courtesy FANGORIA

This past weekend, Fango caught up with genre favorite Tony Todd at I-CON, an annual sci-fi/fantasy convention held on Long Island, NY. The star of the CANDYMAN films towered over this writer at almost six and a half feet, and it was hard not to be intimidated while standing next to him. The fact that your correspondent couldn’t look in a mirror for years after first seeing CANDYMAN didn‘t help the situation either. At least no hooks were in sight during the interview...

FANGORIA: In HATCHET 2, you reprise your role as Reverend Zombie. Is the character going to have a more substantial role this time?

TONY TODD: I’m actually the second lead this time. The four main characters are played by me, Danielle Harris, Kane Hodder and Tom Holland, who was fantastic.

FANG: Are the FX still practical, or are they leaning more toward CGI with this one?

TODD: Practical. Well, there are a couple of CG effects, but not a lot. But the fact that they had enough money to take us out to New Orleans is brilliant. All the swamp-tour scenes were shot in real swamps. I’m trying not to give away any of the plot, because in my head I’m picturing director Adam Green [holds a finger to his lips]—“Shhh!” I know that Adam has a vision for the trailer of me and Kane Hodder running at each other, and then, “HATCHET 2!” He thinks that would be awesome. He’s probably right.

FANG: Next, you’re in a film called ONE BY ONE: DEATH‘S DOOR. What can you tell me about that?

TODD: That has been shot. Kimberly Seilhamer directed that one, it‘s her first. She’s a former schoolteacher who also wrote the script, and wants it to be a franchise. We shot it in California in an old train station. It’s an interesting take on the four horseman. I play a train conductor. It’s kinda like FINAL DESTINATION, only a little more lengthy.

FANG: You voiced the character of Ben for the animated NIGHT OF THE LIVING DEAD: ORIGINS. What’s that all about?

TODD: Zebediah DeSoto was the director, and an animator. Originally they were going to use a rapper for Ben’s voice, and then [co-star] Bill Moseley brought it up to me that they weren’t satisfied with him. So I made a pitch, just like I did for Tom Savini’s NIGHT OF THE LIVING DEAD, and next thing I know, I got the part. It’s Japanese anime style, set in Manhattan circa 2011, mostly in Times Square.

FANG: Where does the “ORIGINS” part come from?

TODD: It’s cause Zebediah wants to reboot things—you know, hit the reset button.

FANG: Is this incarnation of Ben any different from the others?

TODD: Well, Zebediah kept the names of the four original main characters, but what’s different about this one is that you see Ben’s family. He has a wife and two daughters.

FANG: Are they with him throughout the movie?

TODD: No, it’s actually a flashback sequence. And it shows how he gets to the townhouse they’re in. That was something I could emotionally relate to—a voice that was left out of the first remake.

FANG: Any other upcoming horror films?

TODD: I’m doing one next week called THE WITCHING HOUR. It’s me, Michael Madsen and William Forsythe. That’s about a radio shock jock who tells scary stories at night, and all of a sudden, what he does gets mixed up with real life. Madsen plays a cop, and I play a guy who’s guilty of picking up prostitutes in the streets, but I’m not guilty of what he thinks I am. It’s a nice independent, shot in Massachusetts. Do you know about BEG?

FANG: I don’t; what can you tell me about that?

TODD: That’s Kevin MacDonald’s film. He’s been working on it for two years. After cashing in a few favors, he finally got it made. It’s got me, Michael Berryman and [HALLOWEEN’s] Tony Moran. It’s from the same company that’s putting out THE WITCHING HOUR.

FANG: You’ve been acting in TV for over 20 years; anything coming up we should look out for?

TODD: Oh yeah! I just finished the pilot for a show called THE EVENT. That’s going to be awesome. It’s a mix between THE X FILES, TWIN PEAKS, Area 51 and LOST. Well, it doesn‘t get as crazy as LOST, but there is a similar plane-crash scenario. What’s cool about this is that the writer, Nick Walters, a brilliant guy, gave all the main actors a little confidential dossier. So all the key players have common story threads, but we each have secrets that the others don’t know about.

FANG: That’s pretty clever.

