anthony heald

10

Red Dragon (2002)

Director - Brett Ratner, Cinematography - Dante Spinotti

“My dear Will, you must be healed by now… on the outside at least, I hope you’re not too ugly. What a collection of scars you have. Never forget who gave you the best of them, and be grateful, our scars have the power to remind us that the past was real. We live in a primitive time, don’t we, Will? Neither savage nor wise. Half measures are the curse of it, any rational society will either kill me or put me to some use. Do you dream much, Will? I think of you often. Your old friend, Hannibal Lector.”

8mm is a 1999 American-German crimemystery film directed by Joel Schumacher and written by Andrew Kevin Walker. The film stars Nicolas Cage as a private investigator who delves into the world of snuff films. Joaquin Phoenix, James Gandolfini, Peter Stormare, and Anthony Heald appear in supporting roles.

8mm

Original theatrical release poster

Directed byJoel SchumacherProduced by

Joel Schumacher

Gavin Polone

Judy Hofflund

Written byAndrew Kevin WalkerStarring

Nicolas Cage

Joaquin Phoenix

James Gandolfini

Peter Stormare

Anthony Heald

Music byMychael DannaCinematographyRobert ElswitEdited byMark Stevens

Production
company

Global Entertainment Productions

Distributed byColumbia Pictures

Release date

February 19, 1999 (BIFF)

February 26, 1999 (US)

April 1, 1999 (Germany)

Running time

123 minutes[1]CountryUS
GermanyLanguageEnglishBudget$40 million[2]Box office$96.6 million[2]

PlotEdit

Private investigator Tom Welles is contacted by Daniel Longdale, attorney for wealthy widow Mrs. Christian, whose husband has recently died. While clearing out her late husband’s safe, she and Mr. Longdale find an 8 mm movie which appears to depict a real murder, but Mrs. Christian wants to know for certain.

After looking through missing persons files, Welles discovers the girl is Mary Ann Mathews, and visits her mother, Janet Mathews. While searching the house with her permission, he finds Mary Ann’s diary, in which she says she went to Hollywood to become a film star. He asks Mrs. Mathews if she wants to know the truth, even if it is the worst. She says that she wants to know what happened to her daughter.

In Hollywood, with the help of an adult video store employee called Max California, Welles delves into the underworld of illegal pornography. Contact with a sleazy talent scout named Eddie Poole leads them to director Dino Velvet, whose violent pornographic films star a masked man known as “Machine.” To gain more evidence, Welles pretends to be a client interested in commissioning a hardcore bondage film to be directed by Velvet and starring Machine. Velvet agrees and arranges a meeting in New York City.

At the meeting, attorney Longdale appears and explains that Christian had contracted him to procure a snuff film. Longdale says that he told Velvet that Welles might come looking for them. Realizing that the snuff film was authentic, Welles knows he is at risk. Velvet and Machine produce a bound and beaten California, whom they abducted to force Welles to bring them the only surviving copy of the illegal film. Once he delivers it, they burn it and kill California. As they are about to kill Welles, he tells them that Christian had paid $1,000,000 for the film. Velvet, Poole, and Machine received much less and that Longdale kept the major portion. In an ensuing fight, Velvet and Longdale are both killed; Welles wounds Machine and escapes.

He calls Mrs. Christian to tell her his discoveries and recommends going to the police, to which she agrees. Arriving at her estate, Welles is told that Mrs. Christian committed suicide after hearing the news. She left envelopes for the Mathews family and Welles: it contains the rest of his payment and a note reading, “Try to forget us.”

Welles decides to seek justice for the murdered girl by killing the remaining people involved. Tracking down Poole, Welles takes him to the shooting location and tries to kill him. He calls Mrs. Mathews to tell her about her daughter and asks for her permission to punish those responsible. With that, he returns and pistol-whips Poole to death, burning his body and pornography from his car. Welles traces Machine and attacks him at home. Welles unmasks him, revealing a bald, bespectacled man named George. He says, “What did you expect? A monster?” George goes on telling Welles that he has no ulterior motive for his sadistic actions; he does them simply because he enjoys it. They struggle, and Welles kills him.

After returning to his family, Welles receives a letter from Mrs. Mathews, thanking him and suggesting he and she were the only ones to care about Mary Ann.

CastEdit

Nicolas Cage as Tom Welles

Joaquin Phoenix as Max California

James Gandolfini as Eddie Poole

Peter Stormare as Dino Velvet

Anthony Heald as Daniel Longdale

Myra Carter as Mrs. Christian

Catherine Keener as Amy Welles

Norman Reedus as Warren Anderson

Amy Morton as Janet Mathews

Torsten Voges as Stick

Luis Saguar as Manny

Chris Bauer as George Anthony Higgins / Machine

Jenny Powell as Mary Ann Mathews

Monsier Depeel as Rapist #2

For those of you who aren’t frequenting comic-book shops, HorrorHound Mag released interviews from both Bryan Fuller and Raul Esparza. I transcribed them below! 

Bryan:

HorrorHound: Can you talk about the Frankenstien vive that a lot of people are getting from the show? 
Bryan: Well, there’s a part of Will Graham that has arguably died by being gutted adn bled out. And he’s kind of like Frankenstein’s monster. His journey is looking for the man who created him, as a result of his dealings with Hannibal Lecter. That’s where the Frankenstein aspect of the character comes from. 
HH: So Will is the monster? 
B: In the sense of the literature. In the Novel, Modern Prometheus, Frankenstein’s Monster was a very intelligent and very articulate and beautiful human being. He had wonder and awe at the world and it was his creater who was teh monster. So Will’s the monster in the paradigm.

