February 2018

Jason had his hockey mask. Freddy had his glove. Simon has… his huggable, squeezable, loveable plush body, which he will use to lull you into a false sense of security before horrifically murdering you.

Yes, not only do we live in a world where we have to worry about deadly flu outbreaks, erratic weather, and an endless run of New England Patriots’ Super Bowls, but now we have inanimate felt killers to fear, at least according to the exciting new horror/comedy mashup from Lisa Ovies, “Puppet Killer.”

With the film set to hit the festival circuit throughout 2018, we recently sat down with producer, star and horror icon Jessica Cameron to discuss how she became involved in the project, why it could become a cult classic, and which film over the course of her career is the nearest and dearest to her heart.

TrunkSpace: We know that the “Puppet Killer” journey first began when Lisa Ovies attended a parade with singing puppets, but at what point in the development did you join the project and what was it about the film that interested you?
Cameron: How can you see Simon (the adorable pink murderous puppet) and not be interested? Second (well, arguably first) Lisa is such a tremendous talent and so very passionate about her film, it’s infectious. I became involved late in the filming process, Lisa and I had a lot in common as well as a mutual respect for each other’s art so I jumped at the chance to get involved.

TrunkSpace: You have been involved in countless horror films throughout the years giving you an insider’s perspective on what genre audiences look for and like in their consumption of content. What elements of “Puppet Killer” do you think viewers will be drawn to most and why does it have a strong possibility of becoming a cult classic?
Cameron: This film is everything that everyone loves about classic horror films, from the main characters to the kills. The film doesn’t take itself too seriously and you can tell that those involved deeply love the genre. It’s also just a really fun film, one of those that you are surprised the movie is over after you watched it ’cause you had so much fun that time just flew by.

TrunkSpace: When the trailer hit, people went crazy online. With a film like “Puppet Killer,” is word of mouth its biggest asset in finding long-term success?
Cameron: I think word of mouth is great but making a stand-out, high quality and original film is the key to finding long term success. If you do that, the fans will find it.

TrunkSpace: You’re someone who is very active on social media. Has the continued emergence of social media and its relevance in today’s society changed the way people can promote horror and ultimately reach audiences?
Cameron: Absolutely. And thankfully so! It’s made it possible for lower budget films to get strong releases and reach a much larger audience than before the emergence of social media. Social media is only going to become more important to indie films, and those who are active in promoting their work will be the ones who get hired more often than not.

TrunkSpace: You also have this great ability to not only interact with your fans through social media, but speak to their interests. In a lot of ways, promoting a project on social media is not just about doing it, but how you do it, correct?
Cameron: You are absolutely correct. That also goes to picking the right projects to get involved with. When you select quality films with incredible people involved it’s really easy to get the fans on board and it’s an absolute pleasure to share a cool horror trailer/interview/press release with awesome fans.

TrunkSpace: In “Puppet Killer” you’re playing a character named Vengeance. Without giving away too much, can you shed more light on just who Vengeance is and how the character ties into the overall storyline?
Cameron: Vengeance is a character modeled after all the classic scream queens from the 80s who I greatly respect and admire. It was an honor to pay tribute to them with this character. I don’t want to say too much to give away anything but lets just say that she is a spunky, never-back-down kinda girl.

TrunkSpace: You’re also producing the film alongside of Lisa Ovies. Does working behind the camera have a different draw for you than acting in a project? Is there a different level of personal investment in a project when you’re wearing multiple hats throughout the production process?
Cameron: It’s a different aspect of my soul and personality that is involved when I am behind the camera. As an actress it’s all about the creative process, but as a producer and director there is so much more that I need to pay attention to – my business side and my creative side both have to be constantly functioning at 110 percent. There is most definitely a different level of attachment when I am behind the camera as opposed to in front of the camera. As an actor I may only work on a film for a day, or a week, perhaps a month. But as a producer or director I am putting in years of work, the film is essentially like my child and I have overseen this little project from inception, through production, post and onto a release.

TrunkSpace: You’re no stranger to taking your films to festivals around the world. “Puppet Killer” will soon go on a journey of its own, premiering at festivals throughout 2018. Do you enjoy the process of rolling out a film in that way? Does it make it a more personal experience for viewers when you’re screening a project for a specific audience?
Cameron: Alas film festivals are, for the majority of indie films, the only way the film is ever shown in a theater, so I love the process of making that happen. I also love being able to watch the films with an audience, there is nothing better as a filmmaker in my opinion. The fans love it when they can meet those involved with the film they are watching and ask any questions that they may have. As a horror fan this is my favorite way to see a film.

