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30 дней ночи / 30 days of night

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Everydika написал(а):

я, честно сказать, особо многого от фильма не ждала. режиссер фильма Стив Найлс, снял недавно ужастик Hard Candy, который достаточно высоко был оценен любителями жанра. это радует. хотя я сама не то чтобы поклонница фильмов о вампирах, но этот, разумеется, смотреть обречена  Джош отрезающий голову вампиру - пикантно   но вроде не так уж ново для него - в Факультете он тоже сражался с нечистями   будем ждать!

А я вот именно ЭТОТ фильм жду больше всего ! ужасы неочень люблю но вот вампиры почему то очень нравяться!


Мне кажется, что Джошу очень повезло, что его приглашают в разножанровые фильмы!!! Он поиграет-поиграет, поймет, в каком ему лучше всего, и как грится, найдет себя.МОЛОДЕЦ :boast:
Он ведь, по-моему, уж и так во всех поиграл жанрах???Если нет, то в каком???


Babygirl написал(а):

Он ведь, по-моему, уж и так во всех поиграл жанрах???Если нет, то в каком???

в биопике разве что, но он ведь собрался уже сняться в биопике о Чете Бейкере


УРА! Спешите видеть! Трейлер фильма "30 дней ночи"



Everydika написал(а):

Трейлер фильма "30 дней ночи"

Мама Мия, Санта Лючия!!!!


Babygirl написал(а):

Мама Мия, Санта Лючия!!!

как тебе? не могу сказать, что в восторге, но интересно... по трейлеру тяжело сказать - может получиться что-то шикарное, а может и отстой... посмотрим, как оно будет на самом деле. Джоша выглядит кульно  :i-m so happy:


Everydika написал(а):

как тебе?

ну так, я ужастики не особо жалую, но этот посмотрю(ваще без разговоров  :) )

Everydika написал(а):

Джоша выглядит кульно

А как говорит, не голос, а бальзам для ушей моих!!! g i l


Babygirl написал(а):

не голос, а бальзам для ушей моих!!!

ДА! про его голос немало на форуме было сказанно , просто сердце замирает от его разговора!!! :girl:


на кинопоиске уже считают дни до премьеры... а их все-таки очень много, 91 на сегодняшний момемт.



ух ты ух ты!
посмотрела ролик сегодня только))
там саундом идет Мьюз ))) Apocalypse Please
зубер...Джош и Мьюз) о етом я и не мечтала%)


Irresistibilita написал(а):

зубер...Джош и Мьюз) о етом я и не мечтала%)

да, хорошее сочетание! оч надеюсь, что кинчик качественный получится.


EXCL: Josh Hartnett on 30 Days of Night
Source: Edward Douglas
July 23, 2007

San Diego Comic-Con is only a few days away and one of the big movies that's going to be featured there is the Sam Raimi produced 30 Days of Night, based on the horror comic by Steve Niles and Ben Templesmith about an Alaskan town attacked by bloodthirsty vampires just as they hit the "dark season." The movie stars Josh Hartnett as the town's sheriff Eben Olemaun, and when Harnett was in New York to do interviews for the Rod Lurie boxing drama Resurrecting the Champ,'s had a chance to ask him a couple questions about his first foray into the horror genre with this vampire flick.

We first asked the most obvious question, which was why he wanted to do the movie, considering that except for his small part in Frank Miller's Sin City, he had not really done any genre films. "Well, because it's a vampire movie, and I just think that vampire movies are incredible," he told us. "I've always been kind of fascinated with it, and I read the comic book and loved it. It's not like it's just all running and screaming. It's actually quite a difficult character piece. It's all about trying to find your way into a headspace where you can actually sacrifice yourself or someone you love. It was a good dramatic movie actually when it comes down to it, 'cause there were just so many scenes of people sitting in a room, huddled and starting to lose it because they've been hiding for so long. It's good. I liked it a lot, and I had a great time."

Hartnett said that having seen David Slade's previous movie Hard Candy also played a part in his decision to do the movie, and he talked a bit about the set they built down in New Zealand for the movie. "Actually, we basically had the entire town. Because of the conversion rate and because people there are still interested in working on films even if they're not getting paid a ton of money, they made this entire town look completely real so we can shoot from all angles. It was a town that they built on a field, and then we also went to this snow park down in Wanaka that was in the middle of summer here but winter there, and shot a lot of the outdoor stuff."

