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Post by Admin on Sat Aug 28, 2010 6:44 pm

"CENTURION": MARSHALL-ing Forces Part Two

Today we continue our exclusive chat with writer/director Neil Marshall, the acclaimed British director of DOG SOLDIERS, THE DESCENT and DOOMSDAY, whose latest film, the bloody Roman adventure flick CENTURION, opened in theater yesterday (see list of venues here). You can see Part One of our interview here.

FANGORIA: Watching an invading superpower like Rome battle the Picts, symbolism with current events can easily be found. Was this film made intentionally to draw parallels with today’s goings-on in the Middle East?

NEIL MARSHALL: It was not intentional when I first started writing it, but the more I wrote it, the more I kind of saw that in it. The allegory is there for all to see but I didn’t want to make it some kind of blatant allegorical movie. All it shows is that in 2,000 years, the same things are happening now as they did then and there might be huge armies, but all the superpowers are still going to be under threat from people fighting guerrilla warfare or terrorism or just defending their homelands or whatever. I thought, “The comparison is there, but let’s not make a big issue about it and just make the film that I want to make.”

FANG: The Romans are very much the invading and imposing superpower in the film, yet Michael Fassbender’s character is the protagonist. Do you think audiences may take issue with that or do you think they’ll understand it’s more about the actual characters, rather than the Roman army as a whole?

MARSHALL: Absolutely, it’s all about the individuals and whether you happen to agree or disagree with the war in Iraq, or the war in Afghanistan, we still root for the soldiers. We still want our boys to come home. That’s what it’s all about. It’s about the individuals. I knew that I was creating problems for myself by telling the film from the Roman point-of-view because it would be seen as supporting the invaders and that’s wrong and such light, but it’s like, “Yeah, but have you ever seen DAS BOOT?” It’s an amazing film and told about the Nazis and Germans. Even something like GLADIATOR, we root for Maximus, but in the opening of that film, he is very much the invading Roman army. It doesn’t really matter that much if it’s a character who you ultimately care about for personal reasons. But also, my feeling was that war is not as cut and dry as good guys and bad guys. There are heroes and villains on both sides. Both sides are capable of that kind of brutality. Yeah, it’s true the Picts are defending their homeland and the Romans are invading them, but it’s not a pro-Imperial movie. It’s not a pro-invasion movie. It’s nothing like that at all. It’s a survival movie about these guys trying to get home.

FANG: You have the Picts in CENTURION. DOG SOLDIERS revolves around werewolves in the highlands and in DOOMSDAY, Scotland is this quarantined, walled-off place. Do you secretly see Scotland as this lawless land?

MARSHALL: [Laughs] I see it as a great backlot to go and shoot movies on. I grew up spending a lot of time on holiday there. A lot of people mistake me for being Scot. I’m not, I’m very much English, but I’ve spent so much time in Scotland. I love the country; it’s the only kind of wilderness that we have in the UK, and because of that, I’ve got a lot of inspiration and story ideas from just being there. It’s a spectacular landscape. It looks incredible. So that’s the main thing, but it is fun applying this kind of lawless ideas to aspects of it.

FANG: Are you ever surprised when actors like Fassbender willingly take on genre projects?

MARSHALL: I don’t know. I’ve actually known Michael for quite awhile. I knew him before he did HUNGER [2008] because I met him for a potential part in DOOMSDAY. So I knew he was interested in genre stuff and personally, he wants to try a bit of everything. I didn’t have any issue with it at all. He signed up to do this movie very early on and stuck with it.

FANG: Not that you would have issue with it, but some are very quick to judge genre projects.

MARSHALL: Yes, but I like to think I try to get the best performances out of my actors and I don’t want to be seen as making the kind of movies where actors are going to be slumming it in. With something like THE DESCENT, if somebody heard that it was about six girls in a cave, they might think, “Oh, it’s going to be six girls in bikinis,” but it’s not like that at all and it required a huge degree of performance from the actors involved. It was the same with this. Once Michael read the script and realized what this character involved and what he was going to go through, he was like, “Oh, this is going to be just as arduous and difficult and challenging as HUNGER was, but in a very different kind of way. So instead of being beaten up in a prison cell, I’m going to be running through the snow with no shirt on.”

FANG: Was it fun to get Olga Kurylenko a lot dirtier, savage and less pretty?

MARSHALL: I think I have a habit of doing that. I put women in my films in stronger positions, but I don’t necessarily film them in an obviously glamorous light. They look great. They look striking. They look spectacular. But they don’t necessarily look glamorous and pretty. It was always the case with Olga to try and make her look as savage as possible with the war paint, makeup, the hair and costume stuff like that. I definitely wanted to dress her down a bit; she is a model. You have to kind of work against that because you don’t want her to look too pretty but at the same time, I don’t want her to look pig ugly either. It’s just finding that balance.

FANG: Can you talk about the very chilly, blue color scheme of the film?

MARSHALL: The director of photography, Sam McCurdy, and I discussed it for a long, long time. We wanted this to be a cold movie. We filmed it in cold conditions and it’s a very cold movie as part of being the flipside of what everybody expects in a “sword and sandals” film. When I think of sword and sandals movies, I’m thinking deserts and the Middle East and sun and dust and all that kind of stuff. With this one, it’s like, “Yes, it is a ‘sword and sandals’ movie. Yes, it’s about the Romans, but it’s in their farthest, grimmest, coldest, wettest frontier. It has to have a totally different feel about it.” And so we wanted it to have this steely blue feel to the whole thing and make the audience sense what they were going through; the shivers and the chattering teeth and breath, that’s all real as we filmed it in subzero temperatures. In order to help the audience really sense that, we gave just a little of a blue tint to it. It just makes it feel a little colder.

FANG: Recently, the IFC Center in New York did a miniretrospective of your work up to this point. Is that a great feeling to have had such an impact so relatively early in your career?

MARSHALL: It’s unbelievable. I never thought I’d get to a place where people would be having a retrospective of my work. It’s fantastic, I love it, but I’m kind of bowled over by the whole thing. It’s like, “Really? You want to do that?” But people want to see all my old work as well, that’s a good thing.

FANG: What’s next after CENTURION and its press duties are done?

MARSHALL: I’m going to move on to other things. I’m producing a movie that [wife] Axelle [Caroline]’s written and is directing. We’re going to shoot in October. Technically, I’m executive producer on it, but I seem to be producing it. So we’re going to get stuck into that. I’m writing some stuff at the moment and developing a few projects, some horror, some not horror and just see what’s going to come off the ground.

