Director Eli Roth Reveals Horror, Sci-Fi Plans

Eli Roth

From MannyTheMovieGuy.com 

“Hostel” producer-director, Eli Roth, unveiled his exciting plans at the Morelia International Film Festival. He was at the fest with Quentin Tarantino to promote “Inglourious Basterds” where Roth co-starred as Sgt. Donny Donowitz.

Some of Roth’s revelations were:

*** He’s planning to finish the script for “Endangered Species” this month. Roth is also planning to direct the sci-fi project

*** He’s also writing a script for the horror flick “Thanksgiving,” which originally appeared as a fake movie trailer that ran between Tarantino and Robert Rodriguez’s “Grindhouse.”

*** Roth will be directing, producing, and possibly acting in “Thanksgiving”

*** He will be presenting the exorcism movie “Cotton” by director Daniel Stamm to Sundance in two weeks

*** Roth is also developing the martial arts flick “The Man With the Iron Fist” with rapper-turned-director Robert Fitzgerald Diggs set to helm. Diggs is more commonly known as the rapper RZA.

Christoph Waltz to Replace Nic Cage in ‘Green Hornet’

Christoph Waltz

by Matt Raub – TheFlickCast.com

With the publicity for Seth Rogen and Michel Gondry’s Green Hornet picking up steam in the past monh or so, more news has come out on the casting of the main villain in he film, Mr. X. The role was originally set to go to Nicolas Cage, but for whatever reason (possibly the fact that he’s got another superhero film in the works with Kick-Ass), Cage has stepped down from his role.

We now recieve word that the role will instead be taken on by Christoph Waltz, fresh from playing the Nazi baddie in Quentin Tarantino’s Inglourious Basterds.

“I’m told that ICM’s actor Christoph Waltz who won Best Actor at the Cannes Film Festival for playing a Nazi in Inglourious Basterds (and is a shoo-in for an Oscar nomination) has now been cast as villain Chudnofsky in Sony’s The Green Hornet opposite Seth Rogen and Cameron Diaz.

Since Quentin Tarantino’s Inglourious Basterds came out — and crossed the $100M mark this weekend – Waltz has been offered a lot of big movies by a lot of big directors. And he’s getting big bucks now. How great he’s found success at age 52.”

This is the second news of an actor getting replaced from the film after Stephen Chow stepped down from both directing and the role of Kato. See Waltz, Rogen, and Cameron Diaz in theaters for Green Hornet on December 17, 2010

A zombie that never sleeps: Rob Zombie has ‘sickness’ that keeps him in motion

Rob Zombie

Nicholas White – LATimes.com

Nicholas White , a freelance journalist here in Los Angeles, is back with another Hero Complex contribution, this time a conversation with Rob Zombie, the rocking Renaissance man of horror, whose new film “Halloween II” lands in theaters with a splatter this Friday. 

What horror lurks in the mind of a pop nightmare maker?

“I think it’s kind of a sickness I suffer from,” Rob Zombie, director of “Halloween II,” said on the eve of his new movie’s release. “I cannot relax and settle down. My brain is always racing with ideas. I can’t calm down. I’m like that all that time. My wife [actress Sheri Moon Zombie] knows how to relax. I don’t so much sometimes. So, I drive her insane with it.”

On closer look, Zombie’s practiced professional insanity — whether through bloody bodies onscreen or macabre imagery in his music — appears more of a character than the real guy.

Strip away the stringy, cobwebby hair and caked-on white makeup, and Zombie (whose given name is Robert Bartleh Cummings, born in 1965 in progressive working-class Massachusetts) is just another very hard-working performer in the Hollywood industry.

In addition to directing movies, creating comic books (his 2007 “The Haunted World of El Superbeasto” was made into a still-unreleased movie voiced by Paul Giamatti), and a platinum-selling recording career, Zombie is, simply, a painter.

“Drawing and painting are always one of my first loves — that’s what I have always done,” Zombie, a onetime painting student at New York’s prestigious Parsons School of Design, says. “That’s always been the thing that’s fallen away. Now it’s something I’ve gotten back into. And I love it.

“Movies, music — I love all that, but it plays on a different scale,” he says. “It’s millions of dollars, you’re expected to make back millions of dollars. You have millions of people come see it. Painting
is much purer. I’m not doing it to set up a show and sell things. I just do it to do it.”

