Dead Meat Horror Awards 2023
Every year, horror films are ignored by mainstream critics. People who probably don’t even have a favorite scary movie. But you do. You know everything horror is capable of. How it can make you laugh, scare you, move you – or make you absolutely squirm. It’s time we honor those chills at the second ever Dead Meat Horror Awards. Enjoy the bloodshed.
It’s time to honor the best in horror from 2022. With the second annual Dead Meat Horror Awards! So raise your emoji hands in the airfor your masters of scare-emonies, James A. Janisse and Chelsea Rebecca! Hey everybody, welcome back to the Dead Meat Horror Awards - we're doin it again! Yes we are, and we've got our work cut out for us tonight. 2022 was probably the single best year for the genre in
my entire life. Yeah, I think so! We had familiar franchises re-igniting and brand new ideas becoming instant classics, we were just awash with great horror movies the whole year. And such a diversity of sub-genres too! We had scary, there was funny, there was schlocky, there was "elevated". There were one-location small-scale thrillers and epic blockbuster adventure flicks. Seasoned veterans continued to contribute to the genre, while many of the most memorable movies were made by first time filmmakers. And the acting - we had some of the year's best performances of any genre. Absolutely, and despite all that, hardly a single one of these films or artists were nominated for a mainstream award. It's the same case every year, which is why the genre
has always had to acknowledge itself. Thankfully, we have the Fangoria Chainsaw Awards, the Saturns, and many others put together by fans. Which now includes the Dead Meat Horror Awards, where we'll be giving out 11 Prime Ribs tonight. Full disclosure, once again the winners were just chosen by the two of us, though we were able to get input and suggestions from fans on Twitter. We're continuing to consider alternate ways to determine winners, but in the meantime, at least we're not just shooting in our house this year. Yeah that’s right. We are actually on location this year at the wonderful Mystic Museum on Magnolia in Burbank. This place is a proven pillar of horror fandom here in LA, with awesome
exhibits popping up all the time - like the 90s Horror Movie one that just finished. Big thanks to Kiko and Erick for letting us shoot here, and to our producer MK van den Berg who put this show together. We hired MK to make this year's show way better than last year's, and boy did she deliver. We're gonna start the same way we did last year, though: With a montage of this year's horror releases. Last year we tried to include every single release - all 54 movies that we counted. That wasn't possible this time, since we had a list of 167 horror movies released in 2022.
Still, with editor Mike Cygan you can't go wrong. Dude cut the Final Fantasy trailer that premiered at the game awards. So without further adieu, Mike's montage: "There are certain rules to surviving a stab movie: never trust the love interest.
The first victim always has a friend group that the killer is a part of.” "How long have you known Greg?” “I don’t know exactly how long. Like, two weeks?" “Oh my god.” “He’s a libra moon, that says a lot!” “Fuck!” “It’s a great day to be alive, isn’t it?” “Burn it all down.” “You good?” “Nope.”
“You really think you’re ready?” “You want to hunt something that’s hunting you.” “It’s coming after me!” “What happens when you do see it?” “It’s smiling at me!” “That’s one ugly son of a bitch.” “I can feel him looking at me. You think i’m crazy.”
“I think you’re being over-dramatic.” “We’re all going to die tonight. Isn’t that right.” Staff: “Yes Chef!” “Don’t be ridiculous!” “This demonic shit is complicated.” “They are watching!” “Hot damn! We got ourselves a demon! Woo!” “Okay, well, it’s official. Tonight will be madness.” “I’m okay! Oh shit, is this normal?” Friends: “No! It’s not!” “You either seize your chances, or you linger in mediocrity.”
“It needs an ending that ties everything together conceptually.” “Welcome to act three.” “Let’s go!” “I’ve run from you. I have chased you. I have tried to forgive you. But the truth is, evil doesn’t die.
It changes shape.” “Did you just shoot me? You’re such a bitch!” “I love you all.” Hawthorn Staff: “We love you too, Chef!” Hell yeah Mike, way to kill it like always. I love that man. Let's get to the awards. One of the most exciting parts of horror movies is their sense of danger. We have a visceral and emotional reaction to seeing
characters face the threat of physical harm. Of course, behind the scenes, we don't want anyone to get actually hurt - which is where the stunt team comes in, led by the stunt coordinator. To announce this year's finalists for Best Stunts or Choreography, we have a man who devoted his body to entertainment for years, fighting demons from hell and dead men walking. He was also in the phenomenal 12 Hour Shift. 10 year old me is marking out right now, while adult me is just happy to introduce him as our first presenter: Actor, author, and WWE Hall of Famer, Mick Foley. Thank you, James and Chelsea! I am thrilled to announce the finalist and winner for Prime Rib for Best Stunts or Choreography, two things I am not unfamiliar with. Having lost my right ear in Munich Germany doing a stunt that did not quite work out and several teeth along the way, one did end up in my nose in a famous match June 1998. But we’re not here to talk about my accolades
we’re here to talk about the accomplishments of our finalists and the finalists are: DASHCAM. Dashcam's low budget meant stunt coordinator Nathaniel Marten had to get creative with the film's violence and car crashes. “Fuck!” Marten had previously worked with director Rob Savage on his prior film, Host.
For the scene where Annie Hardy's protagonist crashes into a lake, production built an underwater tank out of a shipping container and scaffolding, and used a firehose to simulate surging water. It looks pretty good! I mean, it looks as good as if we’d paid for a proper underwater studio.” FRESH. A former dancer herself, director Mimi Cave knew movement would be important in her feature debut. Cave worked with actors Sebastian Stan and Daisy Edgar-Jones on several dance sequences throughout the movie that punctuated their dangerous romance.
“She had a very specific idea of what she wanted, and so, that was sort of quite nice, because we felt safe and like ‘I guess I’ll just, I’ll do these moves and hope they look good." Fresh also features a climatic four-person kitchen brawl, which was achieved with the help of stunt coordinator Maja Aro. NOPE. Nope's horse wrangling protagonists meant it needed plenty of help from actual
animal trainers. Veteran wrangler Bobby Lovgren handled the horses on set, while Randy Savvy of the Compton Cowboys gave horsemanship lessons to actor Daniel Kaluuya. “I didn’t know how to ride a horse, really. And I had a month to learn." Other riding stunts came in the form of several motorcycle scenes. For Nope's Akira-inspired motorcycle slide, special effects supervisor Scott Fisher and stunt coordinator Mark Vaneslow built a 20-foot long track for actress Keke Palmer to ride down.
