Saturday, December 31, 2011

VOD: Don't Go in the Woods Extras - Interview w/Vincent D'Onofrio

Synopsis: An interview with Vincent D'Onofrio, director and writer of Don't Go In the Woods, as well as behind the scene footage and interviews with the cast. Available now On Demand from Tribeca Film.
Runtime: 4 Minutes



:::

Watch the Film - Don't Go in the Woods

A Tribeca Film. Vincent D'Onofrio (LAW & ORDER) directs this twisted musical/horror hybrid. When a young band takes to the woods to write their first hit song, they find themselves in the midst of a nightmare beyond comprehension.

Starring: Bo Boddie, Eric Bogosian
Directed by: Vincent D'Onofrio
Runtime: 1 hour 24 minutes
Release year: 2011
Studio: Tribeca Film







Monday, December 26, 2011

Don't Go in the Woods: What is a Slasher Musical Anyway?

TribecaFilm.com, 12.26.11
By Kristin McCracken

First-time feature director Vincent D'Onofrio and screenwriter Joe Vinciguerra on making their B-movie throwback, available now on nationwide VOD.


Over the past three decades, Vincent D’Onofrio has amassed a diverse, respected career as a genius character actor in movies such as Full Metal Jacket, Men In Black, Mystic Pizza, and The Player, and many more know him best as the intense Detective Goren on Law & Order: Criminal Intent. In 2005, D’Onofrio directed himself as a cinematic legend in the short film Five Minutes, Mr. Welles, and he’s now moved on to a feature project: a low-budget “slasher musical” (in which he does not act) called Don’t Go in the Woods, which debuts today on nationwide VOD. (Find a screen near you here.)

While the story is credited to D’Onofrio, he enlisted two of his buddies to flesh out the screenplay: Joe Vinciguerra and Sam Bisbee, the latter of whom also wrote the songs that serve as the soundtrack for the movie. What exactly is a slasher musical, you might ask? Here’s the gist: a group of guys in an up-and-coming Brooklyn band head to the woods to camp for the weekend, with the disciplined intention of nailing down a group of songs that will land them their big break: no booze, no cell phones, no distractions. Distraction arrives, however, in the form of a group of girlfriends, and the whole gang starts getting killed off one by one… but not before each one gets to sing a swan song.

Don’t Go in the Woods is kind of hard to pin down—there’s not much to compare it too—but it’s a fun ride, with the loose feel of a campy B-horror-movie from decades past (the difference here is that Bisbee’s music is good), with twists and turns and jumps galore. When D’Onofrio and Vinciguerra stopped by the Tribeca offices last week, their conversation went in the same direction—you can just tell they had a great time making this movie.

Tribeca: Whose crazy idea was this? What was the inspiration? Were there other films you had in mind, or did you just want to mash up genres?

Vincent D’Onofrio: I was driving down from upstate with my wife, and Sam, Joe and I had this project in the works [Johnny and Me], but we were waiting for Johnny Cash’s estate to approve it, and I was just getting anxious to shoot something. So I was thinking: What do I have available? What can I do? We have 100 acres of woods upstate, and Joe’s a writer, and Sam’s a composer, so why not make a musical horror movie… don’t use a casting agent, just use [non-actors]. So I called up Sam, and then two months after that, we were shooting. Joe came up with the script pretty quickly…

Joe Vinciguerra: We knew the movie, right? The second he pitched it, we knew we had 5 guys in a band, and they go to the woods, and we’re just going to come up with as many ridiculous ways as we can to kill them. [laughs] We basically did that in a weekend. [To Vincent:] We went to your house, up there, and we goofed around in the woods at night, which scared the s&!% out of us.

We came up with 10 kinds of archetypal characters—the kind who are in all these movies—so that it was very easy to know their storylines and relationships: the smart girl, the stoned rocker, that kind of thing.

Tribeca: And the blind guy! You don’t often see a blind guy in a movie.

JV: We started to think backwards: What’s the scariest thing that could happen? What if you were blind and stuck in the woods, and there’s some kind of killer on the loose…

VD’O: The idea was always that it would be like a B-horror film structure, and that everybody sings, and everybody dies.

Tribeca: Well, except… [spoiler redacted]

VD’O: [laughs] He’ll die in the next one.