We were also interested to know how the movie was going to look compared to the very distinctive art style of the comic book, to which he replied, "There's a little bit of difference because it's really hard to replicate Ben Templesmith's art which has this Ralph Steadman sort of look. There's something about it that's so grotesque and exaggerated and oddly beautiful that you can't replicate, but there are certain elements of it."

Hartnett didn't think his character would appear in a sequel if it ever happened, partially for reasons that might be obvious to those who've read the comic book, although if you've read its sequel "Dark Days," you might think otherwise. Maybe he just didn't want to spoil the fun for those experiencing the story for the first time when seeing the movie, but one can expect we'll find out a lot more about a possible sequel in our coverage of the movie from Comic-Con where the movie has a presentation on Saturday afternoon.

30 Days of Night opens on October 19, but before that Hartnett appears in Rod Lurie's Resurrecting the Champ, which opens on August 24. will have a full interview with Hartnett about that film closer to release.



не помню, была ссылка или нет, пусть будет, если что - официальный сайт фильма


:D Мы уже на 3 страницы наобсуждали, хотя самого фильма никто ещё не видел!


это еще не много :) надеюсь, после просмотра фильма будет побольше страниц исписано :)


Бежим сюда качать расширенный трейлер и эпизод!


не знаю, было ли это интервью, сорри если повторяюсь (оставляю только ответы Джоша, интервью огромное, ссылка на него полностью внизу):

Behind the Scenes of 30 Days of Night

From Rebecca Murray,

Comic Con veteran Sam Raimi joined the 30 Days of Night team of director David Slade, actors Josh Hartnett and Ben Foster, and 30 Days of Night comic book creators Steve Niles and Ben Templesmith to talk about the vampire tale at the 2007 San Diego Comic Con. Niles adapted his comic book for the big screen and maintains that the film version is extremely loyal to his 30 Days of Night comic. The story follows the residents of Barrow, Alaska, as they do battle against a group of bloodthirsty vampires who invade their town once it’s plunged into its annual month of darkness.

Why did you want to play this main character?

Josh Hartnett: “I read the graphic novel [at] the exact same time as I read the script, and I spoke to David on the phone not too long after that. And then really the biggest sale for me was the people involved. I went and saw Hard Candy. I’ve never really been – I think I’m gonna get shot for saying this, but I’ve never really read a lot of comic books…I’m sorry...but I flipped through this one and saw that the visuals were astounding. I thought with the combination of David and those original visuals, it was going to be a spectacular looking film.

I also thought there was room for a good character in there, and the script as written was great. It had all the elements of a really interesting, thoughtful film about what it would be like to be stuck in a situation where you have no escape and you’re being hunted. And the idea of being hunted not being able to just go out and kick some ass I thought was different from most of your average action films or suspense films or horror films. I thought it was just going to be kind of a nice, add a nice touch of maybe Treasure of the Sierra Madre or like Mutiny on the Bounty sort of thing. You’re in conflict the entire time and there’s no kind of logical way of getting out of it.

I just thought it would be a really cool film and then all the people involved, and then we got an amazing cast together. David pulled together an incredible cast with Ben [Foster] and Danny Huston and Melissa [George], and it just seemed like the right thing to do.

Also actually, the biggest thing, and I don’t even know if I told you this, David, but the thing that really turned me on to the project more than anything was David came up to Minnesota, where I’m from, and we sat at a bar, this bar/bowling alley, that I’ve been going to since I was a kid. We sat there we talked for about an hour and he had his little digital camera. He had a Leica digital camera - he was very proud of it - in a little metal case. He took a few pictures with it and he sent them to me via email. I didn’t recognize the place because he’d graded it in such a way and he fooled around with it and manipulated it to the point where the whole place - it was the middle of a bright sunny summer day and it looked haunted. And I was like, ‘This guy has got the right mentality for this film.’”

In most vampire movies there is a sort of erotic and sexual tension between the vampires and humans. Is there that in this movie?

Josh Hartnett: “I was actually going to actually touch on that point for a quick second. It’s something that also drew me to this story, that I thought was fantastic, is that it deals with the idea that vampires have become this mythological beast. They’re not really taken seriously as a horror entity. It deals with that in the way that they’ve maintained their mystery. The way that they maintain their mystery is by doing things like this, but staging it as though it’s an accident so they don’t ever get hunted. Like they have to be asleep during the day or while they have to be out of the sunlight, they will go to a town or do go to a town, cut it off completely, and slaughter everybody involved, no witnesses, and make it look like…they can keep doing this for awhile because it’s the way they’ve operated forever. It’s a different take on the whole situation."