HH: The Hannibal and Will Characters seem to have mirroered one another, especially this season, Will can see within Hannibal what he might have been. I thought that was fascinating, especially with the Alana Bloom storyline.
B: From her perspective Hannibal was her Fraser Crane. Her sexy psychologist type. She’s known him far longer than the other cahracters and he’s her rock when everyone else starts doing crazy things. Will is doing crazy things. Jack is doing crazy things. So by comparison, to her perspective, Hannibal is the sanest guy in the show. 

HH: I have a feeling Alana Bloom is going to be broken by this.
B: Everybody that survives that house of horrors night will be changed in a major way. They have a different agenda. They have a different view of themselves and the world. And that’s what is kind of exciting about season three because everyone is different from what has happened. 

HH: I almost hate to bring this up, but do you think the reason Hannibal has had a bit of trouble finding the viewers it deserves is because it is such a smart show? 
B: Well, it is a very dark show. It’s very cerebral and its very literary. I think also there is a darkness to the show that at first glance may be hard to see the humor and wit that is going on. Because it is a very, very dark wit. 

HH: It is very sarcastic, which is awesome.
B: And ther eis something very funny about a guy who eats obnoxious people because they are no better than pigs to him. I think regardless of it being something like people rolling their eyes and saying “We don’t need another Hannibal Lecter story, they’ve done it too many times”. For me that was the reason to do it. I think the character has gotten away from his core. And for me the excitement as a fan and someone who is very protective of the character I wanted to get it back on track in a way that was respectful of the literature and at the same time reinventing it and doing something new with it. Ao it was giving the audience something new that they hadn’t seen before… A little spice to the dish that they are sitting down to eat, so it’s a surprise. 


Raul: 

HorrorHound: So, Raul… You got shot in the face. How did that feel? 
Raul: Pretty upsetting, actually. Bryan said I’d come back, and I was like… Without a face? 

HH: They do everything to you.
R: Yeah, I mean how much can they torture this guy in two seasons? I rewatched some of the episodes before coming out here and the setup was so perfect. There are things that we shot that they went into editing and took from episode five and put into episode six for instance. How Abel Gideon is reintroduced. How I have memories of the shooting of it and where it takes place that were edited into different patterns. They set it up so beautifully. 
The exit from Abel Gideon where he suggested Jack should be watching Chilton for instance. When you’re shooting it, you have no idea what sense it’s all playing together. So it’s incredibly well plotted. 
When he said they were going to shoot me in the face but I would survive I was like alright… we’ll take your word for that, I guess, but we’ll see. They could kill off Chilton, and that would be a gigantic change to the whole mythology. 

HH: And that’s why I was screaming, “NO!" 
R: Well, its just one of those things that suggests there are no rules anymore; you have no idea where the show is headed. I think it’s a very smart thing to do. You have no idea who’s going to go. Chilton’s role is to torment Hannibal. His role in the end is to be his captor and his tormentor. And now I certainly have reason for revenge. 
I remember when I said to Bryan, "I think I should have a scar or something.” And he said, “I think a scar is a great idea, why don’t we earn it." 

HH: Oh wow…
RE: Yeah, so now we’re talking Cronenberg-like stuff.

HH: You’re going to have a colostomy bag.
R Yeah, obviously he’s going to have a colostomy bag… Scars. I think the more that happens to Chilton, the darker he gets. And certainly his sense of humor rises up because he thinks he’s better than everybody. I feel like the season taught him a lesson. And he’s coming back with revenge on his mind. But he’s not a fighter. 

HH: What was the lesson he learned? 
R: Hannibal is smarter than him, and he’s playing against a monster. And that in order to deal with a monster, you have to become one. 

HH: So Chilton was right the whole time.
R: And no one would listen to him.

HH: The name rhymes, why can’t they see it?!!?
R: When he finally gets to be right is when he gets shot in the face. And he has that scene with Alana and he tells her, "You have no dea what you are dealing with. I’m not going to say a word about it.” Right before Miriam shoots him.
I remember when we were shooting that scene, I decided to play it very small. Completely toned down. None of the jokes,  it’s all flat. Which told me I wanted to play everything leading up to it in almost hysterics by the time he gets to the chase with Jack. Because I felt like he needed to have lost everything. So he gets to this incredible calm place as he goes down. But he is also a guy who realizes he is dealing with a poisonous monster.

HH: I thought it was brilliant the way you played it. And the fact you sounded like Anthony Heald from Silence. Did you plan it that way? 
R: No, no I didn’t. I certainly listened to it, listened to him. And I kind of hoped that it would have a little bit of osmosis. There’s a little of Hugo Weaving in there too. There’s a sort of faux southern accent that comes and goes. 
He’s fake all around. Sometime’s he’s limping, sometime’s he’s not. Sometimes he needs that cane, sometimes he doesn’t. Sometime’s he’s putting it on. He speaks with this quality… Chilton’s key element is that he’s always watching himself. 
Always with a purpose, but he’s watching himself. He wants to get something, so he always wants to know how he’s coming across. And that self conciousness was important to me. Other actors wouldn’t look at another actor’s performance, but I did watch Anthony Heald’s performances and sort of hoped that it would stick with me, you know what I mean? It will just kind of be there.
I think it’s kind of fun for an audience to just sort of catch it because then you know something… That it’s a hint. Because with this show if you think you see something, it’s there. You’ll go “Are they referencing?” And yes, they totally are.

HH: When I heard your voice I knew it.
R: It’s a little bit of a ploy. I’m a firm believer in: If the details are there, people will notice them.