While he has no plans for another comic book or graphic novel, Zombie is painting “gigantic figure-study” paintings of people at his house, he says. “Kind of classic stuff.”

“The reality of the business now is that if you have an idea for a movie and if you have done it first as a graphic novel, it really makes trying to sell that idea to somebody much easier,” Zombie says.
“That was the hope with ‘The Haunted World of El Superbeasto.’”

Zombie’s fourth film in seven years, “Halloween II,” bearing the name but not the plot of the 1981 original movie, hits theaters Friday. Opening against the similarly themed “Final Destination 3-D,”
“Halloween II” has big expectations.

Its distributor, the Weinstein Co., is said to be in financial straits after a string of unprofitable movies. While Zombie’s 2007 “Halloween” grossed more than $80 million worldwide for the Weinsteins, the production company could use a hit.

The Weinsteins’ other big late-summer horse, “Inglourious Basterds,” had a surprising $38-million opening weekend, buoyed by Brad Pitt’s star power and a kamikaze marketing campaign. Quentin Tarantino’s last collaboration with the Weinsteins, “Grindhouse,” a double-feature ode to raw B-movies of the 1970s, grossed less than half its nearly $70-million production budget.

Does Zombie feel pressure to keep the Weinsteins on life support?

“I have never heard that from them, they have never said that to me,” Zombie says. “I have only read that on a couple of Hollywood websites. But, no one has ever said it to me personally, like, ‘Oh, this film
has to do this for us.’ The only pressure I feel is to make the movie great.” As for working with the Weinsteins, which he has now twice after “Halloween”?

“I don’t know,” Zombie says, succinctly. “It is what it is. Everything is a difficult process, and this can be a very difficult process at times.”

Zombie, by most accounts, has shown a progression in ease with the camera since his rocky, cultish 2003 debut, “House of 1000 Corpses.”

The narrative-lite “Corpses” (which dragged in mostly subpar reviews) had a distinctive brutality reminiscent of early 1970s Wes Craven, even if Zombie’s aesthetic wasn’t completely developed. His next film,
2005′s “The Devil’s Rejects,” was a more polished effort.

“It doesn’t really get easier, but you get more confident in what you can accomplish,” he says. “There is a moment in every movie where the whole thing can come crashing down. Movies are funny because you need a thousand things to go right everyday, and you only need one thing wrong to derail the whole thing.”

How many filmmakers have howled at the moon in front of sold-out arenas and huge festival crowds? Zombie proved himself both as a solo artist and as front man for the 1990s rock band White Zombie. His new album is finished and hits stores Nov. 10, he says, and he returns to touring in Japan on Oct. 1 and circles back to the U.S.stage on Oct. 15.

“I love music and I love movies, but they’re so opposite, the process, that it’s such a great release,” Zombie says. “I can tour the whole world and meet thousands of fans on a daily basis, and get the vibe of what’s going on. That’s a great luxury.”

LATimes.com– Nicholas White

Brad Pitt NOT Joining ‘Sherlock Holmes’

From AceShowBiz.com

There will be no Brad Pitt in “Sherlock Holmes”. Warner Bros. Pictures has squashed the recent flying rumor suggesting that the star of “The Curious Case of Benjamin Button” has been recruited to play Holmes’ arch nemesis, Moriarty, in Guy Ritchie’s new take on the legendary detective and his crime-solving story.

“The report in today’s London Mirror is completely inaccurate. Brad Pitt is not joining the cast of Sherlock Holmes and we’re extremely pleased with the production of the film,” a studio-sanctioned statement, released Monday, August 17, read. “As planned, it will be released on Christmas Day, 2009.”

Warners further explained about the shooting of some additional scenes for the film. “In order to complete the movie, we’ve scheduled a few days on set to shoot a couple of additional scenes, obtain pick-up shots, and perfect some of the visual effects elements, all of which is standard filmmaking practice,” so the studio claimed in the statement.

Earlier on the day, The Mirror had come up with a story that Pitt has come aboard the film as Moriarty at the behest of Ritchie, who has worked together with Pitt in 2000 gangster film “Snatch”. “It’s a huge coup to have Brad joining the cast. He has worked for Guy before and said if he could, he would do anything to help out,” the paper quoted a source of the 45-year-old’s involvement.