Can each of you talk about your characters?

Ben Foster: “I have a great vampire fetish, so when I was going through a comic store and saw 30 Days of Night - I guess two years ago - I bought it immediately. I ended up buying several copies for friends, and it was just something that just really turned me on. I’ve known David for a few years now and he gave me a shout and said, ‘You know, I think I’m making a vampire film.’ I said, ‘Great, fantastic! What is it?’ He says, ‘30 Days of Night.’ I was like, ‘Wonderful! What can I do for you?’

We met in a coffee shop in Hollywood and he just he said, ‘I’m not going to sale you anything, I’m just going to show you…,’ as he does. He sends pictures, etc. This man never stops making things. He’s making photographs or stickers or T-shirts, and designs and short films. [He’s] constantly creating. I think he would explode if he didn’t have this outlet. We’re in this coffee shop and he opens up his laptop. He shows me some brief footage he did of camera tests that he did on the vampires, and being somebody who’s spent a great amount of time watching films and reading books and comics and dressing up as vampires for Halloween for years, it was startling how different these vampires looked. We didn’t even talk about a character at first, I was just, ‘I’m in, I’m in.’”

David Slade: “And I wouldn’t let you be a vampire.”

Ben Foster: “And he wouldn’t let me be a f**king vampire! Such a guy! I could only want to be a vampire in this film, so that worked out and probably benefited some to some degree.”

Josh Hartnett: “I mean, virtually the same reasons. I’ve always liked horror films. I’ve always liked vampire films, but I never, I guess I never really found, I hadn’t found the right combination of people that were involved in a film like this since I worked with Rob Rodriguez on Faculty. For me it was all about David and Sam and the book and just the right elements. I thought it would make a really interesting film. I just thought it would be a lot of fun to be a part of. But I had no vampire fetish, I guess.”

Ben Foster: “You’re missing out, man!”

Josh Hartnett: “So I guess I’m not as committed.”

Ben Foster: “No lack of commitment, Josh. Absolutely no lack of commitment. A hell of a performance and it’s a tricky genre to be able to hand in a leading man role. Surrounded by vampires, this is not an easy task and he hands in a fantastic, very haunted character. This is not your usual kick-ass leading man. This is a tortured soul, surviving a very difficult and terrifying scenario.”

Josh Hartnett: “Don’t play it up too much!”

Ben Foster: “You’ll get into the vampire thing after it comes out.”

David Slade: “People say, ‘Well, vampires…’ So but yes, it is technically a vampire film but it’s technically a survival film too. I think you’ll invest as much in the performances of the actors as you will with the monsters. That said, the monsters are truly fantastic. Danny Huston, who is absent at the moment."

Sam Raimi: “Danny is amazing.”

David Slade: “Danny is astonishing. I want to quote Sam because after the screening you said you thought it was your favorite vampire performance you’d seen in quite some time.”

Sam Raimi: “Yeah. I’ve never seen a better one.”

David Slade: “His favorite vampire performance there is.”

Sam Raimi: “I mean, I loved Willem Dafoe, as a completely different direction, as Nosferatu, but it’s on par with that. Those are my two favorites.”

Danny Huston: “Danny really, and I’ll talk about him in his absence, just in a positive way… I’ll just finish up on Danny because Danny really, we created a language for him. He took that language, he made it his own. He had to wear contact lenses and teeth and nails. He endured that. He rehearsed in that stuff. He took that stuff to his hotel with him and would wear it and scare the s**t out of the people in the hotel rooms. We were shooting a month of nights or something.”

Josh Hartnett: “Yeah, at least.”

David Slade: “At least a month of nights. It was more than 30 days. It was about 50 days of shite for 30 Days of Night. And yes, as you were saying, it’s a very difficult thing to pull off the leading man thing but also to play a convincing monster with depth and integrity equally as daunting. And to me I’m just thankful I got Josh and I got Danny because they both brought those things to the table that are difficult, and there’s no denying that.”



