Stars: Lauren Canny, Bryan Batt, Nora-Jane Noone, Cooper Andrews, Pollyanna McIntosh, John Spud McConnell, Geraldine Singer, Maddie Nichols, Mackenzie Michelle Graham, Jeff Pope, Eugenie Bonderant, Sabrina Gennarino, Thomas Francis Murphy | Written and Directed by Pollyanna McIntosh
The debut feature from actor-turned-writer-director Pollyanna McIntosh (The Walking Dead), Darlin’ is a stand-alone sequel to Lucky McKee’s visceral 2011 horror The Woman, in which McIntosh starred as an imprisoned feral woman wreaking hell on her captors. McIntosh reprises the role here, but her film has both a different focus and a different sensibility, skilfully blending coming-of-age and horror tropes to entertaining effect.
The film begins with the still-feral, nature-dwelling Woman (McIntosh) bringing an equally feral young woman – Darlin’, played by Lauren Canny and so named for the bracelet around her wrist – to the door of a hospital and leaving her there, for reasons that will eventually become clear. Darlin’ can’t speak and behaves like a wild animal,...
The debut feature from actor-turned-writer-director Pollyanna McIntosh (The Walking Dead), Darlin’ is a stand-alone sequel to Lucky McKee’s visceral 2011 horror The Woman, in which McIntosh starred as an imprisoned feral woman wreaking hell on her captors. McIntosh reprises the role here, but her film has both a different focus and a different sensibility, skilfully blending coming-of-age and horror tropes to entertaining effect.
The film begins with the still-feral, nature-dwelling Woman (McIntosh) bringing an equally feral young woman – Darlin’, played by Lauren Canny and so named for the bracelet around her wrist – to the door of a hospital and leaving her there, for reasons that will eventually become clear. Darlin’ can’t speak and behaves like a wild animal,...
- 6/22/2020
- by Matthew Turner
- Nerdly
Stars: Lauren Canny, Bryan Batt, Nora-Jane Noone, Cooper Andrews, Pollyanna McIntosh, John Spud McConnell, Geraldine Singer, Maddie Nichols, Mackenzie Michelle Graham, Jeff Pope, Eugenie Bonderant, Sabrina Gennarino, Thomas Francis Murphy | Written and Directed by Pollyanna McIntosh
When I first heard about Darlin’ I was immediately interested in seeing it. Why? Well… Pollyanna McIntosh is an actress I’ve been a fan of since her incredible performance in the Lucky McKee film The Woman back in 2011. Since then I’ve enjoyed her in numerous roles, from White Settlers to to Let Us Prey, and even her role as Jadis in The Walking Dead before I threw in the towel on that show. Seeing McIntosh go behind the camera for the first time here was something that intrigued me greatly.
Darlin’ is written and directed by McIntosh and based on characters by both Jack Ketchum and Lucky McKee. A stand-alone sequel to...
When I first heard about Darlin’ I was immediately interested in seeing it. Why? Well… Pollyanna McIntosh is an actress I’ve been a fan of since her incredible performance in the Lucky McKee film The Woman back in 2011. Since then I’ve enjoyed her in numerous roles, from White Settlers to to Let Us Prey, and even her role as Jadis in The Walking Dead before I threw in the towel on that show. Seeing McIntosh go behind the camera for the first time here was something that intrigued me greatly.
Darlin’ is written and directed by McIntosh and based on characters by both Jack Ketchum and Lucky McKee. A stand-alone sequel to...
- 7/17/2019
- by Chris Cummings
- Nerdly
Stars: Lauren Canny, Bryan Batt, Nora-Jane Noone, Cooper Andrews, Pollyanna McIntosh, John Spud McConnell, Geraldine Singer, Maddie Nichols, Mackenzie Michelle Graham, Jeff Pope, Eugenie Bonderant, Sabrina Gennarino, Thomas Francis Murphy | Written and Directed by Pollyanna McIntosh
The debut feature from actor-turned-writer-director Pollyanna McIntosh (The Walking Dead), Darlin’ is a stand-alone sequel to Lucky McKee’s visceral 2011 horror The Woman, in which McIntosh starred as an imprisoned feral woman wreaking hell on her captors. McIntosh reprises the role here, but her film has both a different focus and a different sensibility, skilfully blending coming-of-age and horror tropes to entertaining effect.
The film begins with the still-feral, nature-dwelling Woman (McIntosh) bringing an equally feral young woman – Darlin’, played by Lauren Canny and so named for the bracelet around her wrist – to the door of a hospital and leaving her there, for reasons that will eventually become clear. Darlin’ can’t speak and behaves like a wild animal,...
The debut feature from actor-turned-writer-director Pollyanna McIntosh (The Walking Dead), Darlin’ is a stand-alone sequel to Lucky McKee’s visceral 2011 horror The Woman, in which McIntosh starred as an imprisoned feral woman wreaking hell on her captors. McIntosh reprises the role here, but her film has both a different focus and a different sensibility, skilfully blending coming-of-age and horror tropes to entertaining effect.