Tribeca: Can you tell us about your cast? Who are the band members? Do they really play together?

VD’O: Well, three of them, Matt [Sbeglia], Nick [Thorp] and Soomin [Lee], had a band called The Dirty Dirty. I had heard them play before and thought that they were all really talented, and I asked them to come over to my house with Sam, and sing some of Sam’s stuff, and see if they could handle it, and they were just brilliant—really talented guys.

Tribeca: What about the girls?

VD’O: Two of the girls were extras on Criminal Intent, and the other ones worked at the coffee shop around the corner from my house. The art director worked in the coffee shop, too. We did casting sessions while I was doing the show, and we’d invite people in to my dressing room to sing, and we’d give them a guitar. I really wanted the least experienced actors; that’s what I was really going for.

Tribeca: And so the two girls were extras, but were any of the rest of them actors?

VD’O: No.

Tribeca: Do they have the bug now?

VD’O: No. I mean, the two actresses still want to be actresses…

Tribeca: Are they excited about the movie coming out?

VD’O: Yeah, they still don’t believe it’s coming out.

JV: I don’t either!

Tribeca: It’s for real! Don’t Go in the Woods launches in over 40 million homes on VOD on December 26. That’s kind of a crazy amount of distribution. Indie films are usually just shown in small theaters in 2 cities… Have you ever been in a film that premiered on VOD?

VD’O: No, it’s all brand new to me. I think it’s awesome. I love the whole idea of it. I think it’s the way everything is going; there’s no denying it anymore. When I’m traveling around, which I do a lot, that’s all I see: people watching movies on little screens. They share headphones—you see couples in airports watching on iPads or iPhones or smartphones or whatever. I mean, that’s it.

Tribeca: Does it bother you? You don’t feel precious about your movie being seen on the big screen?

JV: This is not a movie to be precious about. [laughs]

VD’O: This particular movie? No, it doesn’t bother me at all. I think that it depends on what it is, really. Joe and I are not going to sit here and say that Don’t Go in the Woods has to be seen on a big screen. It doesn’t. But if we’re talking about a David Lean movie, or something like that—yeah, you should see it on the big screen, because that’s what it was made for.

JV: There’s a word of mouth now, that has an immediacy—you see it all the time with these kinds of films.

Tribeca: That’s how this movie is going to spread.

VD’O: Your film can sell a ticket [or a view, a download] while two people are having a conversation, wherever.

Tribeca: So the shoot was on your property. How long were you out in the woods?

VD’O: About 12 days. I think we had like a Saturday off in the middle.

Tribeca: Did anything change while you were shooting?

VD’O: We all knew going in that I had a certain style and vision for the film. I had in my mind how it was going to work, and nobody—well, I think Joe and Sam got what I meant, but no one else—understood until we were actually shooting it. And I knew I had to do it economically. We had a huge cast, so you have to be really economic with your coverage. So you just shoot, shoot, shoot and just don’t stop shooting until the 12th day is up.

Tribeca: Clearly, the audience for the film is young people. You’ve had some screenings on the road. What’s the reaction been?

VD’O: We were surprised a lot of the time, because a lot of audiences weren’t young.

JV: There have been some older people…

Tribeca: And did they like it?

JV: Yeah! I think there are people over a certain age who grew up seeing 70s, schlocky B-movies and appreciated them, as opposed to the kind of pure product that a lot of the horror movies have become now. So I think a lot of the older people appreciated the looseness of the story—the madness, and the craziness of it—how unique it was.

VD’O: And they really liked the music too. The one thing that the film definitely has going for it is Sam Bisbee’s music.

Tribeca: As a first time feature director, what are a few of the biggest things you learned?

VD’O: You know, you get more confidence when you’ve done it. My confidence wasn’t bad when we were doing it, but I feel better now. I just know now that I can just go with my heart and shoot, shoot, shoot, and everything’s going to be fine. If we were ever to make another one, I would go even further. I am confident now that I can go further and people with take that leap with me. As a filmmaker, you really have to be the one with the vision.

With a film like this, people are either going to take the leap or not; they are going to hate it or they are going to love it. We knew that going in. In a way, you have to look at it as kind of an experiment; you don’t really care what people are going to think. Otherwise, why make it?