“I got to do it man! Oh my god!” PREY. Stunt coordinator Steven McMichael was in charge of keeping things safe during the extensive fight sequences in Prey. The stunts not only came from this movie's Feral Predator, played by Dane DiLiegro, but also from cast members Dakota Beavers and Amber Midthunder. “I told Steven McMichael, the stunt coordinator, that I wanted to do as many stunts as he would let me. Uh, well I told him I wanted to do all of them. So he kind of, he ended up letting me do all of them.” The film comes together in a spectacle of horseback riding, armed combat, and some truly impressive one-take fight scenes.
SCREAM. Stunt coordinator Anthony Cecere had previously portrayed Ghostface in the original Scream. In the fifth film, he returned to oversee the movie's knife fights and prat falls. One particularly difficult sequence was when Mikey Madison's Amber was set ablaze. Stunt performer Michaela McAllister wore arubber mask of Madison's face, and had to be set on fire multiple times. “Enjoy that torch.”
WEREWOLF BY NIGHT. Werewolf By Night brought blockbuster action to this classic horror character. Fight coordinator David Conk oversaw several complicated battles between the film's monster hunters and their supernatural prey. “There are elements of stunts in this that only, you know, only a Marvel stunt person could do. And it’s so fascinating to be able to watch somebody do these crazy moves.”
During the hectic climax, Gael García Bernal's Jack Russell tears through a group of guards in a bloody brawl that was filmed in one unbroken take. And the Prime Rib for Best Stunts or Choreography goes to… Prey! Congratulations to everyone who made The Predator kickass in another century, keep staying safe out there, and have a nice day. Congratulations to Prey, this far into a franchise it’s really hard to still make a movie feel that dangerous We live during a time of unprecedented technological advances - and what better way to use them than to make gross things in horror movies? Digital effects allow filmmakers to do things that can't be achieved with mere prosthetics - whether because of safety, or because their imagination has outgrown what can be done practically. To present the finalists for this award, we've got one of the coolest people we've gotten to talk to on the podcast lately. You know him from.. uh, pop culture in general. It's
Howie Mandel! Thank you, James and Chelsea! You know, digital effects are an art-form, they really are. They can transform somebody into a big blue monster. Uh, they can also make it easier for you. You don't have to sit for hours and let somebody touch your face - they can do it digitally. That’s the beauty of this art-form. To just give you an idea of the art-form, can we do something digitally right now, Kenny? Let’s uh… oh, look at this! Oh, look! I’m all blurry! I’m all blurry - that’s a digital effect. It’s not a
great one, but it’s one that Kenny’s really good at. Anyway, I am here to announce the winners - the winner! The finalists for Best Digital Effects are... HELLRAISER. Director David Bruckner and the team at Ingenuity Studios had their work cut out for them, bringing this film's nightmarish hellscapes to life. “It was really a joy and an honor for me to visualize some of Clive’s creations, and some of our own, that may coexist." This also included creating the impossible geometry of the Lament Configuration, as well as digitally enhancing the otherworldly cenobites by building on their practical prosthetics.
MEN. Actor Rory Kinnear portrays multiple characters of different ages throughout Men, Alex Garland's third directorial effort and follow-up to his 2018 film Annihilation. To play Samuel the schoolboy, Kinnear's face was composited onto the body of actor Zak Rothera-Oxley. VFX supervisor David Simpson of Framestore oversaw the film's horrific
climax, during which all of Kinnear's characters give birth to each other in an increasingly disturbing chain. “Really, the VFX people take on at a certain point that this film is gonna fail, the whole film will fall apart, unless they do their job well. NOPE. Nope contains several seamless hidden effects, including complete sky replacements
in all of its outdoor scenes and a groundbreaking method for shooting day-for-night. “The clouds is gonna be the ocean in Jaws. You know, we want people to look at the sky, and start to be like ‘oh, to maybe this is a threatening, you know, environment.’” Of course, MPC Film also provided some impressive digital creatures, like the larger-than-life Jean Jacket and the absolutely terrifying Gordy.
“Like it’s all about immersion, it’s all about believing something is happening. Unbearably elemental and grounded. And that comes from, ultimately, visual effects.” PREY. Prey features an array of digital creatures, including several fully CGI animals, ranging in size from a mouse, to a bear. VFX supervisor Chris Uyede and his team at MPC Film also digitally enhanced the Feral Predator's practical suit.
“We did try something that was sort of like a Neanderthal Predator that looked a little too clunky, and we opted to go in this other direction. More of a horror character, maybe something that’s more feral - which is where the term ‘Feral Predator’ came from.” The scenes depicting the Predator's cloaking sometimes required the use of a full CGI model animated into the scene.
SMILE. New York based studio The-Artery handled all of Smile's visual effects, which ranged from retiming a stabbing to a dead CG cat. The climatic final fight against the Smile demon required the use of extensive fire simulations. “It was a scene that we knew, it’s going to be mostly CG fire. But we still had a stunt burning on set, because we felt we need to see how it’s going to be captured in-camera, how it’s going to look within the set. While the demon itself was a combination of practical prosthetics and digital doubles.
“Even like Rose’s mouth being stretched open, I mean, that is a practical effect that is then taken further with visual effects.” WEREWOLF BY NIGHT. While director Michael Giacchino wanted to keep his Halloween special as old school as possible, Werewolf By Night still updated its classic effects. When it
came to the towering Man-Thing, VFX supervisor Joe Farrell worked with a team at JAMM to digitally enhance the practical suits made by KNB EFX. “I don’t see it as just a thrill thing, where it’s like ‘oh, there’s a crazy monster.’ To me it’s like the exploration of how they cope with the demons in their life.” In fact, the effect was so well done, Giacchino ended up doubling the character’s shot count.
And the Prime Rib for Best Digital Effects goes to... NOPE! Congrats to Jordan Peele's team for all the digital wizardry we saw in Nope. Back to you. Congratulations to NOPE. I mean, when you invent a whole new technology for your movie, that's usually worthy of an award.