TODD: It was! Before shoots, we’d be testing each other: “Do you know this?” Or, “Why’d you ask me that?” “It’ll add a little spooky realism to an already great show.

FANG: Is there anything you find difficult with TV acting?

TODD: Television acting is harder because the writing is more specific, and you’ve got people watching over you constantly, wanting you to say everything exactly how they wrote it. I’ve been fortunate because I’ve been doing shows like X FILES, 24, STAR TREK and such, you know? I didn’t have to do anything like GHOST WHISPERER. Nothing against the people who like that, but I’ve never had to do it.

FANG: What about BEVERLY HILLS 90210? COP ROCK?

TODD: Well, OK. That’s still not GHOST WHISPERER, because COP ROCK was a Steven Bochco experiment. You didn’t see me break into song and dance. And 90210 had class of some kind.

FANG: Fair enough.

TODD: OK, OK, I did JAKE AND THE FATMAN; that was one of my first gigs. Now that you’ve got me, I’ll totally confess: SIMON & SIMON was my very first TV gig. I also did MATLOCK, MURDER, SHE WROTE, FATHER DOWLING MYSTERIES, but that was all because of my aunt; those were her favorite shows. That was all just love to her.

FANG: You’ve done voice acting for feature films, TV shows and video games. Do you find that more difficult than onscreen acting in any way?

TODD: It’s harder to get, easier to do. It’s such a competitive industry, and I haven’t found the right modulation yet. My voice is too strong. When I don’t get a job, it’s usually because they say my voice is too recognizable.

FANG: How’d you get into that kind of work for video games?

TODD: I did it because I’m a big gamer—I love ’em! I’d love to be in a GRAND THEFT AUTO. Have you played PERFECT RAIN? I can’t wait, I’m getting that one right when get off the plane back home. I did play the new FINAL FANTASY before I left; I only got a little ways in, but I wasn’t really feeling it. FINAL FANTASY VII was fantastic, but with the new one it just seems like they’re trying to put too much in. The battle sequences are great, but I hate the characters.

FANG: We’ve touched on film, TV and video games, and you also have a masters in theater, correct?

TODD: Yes. Theater is what keeps me alive. It‘s what I love most.

FANG: So stagewise, what have been up to?

TODD: I try to never go more than two years without doing a theater piece. Last thing I did was FENCES in Rochester. I actually did a horror play once called DARK PARADISE at the Cincinnati Playhouse. It was a Western about the ghost of Jesse James. I played a rifleman named Chiron who was also the storyteller. It got mixed reviews, but people who came saw great gun battles and stakes in the heart. It was written and directed by a fantastic playwright named Keith Glover. It was around 2003, and I had a blast.

FANG: Last question: There has been quite a bit of talk over the years about a CANDYMAN remake. What are your thoughts on that?

TODD: Well, about seven years ago I really wanted it to happen, and would have been upset if it wasn’t me playing the title role. I was lobbying and actually made efforts to put together financing to get it done. I even had a few meetings with Clive [Barker]. The problem is, the rights are owned by three different companies. Because of the selfishness of some of the powers that be, none of them want to share the profits. But the movie will get remade eventually, ’cause that’s just the nature of Hollywood. I hope I’m a part of it, but if not, I have other things. I’m not as painfully attached anymore. I mean, I’m gonna have regrets if it’s done without me, but I’ve done two really great ones.

FANG: Which one isn’t great?

TODD: Which one isn’t? Come on, the last one!

FANG: That’s what I figured you’d say.

TODD: That was totally done for financial reasons. The character wasn’t as complete. That’s why I figure so much time has passed now that someone can come up with a really great addition. I even have a story I did on my own. I think he needs to come back to an all-girls’ school in New England. That way I could come home. But they’ll probably do a straight-up adaptation of the original.

FANG: Is there anything else you want to add?

TODD: I just want to thank the writers and editors of FANGORIA because they’ve been fantastic, and very supportive over the years. I remember reading FANGORIA when I was in college. So coming full circle like this is invaluable. Oh wow, I almost forgot: I’m going to be writing, directing and starring in my own film. It’s called EERIE, PA. Actually, I have two films in development; I have another horror script written. I’m doing EERIE first because I want to space them out. But both should be done within 18 months. Guaranteed. Once I make the transision to director and producer, I can slow down and stop doing 500 projects at once!