TrunkSpace: The film is a horror/comedy hybrid, which doesn’t always work with audiences if the tone isn’t properly struck. As an actress, do you scrutinize projects that meld the genres together more so than those that are strictly in the horror sandbox?
Cameron: As an actress I don’t – it’s my job to do the script justice and try to hit the tone as per the director’s wishes. So I work at assisting them in their vision. As a horror fan I do scrutinize when genre’s are mixed because it’s so hard to do well and as you mention, to get the tone right. It really takes the right team of people for it to come together.

TrunkSpace: You’ve been on countless film sets throughout your career. What project wins the award for being nearest and dearest to your heart in terms of the personal experience and why?
Cameron: “Truth or Dare” will always have a special place in my heart as it was the first time I got behind the camera, and really created a film from scratch. It was an idea that had been lingering in my head for years and it felt so great to finally get it out! Also I got to work with Heather Dorff a second time on that set and it was really when our friendship was completely cemented and I knew that this was a woman I always wanted on my set if at all possible. She was just such a pleasure to work with and so tremendously talented. (You can get “Truth or Dare” on Amazon here.)

TrunkSpace: You’ve also slipped into the mindset of many characters. Are there any characters that you wished you got to spend more time with and learn about further? Who would you revisit and why?
Cameron: Jennifer in “Truth or Dare” is a fascinating character whose history gets explored in the sequel… so stay tuned for that. Another character that comes to mind is Harriet in “The Tombs.” She’s quite the complex character and I had a lot of fun playing her. The director, Dan Brownlie, let me improv and have a lot of fun with her. This film should start festivals in 2018 – it’s definitely one you wont want to miss!

TrunkSpace: You have a number of projects due up. Beyond “Puppet Killer,” what are you most excited to share with fans?
Cameron: Thanks for asking. Aside from the ones mentioned, I am super excited for “Mania” to be released – look for more details on this in the very near future. Also “Lilith,” “An Ending,” and “Kill the Production Assistant” will start to screen this year. “American Guinea Pig: Song of Solomon” will release this year and that’s a role that I am tremendously proud of that is being released with Unearthed Entertainment. People can follow me on social media where any and all updates will be shared.

Featured image by: Kam Gill (www.ksgphoto.com)

Artist/Band: Tory Silver

Website: www.torysilver.com

Hometown: Cleveland, OH/Boston, MA

Latest Album: Observere (2017), Live at Pete’s (2017)

TrunkSpace: How would you describe your music?
Silver: I usually tell people it’s a rocky, blues sound. Someone once described it as great highway driving music.

TrunkSpace: You’re from Cleveland but based out of Boston. From the city that is home to The Rock and Roll Hall of Fame to one known for having a Hall of Fame-level music scene. Beyond your musical influences, did these two cities have a distinct say in your musical journey?
Silver: I’ve always felt some pride in the fact coming from a city that’s known to be the birthplace of rock ‘n’ roll, so growing up I had a genuine interest in rock. My parents were fans themselves, so I was surrounded by it at an early age. Later on I’ve discovered a love for jazz and bossa nova and blues, and Boston has been great for facilitating that love. I wouldn’t say it’s because of the two cities that I love these kinds of music, but they’ve supported my interest.

TrunkSpace: When you first began performing in and around Boston, what was your first impression of the scene there and has that POV changed in terms of how you see and experience it today?
Silver: I played my first show in October of 2016, and, at the time, had no idea how expansive the scene is. It wasn’t until I played my first house show in December of that year that I realized how supportive and great the community is. My perspective has changed mostly in terms of music not being a competition so much as it is supporting each other. In my experience, playing around here means that you’re going to meet wonderful musicians and kind people that want to help you out.

TrunkSpace: When we first heard your music, we were instantly drawn to your guitar play. Can you tell us a little bit about your journey with the instrument and how you discovered your “voice” with it?
Silver: It was never my intention to play guitar. I wanted to learn drums. Luckily, some smarter, cool music teacher handed me a guitar instead of drums sticks. My little reluctant heart was upset, but it turned into a sort of romance with the instrument. I learned the basics by taking lessons for a few years, and then really discovered my own sound when I started listening to Sondre Lerche. He’s all over the place with his playing. I saw him in concert for the first time when I was 16, and I was so inspired by his musicality. All these strange chords and weird time changes – I loved it. He’s had a lot of influence to the way I play.

TrunkSpace: We also fell in love with your actual voice, which seems to marry so perfectly with your unique style of guitar play. Is singing an area that you’re comfortable with and is it something that comes natural to you?
Silver: I’ve been singing since I was little, and I think singing along to The Beatles in the car is how I really fell in love with it. I was an incredibly shy kid, but, somehow despite that, I could always sing in front of people. It was natural to me, and I knew it was something I wasn’t bad at, so I liked sharing.