Just ask James Cameron. Practical effects are a huge reason so many of us love horror movies. There's a sense of magic to seeing something grotesque and unnatural brought to life with prosthetics and animatronics. To announce the finalists for Best Practical Effects, we have a make-up icon and a man worthy of being his successor. They've worked on films like The Black Phone and made masks
for Slipknot and Bray Wyatt. From Callosum Studios, Jason Baker, and the legendary Tom Savini. Thanks, James and Chelsea. As makeup artists, we know firsthand all the time and effort it takes to make a practical effect look great. TS: There have been a lot of great technological
advancements in the 50 years that I've been doing makeup, but to me, nothing will ever look as good as blood and guts that you can feel. The finalists for Best Practical Effects are... CRIMES OF THE FUTURE. Director David Cronenberg returns after an 8 year hiatus for another
film filled with memorable grotesque effects. For the surgical body horror of Crimes of the Future, the team at the Toronto-based Black Spot FX created numerous prosthetics and realistic body doubles. “For Cronenberg specifically, which I think he’s fairly well known for at this point, but he doesn’t do shot lists. The idea of not knowing how something’s going to be shot is definitely more complicated, because then you’re having to build larger or on a bigger scale than you maybe necessarily would.” One of their most striking creations was the Ear Man, a body modded dancer who required 36 prosthetics to bring to life. HATCHING. For her E.T.-inspired coming-of-age creature, director Hanna Bergholm literally
Googled the best team for the job and found animatronic designer Gustav Hoegen and makeup effects designer Conor O’Sullivan. For the bird-like animal itself, Hoegen designed a practical rod puppet that required five operators to control the body and another to handle the face and fingers by remote control. O’Sullivan guided the creature's evolution into a human doppelganger using prosthetics sculpted by Julian Murray. HELLRAISER. Josh and Sierra Russell of Russel FX worked closely with director David Bruckner to find the balance between Hellraiser's gore and glamor. Their team overhauled the franchise's
Cenobites, trading in their leather clothing for exposed muscle. “Cenobites have always advanced design in the horror space. I’m excited for modern audiences that aren’t familiar to discover them for the first time.” Extensive prosthetics were used, with Jamie Clayton's Pinhead requiring a 4 hour application process. MAD GOD. Director Phil Tippett's extensive career in special effects reaches a creative
peak with this passion project that took more than 30 years to make. “We work in an industry where perfection is constantly striven for, and happy accidents just don’t happen. And so, with something like this, it’s okay to slop things together and see where it takes us.” Mad God is a cavalcade of strange creatures and nightmarish landscapes, all hand-crafted in painstaking stop-motion by Tippett and his team of volunteer crew members - some of whom had little to no prior experience.
“I thought it was really cool that we got to make our own elements for the film. We got in the green screen room and combined hot dogs and jello and chocolate milk and squished it all together and made shit for some of the scenes." TERRIFIER 2. The original Terrifier was a graphic showcase of practical effects.
For the sequel, writer/director Damien Leone - who leads the special effects team himself - went even bigger and bloodier, with scene after scene of skin being torn asunder. “Damien’s bringing him to life.” “3, 2, 1 hit!” The film's hyperviolence and extensive gore employed a wide variety of tricks, including using actual meat in a decapitated head to give a realistically fleshy effect. X. Teams at Weta Workshop, Scale Studios, and Mimic FX all came together to create the many practical
elements in X. “We did a lot of gags. Huge prosthetic makeups, full transformations, and then subtle ones- everything in between.” In addition to the film's various kills - most notably RJ, decapitated by excessive stabbing in headlights - their work also includes the elderly slashers themselves. The makeup process for Mia Goth's Pearl required over 30 individual prosthetics and took more than 6 hours to apply.
“I hope the practical stuff never goes away, I don’t think it will.” You like our tuxes? Oh we dressed up for this. And the Prime Rib for Best Practical Effects goes to… MAD GOD! Congratulations to Phil Tippet and everyone who worked on this messed up little movie. You truly earned this. Congrats to Phil Tippet for his decades of work making Mad God. We know a lot of people wanted Terrifier 2 to win, and in any other year it probably would have - but it would've felt wrong not to reward a movie that's almost entirely made of stop motion. It's a reminder
that practical effects can be used for more than just kills. Of course, we've gotta honor kills, too - this channel wouldn't be anywhere without ‘em. Obviously this category will contain spoilers, so watch out when it comes to the movies listed onscreen right now. To present the finalists for Best Kill, we've got someone whose horror career has always been intertwined with Death. Whether he was escaping Death's plans with premonitions, or being killed multiple times on the same show, he has seen and experienced many great kills in films and TV. It's my boy Devon Sawa! Thank you James. Thank you, Chelsea. You know, back in my early career I didn’t get to
experience a lot of on-screen deaths. I played characters that just frankly didn’t die. But over the last few years, my good pal Chucky has changed all of that. Killing me multiple times. And they were all really great deaths - just like the ones we’re honoring today. The finalists for Best Kill are...
ALLIE, TERRIFIER 2. Art The Clown Goes Overkill with this stabbing, scalping, dismemberment, defacing, bleaching, and salting. When Covid-19 halted production, director and special effects artist Damien Leone decided to use the time to make Allie's death more extreme. The changes turned a two-day shoot into a full week and spilled so much blood that actress Casey Hartnett got stuck to the floor. From the first cut to her last words, the kill takes a grueling five minutes. DAVID, FROM BODIES BODIES BODIES In the ultimate don’t try this at home, champagne shenanigans lead to this self inflicted neck wound. It’s no mean feat being the
stupidest kill in a movie full of stupid kills, but this age-protected TikTok beats the rest by also being the funniest. “Okay tail-slating, let’s turn on the weather." S’MORE KILL, FROM THE MENU Hawthorn’s staff and guests go up in flames for this well-done kill. The Menu's final course sees both cook and customer burned
alive in a s'mores-inspired sacrifice. Seth Reiss and Will Tracy were inspired to write The Menu while living in Chicago, and based this kill on the tabletop desserts at Alinea, the Windy City's only 3 Michelin star restaurant. “I love you all.” “We love you, Chef!” JEREMY, FROM HALLOWEEN ENDS It’s a parents’ worst nightmare come true, when Jeremy takes a tumble over a staircase railing. This startling kill is the perfect way to open a sequel where anything goes and nothing is sacred - not even a young kid being babysat. To ensure a properly shocking impact, a fully articulated silicone dummy of actor Jaxon Goldenberg was sculpted by Vincent Van Dyke and given a full head of hair by Sasha Camacho.
