah.
Capone: Why did you decide to start fresh with DIARY's story? I hate the word "re-imagining," but it actually applies here. This story starts on Day 1.
GR: You know, it's complicated to answer that because I don't know how to shorthand this, and I know we don't have a lot of time. After LAND OF THE DEAD, I thought things had gotten very big; it was going THUNDERDOME.
I said, where do I go from here? BEYOND THE PLANET OF THE APES? I just wanted to go back to do something small, and I had the idea that I wanted to do something about this emerging media culture that we're in. And I thought, well, perfect way. So I thought, I'll go back to the first night.
There's a series of short stories called "Book of the Dead." Major science fiction and horror writers contributed stories to this, including Steve King. And I said, I can do that to. I'll just go back to the first night. I wanted to use film students who were out shooting their own class project.
They have a camera, and the shit hits the fan, and they start to document it. But if it's three years into the phenomenon, they wouldn't be going to class anymore. So, it all just fell into place. I wanted to drop back; I wanted to do something smaller. I wanted to get back to the roots a little bit, and I had this idea. It's all timing, and timing is everything, and it came together.
Capone: People always talk about your zombie films as these excessive gorefests, which they certainly are. But the sequence in DIARY in the hospital is one of the downright scariest scenes you've ever directed.
GR: Oh, man. Well, I'm glad you think so.
Capone: There are other scenes too, but that one, I cannot shake. Are there certain tension elements that you can achieve with hand-held digital that you couldn't with traditional filmmaking?
GR: I don't think there a big difference. First of all, with digital, first and foremost the reason I love it is because, particularly when you're making a low-budget film, our tradeoff on this film is to do it as inexpensively as possible.
That was the tradeoff for having control, and it's really the first time I've had absolute complete creatively control on something since NIGHT OF THE LIVING DEAD. What the digital stuff allows you to do is get off the set. The most expensive time in the production of any film is the time spent on the set. And if you can get off the set, fine.
One actor points the gun, the zombie falls, paint in the gun flash, paint in the splatter, and you don't have to worry about…if the squib goes wrong, you've got to repaint the wall, you've got to re-rig the zombie, and all of the sudden you've lost and hour and half. It enables you to get off the set.
Obviously some of the stuff, like the acid gag, there's no way to do them without doing the digitally, but normally squibs and gunshots, you try to do them practically, but half the time literally if the shutter is in the wrong position, you don't get the gun flash, so it's much easier to paint it in later and you're done; you got the scene.
Capone: People have compared this film to the recently released CLOVERFIELD. I don't think that's a fair or accurate comparison. Have you seen CLOVERFIELD?
GR: I haven't seen it, no. I didn't know that anybody was contemplating it; I didn't know about [Brian DePalma's] REDACTED. We thought we were going to be first. As it turns out, we're part of a trend. [laughs]
Capone: And obviously, there's a difference between found footage versus your film, which is meant to be a finished student film, with editing, titles, even a score.
GR: That was the idea. I mean, we basically said, these kids are films students. They're going to put their best foot forward; they're going to finish this movie, stick music on it. I actually took those couple of minutes at the beginning of the film to explain that that's what they were doing so people wouldn't think it was just me. Of course, it is me, but I wanted people to think it was them. I still don't know who processed that footage in BLAIR WITCH. They found it in the woods, but who processed it? Who made the work print? I don't know [laughs].
Capone: What else is pissing you off these days? There are references to other things in the film, Katrina being the most recognizable, I think.
GR: I think Katrina is so recent and it was so strong and such as resentful thing that that stuff stands out. But we looked at hours and hours of news footage from all kinds of sources, and we wanted to create a little quilt of images that would recall stuff we've seen over the last 10 years on that box. I didn't mean to load it so heavily toward Katrina, but I think that the Katrina images are so memorable that people hook onto that. There's actually a picture of an atom bomb in there too, which is almost subliminal. We were just trying to create a crazy quilt of media images.