The film begins with the still-feral, nature-dwelling Woman (McIntosh) bringing an equally feral young woman – Darlin’, played by Lauren Canny and so named for the bracelet around her wrist – to the door of a hospital and leaving her there, for reasons that will eventually become clear. Darlin’ can’t speak and behaves like a wild animal,...
- 7/9/2019
- by Matthew Turner
- Nerdly
Actress Sabrina Gennarino’s filmography seems lately to be leaning more toward the horror genre. That, she said, is just a coincidence as she believes in going where the good scripts are, and she found that in her characters on TV’s “The Walking Dead” and “The Purge.” So when her former “Walking Dead” co-star Pollyanna McIntosh asked her to star in the horror feature film “Darlin’” Gennarino said it was a no-brainer. The film is McIntosh’s directorial debut, which she also wrote and stars in the flick. With her attached, Gennarino was happy to take on the project. “I love her
‘Walking Dead’ actress Sabrina Gennarino stars in horror flick ‘Darlin”...
‘Walking Dead’ actress Sabrina Gennarino stars in horror flick ‘Darlin”...
- 3/9/2019
- by Crystal Schelle
- TVovermind.com
NBC’s Chicago Med is staffing up: Molly Bernard (Younger) and newcomer Colby Lewis are joining the Season 4 cast on a recurring basis, according to our sister site Deadline.
Both will play third-year medical students beginning their clinical rotations. Bernard plays Elsa, an arrogant know-it-all, and Lewis plays Terry, a star football player who gave up sports to go to medical school. Med‘s fourth season debuts Wednesday, Sept. 26 at 8/7c.
Bernard is a series regular on TV Land’s Younger, now in its fifth season, as quirky pal Lauren. She’s also appeared on Transparent and High Maintenance. Lewis...
Both will play third-year medical students beginning their clinical rotations. Bernard plays Elsa, an arrogant know-it-all, and Lewis plays Terry, a star football player who gave up sports to go to medical school. Med‘s fourth season debuts Wednesday, Sept. 26 at 8/7c.
Bernard is a series regular on TV Land’s Younger, now in its fifth season, as quirky pal Lauren. She’s also appeared on Transparent and High Maintenance. Lewis...
- 7/23/2018
- TVLine.com
Syfy's and USA Network's upcoming The Purge TV series has tapped a Walking Dead alum to join its cast.
Sabrina Gennarino, who played Tamiel in AMC's zombie series, will star in the scripted drama for both NBCUniversal-owned cable networks, set to premiere Sept. 4.
Announced in April as part of Blumhouse's ITV-backed studio deal, The Purge is a small-screen spinoff from Blumhouse’s hugely successful horror franchise from creator James DeMonaco. Blumhouse TV will serve as the lead studio on the small-screen adaptation, with the 10-episode, straight-to-series drama being written and executive produced by DeMonaco. Emmy-winning The ...
Sabrina Gennarino, who played Tamiel in AMC's zombie series, will star in the scripted drama for both NBCUniversal-owned cable networks, set to premiere Sept. 4.
Announced in April as part of Blumhouse's ITV-backed studio deal, The Purge is a small-screen spinoff from Blumhouse’s hugely successful horror franchise from creator James DeMonaco. Blumhouse TV will serve as the lead studio on the small-screen adaptation, with the 10-episode, straight-to-series drama being written and executive produced by DeMonaco. Emmy-winning The ...
- 7/23/2018
- The Hollywood Reporter - Film + TV
The family of The Walking Dead stuntman John Bernecker confirmed his death after sustaining “serious injuries” on the set of the AMC drama in Georgia. He was 33.
The announcement was shared on Friday evening via a statement on the nonprofit LifeLink Foundation’s website. The family also revealed that they will donate his organs.
“Although devastated by their loss, John’s loved ones have ensured his legacy will live on, not only through the personal and professional contributions he made during his life, but also by their generous decision to allow John to save lives as an organ donor,” the statement reads.
The announcement was shared on Friday evening via a statement on the nonprofit LifeLink Foundation’s website. The family also revealed that they will donate his organs.
“Although devastated by their loss, John’s loved ones have ensured his legacy will live on, not only through the personal and professional contributions he made during his life, but also by their generous decision to allow John to save lives as an organ donor,” the statement reads.
- 7/15/2017
- by Karen Mizoguchi
- PEOPLE.com
Recently, CBS served up the new,official synopsis/spoilers for their upcoming "NCIS" episode 14 of season 1. The episode is entitled, "Careful What You Wish For," and it turns out that we're going to see some intense stuff go down when a possible assassination attempt prompts the team to investigate. Meanwhile, we'll see Brody confront some history, and more. In the new, 14th episode press release: The NCIS team is going to investigate a possible assassination attempt and agent Brody will be forced to confront her past. Press release number 2: After an NCIS agent is killed during a security detail for the Vice Chief of Naval Operations, the team is going to have to determine if this was an assassination attempt or if someone is targeting one of their own. In the meantime, Agent Brody is going to be placed under investigation and her mysterious past will be reevaluated. Guest...