Tribeca: What did you bring with you as an actor to the directing role, with these people who were not actors? Did you teach them anything?

VD’O: The one thing is trust. I promised them all during some of the read-throughs we had that I wasn’t going to make them look bad. They had to put their trust in me. I know that, as an actor, once a director gets my trust, I just listen to everything they say. The biggest thing was to instill that trust, and then they just follow you anywhere.

I told them there was a certain style of acting that I wanted: a very flat, slacker—Linklater’s Slacker—feel to it. I would direct them in a very literal way: move there, do that, do that faster, don’t think about it, just say the lines. Speak in your own voice, and be as honest as you can. Just don’t worry about it, don’t get in the way of yourself; that’s the biggest thing.

Tribeca: Joe, how involved were you with the filming process?

JV: Sam and I were on the set everyday. We had to change some of the script, as disasters would come up.

Tribeca: Disasters?

JV: Well, we couldn’t use the entire opening sequence—there was a whole thing we filmed that explains and sets up the whole movie—and it just didn’t work out: it was raining, the actor didn’t know his lines… So we had to try to figure out ways to get little bits of information across in other scenes.

But otherwise, the production was pretty smooth, I thought. We kept to the schedule, and the script changed a little bit… There was stuff that didn’t make sense anymore when it was 3 am. We didn’t really have a lot of rehearsals, so by the time the camera was rolling, that was when you found out if a sentence didn’t work, or if a line didn’t make sense anymore. We’d just change it.

Tribeca: What makes Don’t Go in the Woods a must-see?

VD’O: It’s a fun little trip to go on. It’s rock n roll….

JV: It’s a musical that’s not cheesy. It’s just not.

Tribeca: The songs are good!

VD’O: So I think if you want a musical experience and have a lot of fun while you’re watching it, and if you like that horror feel, then you are definitely going to want to watch Don’t Go in the Woods.

JV: And it’s original. You can’t quite say you’ve seen it before.

Tribeca: It’s true. We were stumped about what other movies it’s like.

JV: The reality is like you’d have to say Easy Rider is more like this than actual horror films. I can’t really explain it, but that’s just the way it feels.

VD’O: The thing that’s different from the other musical horrors is that ours is not an opera.

Tribeca: Yeah, the other musical horrors we came up with were Sweeney Todd, Rocky Horror, Repo! The Genetic Opera…

VD’O: Those are very operatic, with sets.

Tribeca: They are not the same sensibility.

VD’O: No, they’re not, at all. And except for Rocky Horror, the music is not as good as in ours, I’m sorry to say. Sam’s music is just outstanding.

JV: That’s obviously one of the big strengths. But we knew that going in—we had great songs to work with.

Tribeca: Any final advice you can share with those looking to follow in your footsteps?

VD’O: Just do it. Just ride with it. I don’t think that you should try to do something too grandiose to start with. Just approach it as an experiment—that’s how I think about it—don’t put so much weight on it. If you feel like it’s your passion, then most likely, you have a talent. So just try not to do anything that’s too difficult to start with. Do something you know.

JV: Like killing people in the woods. [laughs]


Don't Go in the Woods opens theatrically:
—on Friday, January 13, at Cinema Village in New York City
—on Friday, February 10, at Laemmle Music Hall in Los Angeles

Don’t Go in the Woods is now playing on VOD. Find out where you can watch it.





Saturday, December 24, 2011

Norad Santa Tracker


Track Santa as he makes his way around the world. You can also track Santa on Facebook and Twitter! And even on your smartphone!

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Happy Holidays!!


Best Wishes for a safe and happy holiday. Blessings to all for a prosperous New Year!

Sending a Christmas birthday wish to dear friend Judith Whiteside. Have a wonderful birthday!


Thursday, December 22, 2011

Photo: Vincent D'Onofrio & Joe Vinciguerra at Tribeca Film

Posted by Tribeca Film - Joe Vinciguerra & Vincent D'Onofrio stopped by to talk Don't Go In The Woods, avail Dec 26 on VOD nationwide!

Sunday, December 18, 2011

Interview: "Chained" screenwriter Damian O'Donnell

Perth Now/The Sunday Times, December 17, 2011
by: Glen Quartermain

A rugby player's field of dreams


DAMIAN O'Donnell has many guises: captain-coach of University's fourth-grade rugby team, accountant, sports administrator.