Capone: You repeat your NIGHT OF THE LIVING DEAD "voices of authority" voiceovers in DIARY, and it took me a while to realize who some of those voices belonged to. How did you make that happen, because it makes for a great makeshift narration and exposition tool.
GR: Yeah, and that's exactly what it was: makeshift. We shot all the principle sequences, all the principle action. And we came back to the cutting room, and we said, "We are now Deborah. We're making her movie [called THE DEATH OF DEATH]. And we recorded probably 100 pages of material, and did some of it improv, and we would try a line here and there, literally try it on for size.
We tried a million different approaches to it until we found the one we thought was right. In the end, we had a movie that had four voices on it: my girlfriend, me, the producer Peter Grunwald, and the editor. And we can't put the movie out with just four voices on it, so initially I called Stephen [King], he was the first guy. And I said, "Steve, I need this kind of preacher guy. Would you consider doing the voice?" And he said sure. We were able to do them all over the telephone because none of them required fidelity, because in the movie, they're all coming over some sort of electronic medium. Steve said yes, great. Then we called Quentin [Tarantino], and we called Guillermo [del Toro] for the immigration perspective.
Capone: And his was the first voice I recognized. But that perspective he offers about the living dead being the ultimate immigrants crossing the border between life and death is fantastic.
GR: [laughs] They're crossing the big ol' border, man. Forget the Mexican-U.S. border.
[At this point, the publicist chimes in to say that our time is nearly up.]
GR: Oh I'm sorry, man. These things are all too short. Unfortunately, this is bad timing. We need to talk when this shit isn't happening.
Capone: It's not a problem. We'll definitely talk when you're here in June and probably even before that leading up to your appearance here at Flashback Weekend.
GR: That'd be great. Next time, we'll have to have a beer or something.
Capone: I would absolutely love that. Take it easy.
GR: You too, and thanks for all the support on this.
Capone
Readers Talkback
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Although I did like the Riley character and would have liked to see more of him.
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and I like Land, it's not the best one by far, but it still is fucking good.
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theater carries this, we just got There will be blood...
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Almost as horrible as that last piece of shit he made.
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Seeing his name almost alone, without some vague pun-laden sentence around it. At least if he did die, we'd see him again pretty soon, undead stylee. "BrAiNsSsS..."
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It was actually Jim Emerson on Roger Ebert's website. Not busting balls, just pointing out a correction.
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Romero dies and comes back to life to direct a movie about a zombie director who makes a zombie film since he's a one trick pony who can't even make zombie films anymore.
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shit I didn't notice that.
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40 years later and that movie still is scary as shit. Tried to show it to my wife as she's never seen any of Romero's stuff (i know) and she couldn't sit through the whole thing. freaked her out really bad. I personally can't wait to see what George has done with this one
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Stephen King's story in Book of the Dead was called Home Delivery and it was quite awesome. It involved a New England island community fighting off the undead and knowing that if they could isolate the one graveyard on the island they might have a chance. King even gave a partial reason for the undead uprising:Star Wormwood. Its a fantastic short story and a must read for zombie fans. There is even an animated short film of it, a spanish thing that was listed as "presented by Del Toro". Anyone know anything regarding this? Also, Diary is finally playing near me. Might make it a double feature with Signal.
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here's a link<br> http://www.imdb.com/title/tt0471744/
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I have seen the imdb page but wondered if this is out there somewhere to view. I haven't managed to see it, but I really want to. Of all the zombie themed stuff out there Im most psyched for this little short.
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I give a fuck about what he has to say. I have always loved Romero's stuff. Sure he has some bad movies but what director doesn't? And his view is lot better, than heavy handed bullshit like 28 Weeks Later, which for some reason everyone seems to suck that movies dick even though it isn't scary and the message is about as subtle as Michael Gross's dick
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yeah, I haven't even heard anything about it. But Stephen's got a ton of those "dollar babies' out there. I really want to see Rainy Season, the one with the killer frogs. The animation in 'Home Delivery" reminds me of a Gorillaz video
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best name in a while
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You got to give the guy his dues! he goes back to basics and shuns studio interference. Land just didn't work for me but i need to watch it again. This looks and sounds like classic Romero - dodgy acting, gross effects, scary radio broadcasts and something more to say about the state of our current situation which i think was what was lacking from Land.