- 2/3/2015
- by Chris
- OnTheFlix
Blu-ray & DVD Release Date: Sept. 23, 2014
Price: DVD $19.99
Studio: Virgil
Kathleen Quinlan in After
The always-game Kathleen Quinlan (Apollo 13, The Doors, Breakdown) stars in After, a 2014 mystery drama about a family that’s being held together by a deeply buried secret.
Set in the winter of 2002 in chilly upstate New York, After tells the story of a middle-class family struggling with the financial consequences of a failing business and a series of inter-generational conflicts and rivalries. Quinlan stars as Nora Valentino, a woman whose husband, Mitch (John Doman, Blue Valentine), loves her more than anything in the world. So much so that he, along with his four children and sister-in-law, have gone to extreme lengths to hide a horror too painful for Nora to bear. And if this intricately buried secret is revealed, it could alter everyone’s lives irrevocably.
Directed by Pieter Gaspersz and written by Sabrina Gennarino and...
Price: DVD $19.99
Studio: Virgil
Kathleen Quinlan in After
The always-game Kathleen Quinlan (Apollo 13, The Doors, Breakdown) stars in After, a 2014 mystery drama about a family that’s being held together by a deeply buried secret.
Set in the winter of 2002 in chilly upstate New York, After tells the story of a middle-class family struggling with the financial consequences of a failing business and a series of inter-generational conflicts and rivalries. Quinlan stars as Nora Valentino, a woman whose husband, Mitch (John Doman, Blue Valentine), loves her more than anything in the world. So much so that he, along with his four children and sister-in-law, have gone to extreme lengths to hide a horror too painful for Nora to bear. And if this intricately buried secret is revealed, it could alter everyone’s lives irrevocably.
Directed by Pieter Gaspersz and written by Sabrina Gennarino and...
- 9/15/2014
- by Laurence
- Disc Dish
Title: After Director: Pieter Gaspersz Starring: Kathleen Quinlan, John Doman, Pablo Schreiber, Sabrina Gennarino, Adam Scarimbolo, Diane Neal Running time: 101 minutes, Rated R, In theaters August 8th and on iTunes/VOD The Valentinos are a middle class family that live in upstate New York. They own a struggling business providing sheet rock and manufacturing counter tops. There seems to be a bit of tension amongst the family members, who are all dysfunctional in their own way. The mother Nora (Kathleen Quinlan) is obsessed with watching videotapes (it’s set in 2002) from her youngest daughter Samantha (Alexi Maggio), who updates the family on her life in the big city. Their older [ Read More ]
The post After Movie Review appeared first on Shockya.com.
The post After Movie Review appeared first on Shockya.com.
- 8/24/2014
- by juliana
- ShockYa
Shot with a deliberate fondness for classic films that revolve around families and their intricacies, “After” is an ensemble piece spearheaded by Academy Award-nominee Kathleen Quinlan as Nora, the matriarch of a New York clan, the Valentino family. Through their complex interactions we learn of a secret that has kept them functional for some time in the aftermath of September 11. Driven by conservative views Mitch Valentino (John Doman), the father, dedicates his life to Nora, while his children are left adrift to deal with the family business, alcoholism, and their personal relationships. Directed by Pieter Gaspersz, and written by Sabrina Gennarino, who also stars in the film as daughter Maxine, the film helped as catharsis for both filmmakers dealing with the loss of love ones during the tragic events. Intense conflicts, sacrifice, and the journey to be healed all form part of this powerful drama.
Here is what the talented team had to say about their latest project
Carlos Aguilar: “After” deals with a lot of intense emotions and conflicts. How did each one of you become involved with a project like this?
Sabrina: This is a story that was inspired by own personal experience. I was home for 9/11, we lived downtown and I lost friends. It was a very hard time, and I was really messed up for a long time, so I decided to start writing a diary because I needed to heal myself. That’s how it started. I needed to get to rock bottom, because from there the only place to go is up. But I was in very bad shape. It is sort of my take on how my family would have reacted if I didn’t make it that day, which was a great possibility. It started like that, but of course we made it a little bigger for the purposes of the film, but we actually had no intention of making it. It took me many years to write and get my head around it. As a friend read it she said, “ I think you should really consider getting this out there. There are many people that need to be healed.” It is ultimately a film about loss, but it is set around 9/11 because that was my experience. I couldn’t write about a murder or a car accident. It’s about loss and about a family’s journey back to health and healing.
Pieter: I was, of course, married to Sabrina but I was not involved in the entertainment world at all. We went through September 11, but that day we were separated and reunited 13 hours after the first plane had crashed. Long story short, I’ve worked down in the rubble and I’ve seen many things, so I have a personal experience with the overall event. The initial decision was to take this script, in which Sabrina poured her heart in the medium she could, and make something. But after talking to many filmmakers about what the scope of this story should be, I ended up seeing clearly the way in which it needed to be communicated to the world. It was the first time for both of us, and we just got to the end of the cliff and jumped. That’s who we are as people; we figure it out as we go down. We just jumped and drove and drove until this film got all the way to where it is today.