FANG: Well, we certainly will miss seeing you so often when that time comes!

TODD: I appreciate that.

Check out the article and the artwork at DREADCENTRAL.COM

You want badass? This is pretty damned badass! We've scored your first ever look at Tony Todd as Ben in Zebediah de Soto's upcoming 3D animated feature film Night of the Living Dead: Origins, and all we can say is wow. Just wow.


"I wanted to make this look like a living Monet; it's expressionism," de Soto said in an earlier interview. "It's going to be the first zombie movie played on a epic scale. This is the 'Empire of the Sun' of zombie films ... I lived through the L.A. riots and saw the city on fire; I remember seeing people running, people getting pulled out of cars. And with 9/11, these images have been ingrained on people of my generation. I just thought that is the way it would really be, a lot of chaos."

Director de Soto, who also pulls co-writing duties on the project, describes NOTLD: Origins, which will be in 3D, as "a living painting" and promises "no one has ever seen anything like this on the big screen."

Also lending their likenesses and voices to the project which showcases a zombie apocalypse in New York City is Danielle Harris as Barbra, Joe Pilato as Harry Cooper, Alona Tal (Jo on "Supernatural") as Helen Cooper, Bill Moseley as Johnny (reprising his portrayal of the same character in Tom Savini's 1990 NOTLD remake), Erin Braswell as Judy, Mike Diskint as Tom, Jesse Corti ("Heroes")as a news reporter, and Cornell Womack (Transformers: Revenge of the Fallen) as a no-nonsense New York cop.

courtesy Simon Brew




We go face to face with Mr Tony Todd, who talks us through his work past and present, including his return to Transformers...
Published on Feb 4, 2010

Tony Todd is an actor with a significant library of credits to his name. He's perhaps best known for his pivotal role in the Candyman franchise, which is where we kicked off a conversation that took us through the worlds of Oliver Stone and Michael Bay, before arriving at his own upcoming directorial work.

We started with the Candyman, and took things from there...

Was Candyman the part that got your foot in the door, would you say?

For the public? Maybe, possibly. But the film for me that changed things was Platoon. It's the one that I had my MFA in acting and writing. I was bartendering when that came along, and ever since then I've never had to pour another drink that wasn't mine!

How was the shoot of Platoon? Oliver Stone sets are renowned for being a little bit different...!

Insanely realistic. It was amazing. There I was living in New York one moment, and the next we were in the Philippines when Marcos was deposed. And then three days later we were in the middle of the jungle with army fatigues, and [Stone] said dig a hole, and literally nobody changed their clothes for 18 days.

We had mock battles at night. But coming from a theatrical background it felt like rehearsal for me. I saw a lot of things, grown men weep. And there was a lot of good actors in that cast: Johnny Depp, Forest Whittaker, Keith David, Kevin Dillon, myself.

And that for you, even appreciating your acting background beforehand, it all must have been quite special?

How many films have spawned that many actors who are currently working? In different ways we would never have imagined or predicted for ourselves. You're going to get an Academy Award, you're going to be a mega cultural person, you're going to be a horror star...

And the camaraderie when you're in the midst of such an intense situation?

I think it shows on film. It felt like a platoon.



I've also caught you a lot through a lot of terrific TV work, and most recently you've popped up in 24 again, coming through with Redemption and through to season seven. We see it as a show that's entirely against the clock, but the shoot must be ridiculously insane, for time pressure alone?

It is. I had done season four previously and I was finishing a film in Arizona called The Graves, and they have a law that you can only be on [24] once, but I guess they had difficulty casting this part! They called me out of the blue and then I had to go and meet with Fox, and the next think you know is that I'm on the plane to South Africa. And, of course, I said yes, as I love Howard Gordon who wrote this and is its executive producer. He gave me a job in X-Files years ago.

It's different when you go onto a show that's already a success, because the crew is always well oiled and already have a way of working. They have machinery that works for them. But that character was so powerful. He stormed the White House, he slaps the president. But what I didn't know is that if you slap the president, you are about to die!