FANG: Everyone’s salivating for BURST. Is that one of your priorities?

MARSHALL: BURST is ongoing, it’s a long development process so I don’t know when that’s going to happen, but it is going to happen.

FANG: Are you making a film about spontaneous human combustion as an antithesis to the very cold temperatures of CENTURION?

MARSHALL: Not necessarily because it’s set in the mountains of Montana in the middle of winter. I think it’s Montana, but either way, it’s bloody cold. Luckily, most of it is indoors. But I don’t expect that it’s going to be hot. I’m sure everybody around me, all my crew is saying, “When are you going to set something in Barbados?” One day.

FANG: With DOOMSDAY and CENTURION, you’ve departed from straight horror a bit. Would you like to continue with that?

MARSHALL: I think I’ve moved away from horror a little bit, and I’d love to come back and make a big splash with BURST or something else. I never want to leave horror because it’s just too much fun. But off the back of THE DESCENT, I was really hungry being given the opportunity to try something completely different. And my inspirations in movies aren’t completely horror, they’re postapocalyptic movies, or medieval movies, or Indiana Jones movies. I’m keen to explore loads of different genres and tell different stories. The biggest inevitability I’m going to face is when I have to do something that’s maybe not supposed to be as gory as everything else. I kind of like applying that violent sensibility to whatever I’m doing.

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Post by Admin on Sat Aug 28, 2010 6:49 pm

Swords, sandals, and splatter
Director unleashes horror of war in 'Centurion'
By Tom Russo
Globe Correspondent / August 29, 2010

There was a whole list of reasons for English writer-director Neil Marshall to make “Centurion,’’ a brutal adventure set amid the war between Roman soldiers and Pict tribesmen during the second-century conquest of Britain. Marshall was fascinated by the story of the Ninth Legion, a Roman contingent that, according to legend, simply vanished after marching into the mists of Scotland. He also saw an opportunity to again take advantage of the “massive, unexploited back lot’’ that Scotland has offered him as a UK-based filmmaker, from the eerie hinterlands of “Dog Soldiers’’ and “The Descent’’ to the post-apocalyptic dead zone of “Doomsday.’’ And, of course, there were some provocative parallels to be drawn between the Romans’ precarious, dubious presence in Britain and the current climate in Iraq and Afghanistan.

Anyone familiar with cult-favorite Marshall, though, knows that the opportunity to slather a cruel ancient landscape with creatively spilled blood and guts was sufficient lure in itself. There’s a reason the guy has been grouped with neo-grindhouse auteurs like Rob Zombie and Eli Roth as part of a so-called Splat Pack. “By now, the audience does kind of know what to expect from my movies,’’ Marshall laughingly concedes during a Boston publicity stop with his wife, Axelle Carolyn, who appears in the film as a Pict warrior woman. The soft-spoken director, 40, is as unassuming looking as any bloke down at the local pub. But he wears his affinity for gore on his sleeve — and on his chest, in the form of a “Jaws’’-referencing T-shirt that reads “Amity Police.’’ “The main draw of ‘Centurion’ for me was making a historical adventure,’’ he says. “But then I applied my horror sensibilities to that by filming the violence in a more honest way.’’

“Centurion’’ stars Michael Fassbender (“300’’) as Quintus Dias, a soldier who joins a march to finally crush the Picts, then ends up leading ambush-decimated Roman forces in a bid to rescue their captured general (Dominic West). Olga Kurylenko (“Quantum of Solace’’) costars as a mute, war-painted Pict ruthlessly tracking Quintus and his men in their flight to get back from behind enemy lines.

“The Picts didn’t keep any kind of recorded history, so we had to fill in the blanks in imagining some things,’’ Marshall says. Still, even for elements such as a showy set piece in which the Ninth Legion is beset by massive rolling fireballs, plausibility was a mandate. “I had to figure out how the Picts were going to beat the Romans. They couldn’t do it on their own terms — but how could they use the landscape? What if they trapped the Romans in a narrow valley, and used these fireballs as the preliminary method of shattering their wall of shields? I tried to bring a sense of pragmatism to it.’’ (As with the rest of the movie and all of Marshall’s work, digital effects were used sparingly. “I kind of set out to make the anti-‘300,’ ’’ he says.)

The “Braveheart’’-eclipsing battle carnage of the movie’s first act gives way to even gnarlier moments as the Romans’ desperation grows. In one fan-pleasing groan-inducer, Quintus’s group downs an elk, but bypasses the meat in favor of — spoiler alert — the animal’s predigested stomach contents. It’s basic sustenance they can choke down on the run — a bit of survivalism based on historical fact, Marshall notes. At another point, cornered centurion Brick (Liam Cunningham) yanks an arrow out of his back and uses it as a weapon of his own — to stab Carolyn’s Aeron in decidedly grisly fashion. To reiterate: The director has his wife’s character dispatched with an arrow to the eye. And she’s OK with it.

“Oh, I’m such a huge horror fan, that’s almost the first thing I’m going to look for in one of Neil’s scripts,’’ says Carolyn, a one-time journalist who met Marshall when she interviewed him at a Brussels junket for “The Descent.’’ “I think he made a point of giving me the most disgusting death in the whole film.’’

“I suppose any woman who’s going to make a film with me should realize that they’re not necessarily going to look very glamorous,’’ he says with a smile.

After attending film school and breaking into the industry as an editor in the mid-’90s, Marshall shifted to writing and directing with 2002’s “Dog Soldiers,’’ a low-budget shocker about a British army unit stumbling onto a werewolf pack. The movie was a cult hit, masterfully building suspense with buckets of blood and just a few teasing glimpses of its monsters — at least until the audience was sufficiently invested to roll with seeing the old-school creatures in full. Shades of, yes, “Jaws.’’

Next up was 2006’s “The Descent,’’ about a group of women whose gal-pal bond unravels fast when a caving excursion traps them in the dark with steroidal, flesh-chomping Gollum clones. The movie drew raves at Sundance and from critics, and you didn’t even need to get to the horrific bits to be freaked out — Marshall’s claustrophobic, logistically bewildering spelunking shots were plenty creepy themselves.

Despite the atmospheric inventiveness and ambitious girl-power narrative of “The Descent,’’ Marshall subsequently found himself being offered one routine horror project after another — wilderness horror, typically. He instead opted to make 2008’s “Doomsday,’’ a $30 million riff on both “Escape From New York’’ and “The Road Warrior’’ that imagines life in Scotland decades after the region has been walled off to contain a killer virus. (As it happens, the story’s beginnings aren’t so far removed from “Centurion’’ and its depiction of the fortified Roman frontier: “The initial idea for ‘Doomsday’ was: What would ever cause them to rebuild Hadrian’s Wall, and what would happen if they did?’’ Marshall says.)