Mirror, in addition, claimed that the Lt. Aldo Raine of forthcoming “Inglourious Basterds” is headed to London for 10 frantic days of filming, which was said due to start this week in London and on location at Cliveden House. The paper also stated that the addition of Pitt would push the release of the film from December 2009 to June 2010.

Based on Lionel Wigram’s upcoming comic book, “Sherlock Holmes” will present a new portrayal of Arthur Conan Doyle’s most famous characters. This first major big-screen version of “Sherlock Holmes” in more than 20 years will see Sherlock Holmes and his partner Dr. Watson on their latest challenge. Having lethal fighting skills in addition to his legendary intellect, Holmes attempts to bring down a new nemesis and unravel a deadly plot that could destroy the country.

This action thriller film will see Robert Downey Jr. as the titular character, Jude Law as Dr. John Watson, and Rachel McAdams as Irene Adler, Holmes’ love interest, in addition to Mark Strong who is set to play Lord Blackwood. Originally expected to make its debut in U.S. theaters on November 20, it is now due for December 25 release.

Diane Kruger tailor-made for Tarantino film

Diane Kruger

By Zorianna Kit – Reuters

LOS ANGELES (Reuters) – When filmmaker Quentin Tarantino was looking for a German actress to play a 1940s German screen siren-turned-spy in his movie “Inglourious Basterds,” Diane Kruger knew she was perfect for the part.

After all, she thought, who better to play a German movie star working in France than a German actress like herself who was living in France?

“Basterds,” which debuts in the United States on Friday, follows a group of Jewish American soldiers, led by Brad Pitt’s Lt. Aldo Raine, on a mission to take down the Third Reich.

Kruger’s Bridget von Hammersmark is loved by her German countrymen, but is secretly working as an undercover agent with the “the basterds,” as Raine’s soldiers are known.

“This is the first time someone gave me a part where I’m strong, where I’m the engine, the motor of the scene,” Kruger told Reuters. “Many times actresses are an accessory to a story line. To be handed intelligent dialogue was nice. It was a very new experience for me.”

It was also an unimaginable experience for someone who once considered modeling and movies “completely out of my reach.”

“I come from a lower middle-class village in Germany,” said the 33-year-old. “It is impossible to imagine that any of this was ever going to be in the cards for me.”

With dreams of becoming a ballerina, Kruger studied with the Royal Ballet School in London. As a teenager she was a finalist in the Elite modeling agency’s Look of the Year contest and turned her attention to fashion and the catwalk.

“All of a sudden I moved to Paris and was learning French and traveling the world,” Kruger said. “Then I met my ex-husband (French actor and director Guillaume Canet) who was so influential in giving me confidence to pursue acting.”

“TREASURE” TROVE

Her first major acting role was in Canet’s directorial debut, 2002′s “Mon Idole.” The two divorced in 2006, but worked together once more in “Joyeux Noel.”

Though 2004′s romantic thriller “Wicker Park,” in which Kruger starred opposite Josh Hartnett, was technically her first U.S.-made movie, it was her second feature to be released in the United States.

“Troy,” in which she co-starred alongside Pitt and Eric Bana was released first in theaters, and the hype over Hollywood newcomer Kruger playing the beautiful Helen of Troy helped her land box office hit “National Treasure.”

That movie’s success spawned the sequel “National Treasure: Book of Secrets” and together the big-budget movies made Kruger a household name — after a little adjustment, that is, because her real last name is Heidkruger.

“Nobody in America or France could ever pronounce or spell it correctly,” she said. “I was sick of saying, ‘H-E-I-D…’ When you say ‘It’s like Freddy,’ everybody gets it.”

Today, Kruger is grateful that at least one person in the entertainment industry “gets” her: Tarantino.

“He took a leap of faith on an actress who has so far only played Helen of Troy and did ‘National Treasure,’” she said. “He sees me completely different.”

Kruger next stars with Jared Leto in French filmmaker Jaco van Dormael’s “Mr. Nobody.” The film debuts at the upcoming Venice Film Festival, weeks after the release of “Basterds.”

“I feel Quentin gave me a great gift,” Kruger said. “No matter what impact this movie has on my career, or if it turns into a box office hit or not, I feel like I won the lottery.”

Waltz crafts linguistic magic for `Basterds’

By DAVID GERMAIN (AP)

Christoph Waltz has mastered Quentin Tarantino’s linguistic legerdemain in four languages.