Now he can add international screenwriter to the list.

The 52-year-old has spent a lifetime dabbling in screenplay, but until now it has been only a hobby.

That hobby has morphed into a low-budget independent psychological thriller, Chained, directed by Jennifer Lynch and starring Vincent D'Onofrio and Julia Ormond, which is due for release next year by Myriad Pictures.

O'Donnell is now being wooed by one of LA's big talent agencies and is in demand to write more low-budget horror and bigger- purse action thrillers.

O'Donnell's life changed in a moment of serendipity, but it would take another 16 years for it to be transformed.

In 1995, he wrote a screenplay that was shown to a US producer, Craig Anderson, who just happened to be holidaying in Perth at the time.

"I mentioned this script I wrote to a mate named Bear Yugnovich one day when we were getting ready for a game and it turned out his wife's best friend was married to Craig and it all went from there," he said.

"There were big plans in place, but they were all shot down by the release of the trailer for Independence Day.

"It was a virtually identical story, so we were dead in the water. But on the strength of that, Craig said, 'We love your writing so if you write anything else please send it to us'.

"So I wrote this thing called Archangel about these ritualistic murders in New York in the lead-up to the year 2000 and the end of the world and they quite liked that, but before that had gone too far Arnold (Schwarzenegger) came out with End of Days. Same deal. Dead in the water again.

"I got so frustrated, putting in so much time and effort to go nowhere."

In 2001, O'Donnell received an email out of nowhere asking if he had any low-budget horror scripts in the pipeline.

"I said no I don't, but I'll write you something," he said. "So I wrote the first 20 pages for this thing that is now being made, but with a fairly heavy workload in my day job. I didn't get around to finishing it until 2005, which I decided to do really just for my own personal satisfaction.

"I sent it off not expecting too much after such a long delay and they came back saying that though they loved it, their slate was full and they wouldn't be able to pick it up.

"Truthfully, I just forgot about it after that until one Saturday morning in September last year when I got another email out of the blue asking if the script was still available.

"The guys at the production company, Envision Media, said that over the course of the subsequent five years they just kept coming back to thinking what a great movie that little script would have made."

Shot with a $2.5 million budget in Los Angeles and on location in Regina and Moose Jaw in Saskatchewan, Canada, D'Onofrio, best known for his detective role in Law and Order, plays a serial killer who kidnaps a woman (Ormond), who happens to have her young son, Rabbit, in tow.

The killer decides to keep the kid around and make him his protege.

Fast forward 10 years and a grown Rabbit must decide whether to follow in the footsteps of his captor/mentor or plan his escape.

"There are only really two types of serial killer genres," O'Donnell said. "Those where the victims are trying to run away from the killer or those where the dogged cop chases the killer.

"I have never seen one where you take a normal person and parachute him fair and square into the middle of a serial killer's life. Where murder is just another day on the ranch for this guy. The question it poses is: Does a normal, naturally good person become evil because of their environment or can they overcome all that and stay a good person?"

O'Donnell had to pinch himself at times when he was on set in July watching D'Onofrio and Ormond perform their craft with his script.

"It is in pretty good hands," he said.

"Hearing Vincent on set . . . I can remember sitting at my desk when I was writing it, thinking, 'What the hell am I going to get this guy to say next?' And then a guy of Vincent's calibre comes along and elevates the character more than I could have imagined. He has developed this speech impediment and he has a stoop and he walks with a shuffle.

"I wrote it, I knew what he was going to say, but he still scared the st out of me."

At the moment O'Donnell is an amateur sportsman who dabbles in movies. If his career as a screenwriter takes off, it might be reversed.

Originally from Sydney, he was a ball boy for Eastern Suburbs Roosters in 1974-75 when they won first-grade rugby league back-to-back titles under legendary coach Jack Gibson and captain Arthur Beetson, who died on December 1 at 66 from a heart attack..

O'Donnell remains a rabid Roosters fan and even named one of the characters in his film Brad Fittler, after the former Roosters player and coach.

He moved to Perth as a 17-year-old at the end of 1975, but crossed codes to union and 36 years later is still playing, this year chalking up his 500th game for University, which won its third successive fourth-grade premiership in September.