“Crazy makeup, crazy yelling, and crazy dying." JUPE & THE STAR LASSO EXPERIENCE, FROM NOPE Jupiter’s claim is consumed on multiple levels by the spectacle of Jean Jacket, in this year’s most claustrophobic kill. The jellyfish-inspired digestive tract shots were added as a reshoot, when the production designer decided sometimes seeing is scarier. The set was a 90-degree stretch of heavy rubber membranes backlit by LEDs, with both the camera and the digested actors moving on tracks. “I’m going to take us to the month of hell, or in this case, maybe the bowels of hell." RAMI & SAMANTHA FROM STUDIO 666 Special effects legend Tony Gardner turns it up to 11 with this double chainsaw-ben-bisection. Before there was even a script, Dave Grohl
asked Gardner if he had any kills on his bucket list. He responded with this attempt to one-up Kevin Bacon's arrow-through-the-bed kill in the original Friday the 13th. Foo Fighters keyboardist Rami Jaffee had his entire body cast in fiberglass, while comedian Whitney Cummings simply donated a sex robot of herself that had been built for a Netflix special. “More blood in that scene than in both their bodies combined. It’s just everywhere in
the room. It's on the ceilings, it’s on the walls. It was on the floor about an inch deep." And the Prime Rib for Best Kill goes to... Allie from Terrifier 2! Congrats to everyone who brought that kill to life. I’m going to say this now, I will never look at bleach and salt the same way again. Congratulations. Congrats to Terrifier 2 for a kill that purportedly made people puke in the theater. It was real
gutsy releasing a movie unrated, but I think everyone would agree it was worth it when you've got kills like Allie's. What’s really impressive is how many of Terrifier 2's kills could have won this award. I mean, that Art the Clown knows how to murder with style. And now for a new award - we said last year's show was like a pilot, and that we hoped to expand the scope of these awards in subsequent years. Of course, part of that is this much better production you're watching, which was put together by Dead Meat's newest hire, producer MK van den Berg, and our frequent collaborator, director of photography James Hull. The other part of expanding this show was to have a few new awards - and our first of the evening is the award for Best Villain.
Horror movies can be made by their main antagonist. A well-designed, well-acted villain can change a bad movie to a good one, or a good one to a one that goes down in history. To announce the finalists for Best Villain, we have someon who played a deranged killer in one of my favorite horror films, Scream - and who's about to be another famous villain in the upcoming Five Nights at Freddy's film. I can't believe we got him, folks: It's Matthew Lillard. Hi everyone, my name’s Matthew Lillard. I’m Matthew Lillard. I’m Matthew Lillard. Um, well we’re here today to present the best villain in a movie, which is an awesome part, playing a villain. Yeah I wouldn’t know, I’ve never played
any bad guys. I’m always really good. You always… No, I’m a good guy… sweet…. Sweet. He has his reasons. Okay, so the best villains. The nominees are, the finalists, these are the finalists… ART THE CLOWN FROM TERRIFIER 2. The original Terrifier was well-renowned for its gore. But the effects wouldn’t have made such a splash without the villain causing them. Art The Clown, played with full devotion by Alabama native, David Howard Thornton.
In the even bloodier sequel, Art cements himself as an immortal horror icon. For inspiration, Thornton not only looked toward classic horror villains, but also silent comedy stars - like Charlie Chaplain, and Rowan Atkinson. “I kinda looked at Art as like this, he’s like the bastard child of Harpo Marx and Freddy Krueger.” He also cites the five years he spent as an understudy of the late Stephan Karl Stephenson, well known as Robbie Rotten on Lazytown. He likes to think that Stephenson lives on through his performance as Art.
CHEF SLOWIK FROM THE MENU. Equal parts culinary artist and cult leader, Chef Slowik rules his kitchen with ruthless authority. At first glance, he appears as cold as some well-served revenge. And through Ralph Fiennes's performance, and the backstory revealed in the script by
Seth Reiss and Will Tracy, Slowik is given depth and a reason behind his deadly multi-course meal “We’re all going to die tonight. Isn’t that right.” Kitchen Staff: “Yes Chef!” “In the meantime, please return to your seat. The next dish is exquisite.” “Plating in five” Kitchen Staff: “Yes Chef!” “I love you all!” Kitchen Staff “We love you too, Chef!” To prepare for the role, Fiennes observed three-star Michelin chef Dominque Crenn on set. And he paid closer attention to behavior than the cooking, learning how to carry himself and command the staff. “I spent a day and a half with her, where she talked more about the demeanor of the chef. The demeanor of the chef in the kitchen.” ESTHER COLEMAN FROM ORPHAN: FIRST KILL. The now 25-year-old Isabelle Fuhrman reprises
the iconic role of Esther Coleman that she played thirteen years ago as a twelve-year-old. Since Orphan: First Kill is a prequel, the character had to look the same age. To accomplish this, they used a combination of forced perspective, de-aging makeup, and younger body doubles.
In the original film, Fuhrman was a child pretending to be an adult. In First Kill, she had to tap back into a childlike state of mind. So she went back to read the notes she made as a kid on the first film's script, and paid close attention to her young body doubles Sadie Lee and Kennedy Irwin. “My favorite part was honestly doing this with you guys. It was so cool.”
THE GRABBER FROM THE BLACK PHONE. In a genre practically defined by iconic masks, The Grabber's quickly adds itself to the pantheon. Jason Baker created the mask designed by Tom Savini and Scott Derickson, who drew inspiration from the 1961 film Mister Sardonicus.
The modular mask, featuring three removable mouthpieces, was designed to see Ethan Hawke's eyes. “Once I saw the masks, I realized that the masks were going to do a lot of the work for me. And I had to really let the mask carry the weight. The actor, who was much more used to playing protagonists, took the role as a challenge, since he saw the character as irredeemably evil. “I like playing flawed characters. And people who aren’t likable and things. That’s always drawn to me. But whenever you’re overtly evil, people believe you are spawn of satan." AND PEARL FROM PEARL. Long before her blood-soaked twilight years in X, Pearl was a sheltered
farmgirl who dreamt of being a star. Mia Goth hadn’t even played Pearl in X before co-writing this prequel with director Ti West. “Within those conversations, this idea started to form, somewhat as a joke at first, I guess because we never like really believed that this could happen. It was just this fantasy that we had. Doing a prequel to Pearl.” The resulting character study became an exploration of fame-seeking and mental illness, set in a time when neither would be understood by the general public - and certainly not by Pearl's dour mother, whose dismissal of her dreams leads to Pearl's breaking point. “You are not better than me!” “Yes I am! I’m gonna be a star! The whole world is going to know my name!” SULLY FROM BONES AND ALL. In adapting the novel by Camille DeAngelis, Bones and All screenwriter David Kajganich removed Sully’s blood relation to Maren, the main character.