Marshall delivered an homage sharp enough to make a fanboy wonder why there continues to be industry talk about doing a straight remake of “Escape.’’ Still, “Doomsday’’ was coolly received — one reason, perhaps, that the director had a budget more on the order of $10 million for “Centurion.’’ Could it be that Marshall’s genre predilections, rightly or wrongly, are boxing him in? For all its rousing action and Scottish highlands visual grandeur, “Centurion,’’ which opened on Friday at Kendall Square Cinema, is playing on just a dozen screens nationwide. The movie has also been available for the last month as a video-on-demand title. But one imagines Marshall’s cinematographer weeping at the thought of watching on a small screen as Fassbender’s Quintus stumbles bloodied but unbroken down a pristine, snow-blanketed Scottish peak.

Whatever the case, don’t expect Marshall to make any apologies for his hardcore tastes. He clearly has too much fun cooking up the gross stuff on set — a spinach-and-cheese puree in the case of those elk innards, for any who are curious. And besides, it’s not as if, say, “The Evil Dead’’ kept Sam Raimi from getting his shot at “Spider-Man.’’ (Not coincidentally, Marshall has been developing a closely guarded 3-D project called “Burst’’ for Raimi to produce. He’s also eyeing a World War II adventure.) To date, “Dog Soldiers’’ remains the only film on which Marshall has actually censored himself, dropping one image of a shrieking, bisected squad member — but only because it would have undercut the character’s wickedly defiant parting shot from earlier on. “Great effect,’’ he says admiringly. “But we didn’t need it.’’

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Post by Admin on Sat Aug 28, 2010 8:58 pm

Neil Marshall's Action Plan

by Choire Sicha Info
Choire Sicha

The director of Centurion talks to Choire Sicha about the movie that made him want to be a director, the misery of turning 40, and his upcoming film about people who burst into flame.

Neil Marshall's Centurion is by far his most serious movie, though that's not saying too much. The bleak, snowy hills of Scotland are the setting for a slicey, dicey Roman invasion against the dashing, plucky Celtic tribes. The Romans are tired! These Celts just refuse to be slaughtered!

It's a proper historical epic, set just a few generations after Christ, but with massive splatter effects, back-stabbing, hostage-taking, giant fiery rockballs obliterating legions, good witches, and hot mute lady-warriors with complicated hair—why, this movie has it all. (It is also slightly difficult to follow, because everyone looks equally unwashed, but no matter. The joy is in letting it wash over you!)

“Even Raiders had people on spikes and melting people. A guy going into a propeller! The horror is underlying that.”

So, yes, by serious, we do mean somewhat camp—in a good way! How camp? Well, it's got everyone's favorite detective from The Wire, Dominic West, who plays Titus Flavius Virilus, the hot Roman commander. Hubba hubba!

The joy of Neil Marshall films is that he does not take himself so seriously. (His last film, Doomsday, had an extended scene in which a man was barbecued to the sounds of Siouxsie and the Banshees, with post-apocalyptic savages waving plates and forks.)

It's an exceedingly refreshing take on filmmaking. He wants to make you laugh and go "ooh" and go "eww." And while Neil Marshall is usually thought of as a horror director, he dearly wants to be considered an action director, which makes his films make a bit more sense.

Oddly though, he mostly makes films about walls. In The Descent, his best-regarded and most-terrifying film, the cast—all women, by the way—spends most of the film crawling through horrid tight spots in caves. In his next and most wonderfully outlandish, Doomsday—yes, with the cannibals, so think Mad Max meets Aeon Flux—Scotland is walled-off due to a viral emergency. And Centurion, which opened this weekend, is set somewhere between the inception of Hadrian's Wall and before the building the Antonine Wall.

This also means that Marshall, a nice boy from Newcastle who is now just 40, has already covered humanity's past, the present, and a possible future—and found them all terrible. "It's a dark and bloody place," he says of the world, shrugging this idea off.

No, but really. The body count of the cast in The Descent approaches a full 100 percent. The body count in Doomsday hovers around 5,194,000 people, given that he kills off the vast majority of Scotland in the first 10 minutes. And in Centurion, there's an uncountable number of throats gushily slashed—an impressive percentage of the world's population, really, given that there were only roughly 200 million people on the earth at the time.

All this wanton blood-spouting and human-cooking and evisceration is apparently accidental, however!

"I'd like to be at the moment seen as an action director," says Marshall. "I've done four films, two are horror movies. I guess I'm an action director. My dream movie is, well, it's a project I have, this World War II-set action-adventure movie, which is more akin to an Indiana Jones thing. The movie I always say made me want to make movies is Raiders of the Lost Ark. That's my defining movie. That would be surrounded by a bunch of horror movies and other stuff. A good hero, good action—even Raiders had people on spikes and melting people. A guy going into a propeller! The horror is underlying that."

What Raiders has in common with Marshall's films is that it was also cheap. Raiders cost about $18 million in 1981—you can double that and add a bit more to account for inflation. Centurion cost, in today's dollars, something like $12 million. (Doomsday, by far his most expensive to date, cost about $26 million. The Descent, by the way, which cost almost nothing, made nearly $60 million worldwide.)

But it doesn't mean he's making the movies he truly wants to make yet.

All this tromping around on the cheap and pushing small budgets gets exhausting. Turning 40 was a kick in the neck. "It was kind of a wakeup call! I've been behaving and thinking like a 20 year old for 20 years," he says. "It was weird! It was the first time I've been bothered about a birthday. I've never cared that much that I was going through my thirties. Suddenly I realized I better get some work done."

But what to do? Marshall is smart and quick to abandon projects when the money doesn't come through or when the genre mined seems tired. For instance, there was a time when fans were excited about Outpost, a film best summed up as "Zombies on an Oil Rig."

"The current status of Outpost is there is no current status of Outpost," he says. "It's a dead project. When I came up with the idea, no one was making zombie movies. It seemed fresh and original, and now everyone's making zombie movies. The market's completely flooded. So there's no need to make it anymore. We'll let that one go."

But, but, but, well then, what about vampires?

"No vampires!" he says. "I'm not that interested in vampires as a whole. To coin a phrase, it's been done to death. It's a huge thing—I applaud any filmmaker who brings anything new to the genre."