That's 24 law!

[Laughs] Is that it? They never gave me the law book!

Mind you, if you've had a second go, they might let you back in for a third try?!

There were rumours within that episode that perhaps his body would return in the end, but they went in the army direction.

When you're meeting people at conventions such as these, what is the work they're discussing with you?

Today? It's Candyman and Transformers.

Are you involved in Transformers 3 do you think?

Yes.

Definitely?

You want to quote me? What I was told last month, yes. But that's Hollywood!

Is there anything you can tell us about it? It's got to be worth a try.

No! There's more of it! [Laughs, starts thumping desk and making explosion sound effects]. Something along those lines!

It must be fun to do?

I felt like a big kid. When Michael Bay called me, I'd worked with him before on The Rock, and he called me and said, "Tony, I might have something for you." I said, "Okay, you haven't called me in ten years!" He said, "I've been busy!" I said, "I've been busy too Michael, glad we could make our schedules match!"

So he brings me and he's got this enormous computer bank with these half-finished robots, and it looks like a little bit of animation, drawings, black and whites, finished stuff. I can see the joy in him, because he's a big kid with a director's set. And he's got robots, 250 people working for him, and he's saying, "You see this, you see that, you're going to take over the world." I'm watching this man showing me, and I'm like, " Do you want me to do it like that, or do you want my interpretation of it?"



How many days were you on it?

I did ten sessions, and the sessions usually last for three or four hours. And as a matter of fact, I was doing a play in New York, August Wilson's Fences, and in the middle of rehearsals I get a call saying they need another session. So they sent me to a remote place which is not like Michael, because he's very hands on. And when I showed up I could tell that these guys had just got a phone call from somebody, because they were white as ghosts. They were not looking at me. It was top secret shit or something. And I looked at the transcript that had come over the fax and it didn't say what the project was. It just said ‘Tony Todd's lines'. So I knew that the fear of God had been instilled. That's when I knew I was in a Michael Bay film!

And then he was directing me over the phone, my cell phone. While we're looking at this, and these guys weren't even looking what was on screen, as I guess everyone's afraid of piracy these days. Rightfully so, I guess.

How's Michael Bay changed between The Rock and Transformers 2?

Michael's not going to change. What's he going to change for?

I'm going to be directing soon. My approach is completely different. I'm a hands-on guy...

What are you going to be directing?

I wrote a script called Eerie, PA. Think Midnight Cowboy meets Boxcar Bertha, character driven, bookies, race track, debts, friendship, loyalty, all of that. My approach is hands on.

I love actors. I'm going to cast it with actors I've worked with. I have a shorthand, I think, after working on so many films. Michael's films are a more typical director's set. And both ways are completely valid. That's the beautiful thing about this business. Whatever it takes to get the shot.

Presumably, it's an independent movie?

Yeah, of course. I don't have $250m! [Laughs]

Do you think the advances in television, the ways that they're being shot and directed, are helping independent film now? They're getting more complex things done quicker?

Yeah, I think just what you said. People who come through television, if they don't get distracted, they learn how to shoot fast. They don't get shocked. And if they know how to adjust to that and they think outside the box, then they'll be fine.

One of the dangers is that sometimes you learn how to shoot quick, quick, quick, and then you become shallow. That's why as I get older and older I do less and less television. I only do television if it's something really good like 24. There was a period where I did do a lot of television, but the luck of the draw worked in my favour, as they were all shows that were either fan-favourites or cultist things. This wasn't by design, but it happened. So I'm fortunate.



I'm a huge fan of Chuck. From where we were sitting, it was the first time in a long time a brand new show that came along where people seemed to be having an insane amount of fun.

Yes.

The talk is that it's a terrific set, and that you have a lot of fun putting in references in there. Was there a real camaraderie to that as well? Was it a case of anybody could join in the fun?

Yeah, yeah. But unfortunately, but my end of the story wasn't the fun part! I had to squat behind a general who was constipated, and I played a CIA director who didn't have a desk! But I loved the show, the show's great, and, unfortunately, all good things had to end. And when 24 came along, I had to hasten the demise of my character. I miss the experience. One of the plans was that it was going to develop and develop and develop, but I didn't see that coming.