Waltz won the best-actor prize at the Cannes Film Festival and is an early prospect for a supporting-actor nomination at the Academy Awards for the World War II saga “Inglourious Basterds,” in which the Austrian-born performer hurtles through Tarantino’s rapid-fire dialogue in German, French, English and Italian.

The film takes some jabs at Americans’ relative lack of language skills, but Waltz said his own multilingual talents are simply part of life in Europe.

“I’ve been in places in Europe where you need a different language if you go out for dinner. I worked in southern Germany, and we went into France for dinner. You just go across the river, different language, different culture, different food, different everything. So it’s nothing extraordinary,” Waltz said, adding that Americans would possess similar language skills if necessity demanded. “If you needed Cherokee to order dinner, you’d speak Cherokee.”

Waltz, 52, is a respected TV and stage actor in Germany but a virtual unknown to overseas audiences, with a small role in the James Bond flick “GoldenEye” his only previous credit in a big international production.

Tarantino auditioned top German movie stars for Col. Hans Landa, a brilliant, gleefully cunning Nazi officer who seems to revel in his own voice as much as Samuel L. Jackson’s character did in “Pulp Fiction.”

The actors he tested obviously could ace the German dialogue, and most could handle the French portions well, Tarantino said.

But while they were fluent in English, “they couldn’t say my poetry,” Tarantino said. “Because there is a poetic quality to my dialogue. There’s a musical quality to my dialogue. There’s a rap quality to my dialogue. And there’s a comedy-monologue quality to my dialogue. … As fluent as they might have been in English, that wasn’t the language for them to recite poetry in. But when Christoph came in, halfway through the audition, I knew we’d found our Landa.”

“Inglourious Basterds” features an ensemble led by Brad Pitt as head of an Allied team of Jews who spread fear and mayhem behind enemy lines by killing and scalping Nazi soldiers.

Waltz’s Landa is a roll-with-the-punches Nazi who excels at his job as the Third Reich’s foremost “Jew Hunter” but concocts an intricate exit strategy for himself as the tide turns against Germany.

The acting prize at Cannes and the Oscar buzz that followed have come as a pleasant surprise, though what Waltz hopes to get out of his “Inglourious Basterds” experience is a chance to find more acting opportunities beyond TV and theater work back home.

Born in Vienna, Waltz settled on acting at 19, coming from a four-generation family of theater performers and designers. It’s a bit ironic that a role as a Nazi should be the one to put Waltz in Hollywood’s spotlight: When he was starting out 30 years ago, Waltz made a brief foray to Los Angeles to scout his prospects, meeting with veteran agent Paul Kohner.

Kohner told him, “You will have to ask yourself a question: Do you want to cross through the background for the rest of your life yelling, `Heil Hitler!’” Waltz said. “So I decided there and then, no, thank you, that’s not what I intend to do, and went back to where I got the good stuff.”

Quentin Tarantino spins new ending to WWII

Inglourious Basterds cast

By DAVID GERMAIN, AP Movie Writer

Quentin Tarantino is about to unleash the ultimate Hollywood rewrite job. He’s changed the ending of World War II.

Without giving away details, Tarantino’s “Inglourious Basterds” puts an end to the Third Reich in, let’s say, a more visceral and audience-pleasing manner than the way history tells it.

Featuring an ensemble cast led by Brad Pitt, the film follows the Tarantino tradition he established in such violent yet often hilarious romps as “Pulp Fiction,”"Reservoir Dogs” and the “Kill Bill” movies. Take a well-defined movie genre — in this case, the “Dirty Dozen”-style men-on-a-mission adventure — and turn the Hollywood conventions inside-out.

Who else would deliver a World War II movie where chatty characters trade more barbs than bullets and the action plays to a musical backdrop including David Bowie’s “Cat People” and Ennio Morricone spaghetti western themes?

Tarantino, 46, said his alternate reality was an outgrowth of the way he develops a narrative, which he describes as a metaphor-paved road the characters trod, with all sorts of side roads they can turn down.

“A lot of screenwriters put road blocks among some of those roads because they don’t want their characters to go down there or they can’t afford to have their characters go down there, for whatever reason. Usually movie conventions,” Tarantino said in an interview. “I’ve never done that. I’ve always left it as, the characters know best. They know where they’re going. I’m simply following them. So I’ve never had any road blocks that they can’t explore.”