Instead, Sully becomes the personification of 1980s stranger danger. The stuttering, high- pitched character, played by Mark Rylance, only appears in a handful of scenes. But he makes his impression in every one of them. “Well, life’s never dully with Sully. What do you say?" Coming off as simultaneously pathetic and terrifying. In a film about a world with cannibals, he proves to be the biggest monster of them all. “The marriage of tenderness and intimacy and violence and horror is very very classical. You find it in most good stories.”
And the Prime Rib for Best Villain goes to… Art the Clown from Terrifier 2! Ooh that scene in the bedroom with the skin, oh god, disgusting So much, it was so much. Congratulations to David Howard Thornton and Damien Leone for making a terrifying clown, it was really horrific. Anyone who wasn’t afraid of clowns, they are now. My friends who are clowns really are resentful. But it’s okay, just scared us, terribly. Speaking of scary…I feel so much This is a warm, comforting atmosphere…and by the way. Thank you again, from the bottom of my heart, Matthew Lillard. I’m Matt…
Congratulations to Art The Clown, who’s already established himself among the pantheon of horror icons. One of the segments we wanted to add to this awards show was an acknowledgment of all the people we sadly lost in the past year. We wanted to honor not only actors and directors, but all the film crew members who have left their mark on the genre. Here is our In Memoriam for those we lost over the past year. "None of us can avoid our fate. But as an artist, you can honestly face it.”
“Oh, I hate these things! But I’m not worried. Luckily I brought in an expert.” “Time to play.” “I missed you in London.” “ No you bloody did not. You got me good.” “What the hell is in those bags?" “Rapid Weasels.”
“These are the times when you back off and say you’re not really chasing, you know, you’re supposed to be making a few bucks and not hurt anybody.” “Hey! You forgot your cigarettes.” “Rest your pretty little heads. The spirits are dark, and they do indeed have your daughter.
But I can take you to her.” “The deal is off. You have nothing to sell. You have no soul.” “Goddamn, bitch! Pardon my french.”
“What’ll it be.” Thank you to all those people for their additions to horror, no matter how big or small. We probably missed some people in that montage - our apologies for any oversights.
And now for our acting awards. Because there were SO MANY amazing performances this year, we decided to expand the finalists pool for these awards - instead of 6 nominees, there are 10. And it was still difficult to narrow them down. First up, we're looking at supporting cast members, who sometimes get to have more fun while the lead performers are busy with all that plot stuff. Side characters can sometimes outshine their lead
counterparts by having an air of mystery to them, or bringing comic relief. Our next presenter has played both the lead and supporting roles in many horror movies and miniseries. We're happy to have her here: Our friend, Kate Siegel. Thank you, James and Chelsea. It takes such a strong actor to make a part memorable when you have limited screen time, but this year we saw a variety of performers playing characters that we won't soon forget. From first-time actors and teenagers to an Oscar winner in his sixties, there was no shortage of scene stealers. The finalists for Best Performer in a Supporting Role are...
DAKOTA BEAVERS AS TAABE IN PREY. Years of days spent working at TJ Maxx and nights playing with his band WesternBoy prepared Dakota Beavers for the rigors of his acting debut. A member of the Ohkay Owingeh Pueblo and Apache nations, Beavers actually auditioned in Comanche. “Run, Naru. It thinks I’m the threat. This is as far as I go. No more. This is it.” Not knowing what to expect, he trained so hard before the shoot that he found the on-set boot camp underwhelming, and spent most of his time between scenes practicing his horse riding. HONG CHAU AS ELSA IN THE MENU. When Hong Chau accepted the role of Elsa, there wasn’t
much to the character. She collaborated with costume director Amy Wescott on her look, invented her own backstory, and studied Ralph Fiennes mannerisms as Slowik to mirror in her own. “May I?” “You don’t have to do that…okay." “You’ll eat less than you desire, and more than you deserve."
"It’s a pleasure to serve you.” She gave such a performance as maître d' that consulting chef Dominique Crenn offered her a job. RORY KINNEAR AS GEOFFREY AND SEVERAL OTHER CHARACTERS in MEN. Rory Kinnear wasn’t just
a supporting role in Men, he was MOST of the supporting roles, playing, by his own estimation, nine or ten different sinister stereotypes of toxic masculinity. “Go home. Leave the lady alone.” “No. I want to play a game with her.” “She’s told you perfectly clearly she doesn’t feel like it. Perhaps you will later, but not right now.” “Why don’t you fuck off.” “You first.” To keep them distinct, Kinnear wrote a biography
for each of them and shared his homework with costume designer Lisa Duncan and makeup designer Nicole Stafford. JUSTIN LONG AS AJ IN BARBARIAN. After a career spent playing nice, Justin Long thought he got the script for Barbarian by mistake, but jumped at the chance to play the kind of creep audiences want to die. “I can get away. But you’re gonna have to slow her down.” He was so committed to his selfish hysteria, that Matthew Patrick Davis broke character as the Mother to make sure he was okay. “No!” He even ate fake rat guts baby-bird style for a scene that was ultimately cut. MADELEINE MCGRAW AS GWEN BLAKE IN THE BLACK PHONE. Director Scott Derrickson had to ask
Madeleine McGraw if she was comfortable swearing after she didn’t in her audition, but she absolutely threw herself into the role. “Fucking cock sucking cowards!” Gwen’s defiance during her father’s whipping was entirely McGraw’s choice. “My dreams are just dreams!” By contrast, her mom wouldn’t even let her watch Derrickson’s previous horror movies to prepare. JENNA ORTEGA AS TARA CARPENTER IN SCREAM. Already a horror veteran, the then-17 year
old Jenna Ortega became the youngest actor cast as a teenager in the Scream series. As a fan of the franchise, she studied the performances of Neve Campbell and Courtney Cox, but was too nervous to ask them about it on set. To prepare for the role of Tara, who suffers the opening attack in the fifth film of the series, she prepared herself with a Randy Meeks-approved syllabus of slashers like Halloween and Prom Night. “Who was the killer in stab one?” “Oh i know this one you fuck! Its Billy Loomis and he was Sidney’s boyfriend and he was played by Luke Wilson and I got you, you asshole! I got it! I got it right!” “Oh, I’m sorry Tara, but that’s just not correct.” “What?” ZOE RENEE AS JASMINE MOORE IN MASTER. Zoe Renee had never done so much preparation for a role before, throwing herself into director Mariama Diallo’s curriculum of psychological thrillers, like Rosemary’s Baby and Let the Right One In, and Zooming with her almost daily during preproduction to talk about the character of Jasmine Moore.