"I've had the crap beaten out of me, but thankfully not all the creative juices," he said.

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Saturday, December 17, 2011

A career Greta Scacchi's girl Leila George was born to pursue

Sunday Telegraph, 12.18.11


SHE has two famous actor parents but, after a year of studying filmmaking, Leila George has decided she'd rather follow their footsteps on the other side of the camera.

The daughter of Greta Scacchi and Law And Order: Criminal Intent star Vincent D'Onofrio graduated from a foundation course at the Sydney Film School on Wednesday but has decided to pursue acting in New York.

Her father, known for his TV role as Detective Goren, flew from the US for the graduation. Scacchi was performing in David Williamson's play, Nothing Personal, at The Ensemble Theatre when the graduation ceremony was being held..

George, who studied drama at school in the UK, said acting was her passion.

"I've always loved being on stage and at the film school I found that I wanted to be in all the films they were writing," she said. "

I've grown up with actors as parents so I know how hard it is."

George plans to study method acting at the Lee Strasberg Institute in New York next year where her father sometimes teaches. She will live with him, his second wife Carin van der Donk and their two sons while she is there.

Scacchi said her daughter has the talent to pursue an acting career.

"As long as she works hard, and she is exceedingly disciplined, I think she'll be fine," she said.


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Thursday, December 8, 2011

Capone interviews Vincent D'Onofrio about his directing debut, the horror-musical DON'T GO IN THE WOODS!!!

Aint It Cool News, 12.08.11

Hey everyone. Capone in Chicago here.

I'll be honest. I was a little nervous about meeting Vincent D'Onofrio, not that I'd heard he was a tough interview or anything like that. D'Onofrio has just struck me as the kind of guy who gets intense about his work, maybe to the point where he might grow weary about going over some of his pivotal older work, such as his first major film role as the unforgettable Private Pyle in Stanley Kubrick's FULL METAL JACKET or the obsessive hopeless romantic in HOUSEHOLD SAINTS, or the slighty off Robert E. Howard in THE WHOLE WIDE WORLD.

But then I started thinking about the more off-the-wall roles he's tackled since the mid-1980s, and I realized that only a risk taker like D'Onofrio could take on lighter fare in MYSTIC PIZZA or ADVENTURES IN BABYSITTING alongside his insanely funny performance in MEN IN BLACK or just playing insane in CELL. Lest we forget his charming cameo as Orson Welles in Tim Burton's ED WOOD or inhabiting Abbie Hoffman in STEAL THIS MOVIE. One of my personal favorites from the D'Onofrio canon is as Sam Deed in HAPPY ACCIDENTS, a man who may or may.

For 10 years, D'Onofrio has played the wildly intelligent and damange Det. Robert Goren on "Law & Order: Criminal Intent," and one of his first orders of business after leaving that show was completing his directorial debut, the movie musical DON'T GO IN THE WOODS, about a band that goes on retreat in a remote area of the woods to see if they can kick start the creative juices. It's a fascinating movie that has been playing the festival circuit for over a year and is getting a limited release as part of the traveling arm of the Tribecca Film Festival, which is were I saw it when it passed through Chicago recently.

I ended up having a terrific time talking to D'Onofrio about DON'T GO IN THE WOODS and a couple of his older works. This wouldn't qualify as a Legends interview, but if we'd had more time and covered more ground, he's exactly the kind of guy I'd love to grill about his entire career. Please enjoy my talk with Vincent D'Onofrio…

Click here for interview.

Thanks Scott!



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"American Falls" needs funding for post-production



AMERICAN FALLS

A short film by Be' Garrett
A Zena Group Film

Directed by Be’ Garrett, Produced by Be’ Garrett, Josh Liveright, Erika Hampson, Windi See Vianello, Written by Be’ Garrett & Josh Liveright

Based on the story by Barry Gifford

In a rural town in southern Idaho a Japanese-American family owns and operates a small motel. The year is 1965, the height of the Civil Rights Era. One night a stranger sporting ‘city’ clothes checks in, the first African-American man that Toru Suzuki’s children have ever seen. Yoshiko, Toru’s precocious 13 year old daughter, takes it upon herself to solve the mystery of this man, especially after two detectives come knocking on their door in the middle of the night.