Kathleen: The project somehow miraculously ended up in my email from my agent. It becomes very difficult to find meaningful work, so this really spoke to me. There was something for me to do with Nora. I had no idea who Pieter or Sabrina were. I’m not exactly sure how I got the part [Laughs]. How did I get it Sabrina?
Sabrina: When someone suggested you we all go goosebumps. I didn’t think in a million years we would be able to get you. I thought, “There is no way we are going to be able to get this woman.” But gratefully we heard you responded to the material and we all started jumping up and down in the freezing cold of Rochester. Carlos, Most people don’t know this but she got the script about three days prior to shooting. We had a very short pre-production week, we shot for only twenty days, and we used 35mm film. Kathleen got in three days prior, and her breakdown scene was the very first day. That’s the power of this woman. That is the level at which she functions.
Kathleen: I was so lucky. They are all such topnotch actors. If any of them are a weak link then it just doesn’t play.
Carlos: This is an ensemble piece in which all the actors are on point. What was the process of developing and making it a reality.
Pieter : When Sabrina wrote the script, we had opportunities to do other films. But it felt like we needed to get passed this and get the weight off our shoulders. It was also about how we wanted to enter into the business. We’ve been trying to do this a very long time, and we just wanted to be calculative about it. But the bottom line is Sabrina wrote a script that was much bigger than either her or I had recognized. We realized that the film was much bigger than us and we knew that in the collaboration we needed to allow it to grow. From a visual standpoint I knew I was going to go against the grain of independent film by trying to take a period piece and make it more of a classic style drama, instead of a fast-cut, quick-shot, sharp film. We got up to Rochester after talking to our key team members for months and months, and after planning this thing out. The two weeks that we had was like letting the bulls out of the cage, I did as much research as I could but we didn’t have the time for a long audition process. What really worked for me was getting to know the actors as humans first, that way I knew who they were and how they worked prior to coming. That way we could allow them the freedom to collaborate, expand on these characters, find them as we were going along, and stay grounded to the truth we were trying to tell. We all worked tirelessly for hours upon hours in the freezing cold winter of Rochester, New York. It was amazing.
Sabrina: It took so long because I’d never written a script before and we never thought we would make it. That was part of the long development that took place.
Kathleen: I was really impressed. They chose people that worked well, not big names. They were looking for really fine actors. Obviously John Doman and Pablo Schreiber are rather big names, but I think they responded to Sabrina’s writing
Carlos: With the time constraints that you mention, was it difficult to get to know the cast and develop the certain chemistry needed for the scenes?
Kathleen: We were all in this house for several days so we had time to get to know each other.
Pieter: When Kathleen landed we went out to dinner and we talked. Obviously every film is different, but this one being so dark and intense we wanted to keep the set very light. We had a tight unit and everybody was heard, from the PAs to my line producer to the cast. This allowed for those bonding moments. There were times when everyone was free juts talking, but when it got to the intense moments we were all ready for what needed to be done.
Carlos: The dinner sequences seem to be such an important part of this family's relationship.
Sabrina: Pieter was brilliant with it; they are so hard to shoot.
Pieter: [Jokingly] Not a table scene!
Kathleen: [Laughing] Anything but a table scene!
Sabrina: We got kids; we got animals, and a table scene?
Pieter: How am I going to cover all these people? [Laughs]
Sabrina: That’s one of the things we get a lot from viewers, “This happened at my dinner table." It was really all based on my family. They are wonderful people, but we had to make it a bit bigger for theatrical purposes. My family is that supportive and we would do anything for each other. For the table scenes, those were just natural, real conversations. Pieter thought I was crazy when I acted them out. As an actor I get to ask “Does the dialogue feel real to me” that’s one of the benefits of being an actor and a writer. They were hard to do, but those dinner scenes were based on real conversations. I love when people come up and say “Oh my God, this happened last Christmas.” Pieter and the crew just nailed it.
Carlos: Given the scope of the film and the personal subject matter, did you feel an added sense of responsibility or pressure while making it?
Kathleen: I felt a tremendous responsibility due to the background of the story and representing that kind of grief or universal pain. But I’m sure Pieter and Sabrina felt a lot more responsibility.
Sabrina: That’s an understatement. We had this Oscar and Golden nominee in our film, if I had stopped to think about it I probably would have curled up in a corner. The pressure was amazing, but we had an amazing cast who were just so open and lovely. They were very real. For a film a like this, that was very important. We couldn’t have actors who were on the cover of every single magazine every day, because we needed our audiences to be able to get lost in these characters. There was incredible pressure.