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Yea,it was crappy sometimes and cool other times. Inside the Closet? That was a cool ep. When, if ever, do we get this on dvd. That and Monsters. More cheese from the late-night 80s.
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It's nowhere near me, only in major cities. Why no mainstream release like Land of the Dead??
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It had the fucking Raft in it.
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I saw it. It was miles better than Land, and despite what people are saying about how "bad" the acting was (compared to what? Gaylen Ross' Oscar-winning "For God's Sake!"?) I thought it was passable. Returning to the day one concept was a good idea, and it gets back to the original anxiety around what the hell are you gonna do if all hell breaks loose.
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and Capone, I hate to sound like a ball buster, but it really seems like your affection for GR is clouding your judgment. I personally hated Land and cannot see this new installment to be any better. Is Diary really that good? I will have to wait and see I guess.
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but I'm still looking forward to it. If I don't like it I'll admit it.
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Feb. 20, 2008, 1:11 p.m. CST
I liked Land, I'll have to read Ebert's review
by Grammaton Cleric Binks
because I'm wondering why he would like Diary. What's his critic track record on Romero's zombie flicks? Is this some stupid 20-something Cloverzombie or is this going to be cool. I'll have to research more before giving an opinion. My mom thought my brother and I were weird because the first time we saw the original Dawn we were eating spaghetti with my cousin. Hey, I was a kid, she's the one who made the meal. It's not like we turned out to be serial killers or anything.
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I wanna have a goddamn beer with Romero
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Tales from the Darkside. That was one of the creepiest shows out there. I just caught an episode yesterday on sci-fi and it brought back memories.
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I was wrong about Ebert, someone above said that some other guy wrote the review for Ebert's website
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"Now... who are you again?"
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He gave the first two in the series 4 stars and hailed them as masterpieces. The third film he hated, and gave one star. He was back to 3 stars with Land of the Dead and enjoyed it. As Kloipy and others pointed out, it isn't Ebert's review on his site. That is actually slightly confusing since all of the other new reviews belong to Roger.
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Did anybody catch this? "In the end, we had a movie that had four voices on it: ***my girlfriend***, me, the producer Peter Grunwald, and the editor. And we can't put the movie out with just four voices on it, so initially I called Stephen [King]" Am I the only one that doesn't know he split with his wife Christine? Damn!
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Ebert gave NOTLD, the original, 3 and a half stars as an addendum in 2004. He never gave his original write-up a star review.
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ba brn NZb BbnrrR BRA iNZ.
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I'll make a note of that Ditch. Thanks for the clarification.
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Treehouse of Horror Spoof? The expression on Homer's face after he's rejected is priceless.
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like sci-fi, fantasy, or horror. Yeah, I know.
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There's a religious-right anti-Romero group, who have targetted him for years because of his liberal anti-establishment attitude, and the fact that he is so pro-black in his work. Some of these hateful creeps are actually mobilised to spread negative remarks about his work on the internet, wherever possible, including AICN every single time an article about Romero appears. And then those users disappear again, never to post a single message until another Romero article shows up. You can check the talkbacks and hunt through the archives to confirm it for yourselves. Strange that, eh?
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"To the book depository!"
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He was a zombie?
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You should write that as a treatment and send it to George, or make it "docu-drama" style, that's some interesting fiction I think...could people come out to attack because his movies, except NOTLD, suck? Hmmmm.....
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Will SOMEONE make my Katrina Zombie movie? It has everything. All that social commentary twaddle: Check. Voodoo: Check. Scared, hungry rednecks with guns: Check. Above ground effing cemetaries: Check. Population cut off from a society unable to help but able to look helplessly on: You becha.
