Mag n°3

Cette édition comprend :

- Eric Kripke répond au critiques - Un article sur le livre de Jim Beaver Life's That Way - Informations et news diverses - un top 5 des bagarres des Winchester - Interview de Jensen Ackles - Photos Behind the Scenes - Interview de Jim Beaver - Interview avec les scénaristes

- Myths and Legends
- Interview de Samantha Ferris (Ellen)
- Hunter's Handbook par Sam et Dean
       > The Essential Guide to Hunting
       > Know your legend (Bloody Mary, Hookman, Pagan Gods, Seven Deadly Sins, Skinwalkers, Wendigoes, Zombies, Vanir)
       > America's Most Haunted (Myrtles Plantation, Winchester House....)
- Interview d'Ivan Hayden (directeur des FX)
- Interview d'Eric Kripke (1re fois en tant que directeur avec What Is And What Should Never Be)
- Interview de Fredric Lehne (Azazel)
- John's Journal (In my Time of Dying)
- Interview de Phil Sgriccia (producteur / directeur)
- Mots des lecteurs
- Questions à Eric Kripke

(Ce qui est souligné et en gras est ce que vous pourrez retrouver en dessous)

ERIC KRIPKE ANSWERS HIS CRITICS

(About the lack of music in season 3) "We've really had to struggle to bring the budgets down, and one item that often gets sacrifices is the music budget. Now, believe me, it kills me each and every time we do it, me more than anyone, because I live for classic rock! But sometimes there are hard choices, sometimes it's between the mudic, or not getting the approval to make the episode at all."

(About the lighter lighting)
"One is the weather, which is beyond our control, obviously. Much of the shooting took place in summer and early fall, and we got some sunny days in Vancouver this year. Usually, as we shoot into the winter, it gets endlessly rainy and misty, and that results in a darker show. As the season progresses, the show starts getting darker and darker. This year, the strike shut down our production before that really happened. And second, we were attempting an adjustment to our creative look this year : we wanted to create a more dramatic contrast between the "real" world, in which we all live, and the "secret" supernatural world that exists just beneath the surface."

TOP 5 WINCHESTER FIGHTS (s1 à 3)

1		Episode Skin > Sam VS fake Dean
2		Episode All Hell Breaks Loose, Part One > Sam VS Jack
3		Episode The Benders > Dean VS Benders
4		Episode Hunted > Sam VS Gordon
5		Episode Tall Tales > Dean VS Girls

INTERVIEW DE JENSEN ACKLES

"When Jared and I met, we instantly became friends and just had a lot of similar likes and dislikes, so it was very easy to find common ground with one another. It's made it very enjoyable to work with him. I knew what it feltlike to be an older brother, as I have a younger sister in real life, so I drew on that and used that. He's got an older brother, so he knew what it felt like to be a younger brother, too. So we just kind of fell right into it."

(about Jared)
"It's really cool, you know, working with somebody so close. I've gotten to see him grow as an actor. He was talented before, but I've seen a progression of his talent, and work's really blossomed. [...] I'm proud of him, much like an older brother, actually. I can't say enough about the guy. I'm a big fan!"

"Eric gave us some urban legend books and some DVDs so we could get the mythology and legends in our heads. So as far as that goes, we did a little work...but we actually did more preparation for fight training and stuff like that."

(about the scariest thing that's happened on set)
"For me, it's gotta be when we did the episode Bugs, [...] Being trapped in an attic less than half the size of this trailer and it's filling up with 60,000 stinging bees... [...] And the ceiling was so low that both of us were actually crouched down."

INTERVIEW DE JIM BEAVER

(about his book "John Garfield : His Life and Films") "I was in college at the time, and I made a list of actors I was interested in and that I could research from where I was [in a small town in Oklahoma]. Garfield had some advantages. He'd come along recently enough that I didn't have to dig into silent films, for example, which, from where I was, would have been like deciphering cuneiform. Also, he'd died young, se there wasn't much, and I admired him. [...] For what it is, and just for the fact that I got it done while I was hacking away at the schoolbooks, I'm fairly proud of it."

(about Bobby being a father figure)
"I think I would agree with that. I don't know that Bobby would describe himself as a father to the boys, but I think that's kind of the way he feels about them. [...] Now that he seens them and works with them, he has a great deal of affection for them and a strong sense of responsibility. It's an unintentional fatherly feeling. [...] There are fundamental differences between him and John, and as much as the boys clearly love their father, in some ways they're more comfortable with Bobby. But everybody had parent baggage, and sometimes your favorite uncle is a more fun parent figure than your real parents. I've always felt that it's a cross between a father figure and an uncle, although I can't speak from experience. I've never had an uncle who helped me hunt demons!"