Pieter: As far as fear, I don't think we had time for it. But I did see Kathleen as a person who is amazing and what she does on this planet and the contribution she brings, and also how passionate John, Pablo, and Adam Scarimbolo were. All of us were so in the mood right away. It was a phenomenal thing. During post, since we didn't have the time or budget to edit while we were shooting, I knew I needed to step it up.That's why I brought in 3-time Oscar-nominee William Steinkamp whose brush in filmmaking I knew would be perfect for this. It is a dream when you work with this level of talent, you trust each other and it is just such an open collaboration. Pressure, sure, of producing it and the fact you have to make money back, we have investors that we care about, but the experience over all has been amazing.
Carlos: Watching the film I was impressed to see a film set in 2002 as a period piece. It has only been 12 years, but that period of time has its own qualities looking at it from a distance. Since the film takes place in the aftermath of 9/11, how do you think this will be perceived now more than a decade apart?
Kathleen: Obviously cinematographer Jonathan Hall and Pieter had a great vision, but it is interesting the timing of this coming out. When they first showed it to me a few years ago we probably weren't ready for it. Somehow the timing seems Ok now. It doesn't seem disrespectful, it seems like people can take a little bit, we have a little distance.
Sabrina: We've been having screenings of the film, and in the most recent one we were there for 45 minutes after answering questions, and then we went out to the lobby and more people were waiting to talk to us about it and their experience. Most of them loved that we didn't make it the "9/11 film," it was about getting to know these characters. It couldn't be about the event, they have losses in other ways. People are relating on so many different levels. The response from audience members has been truly wonderful. I'm just so grateful, it is a gift that they've given us. They are giving us such a gift when they come to speak to us about it and tell us how they feel and how powerful it was. The healing they are giving us with their response is overwhelming.
Pieter: Consciously it's not a film that follows one character. It is a film in which I want you to feel uncomfortable. I want audiences to become aware as Nora becomes aware. We are not hiding that Sam, her daughter, is death, it's on the poster, because it is about Nora's journey. For the audience that connects with it, they really connect. It was a small voice that we were looking to shout out from and the response has been outstanding.
"After" Opens Friday August 15th in Los Angeles and It's Already Playing in New York and Available on VOD...
Here is what the talented team had to say about their latest project
Carlos Aguilar: “After” deals with a lot of intense emotions and conflicts. How did each one of you become involved with a project like this?
Sabrina: This is a story that was inspired by own personal experience. I was home for 9/11, we lived downtown and I lost friends. It was a very hard time, and I was really messed up for a long time, so I decided to start writing a diary because I needed to heal myself. That’s how it started. I needed to get to rock bottom, because from there the only place to go is up. But I was in very bad shape. It is sort of my take on how my family would have reacted if I didn’t make it that day, which was a great possibility. It started like that, but of course we made it a little bigger for the purposes of the film, but we actually had no intention of making it. It took me many years to write and get my head around it. As a friend read it she said, “ I think you should really consider getting this out there. There are many people that need to be healed.” It is ultimately a film about loss, but it is set around 9/11 because that was my experience. I couldn’t write about a murder or a car accident. It’s about loss and about a family’s journey back to health and healing.
Pieter: I was, of course, married to Sabrina but I was not involved in the entertainment world at all. We went through September 11, but that day we were separated and reunited 13 hours after the first plane had crashed. Long story short, I’ve worked down in the rubble and I’ve seen many things, so I have a personal experience with the overall event. The initial decision was to take this script, in which Sabrina poured her heart in the medium she could, and make something. But after talking to many filmmakers about what the scope of this story should be, I ended up seeing clearly the way in which it needed to be communicated to the world. It was the first time for both of us, and we just got to the end of the cliff and jumped. That’s who we are as people; we figure it out as we go down. We just jumped and drove and drove until this film got all the way to where it is today.
Kathleen: The project somehow miraculously ended up in my email from my agent. It becomes very difficult to find meaningful work, so this really spoke to me. There was something for me to do with Nora. I had no idea who Pieter or Sabrina were. I’m not exactly sure how I got the part [Laughs]. How did I get it Sabrina?
Sabrina: When someone suggested you we all go goosebumps. I didn’t think in a million years we would be able to get you. I thought, “There is no way we are going to be able to get this woman.” But gratefully we heard you responded to the material and we all started jumping up and down in the freezing cold of Rochester. Carlos, Most people don’t know this but she got the script about three days prior to shooting. We had a very short pre-production week, we shot for only twenty days, and we used 35mm film. Kathleen got in three days prior, and her breakdown scene was the very first day. That’s the power of this woman. That is the level at which she functions.
Kathleen: I was so lucky. They are all such topnotch actors. If any of them are a weak link then it just doesn’t play.
Carlos: This is an ensemble piece in which all the actors are on point. What was the process of developing and making it a reality.