So instead he is working, with legend Sam Raimi as a producer, on something called Burst 3-D. The title is very telling. For instance, it will be in 3-D! And people will burst. Because all anyone has known for some time about the film is that it concerns "a group of people trapped in a winter lodge who suddenly begin to spontaneously combust."

So this is a dreamy plan, maybe, for the devoted horror enthusiast—but maybe not yet a fulfillment of an action director's dream. Why more splatter? Is he just a terrible sick person?

"I adore puppies. In real life I'm just a big teddy bear," he says. "It all lurks beneath the surface."

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Post by Admin on Tue Aug 31, 2010 9:44 pm

Centurion an Interview with director Neil Marshall

08.27.10 | Irv Slifkin | In The Director's Chair, Movie BuzzPrint this Post

Neil Marshall wanted the world to know that even though his first two features were horror films—the well-received werewolf opus Dog Soldiers and the spooky girls-in-the-cave film The Descent—he was not a “horror movie director.”

“I’m a genre director,” states Marshall, 43, from a Philadelphia hotel. “I like all sort of genres. And, yes, I was scared of being pigeonholed as a horror director after those movies.”

As his next project, Marshall tackled Doomsday, a futuristic Mad Max/Escape from New York/Resident Evil mashup which met with mixed results with critics and at the box-office. But Marshall is hoping to rectify this with Centurion, his latest effort, an historical adventure epic centering on the battle that occurred in 117 A.D. between the Picts, the savage natives of Scotland, and the Ninth Legion of invading Roman soldiers, led by General Titus Virilus (Dominic West), centurion Quintus Dias (Michael Fassbender) and Amazonian mute female tracker Etain (Olga Kurylenko), who doubles as a lethal Pict assassin.

“I would like to work in all different genres,” says Marshall. “I see this as an adventure film, but in a way, it’s my western.”

Marshall has been known for not veering away from violence in his projects, and Centurion is no exception. Blood, sweat and spears are commonplace in a story in which marauding gangs in pelts go head-to-head against marauding gangs in armor. Plasma spurts freely—no wonder Marshall names violence maestro Sam Peckinpah one of his favorite directors (along with John Carpenter and John Ford) and The Wild Bunch one of his favorite all-time movies.

“Of course, I’d love to direct a traditional western, but this is the closest I can get at this time,” jokes Marshall.

The idea of Centurion and Marshall’s fascination with Hadrian’s Wall—which also had a place in Doomsday—dates back to his childhood. “I grew up in Newcastle, so I wasn’t far from one side of the wall,” says Marshall about the fortification that was built by the Roman emperor Hadrian and stretched 60 miles into Northern England. “We used to go the trips there from school when I was a child, so I’ve been around its history for a long time. But the idea for Centurion came to me 10 years ago.”

Even though the film is physically impressive, with striking battle scenes, rugged Scottish locations, and authentic period costumes, it was shot on a modest budget over a seven-week period. The state of the British film industry didn’t aid matters.

“The film industry in England right now is in horrible shape,” says Marshall. “That certainly didn’t help to get the film made.”

But what did help was the success of 300 and Troy at the box-office. “They showed that there was interest in historical movies,” says Marshall, who is married to Centurion co-star Axelle Carolyn. “Of course, 300 is heavily stylized, and Troy did better overseas. But I guess the whole trend started with Gladiator.”

Marshall, who notes the Centurion “was the most difficult film I’ve made,” recalls watching such gladiator-oriented films as Spartacus and The 300 Spartans when he was younger.

He is also thrilled to have enlisted Fassbender, the up-and-coming performer of 300, Hunger and Inglourious Basterds, for the lead role. “He’s incredibly dedicated and into his work,” says Marshall of Fassbender. “He’s with you 200% and he’s a consummate professional.”

As Centurion reaches theaters (and VOD), Marshall has several projects in the works. He is producing a supernatural thriller wife Carolyn wrote called Ghost of Slaughterford, and has several other films in different stages of pre-production. The one that he believes will most likely happen first is Burst!, a 3-D film “about exploding heads” for producer Sam Raimi.

Other possibilities include Outpost, about zombies on an oil rig, The Eagle’s Nest, a World War II mission movie, and Sacrilege, Marshall’s “real” western, only with a healthy dose of horror.

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Post by Admin on Sun Sep 05, 2010 8:18 pm

‘Centurion’ director throws legend together with fact

12:02 AM CDT on Sunday, September 5, 2010

By Todd Jorgenson / Film Critic

AUSTIN — Neil Marshall is a history buff, even though you wouldn’t know it from his resume.

The British filmmaker (The Descent, Doomsday) is best known for his work in the horror and science fiction realms, but he changes pace with the historical battle epic Centurion, which mixes fact and legend in telling the story of a second century battle between a small legion of invading Roman soldiers and the band of warriors that threatens to wipe them out.

For Marshall, the story actually hit close to home. He drew inspiration in part from Hadrian’s Wall, a stone fortification built during the second century to signify occupation by the Roman Empire of northern England. The remnants of the wall, now a tourist attraction, still stand near the towns where Marshall grew up, including Newcastle upon Tyne and Carlisle.

“This period is pretty interesting to me,” Marshall said during this year’s South by Southwest Film Festival. “I spent a lot of time driving on the old Roman roads, and got inspiration from thinking what it was like back then and how these Romans must have felt. It was a bit of a culture shock for them. The wall was a serious gesture of keeping out whatever was not wanted.”

Specifically, the film follows Quintus Dias (Michael Fassbender), a centurion and the lone survivor of a guerrilla attack on a Roman outpost, who is dispatched to the Scottish highlands with the ninth legion with the goal of eliminating the Pict tribe, which stages another ambush and threatens to destroy the entire Roman army in the region.

“There are heroes and villains on both sides,” Marshall said. “I was aware going in that there were gray areas in this story, and that’s what made it interesting to me. We’re telling the story of an invading army, and asking the audience to root for these survivors — not because of any political side or the reason that they’re invading — but purely because they’re guys we hang around with and get to know, and we care whether they survive or not.”

Marshall, 40, said the story is based both in Scottish legend and in historical fact. He said the truth behind the outcome of the Ninth Legion’s confrontation with the Picts is fuzzy, but was a potential embarrassment for the powerful Romans at the time.

“I was fascinated with what the Picts were like, and then I had the legend of the Ninth Legion that supposedly marched into Scotland to wipe the Picts out and vanished without a trace. I was hooked by that idea,” he said, before borrowing a famous line from The Man Who Shot Liberty Valance. “Historians have long since disproved the myth, but when the legend becomes fact, print the legend. It’s usually more interesting.”