Интервью Джоша по поводу фильма выложила здесь - Разное видео с Джошем


музыка в фильме просто  представляю какой будет саундтрек я сейчас уже Мьюз просто весь записала  у них такое видео /но это уже другой топик/


по муз-тв  в незнаю как называется передача с Чадовым только что рассказывали об этом фильме и показывали отрывки


ВЕТРЕННАЯ написал(а):

по муз-тв  в незнаю как называется передача с Чадовым только что рассказывали об этом фильме и показывали отрывки

вот блин :( а у меня муз-тв все-равно нет :(


по муз-тв  в незнаю как называется передача с Чадовым только что рассказывали об этом фильме и показывали отрывки

В программе " PROкино" сегодня был повтор передачи , ссылка на  видеоролик  есть на нашем форуме , все что сказали после ролика - что фильм выйдет на экраны через месяц вот собственно и все что вы пропустили!


Наталка написал(а):

все что сказали после ролика - что фильм выйдет на экраны через месяц вот собственно и все что вы пропустили!

Уррррряяяяя! А "Воскрешая чемпиона" нам покажуть?  :rolleyes:


Miaow написал(а):

А "Воскрешая чемпиона" нам покажуть?

это уже не из этой оперы :) вообще, должны показать  :mad:


Еще одно интервью с режиссером фильма "30 дней ночи"  Дэвидом Слейдом :