Pieter : When Sabrina wrote the script, we had opportunities to do other films. But it felt like we needed to get passed this and get the weight off our shoulders. It was also about how we wanted to enter into the business. We’ve been trying to do this a very long time, and we just wanted to be calculative about it. But the bottom line is Sabrina wrote a script that was much bigger than either her or I had recognized. We realized that the film was much bigger than us and we knew that in the collaboration we needed to allow it to grow. From a visual standpoint I knew I was going to go against the grain of independent film by trying to take a period piece and make it more of a classic style drama, instead of a fast-cut, quick-shot, sharp film. We got up to Rochester after talking to our key team members for months and months, and after planning this thing out. The two weeks that we had was like letting the bulls out of the cage, I did as much research as I could but we didn’t have the time for a long audition process. What really worked for me was getting to know the actors as humans first, that way I knew who they were and how they worked prior to coming. That way we could allow them the freedom to collaborate, expand on these characters, find them as we were going along, and stay grounded to the truth we were trying to tell. We all worked tirelessly for hours upon hours in the freezing cold winter of Rochester, New York. It was amazing.
Sabrina: It took so long because I’d never written a script before and we never thought we would make it. That was part of the long development that took place.
Kathleen: I was really impressed. They chose people that worked well, not big names. They were looking for really fine actors. Obviously John Doman and Pablo Schreiber are rather big names, but I think they responded to Sabrina’s writing
Carlos: With the time constraints that you mention, was it difficult to get to know the cast and develop the certain chemistry needed for the scenes?
Kathleen: We were all in this house for several days so we had time to get to know each other.
Pieter: When Kathleen landed we went out to dinner and we talked. Obviously every film is different, but this one being so dark and intense we wanted to keep the set very light. We had a tight unit and everybody was heard, from the PAs to my line producer to the cast. This allowed for those bonding moments. There were times when everyone was free juts talking, but when it got to the intense moments we were all ready for what needed to be done.
Carlos: The dinner sequences seem to be such an important part of this family's relationship.
Sabrina: Pieter was brilliant with it; they are so hard to shoot.
Pieter: [Jokingly] Not a table scene!
Kathleen: [Laughing] Anything but a table scene!
Sabrina: We got kids; we got animals, and a table scene?
Pieter: How am I going to cover all these people? [Laughs]
Sabrina: That’s one of the things we get a lot from viewers, “This happened at my dinner table." It was really all based on my family. They are wonderful people, but we had to make it a bit bigger for theatrical purposes. My family is that supportive and we would do anything for each other. For the table scenes, those were just natural, real conversations. Pieter thought I was crazy when I acted them out. As an actor I get to ask “Does the dialogue feel real to me” that’s one of the benefits of being an actor and a writer. They were hard to do, but those dinner scenes were based on real conversations. I love when people come up and say “Oh my God, this happened last Christmas.” Pieter and the crew just nailed it.
Carlos: Given the scope of the film and the personal subject matter, did you feel an added sense of responsibility or pressure while making it?
Kathleen: I felt a tremendous responsibility due to the background of the story and representing that kind of grief or universal pain. But I’m sure Pieter and Sabrina felt a lot more responsibility.
Sabrina: That’s an understatement. We had this Oscar and Golden nominee in our film, if I had stopped to think about it I probably would have curled up in a corner. The pressure was amazing, but we had an amazing cast who were just so open and lovely. They were very real. For a film a like this, that was very important. We couldn’t have actors who were on the cover of every single magazine every day, because we needed our audiences to be able to get lost in these characters. There was incredible pressure.
Pieter: As far as fear, I don't think we had time for it. But I did see Kathleen as a person who is amazing and what she does on this planet and the contribution she brings, and also how passionate John, Pablo, and Adam Scarimbolo were. All of us were so in the mood right away. It was a phenomenal thing. During post, since we didn't have the time or budget to edit while we were shooting, I knew I needed to step it up.That's why I brought in 3-time Oscar-nominee William Steinkamp whose brush in filmmaking I knew would be perfect for this. It is a dream when you work with this level of talent, you trust each other and it is just such an open collaboration. Pressure, sure, of producing it and the fact you have to make money back, we have investors that we care about, but the experience over all has been amazing.
Carlos: Watching the film I was impressed to see a film set in 2002 as a period piece. It has only been 12 years, but that period of time has its own qualities looking at it from a distance. Since the film takes place in the aftermath of 9/11, how do you think this will be perceived now more than a decade apart?
Kathleen: Obviously cinematographer Jonathan Hall and Pieter had a great vision, but it is interesting the timing of this coming out. When they first showed it to me a few years ago we probably weren't ready for it. Somehow the timing seems Ok now. It doesn't seem disrespectful, it seems like people can take a little bit, we have a little distance.
Sabrina: We've been having screenings of the film, and in the most recent one we were there for 45 minutes after answering questions, and then we went out to the lobby and more people were waiting to talk to us about it and their experience. Most of them loved that we didn't make it the "9/11 film," it was about getting to know these characters. It couldn't be about the event, they have losses in other ways. People are relating on so many different levels. The response from audience members has been truly wonderful. I'm just so grateful, it is a gift that they've given us. They are giving us such a gift when they come to speak to us about it and tell us how they feel and how powerful it was. The healing they are giving us with their response is overwhelming.