Marshall said he wanted to bring some authenticity to the fight sequences, which meant intimate and graphic staging of combat scenes with swords and arrows.

“I wanted to make it very hard-core, very brutal and very realistic because of that,” Marshall said. “I didn’t want everything to look over-choreographed. As much as the actors needed to learn a certain amount of moves, I wanted the mistakes in there and the awkwardness that you get. Sometimes it doesn’t always go according to plan. That’s what real fighting is all about.”

The cast went through extensive training prior to filming, not only to prepare for the physical rigors of the battles but also to learn the techniques of the period, including specifics about archery and horseback riding.

“Every time before a big fight would come up, we would have usually about three days to rehearse and learn all the steps,” said Axelle Carolyn, a Belgian actress who plays the Pict warrior Aeron. “It was more about learning how to handle the weapons. They didn’t teach us exactly how to make everything look slick and beautiful.”

Another variable during the filming of the battle scenes was the erratic behavior of the horses that were ridden during the period. Marshall said he accounted for that early on.

“A horse doesn’t necessarily hit the same mark twice, and you have to be flexible about that. There were a lot of times when the horses were misbehaving, and I loved that,” Marshall said.

“It’s very much like a Western. It’s like an old John Wayne picture where the Romans are the cavalry and the Picts are the Apache warriors. We had the highlands of Scotland instead of Monument Valley, but the principles are pretty much the same.”

Centurion is currently playing at the Angelika Film Center in Dallas.

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Post by Admin on Mon Sep 06, 2010 9:57 pm

Monday, 6 September 2010
Frightfest 2010

Year 4, been and gone in a flurry of blood, gore and laughs. Great conversations, top guests and some amazing films, all packed into the 4 and ¼ days of the festival. This was my favourite year, by a mile, I felt more at home, relaxed in the chaos that surrounded me, able to savour the moments, and really enjoy myself!

The films ranged from average to outstanding, but with 27 films to see they can’t all be great. Most of the average ones hampered by budget in the most part, none really lacked in story or cast, just poor CGI or should I say some cheap CGI! Then again a low budget didn’t really hamper the brilliant Monsters.


Other than the films, the weekend was full of other great moments. Talking to Neil Marshall (Decent) about how I didn’t like Centurion mainly due to the story. And Neil’s reply, they took a lot of the story out at script level, leaving the ending a mess. That explains it then!

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Post by Admin on Sun Sep 12, 2010 10:47 pm

Friday, September 10, 2010

Dialogue: Exclusive Interview with Centurion director Neil Marshall

English director Neil Marshall has become a cult-film hero on these shores with exciting genre favorites like the werewolf thriller Dog Soldiers, the terrifying spelunking shocker The Descent, and the ultra-violent post-apocalyptic action film Doomsday. His latest movie, the violent and bloody historical epic Centurion, dramatizes the ill-fated Ninth Legion of Roman soldiers who marched north in England to try to obliterate a tribe of Scottish Picts and their leader in the year 117 A.D. We sat down with the 40-year-old director—who is four for four in our book—for a candid chat as Centurion is about to open in limited release in theaters and is currently available on On Demand.

Movies. Tell us about growing up near Hadrian's Wall in Northern England and how that inspired Centurion.

Neil Marshall: I was born and raised in Newcastle on one end of Hadrian's Wall, and the ruins of the wall are still there. When you grow up in that part of the world, you can't avoid Roman history—there are forts everywhere, ruins and Roman roads. It's really part of the culture. My dad's a big history buff as well, so I used to go to school trips to Hadrian's Wall. I'd stand up there on a bleak and rainy miserable day and wonder what these Romans must have thought when they stood watch there.

Movies. What do you know about the legend of the Ninth Legion?

Marshall: I heard the myth of the Ninth Legion about 10 years ago, this idea that an entire legion of Roman soldiers marched into Northern Scotland and vanished without a trace. It just instantly intrigued me. It was a hook, and I knew there had to be a film and a story in there somewhere. I did a lot of research and put together the story from that. The myth itself is nothing—it's as simple as the soldiers marching in and disappearing. I had to fill in a lot of blanks.

Movies. It looks like a lot of Centurion was shot in actual remote locations. What environmental hardships did you endure while shooting?

Marshall: We encountered pretty much every kind of environmental hardship you can imagine with the exception of a forest fire. We were filming in freezing conditions –the first day was -15 degrees Centigrade. It was tough, like being in a blizzard on top of a mountain! That set the standard and it was rough on everybody.

Movies. Were you ever tempted just to use a lot of green screens and fill in the scenery with CGI effects?

Marshall: I wanted to do the anti-300, in a way. I want to film on location and sets if I have to, and the last possible choice is a green screen. A film like this is all about the landscape and being in that location, and the fact that the environment was trying to kill these Romans as much as the Picts were.

Movies.What made you want to cast up-and-comer Michael Fassbender as your lead, Quintus Dias, the only Roman soldier to survive the Pict attack on a Roman garrison?

Marshall: I hadn't seen Michael in Inglourious Basterds when I cast him. The main reason is that I auditioned him for Doomsday and wasn't able to cast him in that. I knew he was an actor of some talent and that he was cast in Tarantino's movie, so he seemed like a pretty good catch. What was the most challenging aspect of creating specifics about a culture—the Picts—that there is very little recorded history about?

Marshall: That's the thing, you've got to invent the society based around some very thin physical evidence like stone carvings, but they had no written history or recorded language. What we do know about them is mostly from the Romans, so that's a bit biased. We had to create how they would dress, speak, live and fight against the Romans. That was a lot of fun.

Movies. always have very strong female characters present, if not the focus, in your movies. If you could pick any American actress to be the female protagonist in your next movie, who would it be?

Marshall: Sigourney Weaver, because Alien is a tremendous inspiration. I never want to have just a male character in a skirt—they have to behave like real women.

Movies. Fans appreciate the unrestrained violence in your movies. What would you have said if a studio asked you to edit down your violence to a PG level?

Marshall: I would hope that they would mention it earlier on [laughs]. I think that violence is essential to the stories I have been telling. I don't think you'll see a Neil Marshall romantic comedy anytime in the future, but you might see a 3D horror film. Right now, I'm happy to be working in my comfort zone.