“I get it, this is advanced stuff. It can be really hard to make the adjustment to a school like this. Especially for students of color coming from…” “Where do you think I’m coming from?” "I didn’t…” “I’m from the suburbs, okay, Tacoma, I was valedictorian, class president. I’m not some … you don’t even know who I am.” MARK RYLANCE AS SULLY IN BONES AND ALL. To play an aging cannibal from Ohio, British actor Mark Rylance drew on ten years of his childhood spent in the American Midwest.
“You can smell that?” “Oh sure. You could smell lots of things, if you know how. And we just smell anyway. Whether we ate, or not.” Instead of traditional instruction, director Luca Guadagnino gave him more abstract guidance, like teaching him how to properly flatten a Cornish hen for cooking.
RACHEL SENNOTT AS ALICE IN BODIES BODIES BODIES. Rachel Sennott was so committed to the character of Alice that her knife-wielding, virtual audition scared her neighbors through the window. Because it’s an ensemble film set in the dark, Sennott couldn’t be sure if she was in frame, so she always stayed in character when cameras rolled. “I know a lot. Our first date was at a bar. He drank like a medium amount. He likes nature.
He’s a libra moon. You don’t ask what your middle name is, okay! For a really long time! He’s a libra moon, that says a lot!” “Fuck!” The intensity of the shoot helped her bond with her cast-mates and find the sincerity behind the selfies. STEVEN YEUN AS RICKY “JUPE” PARK IN NOPE. Steven Yeun’s first note about Jupe was that he wouldn’t have been the lead in the ‘90s kids movie that made him fictionally famous. He drew on his own alienation as an Asian-American actor to find the soul of a man typecast into oblivion and desperate for meaning or attention, whichever comes first. “What if I told you, in about an hour, you’ll leave her different."
As a UFO fan, it didn’t take much for him to believe in what did come first. And the Prime Rib for Best Performer in a Supporting Role goes to… Rory Kinnear for his performances in Men. Congratulations to Rory Kinnear for playing all those different characters. My hats off to you. And now our award for Best Leading Performer, which again, has 10 finalists. These actors include another first-time performer, as well as Dead Meat's first-ever two-time nominee.
From troubled anti-heroes to classic Scream Queens, these performers truly elevated every single one of their films. To present them, we have one of the most legendary leading ladies in all of horror, and a finalist in this category last year. She's also a successful producer, and our friend: The immortal Barbara Crampton. Thank you, James and Chelsea! What a fun evening. Being the lead in a horror movie isn't easy. The screaming alone can be exhausting, not to mention doing take after take of chase scenes, or conveying the fear of coming face to face with an unnatural monster. But it's
all worth it when you can watch the performance back and know that you helped make a good film great. The finalists for Best Performer in a Leading Role are... ANNA COBB AS CASEY IN WE’RE ALL GOING TO THE WORLD’S FAIR. Anna Cobb made her feature film debut opposite one of the least forgiving scene partners possible – a computer screen. In Worlds Fair, she plays teenager Casey. Who lives her life online, watching video versions of Creepypasta. She spent months rehearsing with director Jane Schoenbrun to
find Casey’s virtual vulnerability. “We were rehearsing once a week for months, and to lead up, she was making like fake YouTube videos in character. We were having like these long conversations about like who this person was, what this world was, like why - I think that was the key thing for her." The practice paid off - almost a quarter of
her performance is improvised - including a lengthy, unbroken take of an awkward dance. “The snow begins. I watch the snow. From my bedroom window.” AISHA DEE AS CECILIA IN SISSY. By her own admission, Aisha Dee isn’t cut out for social media, but when she got the script to read for a different part, she immediately felt a protective bond with Sissy, an overly positive lifestyle influencer.
“They were like, I want to meet with you. And I was like oh okay. I still had very low expectations. But I was like I’m glad they want to meet, because I have some things I want to say about my girl Sissy” Dee rejected any stereotypical creepiness on the page to play the empathetic human beneath it. During a quarantine, she tested out her take by sending the writers and directors an in-character video every morning. “You just care so much about what people think about you. Constantly thought that maybe someone might think you’re weird. They might know the real you and find out you have a
heartbeat or feelings or a fucking soul.” MIA GOTH AS PEARL IN PEARL. During the pre-production quarantine of X, Ti West asked Mia Goth to collaborate on a prequel script about Pearl, the elderly murderer she was about to play.
“For a little while it was just a way to kind of prep and understand older Pearl’s backstory more. And over time, that morphed into a script.” Her resulting portrayal of a woman on the very sharp edge culminates in a one-take, eight minute monologue that she wrote herself, and filmed six times in a row. “I’m a failure. I’m not pretty. Or naturally pleasant or friendly. I’m not smart. Or funny or confident. I’m exactly what mama said I was - weak. But I don’t know why, what did I do? Why wasn’t my family like yours? I hate what it feels like to be me and not you. I’m so scared that when you finally come home, you’ll see me and be frightened like everyone else is.”
REBECCA HALL AS MARGARET IN RESURRECTION. Rebecca Hall wanted to follow her directorial debut with an acting challenge every bit as daunting. “Who’s going to protect you.” “I don’t need protection.”
“No. You’re very strong. But know that if anyone so much as touches a hair on your head, I will find them and I will hurt them.” For Margaret, a single mother who finds herself stalked by a powerful figure from her past, Hall approached the character as a mythic figure of motherhood. The film hinges on an uninterrupted eight-minute monologue from Hall that she delivered in just two takes and a half hour. “And then when we got into shooting it, it was done in two takes. And then everyone,
and then AJ was like now we’ve got a full hour and a half where we don’t… we’re ahead of schedule! What are we going to do!” REGINA HALL AS GAIL BISHOP IN MASTER. To play Gail Bishop, the first Black house master of a fictional Ivy League university, Regina Hall borrowed from her own experience teaching at the College of New Rochelle and based her character on some of her own favorite professors. “Perhaps you’ve heard of the legend of Margaret Millet. A woman hanged for practicing witchcraft not too far from where this building stands. Now that is true. But believe me when I say, the only thing that will haunt you this year, is that extra slice of pizza.”