David Slade Interview
By Reg Seeton
There is a gritty reality to the film so when you see the horror, we don't shy away and it is not pretty.
After directing music videos for such cool names as Stone Temple Pilots, Tori Amos, and Aphex Twin, David Slade went on to bigger heights as a director in 2005 with the release of his first feature film Hard Candy. Now David Slade has the task of adapting one of the most popular graphic novels to the big screen with the upcoming release of 30 Days of Night, starring Josh Hartnett and Ben Foster. As the vampire frenzy kicks into high gear, we tracked down David to get the early goods on how the film is shaping up, how he approached the movie in relation to the comic, and why more graphic novels haven't turned up on the big screen.
UGO: What was it about Steve Niles' work that resonated with you?
DAVID SLADE: I like Steve's writing, he has the knack of finding the ideas that should have been around for centuries, and crafting them into these beautifully compact narratives. He's also in touch with fear, with the visceral. 30 Days was a scary graphic novel, and there's the challenge. If you can scare someone on paper, then you'd better damn well make a scary movie. But overall Steve has the knack of finding the ideas that should have been around for centuries, and crafting them into these beautifully compact narratives. Amongst others, I love his Cal Mcdonald novella "Drugs, Guns and Monsters." I think it would translate to the screen.
UGO: Can you talk about how you approached the gore in 30 Days from both an organic need and then from a ratings standpoint?
DAVID: Ratings were never an issue. We had a hard R rating agreed very early on; it's a movie about vampires feeding, blood and flesh prevalent. This could never be a PG-13, so I never gave the rating a second thought. I just went about constructing the language in which the violence that was necessary in the telling of the story would work, in a terrifying, shocking way while making sure each frame of glistening red would be justified in story and character terms. In short, the violence had to make sense, not be gratuitous.
Gratuitous violence, to me, varies between a crowd getting shot down and you don't see a drop of blood because the filmmakers wanted a PG-13, to the kind of film that has always been with us that celebrates the act of human malevolence in a less than subtle manner. I heard the term the other day "gorno," that's really not us.
At the same time, nothing is candy coated, there is a gritty reality to the film so when you see the horror, we don't shy away and it is not pretty. We found organic ways of doing our special effects that looked wholly real, and that was really important to the believability of the film. We found a lot of new ways of doing things that allowed a greater degree of freedom, say in the expressiveness of our vampires, fewer prosthetics, less visible effects.
UGO: How easy was it to capture the right balance of gore given the creative freedom within the graphic novel?
DAVID: The test was more in trying to stay within a believable, gritty reality while being faithful to the artwork, making horrific acts look real, vampires look different and real. There was a certain path we chose not to take, and had we done so the film may have been more stylized and slick, but not as scary.
UGO: What was the biggest challenge you faced with the vampires in crossing over to film? What were you afraid of losing?
DAVID: You know, that was conceptually the hardest thing. One of the great premises of the comic was that, vampires had hidden behind a superstitious myth, and what they are is actually something real and tangible, and that something looks nothing like you are used to. Ben Templesmith did a fantastic job of re-interpreting the vampire physicality and it was my job to find a way that set a fine balance between believable reality, and Ben's beautiful illustrations. I knew exactly how I wanted to do it, but it had never been really done in cinema to this extent before, so it took a lot of conceptual artwork and testing before the studio was convinced. But once they bought into it, we had a lot of fun creating these photo real creatures.
UGO: What was your approach to figuring out how to make Ben Templesmith's foundation so convincing for film?
DAVID: One aspect of the overall aesthetic of the film that is relevant here is that I wanted to set the look of Barrow Alaska on Ben's drawings as oppose to the real place. It was a conscious decision, not to be disrespectful to the town of Barrow, there was even talk - for about ten seconds - about changing the name of the town, but it didn't make sense to me. Ben's depictions of the landscapes were so much more desolate and foreboding. Then as we researched the actual town of Barrow we found things that were really aesthetically interesting and unusual. It takes a lot to get cars and so on so far north, so there is very little disposal, it's too much effort to send things back, so the whole place seems to be littered with junk, a lot of which is stored under 'crawl-spaces' under buildings. The buildings are built on short stilts to stop the ice from melting and spreading storyboarded and you know precisely the lens you are going to use disease, both perfect for our landscape.
UGO: How did you manage to keep the film and comic separate but still remain faithful to what it was all about?
DAVID: Well, that was a series of early decisions about what we were and were not going to do, largely based on how the cinematic forms differs from the form of the graphic novel. For instance, Marlow and Vicente had to be one and the same character, as while in the graphic novel Vicente is the perfect deus-ex-machina in the classic traditional theatrical sense of the final voice that comes and sums up the story. We could not afford to take that route due to the significantly differing lengths of the writing.
In 30 Days, the comic, things are beautifully compressed, so Vicente showing up at the end feels perfectly timed, but, no matter how we wrote it, a new character turning up on page 90 that was meaner than Marlow always seemed to undermine the fear we had for him, and he seemed like a cinematic invention, an exposition device. In retrospect, in the end the best solution, particularly with Danny Huston on board, was to combine actions of both characters and the ethics too. Also with that went away the expositional nature of the character, and says very little and is more enigmatic for doing so.
We did, however, stick as closely as we could to the graphic novel, for no other reason than it worked. Why go off and change the story? It's how so many comic book adaptations fail. If it's not broken, then don't smash it into smithereens. Throw it away and re-build it to look nothing like the thing you originally started with?
UGO: What is it about Josh [Hartnett], Ben [Foster], and Danny [Huston] as actors that works so well for the film?
DAVID: They are all powerhouse actors, and they all understood quite quickly that there was nothing camp, sensationalist or stylized about what we were setting out to do, despite the genre premise. We approached it as a drama. The casting was designed to reflect an aesthetic of real world not a glamorous movie beauty myth aesthetic. But that's a rather long-winded way of putting it simple really - they are all just phenomenal actors that committed completely to the roles.
UGO: What was the challenge to keeping everything relatable for film audiences without going too far into the "unknown" or the fantastical?
DAVID: That's kind of an easy one in terms of relate-ability. Again, I went for character actors, not the kind of actors with perfectly symmetrical faces. Then, with the vampires, I set down ground rules with everyone about what being a vampire meant, and we tried not to break the laws of physics. I worked with an amazing stunt coordinator in Allan Poppleton (Kingdom of Heaven, Narnia 1 and 2) and went to him with a very specific plan: No wire harnesses, a specific signature to the movement and the attacks, and keeping everything as real as possible.
I did actor workshops with the vampires to get the basic attitudes, behavior and movements down and then they policed each other, and they were brilliant. We devised a number of rule sets and Allan would have them printed on cards that he would give out. Other than that, it was again about going into the film as a drama rather than a fantasy, a really horrific red soaked drama.
UGO: How is everything different now as compared to your early conversations with Sam Raimi about the initial direction you guys wanted to go in?
DAVID: Film is a living evolving beast, and its best when it does that. You get into a scene and it's all perfectly and why and what each camera movement means, and an actor changes a line or improvises a moment and you realize that this moment of inspiration beats your months of preparation hands down. You follow that for a while and it makes things better, truer. Then you go and you write new scenes based on these ideas.
It's not often that this is the best thing to do, and it's truly not often you can even afford the luxury to do that in a studio movie as everything has to be planned and accounted for. However we did expand certain ideas that really improved the film and gave greater depth to the characters, and that is the joy of working with great actors. That said we did set out with a specific plan for everything and didn't really deviate that much except to enrich character. I think we all knew what we were getting into, and we got lots of it.
UGO: Why haven't more graphic novels been adapted into films?
DAVID: One of the reasons I think is that in a graphic novel you can draw anything, and you really should. Production budget is not an issue. Of course, then the downside is that producers quite rightly look at the comic and go, "This is going to cost $200 million dollars." Then the downside again in the comic world is that people are beginning to write comics almost as movie pitches and this is where I lose interest. A graphic novel should be exactly that great idea that you set out to do. Publishers may want hits, but it's nothing like the pressure of a studio film.
Also the best graphic novels deal with subject matter that is darker and more interesting than a mainstream movie. Look at Frank Miller's Dark Knight Returns. I am so grateful as a comic book and a movie fan to Christopher Nolan for slowly taking Christian Bale's Batman in that direction, getting darker and closer, but a faithful adaptation of Dark Knight Returns. As fantastic as that may be, it's just not in keeping with a mainstream movie in the eyes of most Hollywood producers today.
The industry is changing. In fact, it has changed and those darker more risky films are difficult to get financed. That said, I believe there is always hope. Take, for instance, an astonishing film like Linklater's A Scanner Darkly being made with a modest budget and independently financed. It's not a graphic novel adaptation, but you can see in that film, the DNA for films that might be outside of the cost of an independent financier being brought to the screen within a modest budget for a sci-fi movie. Also there is the issue that the two forms have significant differences and often that will lead to mutual destruction in film form. The use of expositional inner monologue, or written description to sum up - the "offscreen" plot. Then again, lets not forget that A History of Violence came from a graphic novel and Old Boy was originally a Manga. Two brilliant movies showing that graphic novel adaptations don't have to cost the earth.
UGO: Can we expect to see "Dark Days" or "Return to Barrow" turned into the big screen sequel?
DAVID: That would come down to the pure economics of how well the first film performs at the box office. There is certainly a great deal of willingness on a creative level to do a sequel, but studio films need to justify their costs and that is out of my scope. If there was a sequel I don't know whether it would be Dark Days or a straight leap to Return to Barrow, it has not really been talked about yet in any great length. I am just concentrating on getting the first film in the best shape possible for now.