I love Chuck, and I hope Chuck continues. It's a good crew, and good, good people.



Beyond Eerie, PA, you mentioned you're writing, and I'd imagine you've been doing that the past few years, what are the other projects you're working on?

I have a horror film called Catalytic. If you notice over the past few years there have been an incredible amount of indescribable acts, like we just found a guy in Cleveland. And when they found him there was a smell, and there were 12 bodies in the back yard. Then there's a little kid that stabs his parents. I'm trying to find a way to group all these things together to a significant cause, as if there's a rip in the fabric of the universe. And then with every rip there has to be somebody who comes along and repairs it. That's the gist of it, but I wanted to examine why people are freaking out.

So you'd humanise it?

Yeah, yeah. Because there's incredible acts of good happening too, but I've never seen such bizarre things when people do flip out.

But, I don't want my first directorial movie to be a horror film, because I just get every horror script in the world. So, I want to do this other one, which comes from years of studying good films like Midnight Cowboy. I'll say it again!

Tony Todd, many thanks for your time.

You didn't think Halloween would come and go without a new project from horror legend Tony Todd, did you? The Candyman stars in Splatter, a web series that will debut on Netflix.com on October 29th. The series – which allows viewers to choose who lives and dies, and will stream for free, even if you're not a Netflix member – is produced by Roger Corman, written by Richard C. Matheson, and directed by Joe Dante.
Splatter is a unique concept. Netflix is offering it for free streaming online, and it's like an interactive Parker Brothers game. The characters are gathered together in a haunted mansion, and the viewer gets to select how and when they die, one by one.

courtesy DREADCENTRAL.COM

When it comes to the genre we all love, there are few actors who command as much admiration and respect as Tony Todd. From Candyman to Final Destination to Hatchet, he's played a myriad of roles in over 40 horror projects. And this season he's the main villain in "24"! What is there the man hasn't done?

If you were about to say "plays", well, you'd be wrong. Todd is currently starring in the Tony Award-winning stage show The Island at the Village Theatre inside the Lucy Florence Cultural Center (click the "Theatre" link), 3351 West 43rd Street in LA. His co-star in the two-man show is Lovensky Jean-Baptiste, who also appears on “24” as Tony's character's lieutenant.

The Island was devised by South African actors John Kani, Winston Ntshona, and world renowned playwright Athol Fugard and centers on two political prisoners confined in the notorious South African prison on Robben Island in 1972. The play chronicles the terror of prison life, and the cell becomes a crucible, testing the limits of personal and political commitment and the competing agendas of the two men.

Once The Island's run is over, Todd will be focusing all his efforts on his directorial debut, Eerie, PA, which he also wrote and will star in. We should have more info on that once production ramps up in (where else?) Erie, PA!

The Island runs through Sunday, March 8, 2009. Performances are on Fridays and Saturdays at 8 p.m. and on Sundays at 4 p.m. and 7:30 p.m. Hit up the above link for the Village Theatre for more details and to get your tickets.

Tony Todd is in Los Angeles on stage for the next two weeks. The vet Broadway actor is this season's villain on Fox's "24" and also known for his "Candyman" and "Final Destination" movies. Now he's starring in the stage show "The Island," at the Village Theatre inside the Lucy Florence Cultural Center.

"The Island" was devised by South African actors John Kani, Winston Ntshona, and world renowned playwright Athol Fugard. This is Todd's first extended performance on a Los Angeles stage in more than 20 years. Co-starring in the two-man show is Lovensky Jean-Baptiste, who plays Todd's lieutenant on "24."

"The Island" won a Tony Award for Best Play and centers on two political prisoners confined in the notorious South African prison on Robben Island in 1972. The play chronicles the terror of prison life, and the cell becomes a crucible, testing the limits of personal and political commitment, and the competing agendas of the two men.

"The Island" plays through Sunday, March 8. Performances are Fridays at 8 p.m., Saturdays at 8 p.m., and Sundays at 4 p.m. and 7:30 p.m. Tickets are $35.
3351 West 43rd Street, Los Angeles, CA, 90008.
Website: www.lucyflorence.com

-Courtesy BROADWAYWORLD.COM