Hall faced an unprecedented challenge as a performer when Covid-19 interrupted the production for over a year, and had to slip back into character seamlessly, after cameras were able to resume rolling. “There’s a different way that you have to learn to connect in a different way. You have to rehearse in a different way. You’re in Master, you’re in your mask and shield until it’s time to say action. So you’ve got to almost really like, I don’t know, you have to be so present to be able to get it done.” LAUREN LAVERA AS SIENNA SHAW TERRIFIER 2. Lauren LaVera was director Damien Leone’s only choice for Sienna, the angelic heroine who finds herself up against the terrifying, Art The Clown. With over twenty years of experience in martial arts from Muay Thai to Taekwon-Do,
LaVera performed most of her own stunts. “I loved getting thrown around, I love throwing myself around, just being able to physically feel what Sienna is going through, it takes it to a whole new level for me. She also used the cold of the locations and costuming to her advantage, letting it fuel her character’s own unease. “Something really strange happened last night.” “What?” “Nothing. Nothing, I’m fine.”
HAVANA ROSE LIU AS DARBY IN NO EXIT. Making use of her background in multimedia art, Havana Rose Liu prepared for her audition by assembling a book of collages and poetry, as well as curating a playlist, and even creating a dance for the character. “Really the callback is where it all sort of came together. Because I found that after that initial audition, I had been still thinking about her, consistently, for a number of weeks, and it doesn’t always happen, sometimes you just have to let them go and see what, if it will happen.” In order to honestly and empathetically portray
Darby, a recovering drug addict, Liu talked to friends and family members who had struggled with the disease. “Tell him that it’s urgent.” “Hey Doctor Fletcher, it’s Mike from the center. Can you give me a call when you get this message.” “Tell him that it is urgent.” “It’s Friday afternoon.” “Go fuck your Friday afternoon.” AMBER MIDTHUNDER AS NARU IN PREY. As a member of the Assiniboine and Sioux Nations, Amber Midthunder’s performance made her the first Native American woman to headline a major studio release. “When I originally auditioned for this movie,
I did not know that it was a Predator movie. So that wasn’t a concept that was introduced to me until later. And I would often forget that. And I think that really helped me. Because that’s not what, you know, Nadu was going through either. She wasn’t thinking like, this is about the Predator.” Midthunder had to master both her character’s trademark roped tomahawk and a Comanche-inspired sign language created just for the film. MAIKA MONROE AS JULIA IN WATCHER. Although Chloe Okuno’s script included English translations
for the Romanian lines, Maika Monroe avoided hearing them spoken until she was on-set to preserve the lonely frustration of American transplant Julia. “So yeah, I mean I think it helped - I didn’t know any Romanian, I still don’t. I mean I try, I always try to learn the language, but Romanian is very hard. So you immediately
will feel, you know, if you go into a coffee shop, or a store, you feel uncomfortable, because you can’t speak the language. And communicating becomes very difficult. Um, so I think, I really think it made this film what it is.” Monroe also drew on her own experience with language-barriered isolation from the nine months she spent in the Dominican Republic right after high school. “There’s this guy that lives across the street. And he’s always looking over here.” “Looking over here how?” “Every time I look over there, he’s just standing in his window, and it’s like he’s staring right at me.” KEKE PALMER AS EMERALD HAYWOOD IN NOPE. Keke Palmer wanted to work with Jordan Peele so
badly that she messaged him on Instagram after the release of Get Out. “You were like, when I DM’d you a couple years ago, and you responded, I look, and all of a sudden I see this DM from legendary iconic Keke Palmer by the way, who I would never, I would never disrespect her like that. But I legit didn’t see it, and so we’re working together, and I see this like ‘let’s work together someday moment.’ and I’m like Keke! Look!” He then wrote the character Emerald Haywood just for her and she jumped at the chance to show off her natural charisma and sense of showmanship when she nailed 14 consecutive takes of her introductory sales pitch.
“My name is Emerald Haywood, I act, write, direct, internet, VFX, fashion baby, you do everything, karate, hey, a little bit of pop lock it, whoa!” “I direct, sing, write, rap, I do a little bit of hippity hippity hop hop pop lock, breaking was my favorite movie. I’m just a jack of all trades, you know, Macgyver, I’m over here." And the delicious Prime Rib for Best Performer in a Leading Role goes to... Mia Goth, for her performance as Pearl in Pearl. Congratulations Mia, for playing and developing the complicated character of Pearl. We loved you. You were scary, and you really are a star. Congrats to Mia Goth, who has quickly established herself as a modern leading lady of horror. Can't wait to see what she has in store
for us in MaxXxine. Good performances like those we've just honored are inevitably guided by a good director. In our second new award this year, we look at all the people who are often regarded as the leading creative force behind making a film. A director has to instruct their actors, find the right tone of the film, and make it look good - not to mention all the countless tiny tasks that come with leading a film set. Our next presenter directed a documentary about Chucky, that has played at a whole bunch of film festivals. It will also be available to stream on Screambox TV soon, as well as rent or buy on Amazon and iTunes. Our friend, Kyra Gardner....
Thank you, James and Chelsea. People can debate all day about the merits of auteur theory, but one things for sure, a director has a lot to do, to be able to achieve the goal they set out to do. The finalists for Best Director are: MIMI CAVE for FRESH. A week after Mimi Cave took the job to direct Fresh, her first feature,
Covid-19 shut the world down. But she never lost her balance on the film’s delicate tonal tightrope. “It is a sort of strange bizarre messed up version of, a kind of coming of age story.” Cave toned down the script’s more graphic scenes and made Fresh gorier by implication, tapping into women’s existing fears to craft a horrifically familiar fable about the meat market of modern dating. “Why are you sitting so far away. Come here.”
ZACH CREGGER for BARBARIAN. Zach Cregger started writing Barbarian as a challenge to fit as many interpersonal red flags into a single scene as possible. “As I was writing it, I thought it was really fun. But then I realized like, this guy’s obviously the bad guy, and if I see that coming, then the audience is going to see that coming.” “Keith?” From there, the first-time director escalated that unease into a Sam Raimi-inspired roller coaster ride. The film’s trademark unpredictability
owes itself to his well-honed comedic muscles, always looking for the wildest and weirdest punchline to every setup. “Oh my god.” “Can underground rooms bye listed as square footage? Below grade spaces - dens, basements etc do not usually count, but it can be noted separately in the listings total area. Oh hell yeah.”