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Post by Admin on Thu Sep 16, 2010 2:01 pm

September 15, 2010
Interview with Neil Marshall and Axelle Carolyn, Director and Star of Centurion
Posted by Turk182 in Interviews

Neil Marshall made waves with Dog Soldiers before really breaking through with the beloved The Descent. He came down a bit with the disappointing Doomsday but returned this month with the period-action piece Centurion starring Michael Fassbender, Dominic West, Olga Kurylenko, and Marshall's wife, the lovely Axelle Carolyn. The film tells the story of the Ninth Legion, a group of Roman soldiers who infamously disappeared after going to Scotland to wipe out the inhabitants there known as the Picts. With brutal violence and a remarkable level of grit, grime, and dirt, Marshall delivers a period piece unlike any other released this year. He sat down for breakfast with me, accompanied by his wife and co-star of the film.

By Brian Tallerico


MovieRetriever: What was the most unexpected question from last night's Q&A? Or any other? A response to the film that you weren't expecting …

NEIL MARSHALL: We've had a few kinds of left field questions that take us by surprise.
Director Neil Marshall on the set of Doomsday.

AXELLE CAROLYN: One comment that you've gotten a few times that hasn't been explained and I have no idea where it comes from is that this is "feminist hate speech." We found that online too. Why? Why? Because there are strong women in it? You put women in the film and she's a victim: You hate women. You put women in the film and she's not a victim: You hate women.

MovieRetriever: As long as we are discussing readings of the film, I don't think every film about conflicts needs to be read as a commentary on the Middle East, but I have to admit that when the set-up of the film comes up – warriors in a strange land against inhabitants they don't quite understand – did you intend that reading or not?

MARSHALL: I definitely didn't intend that reading when I was writing … but I certainly allow room for that reading. It's kind of like in the 1970s when practically every film that came out was thought to be about Vietnam. This one has a parallel for sure and when I was writing, it became apparent that it was about a superpower invading a small country and being defeated by guerilla warfare. It's interesting that in 2,000 years, not much has changed. And I thought I'd leave it at that and if people read that into it, it's fine. But it's primarily an action-adventure movie.

MovieRetriever: Another thing that dawned on me early is that this is another Neil Marshall with mostly exteriors, a lot of dirt, nature as a force – why are these themes that interest you?

MARSHALL: It's that I love location filming. I love reality. This is seen, in my mind, as the complete opposite of 300, which is all green-screen, effects, slo-mo, unreal from start to finish. I would take location filming over studio filming any day and I would take studio filming over green-screen filming any day. I just find it kind of soulless. And this is all about the elements, the landscape, the weather – it's as much a part of the story as the characters are; their journey through it. I very much approached it like a Western with big skies and impressive landscapes. I deliberately chose as well that we would film in the middle of winter in the worst possible conditions.

MovieRetriever: How far does that extend? The realism of the piece? Do you avoid stuntmen? Did you do a lot of your own work?


MARSHALL: There were a few stunts that were too dangerous but it was going to be a very physical film and I wanted the actors to BE physical in it. Everybody was warned well in advance how awful it would be .…

CAROLYN: We did all of the fights ourselves. We had rehearsals with the stunt people and they were there just in case to make something look good but I don't think any of that was used. None of us were doubled. There were little things and big things like falling off a cliff but, for me, the only time I had a double was the shot where I get pushed over the wall, they wouldn't let me do myself. I did ask quite a bit though.

MARSHALL: It's also what that location filming brings to it – I don't want the actors to remember to have to shiver. It's all real.

MovieRetriever: Then how do you get to some of those real dark and violent places? For example, when Dominic is beaten and near-death, how do you get there from the word action and do multiple takes and maintain the realism?

MARSHALL: The elements certainly help a lot. Once he takes his parka off and has to be topless in that environment, he starts to feel it. And everyone else around him is getting into it. There's a slow build. It's not like he just walks on and does it.

CAROLYN: I don't think there's that much that the director can do there other than create the right conditions. Other than that, it's up to the actor.

MovieRetriever: How do you prepare for the realism? Did you do a lot of training?

CAROLYN: We had quite a bit of training. I had a few sessions of horse-riding. I had some archery training and some stunt training. I went to the gym quite a bit to build up some strength. It's not just physical – it's physical in the cold. It's fighting the elements as much as who you're fighting. So you need to have enough stamina to keep going.

MovieRetriever: I would imagine more so as the elements sometimes are actually trying to kill you. With all of this, what was the most challenging part of making the film?

MARSHALL: Overall, it was trying to do so much in so little time. We did the whole thing in seven weeks. Very short for this kind of movie. I think the most we ever did was three takes on anything. The actors quickly got up to speed. Everybody was on top of their game. And it helps keep the energy and the momentum up. If you keep everybody moving, it's the best way. As for individual scenes, obviously the main battle. We only had like three days to do it. Even the fireballs …

MovieRetriever: Real?

MARSHALL: All real. There's nothing CG in the film. Everything is for real. And working with a limited amount of extras to make it look as epic as possible. In a lot of those scenes, if you turn the camera a bit, that's where the battle ends. We were packing it in.

MovieRetriever: With all of the on-set challenges, it seems that the casting is even more important than usual. How did you choose the people like Dominic and Michael?

MARSHALL: Everybody has to be really on the ball. It was going to be punishing and I made sure to warn everybody in advance. "If you're going to sign up for this thing, it's going to be tough." Luckily, they stood by it and nobody complained despite the physical punishment. With Michael and Dominic, I had auditioned them both for Doomsday. So they were both actors that I really liked and wanted to work with and the opportunity for this one was pretty straightforward. Michael fit like a glove and Dominic is larger-than-life anyway.

MovieRetriever: Michael's career lately …

MARSHALL: We caught him at a good time.

CAROLYN: He's still not known by a wide audience. It's an industry thing. We often get asked questions about him but audiences never do.

MARSHALL: I watched Hunger after casting and Inglourious Basterds didn't come out until after we had made the movie.

MovieRetriever: Are there any films or filmmakers that particularly inspired this one?

MARSHALL: The cavalry movies of John Ford – I see a pretty strong parallel between them. The Romans are like the cavalry and the Picts are like the Comanches. Also, films like Walter Hill movies tonally. First Blood – gritty, rainy, bloody. I really like that feel. Last of the Mohicans. A lot of Westerns.

MovieRetriever: A lot of those films have cut-and-dry heroes and villains but one of the things I like about this film is that it doesn't. How important was it to you to tell both sides of the typical cavalry story?