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And if so when? I really can't bitch about something if I haven't seen it yet.
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does your movie have a scene where a helicopter flies over the city and people are on the roofs with bedsheet signs that read, "I am entitled to your help." who then shoot at the helicopter for not landing fast enough?
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Flanders was a zombie?
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Sorry Vern, but I have to believe your affinity for George colored your perceptions of Diary. It was a terrible movie by every measure of the word, a fact that every other reviewer on this site agrees with.
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Neither are zombies that “evolve.” The whole concept of the zombies becoming gradually more intelligent was beyond stupid and made Land of the Dead seem that much worse. Also, the ending where the main character, whose name isn’t even important at this juncture, let’s the zombies live because he empathizes with them was F-U-C-K-I-N-G LAME. Romero deserves continued respect for his many contributions to horror but at the same time Day of the Dead sucked save for the last ten minutes and Land was on par with the Resident Evil films, save for some decent gore. I’m actually looking forward to Diary of the Dead because the premise sounds interesting but I’m well aware that it could be a pretty significant disappointment. Also, I’m curious as to why Romero thought his film would be unique; Blair Witch did it nine years ago.
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I'm wondering the same thing right now. I know it's none of our business, but dammit, I never pay attention to celebrity drama, so I've earned this one. Also, if Capone gets to have a beer with George Romero while talking movies, I will be unimaginably jealous.
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Or was it cheets? So long ago now.
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ZZZZZ
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Land of the Dead? Diary of the Dead? Would've been great if they were ... but George hasn't made a good film in years. But good luck to him and keep trying. Now ... a Zombie flick with Cesar Romero would be awesome!!!
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Can you describe George as a dissidant, maybe but I know he leans way to the left or perhaps he is a libertarian. I really don't know. All I know is that we were all blessed with his creativity and his views on modern society and a shit load of fucking ZOMBIES! This movie will be watched by me fo sure!
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If someone had footage of a hurricane hitting Arkansas I'd give a hell of a lot more than mug, considering its like 600mi from the nearest ocean, id probably give 'em a unicorn or a leprechaun steak.
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*applaudes Moronic ADHD Post of the Year so far by *TheLastCleric"*
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I will definitely support the sequel
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The idea of Zombies evolving was pretty stupid.
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It's playing at ONE theater. The NuArt on Santa Monica...WTF!?<br><br>Gonna go see it in a few hours. Big Zombie-Boy here! Land of the Dead kinda sucked. That whole "They're just looking for a place to live..." line at the end was cringe worthy.<br><br>NO THEY'RE NOT! They just ate most of Pittsburg!!
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HAHAHAHAHAHAHAHHHAHAAHAHAH! OH MY GOD!<br><br>Thank God I downloaded this piece of shit!<br><br>Oh man...my sides. The scene where the CG'ed (BADLY) zombie jumps on the ceiling and climbs along like the Werewolves from UNDERWORLD was hysterical.<br><br>There is SO MUCH digital blood and ketchup squirt noises.<br><br>Why did they call this DAY OF THE DEAD!?!?
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...BAD idea.
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Where the fuck is it? Even Kubrick would have had this thing out by now.
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So why is Capone so excited? And who are these "critics" who love it?
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No love for the Ed Harris motorcycle jousting Romero flick? A cult classic to be sure. The Movie Channel played that movie to death in the early 80's.
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I am glad to see I am not the only person who thought the ending of Land of the Dead was lame as hell. I must say I actually liked the rest of the movie, but that ending ruined it for me, completely. "They're just looking for someplace to go?" What the fuck is that shit? Go walk up to them and tell them that, they'll devour you! That ending was beyond stupid.
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Feb. 20, 2008, 9:26 p.m. CST
The mainstream critical press has gotten behind the movie??
by Lyghthouse
From what I could tell the reaction has been mixed at best. Its 58% on the Tomatometer, and a lot of geek reviews I've read don't like the movie.
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