Starring: Kazumi Aihara, Louis Ozawa Changchien, Curtiss Cook, Sean Cullen, Vincent D’Onofrio, Amy Fujioka and Taishi Hosokawa

Crew:
Director of Photography Quenell Jones, Production Designers Adam Brustein and Charles McCarry, Set Decorator Nicole Duryea Costume Designers Ingrid Price, Anney Perrine and Melanie Randolph, Casting Director Judy Bowman, Sound James Baker and Thomas Brookins, Location Manager Mark O’Brien, Storyboards Shane Ingersoll, Stills Nathan West, Assistant Directors Rob Lopez and Stephanetta Bingley, Editor Kim Bica, Original Music Earl Johnson Jr., Visual Effects Burn Crash Repeat

We need your help to make this film. All your contributions are 100 percent tax-deductible thanks to our 501c3 producing partner, Zena Group.

We will give you a credit in the titles for the following suggested donation amounts:

$10,000 or more – Executive Producer (single card)
$5,000 or more – Producer (shared single card)
$1,000 or more – Associate Producer (top of main credit sequence)
$500 or more – Special Thanks (end of credits)
$500 or less – Thanks (end of credits)

Even if you can only give a dollar, we welcome your support!



Thursday, December 1, 2011

What the Broadcast Networks Are Betting on This Development Season

Hollywood Reporter, 11.16.11

"An invitation to an invitation to a preparty."

That's how ABC chief Paul Lee describes his network's fall script purchases, only a tiny percentage of which will end up on air. Still, every hit show starts with an exec saying yes to a pitch, and during the past few months, networks and studios have bought hundreds of promising projects, from original ideas like "mechanical-human dramas" to remakes of classics like The Munsters and The Rifleman.

THR parses the loglines and pilot commitments to analyze what the networks are buying....

Best Bet (drama): Blue Tilt has Ethan Hawke and Vincent D'Onofrio attached as fragile homicide detectives balancing work with family.




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Video: Vincent D'Onofrio at Flashpoint Academy - Full version


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[Browse Amazon]

[CURRENT PROJECTS]

List of films in production.

"In Dubious Battle" [2016]

"In Dubious Battle" [2016]
An activist gets caught up in the labor movement for farm workers in California during the 1930s. Vincent....Al Anderson

"TENN" [TBA]

A story about the early life of Tennessee Williams

Directed by James Franco
Vincent D'Onofrio, Jacob Loeb

"American Falls" - [TBA]

In a rural town in Southern Idaho, the Suzukis, a Japanese American family, run a small motel. One night they get a strange visitor who sports ‘city’ clothes who turns out to be the first African-American man that Toru Suzuki’s children have ever seen. Yoshiko takes it upon herself to solve the mystery about this man, especially when 2 police officers come knocking on their door.

Short film produced by Erika Hampson.
Vincent D'Onofrio as Detective Foster.

'Purgatory' [TBA]

'Purgatory' [TBA]
Tagline: In the Wild West a lot of blood was spilled... but it didn't go to waste. Vincent....Dallas Stoudenmire

"A Fall From Grace" [TBA]

Detective Michael Tabb knows the city of St. Louis inside and out. He has felt its true heart, as much as its dark underbelly: but he does not know who, in both the dark and light - is taking the lives of young girls.

Director: Jennifer Lynch
Producer/Writer ...Eric Wilkinson

Vincent D'Onofrio ....George Lawson (GRACE's father)
Tim Roth.......Detective Tabb

Filming in St Louis - TBA

"Supreme Ruler" [TBA]

A man campaigns to become the leader of the Buffalo lodge.

Vincent D'Onofrio as Hank Dory
Ron Livingston as Steve
Marcia Gay Harden as Nancy

"The Monster Next Door" [TBA]

"The Monster Next Door" - Comedy Horror

Executive Produced by Dennis Johnson, Melanie Mohlman Produced by Eric Wilkinson, David Michaels
Written by Jim Robbins
Directed by Jennifer Lynch

Cast: Vincent D'Onofrio, Bill Pullman, French Stewart, Bill Moseley

'Down & Dirty Pictures' - [in Production - Filming TBA]

'Down & Dirty Pictures' - [in Production - Filming TBA]
Vincent......Harvey Weinstein

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