MARSHALL: It was something that evolved in the script. I wasn't interested in having a one-dimensional or two-dimensional villain. I find that if you have a villain with a motivation that you can understand and even sympathize with then it makes them far scarier and obviously makes the film more real. By enhancing their back stories, it makes it much more of an even playing field. I just found that really interesting. It deals with gray areas. It's far more honest than pretending that there are heroes only on one side.

MovieRetriever: I know there's this legend of a missing legion but how much is based in fact in this film?

MARSHALL: We tried to make the world in which the story is set as authentic as possible. With the Romans – there's loads written about them. The Picts – it was more of a nightmare. There's very little written about them. We only have archaeological information and what the Romans wrote. We had to fill in a few blanks on that. We knew about the look. The rest was just practical thinking – wearing wolf furs and stuff like that. I see it as being kind of bookended by elements of the truth and the middle is kind of exaggerated.

MovieRetriever: With your comments on soulless CGI, I'm curious about your feelings on 3D. Is it something that interests you and you might explore in the future?

MARSHALL: Certainly, as a filmmaker, I have interest in it as a new tool. My next project is looking like it wil be 3D. I want to experiment. I dread the idea that EVERYTHING will be done in 3D. Certain genres work better. Horror being a great example. I don't know. We'll see.

MovieRetriever: Can you tell us anything about the 3D project or is it still hush-hush?

MARSHALL: It's pretty hush-hush. Although there's enough online already. It's called Burst. Sam Raimi's producing it. It's about people exploding in 3D.

MovieRetriever: How do you feel about the continuation of The Descent franchise?

MARSHALL: I have no thoughts whatsoever.

MovieRetriever: OK. We'll leave it at that. You must have been happy about how many "Best Horror Films of the Decade" that film ended up on and its continued adoration.

MARSHALL: I'm overwhelmed by it.

MovieRetriever: Why do you think it's held up so well?

MARSHALL: I don't know. There's been plenty since. It captured some kind of atmosphere or touched on something with people. I think it basically disturbed and scared people.

CAROLYN: It's interesting that out of all your films that it's the one people talk about because Neil likes to mix genres and The Descent is a straight horror film. It doesn't have comedy. It doesn't have post-apocalyptic nightmares. It's the most straight …

MovieRetriever: But, even still, if you knew NOTHING about it, it starts as a claustrophobia piece and turns into a monster movie.

CAROLYN: Yes, but it's still straight horror.

MovieRetriever: It's an original …

CAROLYN: Absolutely. I don't mean to diminish it in anyway. It's brilliant.

MovieRetriever: So, you can't really talk about what's next, how about you?

CAROLYN: I'm directing my first feature. It's an old-fashioned ghost story and Neil's executive producing.


Centurion is now playing in some markets and expanding around the country. It is also available On Demand.

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Post by Admin on Thu Nov 04, 2010 2:38 am

Redblog Talks to Centurion Director Neil Marshall and Actress Axelle Carolyn
by Locke Peterseim | Nov 3rd, 2010 | 7:43PM

British writer-director Neil Marshall has made a name for himself in the past decade with sharp (and very bloody) action-horror films like Dog Soldiers (British soldiers versus werewolves), The Descent (female cave explorers versus mutated humanoid “crawlers”), and Doomsday (post-Apocalyptic action).

Marshall’s latest film, Centurion (available now from redbox), stars Michael Fassbender (Inglorious Basterds) and Dominic West (The Wire, 300) as Roman soldiers in the legendary Ninth Legion, which infamously “vanished” in Scotland in 117 AD while battling the native Picts. (Most historians don’t think the Ninth ceased to exist at that point, so Marshall agrees Centurion is a really more of a “historically accurate myth.”)

Earlier this fall I sat down to talk with Marshall and his wife Axelle Carolyn who has a supporting role in Centurion as Aeron, part of the posse of Pict warriors hunting the Romans across the Scottish wilderness.

Centurion‘s Misty, Myth-y History

How did you end up making a film about the Roman Ninth?

Neil Marshall: I grew up in Newcastle just miles from Hadrian’s Wall. That whole area is filled with Roman history–forts, the Wall, Roman roads–you can’t escape it. I used to go on school trips and would be up on Hadrian’s Wall on some very, very bleak, rainy, windy, cold day, and I’d wonder how it was for those guys who were on sentry duty there and being attacked by the Picts.

And I was always fascinated by the legend of the Ninth–this entire legion of 4,000 men marched into the Scottish mist and vanished without a trace. I was instantly hooked.

Scotland became the point at which the Roman Empire stopped.

It was Rome’s wild west. Whenever Rome conquered a territory they’d leave one legion there to look after the place. In Britain we had three because we were just way too much trouble. Finally the Emperor Hadrian said, “Look I’m just going to draw the line here.” What was up there that was so horrendous that they built this 60-mile-long wall? It’s like something out of King Kong!

Playing a Pict Warrior Princess

Axelle, how did you end up playing a Pict warrioress?

Axelle Carolyn: I auditioned for a different part originally–three different times before it was decided I’d play the warrior. Neil took a bit of convincing on that one because he wasn’t sure that someone who’s not tough and physical could do the job.
And your character Aeron keeps shooting people in the back with arrows.

Marshall: Yeah loads, and that was something that we didn’t really clock when we were shooting it. When we put it all together in the end, she’s always shooting people in the back.

Invaders, Defenders, and Survivors

Neil, when you look at your work there are definitely running themes from film to film.

Marshall: I love bands of survivors on the run and an enemy whose motivations are in so many ways justified. Be it werewolves, crawlers, cannibals or Picts defending their homeland. It was always a joke when we were making The Descent that it was about a happy bunch of cave-mutant crawlers who get viciously attacked by this savage group of women.
You always do a lot visually with small budgets. If someone said, “Here’s 300 million dollars, no strings attached–go out and make the film you want to make,” what would you do?

Marshall: If there were no strings attached then I’d just keep it. [Laughs]
Okay, let’s say they want to see a film on the screen three years from now.

Marshall: All right, then I would film the new house I bought with the money.

There are a few film projects I would love to lavish money on and get the best possible cast and all the special effects you could want, but you can also make those films for a fraction of that.

Husband and Wife Horrors

Axelle, you’re getting ready to write and direct your first film, Ghost of Slaughterford. Is the idea of directing scary, or have you watched Neil enough to learn his tricks?

Carolyn: It’s intimidating but at the same time very exciting. I keep having those nightmares where I show up on set the first day and I don’t know what I’m doing.