У фильма появился слоган: «Какова цена увидеть рассвет?»


Everydika написал(а):

У фильма появился слоган: «Какова цена увидеть рассвет?»

мне нравицца


Несколько фот из фильма ( некоторые уже были!) … p;show=all
со временем у Джоша и орудие убийства вампиров меняется!


Наталка написал(а):

со временем у Джоша и орудие убийства вампиров меняется!

и борода тоже то есть то нет :)


Вот про этот фильм и про бороду небольшая статейка:
Josh Hartnett

Josh Hartnett might not be everyone’s favorite actor, but we really dig him here on B-D. He got his early start as Laurie Strode’s son in HALLOWEEN H20, and had a kick ass segment in SIN CITY, now he’s growing a beard and is fighting vampires. He chatted a bit with us about why he chose to do the film, some turmoil he had and his love for vampire films growing up.

“I grew up watching vampire movies and there hasn’t been anything interesting in a long time,” he tells us, “Vampire mytho has been engraved [in me] at an early age. I was 8-10 when I saw my first. I went over to my friends a few houses down and we watched SALEM’S LOT or something,” he continues, “It was a two door journey home and I would have to haul ass (shows running motion).”

But the reason he wanted to jump on board this project was because of director David Slade, “I wanted to do it because of Slade’s vision. [He visualized it as] visceral, dark and had a very artistic vision.” He explains that 30 DAYS “is a throwback to NOSFERATU with less courtesy and less tall black collars”

Hartnett also addressed the rumored turmoil over his beard in film explaining that in order to show a passage of time they wanted him to be clean-shaven at the beginning and then grow a beard through the film - he wanted a full beard throughout. He joked with us that he actually sent a letter with a list of people who were successful with a beard and how much they made. Good times.

As for a DVD release, expect more attic moments as he explains that there were a lot of sequences shot “where my character begins to lose it in the attic.” - Mr Disgusting

30 DAYS OF NIGHT hits theaters everywhere on October 19.


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