PARKER FINN for SMILE. For his feature-length debut, Parker Finn expanded his short film, Laura Hasn’t Slept, into a disturbing love letter to chain mail horror with trauma itself as the viral curse. “There’s definitely a few things in this film that really frighten me. Which is why I wanted to make it. What it might be like to have your mind turning against you, and not being able to trust your own reality and the feelings of paranoia and anxiety. Those are frightening things to explore.” He was determined to make his jumpscares count, turning the film into a two-hour stress dream where bad things can happen and always do, culminating in one of the most shocking endings of the year. “You can’t escape your own mind, Rose.” CHLOE OKUNO for WATCHER. When Chloe Okuno first signed on to the project, Watcher was
set in New York City. A budget-mandated move to Romania allowed Okuno to channel her own alienation she experienced from time spent abroad in Europe without knowing any of the native tongues. “The thing that’s great is that Bucharest, in a lot of ways does a lot of the work for us. Because it’s such a beautiful city,
and such a unique looking city. So just choosing locations that felt both beautiful but also to a sheltered American’s eye could feel a little bit strange. Or because it kind of has this soviet architecture, so it feels a little bit oppressive or brutalist. I think that really helped establishing the sort of like style of the movie.” As a result, she shaped her first feature into a thriller twist on Lost in Translation, with an authentic sense of isolation at its cold heart, and an all-too-familiar frustration of not being believed. “I heard screaming from in here, okay. If
we can just get the key. Can we get the key please. Just open the door please.” JORDAN PEELE for NOPE. For his third film, Jordan Peele turned a nightmare about a confused chimp into an epic blockbuster, which explores our addiction to attention and how the film industry treats animal performers. While his first two films were a taught thriller and
a horror comedy, Peele created a Jaws-inspired adventure flick this time around, making the most of the expansive landscapes in Agua Dulce. “I think it stands apart from my other films in that its a bigger than i’ve ever tried to tell.” Thematically rich and equal parts exciting, horrific, and hilarious, Nope forces the audience to imagine the unimaginable and reaches unprecedented heights in horror spectacle. “What’s a bad miracle? They got a word for that?” “Nope.”
AND TI WEST for X. After six years away from filmmaking, Ti West returned to movies with a tribute to the scrappy low-budget spirit that got him there in the first place. West felt the genre had gone soft, so he made sure his sex-positive slasher left a grindhouse mark with its violence. But X is much more than a Texas Chainsaw-inspired slasher. West was more interested in the subtext than the subgenre, exploring the existential horrors of aging and the relationship between horror and pornography as outsider arts.
“well what would be the ultimate like sort of low brow exploitation thing of sex and violence, and then how would you do something maybe a little more high brow with it. And that’s sort of where the idea came from. And the Prime Rib for Best Director goes to…. Jordan Peele for NOPE.
Yay! Congrats to Jordan Peele. I love that movie. You set out to do a monster literally of a film and completed it well. Horror is not nearly appreciated enough in the academy and in the world in general, so hopefully you feel a little appreciation here tonight. Congratulations to Jordan Peele. Three movies in and he’s already a titan of horror directors. And now let's get to the top honors. So many horror movies came out in 2022, and many of them were incredible in completely different ways. But since this is an award show, we had to pick winners. As with last year, there
will be two awards for best film: One for originals, and one for remakes, sequels, and prequels. To make things just a little bit easier on ourselves, we once again expanded the finalist pool to ten nominees per award. This year we wanted to hear your opinion, too, which is why we linked to a Fan Favorite poll on all our social media pages - YouTube, Twitter, Instagram, and TikTok. If you missed it, keep an eye out next year. To present the winner of this year's Fan Favorite Film, we've got the mascot of Mystic Museum Slashback Video Exhibit. Tape Head! More than 25 thousand votes were counted, from all you amazing horror fans. The winner
only had 16% of the votes. But that was enough for a plurality, and for it to win the Prime Rib for Fan Favorite Film goes to …NOPE! Congratulations to NOPE. Now if only it were on VHS. Congratulations to NOPE! Although I gotta stress, it was a close poll. Horror Fans ate good this year. And they knew it. Horror franchises with endless sequels are synonymous with the genre. While we'll always need and value new original ideas, sometimes
you want the familiarity of a killer or characters you already know. The best sequels and remakes find something new to do with a known property, blending the innovative and the formulaic into an enjoyable experience. To present this year's finalists for Best Remake or Sequel, we have the star of a movie that did just that - the sequel to The Shining, Doctor Sleep. It's Kyliegh Curran! Thank you so much, James and Chelsea! Remakes and sequels sometimes get a bad rap, but they're so important for the horror genre! They keep our favorites feeling fresh and alive, and can introduce younger audience members to old classics. The finalists for Best Horror Remake or Sequel are...
HALLOWEEN ENDS. The thirteenth installment in the veteran slasher franchise, Halloween Ends is an American film that sees Michael Myers return to terrorize Haddonfield with the help of an unexpected protégé. “They would have helped him heal. But because your boogeyman disappeared, they needed a new one.” Halloween Ends caps off the new trilogy that began with Halloween 2018. The film was directed
by a returning David Gordon Green, who co-wrote with Danny McBride, Paul Brad Logan, and Chris Bernier. It was produced by Malek Akkad, Jason Blum, and Bill Block. “You should give in. You should surrender that feeling you had the first time, whoever looked into his eyes.”
HELLRAISER. The second adaptation of Clive Barker's The Hellbound Heart, Hellraiser in an American film that follows a friend group offered up as human sacrifices after they unwittingly steal the Lament Configuration. “So if I solve it, do I get a prize?” “I do.” The film was directed by David Bruckner, and co-written by Ben Collins and Luke Piotrowski, who developed the story with David S. Goyer. Collins, Piotrowski, and Goyer had previously worked with Bruckner on Prime Rib nominee, The Night House. Hellraiser was produced by Goyer and Clive Barker, alongside Keith Levine and Marc Toberoff. “Oh yes, we have such sights to show you.”
ORPHAN: FIRST KILL. A prequel to the cult classic 2009 film, Orphan: First Kill is an American film that sees the duplicitous Esther adopted into a family with a secret. “You’re not going to believe what Esther can do. We spent the afternoon in the studio. She drew a portrait of me. She has more talent than I had in my twenties.” “How is that possible? Four years ago she was still drawing stick figures.” “Easy.” “What.”
“Think about where you were four years ago, and now you’re a fencing champion.” “Yeah it’s just so impressive.” The film was directed by William
2023-03-28 10:11