Marshall: The most intimidating thing is on the set the first day and the crew are all just waiting for you to say something smart. That happens no matter how many films you’ve directed.
Ghost of Slaughterford is a smaller ghost story. How do you compare your taste in horror films to Neil’s?

Carolyn: Neil is much more interested in action–I’m interested in scares and atmosphere and characters. When I write I put in my personal fears.

Marshall: The kind of films Axelle wants to make are not the kind of films I want to make, but they are the kind of films that I want to watch.

Carolyn: And I would not want to make Neil’s films, but I love to watch them.

Idol, Influences, and Centurion Drinking Games

How do you define yourself as a film maker, Neil?

I make action and horror movies–I guess I make tremendously violent movies. But hopefully I make entertaining movies. My biggest idol growing up was Spielberg, but I’m hugely influenced by John Carpenter, Walter Hill, and John Ford– all classic storytellers. Looking ahead, someday I’d like to do a straight up fantasy, an adventure movie swords and sorcery.

And how would you describe Centurion?

Marshall: It’s a rip-roaring adventure tale—a Roman Western.
And for you, Axelle, it was a story of a woman who shot a lot of people in the back?

Carolyn: Pretty much.

Marshall: That’s the drinking game! You have to take a drink of Scotch every time she shoots someone in the back!

Centurion is available for rental from redbox.

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Post by Admin on Tue Mar 15, 2011 2:13 am

Scoop Interview of Director Neil Marshall for “Centurion”
March 14th, 2011 | Author: admin

Hollywood film director Neil Marshall is the famous director and his latest hit product is “Centurion”. Cybotainment is proud to publish the scoop interview of director Neil Marshall, who matured up tugging the still-remaining stale Roman routes carrying collateral to Hadrian’s Wall. As he listened chronicles and myths of its beingness and the Ninth Legion’s fade, Marshall arose curious in what might have obsessed the herculean Romans to construct this bulwark in the 1st place.

“The myth itself is exactly that, a myth,” Marshall tells. “Reported to historiographers, the Ninth Legion did go into Cala Doria and they were sniped but not needfully slaughtered. And then they absconded and purportedly did something else in the Roman conglomerate. What I desired to produce was a historical world for this. I needed to be sure it was historically precise from the standpoint of the contingent – the props, the costumes, the conduct, all that kind of material. The chronicle itself is fancied. It is a speculation of what might have encountered to the legion. It accomplishes that myth and how the myth might have been produced. I specially cared the theme that it was really the Romans that made the myth appropriate to cover a military catastrophe that would attain them appear very forged.” Marshall accepts his explore was bounded merely by the truth that entropy on the consequences is comparatively deficient, affording him enough of familiarity with his chronicle. “There is entirely one book, but it ne’er really defines what might have occurred. It is exactly that they vanished or got slaughtered, but it ne’er explicates how they might have been slaughtered. So nonentity addressed that. All of that I had to ascend with myself.”

“Centurion” is an action movie in the B-movie custom, brisk and brutal. In modern time, historically-based combat films commonly curve into large running times and elaborated story-lines. While Centurion is not without chronicle and challenging characters, its 97 minutes are centred mostly on the combats, which are flying, granular and truthfully frail. “I like that component, it has that impertinence about it,” alleges Marshall. “It is not arrant. If they arrive to the set and do this note hone fight quotidian that attends like it is a couple of ninjas without a fake move, that does not appear genuine. It has that sort of rawness.”

Scoop Interview of Director Neil Marshall for "Centurion"

Collection his cast, Marshall acknowledged it was crucial to barf players that wouldn’t exclusively be credible in the components, but bully adequate off-camera to care the abrasive shooting circumstances. “I cognized that I was attending penalize the cast of characters,” accepts Marshall. “It was becoming to be frigid, moisture and hapless and I was enduring to be assigning them into rivers and derailing off cliffs. When they annoyed the height of the mountain, I precious to be there hardly to exposed the back of the fomite and allow the frigid deluge in and see what their reaction was. And they were comparable, ‘What the blaze have you acquired us into.’”

While there were not any fatal accident on set, there were a few squeakers. “One of the cast of characters extremities aimed first level cryopathy in their hoof. Passim the shoot we’d a couple of travels to the infirmary. After they’d been in the river, one player entered appal, bent green and began emesis everyplace. But an hour or so afterward, he was back and alright. It is exactly the appal you can arrest from getting in water that is about as frigid as it can bring earlier it becomes firm. These guys were acting all this, but they still ne’er quetched. They were having a good time. It was a suitable jeopardize for them.”

The director was capable to go back to two actors he had primitively conceived for “Doomsday”, Michael Fassbender and Dominic West, to act Romans Quintus and Virilus, severally. “They tried out for dissimilar parts [on Doomsday],” says Marshall. “When I 1st adjoined Dominic I had not genuinely caught or listened of The Wire, but I’d checked him in a couple of other movies and actually liked him. He just appeared so complete for the character of Virilus. It’s not like he’s at all. He is not that sort of barbarous gorilla of a guy, but he has the animalism for it. And I just considered Michael would be corking in this movie. I’d discovered him around a few times and we had discoursed what we might have a fortune to act collectively. That was an avid to at last arrest him into this character. It genuinely cropped and they deported dandy performances.”

The most unbelievable casting alternative was Olga Kurylenko, a lissom and apparently fragile supermodel, in the character of the blood-lusting warrior Etain. “She was embraced in cuts and marks and contuses by the finish of it,” says Marshall. “She did not quetch in the least. When you have begot her and Michael virtually on the adorn in the filth brawling for their lives and pinging the blaze away of one another, I was anticipating that to be a trouble. I believed she could demand, comparable, ‘Can I’ve a felt down here?’ But she just got directly down there.”

Kurylenko’s operation excels, the most nefarious and brutal femme fatale of new memory. Although Etain is placed as a villain, her backstory appends a degree of justification to her revengeful pursuit. “I desired to continue it grey, [like] hold on a minute, she is a spoiled guy? It is sort of like Magua in Last of the Mohicans, this utterly immorality role that is also absolved in what he is behaving and entirely conceives in it. I invited to commit her a account that pied the Romans in a very dissimilar light so you are able to catch it from her standpoint. Simultaneously, you do not require her tagging you because she is attending chop you into little bits. She’s jolly committed to what she is coiffing and you’ve to ascend with a excusable cause for that. I ever consider that the best villains are the ones that have a excusable causative.

We hope that you will enjoy the interview of Neil Marshall, next time we will bring you another exclusive interview of another famous celebrity.

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