Pieter: Consciously it's not a film that follows one character. It is a film in which I want you to feel uncomfortable. I want audiences to become aware as Nora becomes aware. We are not hiding that Sam, her daughter, is death, it's on the poster, because it is about Nora's journey. For the audience that connects with it, they really connect. It was a small voice that we were looking to shout out from and the response has been outstanding.
"After" Opens Friday August 15th in Los Angeles and It's Already Playing in New York and Available on VOD...
- 8/15/2014
- by Carlos Aguilar
- Sydney's Buzz
For a family with a surname that connotes love, the Valentino clan of upstate New York has enough issues to be straight out of a Chekhov play. Pieter Gaspersz’s After sets them in the winter of 2002, and among other things, gruff patriarch Mitch (John Doman) is emotionally distant, obsessed with illegal immigration, and disapproving of his daughter Maxine (Sabrina Gennarino), who desires to marry her long-term, African-American boyfriend, Andy (Darrin Dewitt Henson); eldest son Christian (Pablo Schreiber) is struggling to keep the family stonecutting business afloat; younger and frequently squeaky-voiced son, Nicky (Adam Scarimbolo), is an ex-con and all-around screwup; and brittle matriarch Nora (Kathleen Quinlan) obsesses over VHS tapes sent by prodigal daughter ...
- 8/6/2014
- Village Voice
The War at Home: Gaspersz’s Film is Garbage Bin Exploitation
To truly address the putrid redolence of something like the film After, of such deficient quality that it’s unfathomable people will actually pay for a ticket to see this (not to mention the validating presence of Kathleen Quinlan), one must divulge the preposterous twist that proudly unfurls in the final act. Needless to say, there will be a major spoiler alert pertaining to what’s actually going on with this blighted undertaking, but consider it to be the warning signal to keep your hours for some much more fruitful activity than experiencing the offensive nature of this veracious stink-bomb.
Welcome to the upper crust, suburban milieu of the Valentino clan, a family of WASPy scions that appear to be on the verge of unavoidable implosion due to some insidious secret. The matriarch, Nora (Kathleen Quinlan) seems to...
To truly address the putrid redolence of something like the film After, of such deficient quality that it’s unfathomable people will actually pay for a ticket to see this (not to mention the validating presence of Kathleen Quinlan), one must divulge the preposterous twist that proudly unfurls in the final act. Needless to say, there will be a major spoiler alert pertaining to what’s actually going on with this blighted undertaking, but consider it to be the warning signal to keep your hours for some much more fruitful activity than experiencing the offensive nature of this veracious stink-bomb.
Welcome to the upper crust, suburban milieu of the Valentino clan, a family of WASPy scions that appear to be on the verge of unavoidable implosion due to some insidious secret. The matriarch, Nora (Kathleen Quinlan) seems to...
- 8/4/2014
- by Nicholas Bell
- IONCINEMA.com
Putting it nicely, After is not an easy film to sit through. Human emotion is not something that can easily be “manipulated,” and while I sincerely don’t want to use that word based on writer Sabrina Gennarino’s scripted intentions, no word better describes the gratuitous drama each Valentino family member subjects viewers to. Despair, deceit, treachery, withdrawal – no character is safe from a gamut of emotional follies, but after a while, the endless parade of obvious baggage becomes far too cumbersome for such a dreary travel. Even worse are the motivations for these actions, presented without coherence or detail in a way that makes any sort of meaningful attachment next to impossible. After never quite tries to be anything more than a cheap tissue waster, ending on a note that almost guilts you for enjoying no parts of the ride – a truly depressing affair with a baffling amount of anger.
- 8/4/2014
- by Matt Donato
- We Got This Covered
Stars: Marc Webber, Devon Graye, Tom Bower, Rutina Wesley, Ron Perlman, Pruitt Taylor Vince, Clyde Jones, Deneen Tyler, Ritchie Montgomery, Brylee Kate Woodard, Sabrina Gennarino | Written by Daniel Stamm, David Birke | Directed by Daniel Stamm
Review by Scott Clark of Cinehouse
Daniel Stamm’s 13 Sins, a remake of Thai film 13: Game of Death, is the disturbing tale of one man’s descent into crime and degradation. After receiving a mysterious phone call, debt-ridden Elliot Brindle (Marc Webber) is set on a path to riches, all he has to do is complete a bizarre series of tasks. As he desperately races through the increasingly disturbing tasks, earning larger and larger sums of money, the shady organization behind the “game” watch closely, egging him on.
From the outset the film is in good hands, great direction and a fairly solid script make for pleasing viewing. Throw in the fantastic Marc Webber as a slowly crumbling wimp,...
Review by Scott Clark of Cinehouse
Daniel Stamm’s 13 Sins, a remake of Thai film 13: Game of Death, is the disturbing tale of one man’s descent into crime and degradation. After receiving a mysterious phone call, debt-ridden Elliot Brindle (Marc Webber) is set on a path to riches, all he has to do is complete a bizarre series of tasks. As he desperately races through the increasingly disturbing tasks, earning larger and larger sums of money, the shady organization behind the “game” watch closely, egging him on.