(about different relationships with Sam and with Dean)
"Bobby's concerned about them both, with Dean's sense of self, but there's a sort of undercurrent of worry about Sam. Sam seems to have more of the heart of darkness about him than Dean does, although Sam and Bobby haven't had the kind of deeply personal moments that Bobby and Dean have had. I just sense that there's this ongoing watchful eye that Bobby's got on Sam."

INTERVIEW AVEC LES SCENARISTES

Some of Kripke's rules can be found on the white boards that line the walls of the writer's room, a windowless boardroom in the middle of Supernatural's Burbank, California, office space. But what catches the eye are lists of urban legends, folklore, myths, and monsters, many of which have already made it into an episode we've seen or will soon see.

"At the beginning of every season we're in here for a few weeks. Everybody, every day, trying to figure out everything. Then for the rest of the season, the writers spend most of their time alone in their offices or in small groups." Emily McLaughlin, writer assistant

"Everybody is in charge of their own script, from concept through outline through story through execution" Kripke

"I love working with other writers. Obviously a huge part of being a writer is [the fact that] you sit alone with your computer, and that's a wonderful part of it, but I can only do that for so long. I love the process of bouncing ideas off of each other. Having a small staff, there's a lot of us sticking our heads into each other's office and saying 'Do you have five minutes to listen to a pitch?'" Humphris

"We usually figure out what the boys will be doing in an episode before we even figure out the monster." McLaughlin

"Despite the fact that we're a show called Supernatural, it's really important to Eric that it's all grounded in reality as much as possible. So making sure that everything we're doing comes from a real urban legend or just finding out the reality behind these stories, how they've been passe down, what parts of the country they've happened in, and so forth." Humphris

INTERVIEW DE SAMANTHA FERRIS

(relationship between Helen and John) " Our relationship was very tumultuous, it goes very deep. i mean, it would if he were alive. We had a lot of painful history, but we also had a strong bond. I grew up demon-hunting with him. We were closer than anyone could be, and I loved him to bits, but I'm torn because I felt he was responsible for the death of my husband. And I don't want his sons to be the reason for the death of my daughter, so my relationship with John was very complex."

(relationship with Sam and Dean)
"I look after them. I take them in as my own. I like those scenes where you see the conflict between how much she loves them and her need to protect her family and herself. And I like the scenes with the boys where there's some emotional base. There's a great scene with Sam where he comes into the Roadhouse and I know that he's taken off because his brother phoned. And I have to explain to Sam that Jo's off hunting. We have a good bonding moment."

(about if she believes in the supernatural)
"Yes I do on some lever. [...] And I think human beings will eventually evolve into having eight or nine senses. So it won't be supernatural anymore, it'll be normal by then. And by that I mean telepathy, being able to communicate without words, being able to speak to the past life, the future life... [...] There'll be stuff that we can't even fathom right now, like cavemen couldn't fathom cars and telephones and aiplanes."

"It's a fantastic set to work on. The crew and the cast are very close. Not to mention I was one the only chocks on the set, which was always very nice. They treated me like gold. Everybody's wonderful, it's one of the best sets I've ever worked on!"

THE ESSENTIAL GUIDE TO HUNTING

1 > Don't go it Alone 2 > Know Your Enemy 3 > Look and Act the Part 4 > Transport 5 > Don't Get Lost 6 > Be Suspicious 7 > Keep Your Work Secret 8 > Get Finance 9 >Weapons and Equipment 10 > Occupational Hazards

INTERVIEW D'IVAN HAYDEN

"Our average day starts out with about three pots of coffee and a bunch of chocolate, before we can sit down in front of the computer and get down to what we're doing. [...] We're working on five or six episodes at any given time, so the days can be pretty hectic."

 "It starts with the script hitting his desk? First thing Hayden does is go through it and highlight anything that might possibly require a visual effect, "even if it's an exterior in Montana". Then he goes through it again and pulls out the more obvious visual FX shots : monsters, explosions, ghosts, demons, fights, that sort of thing. "Then we'll have a concept meeting [...] where we'll throw ideas at each other, and from that I'll come back to the trailer and design how we're going to shoot it on the day : what kind of lens, what kind of camera, et cetera." [....] "We let everyone know what we're going to need, and they let me know what they want to do. When I design a shot, we decide if it needs blue screen elements, or a wire wig, that kind of stuff. When the time comes to execute the shot, we'll go on set and supervise things so the director can concentrate on what the actors are doing. That's my job, to make sure that if there's a ghost flying through the room, everyone's looking at the same place." [...] "In about 10 days, we get a cut of the episode, and we look at it. It's called a spotting session, and it's where we ask ourselves : now that it's all edited together, how does it lay in? Does it need 10 more frames, or is a shot too long?" Once a consensus is reached, another concept meeting follow where the entire FX team get on the same page as far as how a particular shot is supposed to look."