Then his characters led him to a colossal road block — history itself — a barrier Tarantino said he initially was prepared to respect. But the

Quentin Tarantino

characters’ actions spoke louder than historians’ words.

“I realized, my characters don’t know they’re part of history. They’re in the here and they’re in the now, and they don’t have a clue about what exactly the outcome of the war is going to be,” Tarantino said. “My characters didn’t exist, but if my characters had existed, they could have changed the outcome of the war.”

Pitt heads an international cast as leader of the title gang, an Allied commando team of Jewish troops that kills and scalps German soldiers. The Basterds eventually are assigned an undercover mission to take out the top German brass at the premiere of a propaganda film in Nazi-occupied Paris.

Caught up in this plot are a German movie star (Diane Kruger), a British film critic turned spy (Michael Fassbender), a vengeful French Jew (Melanie Laurent), a German war hero (Daniel Bruhl) and a Nazi colonel (Christoph Waltz) known as the “Jew Hunter” for his skill at tracking down enemies of the Reich.

Their interactions may result in a different finale for Nazi Germany, yet co-star Eli Roth said Tarantino’s revisionist saga brings fresh meaning to the war.

“If that was a historically accurate movie, I’d go, `OK, that was important, that happened, but that was 70 years ago. That’s not me. That doesn’t apply to me,’” said Roth, director of the “Hostel” movies, who plays one of the Basterds, a Jew who beats Nazis to death with a baseball bat. “But because he makes it a fantasy, he taps into my fantasy as a Jew, wanting to go back in time and kill all those Nazis.”

Tarantino began the screenplay eight or nine years ago, but the story grew to miniseries proportions, so he abandoned it. He moved on to the “Kill Bill” movies and “Death Proof,” his half of the “Grindhouse” double-feature made with filmmaking pal Robert Rodriguez.

Returning to “Inglourious Basterds” late in 2007, Tarantino raced through a new screenplay, keeping many of the characters he’d originally created but putting them into a different story.

By late last summer, he came to visit Pitt, informing him he had a blitzkrieg plan to get the epic film ready to premiere the following May at the Cannes Film Festival, where Tarantino won the top prize for 1994′s “Pulp Fiction.”

“He’s been working on this script eight years, and he said that night, `We’re going to make Cannes,’” Pitt said. “This was August or something ridiculous.”

Shooting started in October, and Tarantino dashed through the production in time for Cannes, where “Inglourious Basterds” won the best-actor award for Waltz.

Hollywood generally handles World War II with reverence and restraint — not Tarantino. He applies trademark touches to surprise and amuse audiences, lightening tense moments with macabre humor and veering the action into wickedly funny asides.

In the middle of a sequence introducing the Basterds in action, Tarantino abruptly freezes the frame and flashes up the name of one of Pitt’s commandos, Hugo Stiglitz (Til Schweiger), then inserts a violent but playful flashback on how he came to join the gang after savagely slaying a string of Nazis on his own.

“I usually think the audience finds it liberating. It’s exciting. It’s not just what you’re normally used to seeing,” Tarantino said. “The humor in the movie. It’s the same humor that’s been in all my movies. I stop short of calling any of my movies so far comedies, because there’s stuff in them that’s not funny. But I’ll put my movies on a laugh-for-laugh basis with any comedy playing in theaters right now. …

“One of the reasons the audience laughs so big at the Hugo Stiglitz little section is, especially if you’re a fan, you see it and you go, `OK, Quentin’s not just going to be a good boy. He’s not just going to play cricket just because he’s dealing with World War II and dealing with a period film. He’s still going to do his movie his way,’” Tarantino said. “`He’s not going to clean up his act now.’”

 

Inglourious Basterds on the Joy of Scalping

From ReelzChannel.com

Esquire talked about character and scalping in a series of interviews with various members of Quentin Tarantino’s Inglourious Basterds. When it comes to revenge, the band of Jewish Nazi-hunters takes a page from the Apache. But this just isn’t a skill that comes naturally. It takes practice, so of course Tarantino organized a contest.

B.J. Novak, who plays Private First Class Smithson Utivitch, explains: It all started when we were all having drinks at a bar in Berlin called Tarantino’s, which, believe it or not, is actually a Quentin Tarantino — themed bar. Anyway, over drinks Quentin told us, “You guys are going to have scalping training tomorrow, and as motivation, I’m gonna give close-ups to the top three scalpers.” I went home and stayed up late looking up “scalping” on Wikipedia, and the next day, I was one the best. I was the best, if I may say.