From the outset the film is in good hands, great direction and a fairly solid script make for pleasing viewing. Throw in the fantastic Marc Webber as a slowly crumbling wimp,...
- 5/17/2014
- by Guest
- Nerdly
Paladin, in partnership with Accretion Films, will distribute the psychological thriller After on August 8th (this is no relation to the other film called After we recently told you about). The film marks the feature directorial debut of Pieter Gaspersz, who also produced with Sabrina Gennarino, who wrote the original screenplay.
The post Another Film Called After is Heading Our Way This Summer appeared first on Shock Till You Drop.
The post Another Film Called After is Heading Our Way This Summer appeared first on Shock Till You Drop.
- 4/30/2014
- by Ryan Turek
- shocktillyoudrop.com
Paladin, in partnership with Accretion Films, will distribute Pieter Gaspersz's psychological horror tale After on August 8th. The flick will be simultaneously unveiled on digital platforms and on DVD through Virgil Films, who acquired all North American digital and home entertainment rights.
Kathleen Quinlan, John Doman, Pablo Schreiber, Sabrina Gennarino, and Adam Scarimbolo star.
Synopsis
Set in icy upstate New York in the winter of 2002, After is about the Valentinos, a middle class clan facing financial hardship – their family stone cutting business is slowly failing – and coping with the usual rivalries and resentments that affect all but their absent daughter, Samantha, who has recently escaped Rochester for a new life in lower Manhattan. At their center is matriarch Nora (Quinlan), whose cheerful exterior masks an emotional fragility of which the entire family is painfully aware and fiercely protective. But their delicate balance is threatened by a carefully concealed secret that,...
Kathleen Quinlan, John Doman, Pablo Schreiber, Sabrina Gennarino, and Adam Scarimbolo star.
Synopsis
Set in icy upstate New York in the winter of 2002, After is about the Valentinos, a middle class clan facing financial hardship – their family stone cutting business is slowly failing – and coping with the usual rivalries and resentments that affect all but their absent daughter, Samantha, who has recently escaped Rochester for a new life in lower Manhattan. At their center is matriarch Nora (Quinlan), whose cheerful exterior masks an emotional fragility of which the entire family is painfully aware and fiercely protective. But their delicate balance is threatened by a carefully concealed secret that,...
- 4/30/2014
- by Steve Barton
- DreadCentral.com
Paladin and Accretion Films will distribute the psycho-thriller After on August 8 in the Us. Separately, Syndicado and Variance Films are teaming on the documentary Elena.
After marks the feature directorial debut of Pieter Gaspersz, who also produced with screenwriter Sabrina Gennarino.
The film will be go out day-and-date on digital and DVD through Virgil Films, who acquired all North American digital and home entertainment rights.
Kathleen Quinlan (pictured) stars in the family story alongside John Doman, Pablo Schreiber, Adam Scarimbolo, Diane Neal, Darrin Dewitt Henson, Bruno Gunn, Mandy Gonzalez, and Gennarino.
Elena screened at SXSW and will open on May 30 at New York City’s IFC Center before expanding to Los Angeles’ Laemmle Royal and additional markets across North America on June 13. Digital and home video release will follow in September.
Tim Robbins and Fernando Meirelles served as executive producers on the story of Petra, a Brazilian who moves to New York to follow her acting dreams...
After marks the feature directorial debut of Pieter Gaspersz, who also produced with screenwriter Sabrina Gennarino.
The film will be go out day-and-date on digital and DVD through Virgil Films, who acquired all North American digital and home entertainment rights.
Kathleen Quinlan (pictured) stars in the family story alongside John Doman, Pablo Schreiber, Adam Scarimbolo, Diane Neal, Darrin Dewitt Henson, Bruno Gunn, Mandy Gonzalez, and Gennarino.
Elena screened at SXSW and will open on May 30 at New York City’s IFC Center before expanding to Los Angeles’ Laemmle Royal and additional markets across North America on June 13. Digital and home video release will follow in September.
Tim Robbins and Fernando Meirelles served as executive producers on the story of Petra, a Brazilian who moves to New York to follow her acting dreams...
- 4/30/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
After, the UK thriller we introduced you to recently, will be distributed by in select theaters by Paladin and get an August 8th release. The film marks the feature directorial debut of Pieter Gaspersz, who also produced with Sabrina Gennarino, who wrote the original screenplay. The film will be simultaneously unveiled on digital platforms and on DVD through Virgil Films who acquired all North American digital and home entertainment rights.
The post UK Thriller, After, Getting an August Release appeared first on Shock Till You Drop.
The post UK Thriller, After, Getting an August Release appeared first on Shock Till You Drop.
- 4/30/2014
- by Ryan Turek
- shocktillyoudrop.com
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