For episode on this season [The magnificent Seven], we did 77 shots in 10days [...] and after all the post-production on Jus in Bello, there are going to be more than 100. We've got three 3D artists and four compositors, and we're just cranking it out. You always wish you had a little more time.

(About his team)
"Basically, I come up with these crazy ideas and ways of shooting them, but they're the ones who are sitting behind the computer. Each and every one of them is amazing."

INTERVIEW D'ERIC KRIPKE

"Once we started figuring out and factoring in this revisionist history of the boys' lives, it all fell into place. And once we found we could bring back Mom and Jessica, it became even more exciting. Because for as heavy an influence as Mary Winchester is to the show, up until that episode she had a total of maybe five lines. And putting Dean through the paces of what his life might have been, and then snatching it away from him, was rich territory to explore."

"I debated throwing in some giant crowd scenes, sudden rainstorms, and a few cheesy three-way hugs just to make his job harder. But I thought better of it." Raelle Tucker

"This show's sort of my sandbox, so I know the real Supernatural world pretty instinctually by now."

"We talked about how the world the boys live in usually is so intentionnally ugly - in a cool, atmospheric way, but its ugly : the motel rooms are gritty, things are dusty... the boys live in a fairly bleak world - and so the alternate reality should be golden lights and beautiful women, colorful and not scary... the kind of place you'd want to stay in."

"But despite the skill it took to apply the make-up, it was actor, Mackenzie Gray, who faced the toughest challenge. Due to the time constraints of shooting a television show, they didn't have time to apply and remove the tattoos daily, as Kripke explains. "we said to him, 'Okay, so we're going to put this full-body tattoo all over your head and hands and it's going to be permanent until we remove it in four days'."

INTERVIEW DE FREDRIC LEHNE

"He is not a spooky serial killer or a comic book bad guy. He has a sense of humor. [...] He also enjoys watching people suffer. The more pain - mostly psychological pain - he causes, the happier he is. He has things that make him happy, and it is not whiskers on kittens."

 (About the yellow lentils)
"It's an interesting process from an acting standpoint, not being able to see the other person. It's almost like an acting exercise where they make you listen more. By the same token, it could not see the other people's faces, so I couldn't see their reactions. I had to rely on my evil powers to know I was getting across. You use the sound of their voices and their pauses. Technically speaking, I had to figure out how to navigate. Iasked them to put a light on top on the camera so I wouldn't waste time blocking myself or other actors. I couldn't see anything most of the time. They tried putting sand bags down for me, but I kept tripping over them."

"He gets off on the psychological pain. Anybody can rip someone's head off. He gets off on the power of turning people to his will. He will kill you if he had to, but it is more fun to pull their strings and torture them psychologically.

(Why Sam an not an other special children)
"Maybe because Sam's heart was the sweetest, and therefore the most ripe for picking, the most desirable for corrupting. If I could turn him, then I had truly won."

"Jared and Jensen are both extremely friendly, affable, approachable, fun to hang out with, cool guys. They haven't let success go to their heads and are down-to-earth. We had a great time. We sat around in the trailers, played guitar, worked out in the gym, so it was fun hanging out with them.

INTERVIEW DE PHIL SGRICCIA

"I would love to get Bruce Campbell, who is Mr. Evil Dead. I've worked with Bruce before on several shows and he's just wonderful to work with. He has such a great sense of humor, and would just be beautiful in this series."

"Hollywood Babylon was just so much fun because we were poking fun at ourselves and at the industry. There's a line in there that Eric Kripke wrote where Dean says to the main actress, "I loved you in Boogeyman", which Eric wrote, and she comes back with, "oh thanks, but it wasn't a very good script". There's a lot of fun stuff like that."

"In Everybody Loves a Clown Sam's afraid of cowns, so we did a whole ton of little ad-lib non scripted things within the show to make him more uneasy. And that was quite fun, because Jared sometimes didn't know they were coming. There was one where Dean's talking to the cops and this woman goes by and she's dressed in a clown outfit and she just kind of slowly looks up at Sam and gives him a once-over, not a very happy look, and he reacts to it. I said 'Remember, you're afraid of clowns, they freak you out!"

(In The Children Are Alright)
"There was a scene at the end where Dean's saying goodbye to Lisa, played by Cindy Sampson, and I asked Cindy, 'Do you think you would kiss him?' [the kiss wasn't scripted] and she's like, 'Well, of course I want to kiss him, but should I?" and I said, "I'm not going to tell him." So we filmed it without Jensen knowing that she was gonna move up and kiss him on the lips. And the shot that's in the show is his reaction."

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