Other than reading up about it online, how exactly do you go about honing your scalping skills? By working on live people, of course. It’s just a matter of technique, Omar Doom (Private First Class Omar Ulmer) adds: We all learned to scalp by working with live people who had some prostheses on top of their heads. Basically, if you insert the knife along the top of their head and cut along the edge, the rest of the skin peels off like a banana.

All in all, it was lot easier than learning to slit a throat, Gedeon Burkhard (Corporal Wilhelm Wicki) concludes.

Eli Roth And Quentin Tarantino Torture Nazis, Not Each Other, For ‘Inglourious Basterds’

Eli Roth

 

Larry Carroll – MTV News

Long-time pals, co-workers and violent film fanatics Quentin Tarantino and Eli Roth are joining forces yet again to deliver another gruesome flick to the silver screen. But how violent will “Inglourious Basterds” really be?

“It’s a different kind of violence,” Roth, director of the Tarantino-produced “Hostel” films, explained. “When you see the violence of torture in ‘Hostel,’ there is a certain element of fantasy to it… [with 'Basterds,' Tarantino] wanted to make a fun, exciting action movie — and I think he killed it.”

In the film, Roth plays a Jewish-American soldier selected for an exclusive military group called “The Basterds,” who spread fear throughout the German military by scalping Nazis and subjecting them to other brutal executions.

“When you see people shot by Nazis, it’s far more horrifying — even if it’s not as bloody, it is much more horrific, and Quentin is aware of that,” Roth said of where his films end and Tarantino’s begin. “Quentin did not want to make an oppressive movie, he wanted to make a ‘men-on-a-mission’ movie.”

Brad Pitt and Quentin Tarantino

When you put two headstrong, successful directors together on one set, you might think it could be hard for them to deal with any differences of opinion. To combat this, Roth was determined to remember that he was working in his first lead acting role, rather than his usual behind-the-scenes positions as a director, producer and writer.

“It’s interesting, but the scene in the bar in ‘Death Proof’ really became the audition for me in ‘Inglourious Basterds,’ even though neither of us knew at the time,” Roth said of his brief work in Tarantino’s “Grindhouse” feature. “As a director, it was a great experience for me to go through. I think [acting in ‘Basterds’] is going to make me a different director.”

Although you or I might think working for a friend would be a walk in the park, Roth was quick to point out that Tarantino was all business on the set of the WWII flick, which hits theaters on August 21st.

“It was no joke on this movie,” he insisted. “If people screwed up a scene, he’d drop their line. If you weren’t doing a good job, if you weren’t pulling your weight, he’d write you out of the movie.”

“He didn’t hesitate to fire people, so everyone was really on their toes and on their game, and as a result he got the best out of everyone,” Roth said of one of the lessons he’ll take forward after acting for the Oscar-winner. “People were really, really focused. Everybody wanted to bring it for Quentin.”

 

 

Howard Berger is the special makeup effects coordinator

Gregory Nicotero is the key special makeup effects supervisor

Jake Garber is the key on-set makeup effects artist

 

Jennifer’s Body Photo Reveals Megan Fox’s Bloody Bite

Megan Fox in Jennifer's Body

New bloody photo of Megan Fox in Jennifer’s Body

Jennifer’s Body is written by Academy Award winner Diablo Cody and directed by Karyn Kusama, the film tells the story of a small-town high school hottie Jennifer (Megan Fox) who is possessed by a hungry demon and begins eating boys. Jennifer’s Body hits theaters on September 18th 2009.

                                      The FX Crew:

Gregory Nicotero (Drag Me to Hell, Inglourious Basterds, The Unborn…Greg has done so much work on many great films, you should check out his credits HERE) is the special makeup effects supervisor

Monica Huppert (Snakes on a Plane, Slither, The Chronicles of Riddick) is the makeup department head

Mike Fields (Stargate SG-1, The X-Files, X-Men: The Last Stand) is the special makeup effects artist

Rory Cutler (Jumanji, Blade: Trinity, Scary Movie 3) special effects coordinator

John Sleep (Catwoman, House of the Dead, AVPR: Aliens vs Predator – Requiem) is the special effects foreman

AND –  KNB EFX Group