TrunkSpace: How long did it take you to discover your songwriter’s voice? Is it a piece of the process that you have always felt comfortable with?
Silver: That took awhile to grapple with. In my awkward teen phase, I tried writing songs, but nothing came from it. I knew it was something I wanted to do, but I just figured I wasn’t good at it. Toward the end of my freshman year of college, one of my friends gave me a piece of paper with a quote… something along the lines of, “My song is sung for you.” I was so inspired by the quote, that I went back to my room and wrote a full length song it 10 minutes. That song is the last track off my album “Observere,” and still one of my favorite ones I’ve written. It’s called “I Feel Like.”

TrunkSpace: What does your songwriting process look like? How do most of your songs go from inception to completion?
Silver: It starts with the guitar. I’ll start practicing scales or playing chords and if something rings in my ear that I like, I’ll grow the song from that. I like to put songs together like puzzles almost, trying to get parts to fit together. Once I have a verse or two down, I’ll start writing lyrics. I sort of let the music tell me what the song is going to be about. Sometimes the lyrics come right away, other times I’ll be on a walk or eating pancakes and then the perfect line will run into my head.

TrunkSpace: You released two albums in 2017, the studio-born “Observere” and then “Live at Pete’s,” both of which have a very different and distinct feel entirely their own. Do you prefer one area over the other – the studio or the stage?
Silver: It was a new experience for me working in a studio with a professional sound engineer. It was a fun process, and something I look forward to doing again. “Live at Pete’s” was fun, but in a different way. I’m known for being joyful and enthusiastic on stage, and “Live at Pete’s” captures that. Both of the albums were fun to do, and I don’t think I prefer one over the other. Both have their unique quirks.

TrunkSpace: Playing off of the title of your album “Observere,” are you someone, especially from a songwriter’s perspective, who likes to sit back and observe those around you? Are you a voyeur of human nature, and in turn, does that fuel your creativity?
Silver: I think so. I take walks frequently to get my mind working, and I love to make myself just sit. Not necessarily meditate, but just think about what’s going on around me. Like I said before, sometimes song lyrics fly into my head, and it’s when I’m walking or just thinking when they come.

TrunkSpace: Where are you hardest on yourself as an artist?
Silver: After performances, which I think happens to a lot of artists. You know your music better than anyone else, and if you miss something or something comes out wrong, it can be a downer. On the flip side, I have had some accidentals during a performance that turned into something better than how I played it originally, so sometimes messing up is in my favor.

TrunkSpace: What is your favorite aspect of creating music? Is it writing? Recording? Performing? Something else entirely?
Silver: The feeling after a song is written and it’s good – ahhh. I love that. Songwriting can take a lot out of you sometimes, so when something finally comes from the grueling effort, it’s just a gentle reminder that I do have a talent worthwhile and to keep going at it.

TrunkSpace: What can fans expect from Tory Silver in 2018?
Silver: Toward the end of the year I want to start the process of recording my next album. Expecting it to be out spring of next year!

Featured image by: Carter Howe

Movie: Winchester

Rated: PG-13

Genre: Horror, Fantasy, Biography

Release Date: February 2nd, 2018

Run Time: 1h 39m

Starring: Helen Mirren, Sarah Snook, Jason Clarke

Directors: Michael Spierig, Peter Spierig

Reason We’re Watching It: The mystery and lore that surround the Winchester mansion was enough to make us check out this flick. How can you not be interested in what’s been called “the most haunted mansion in America?” True, the movie is fabricated for the big screen, but it has some truth to the story. Aside from that, Helen Mirren always delivers a solid performance, as does Jason Clarke. The name ‘Winchester’ will likely be familiar to firearms enthusiasts as the manufacturer of the infamous repeating rifle and their subsequent line of guns. While the brand has its roots in the 19th century, it still exists today as a favorite of responsible and law-abiding gun owners the nation over. With respect to this responsibility necessitated by owning a gun, those looking to acquire one of their firearms may also want to check out the oregon concealed carry laws, or those of their own state, to ensure that they are doing everything by the book.

What It’s About: Sarah Winchester (Mirren) is a wealthy and eccentric firearms heiress who believes she is haunted by the souls of all those killed by the Winchester repeating rifle. She builds a room for every soul that has been killed by the firearms that brandish her name. Once the soul is in the room and at peace, she seals them off. Sarah holds 51 percent of the company, and the other share holders believe her behavior is setting a bad image for the company. They hire Eric Price (Clarke), a doctor addicted to his own medicine, to declare Sarah unfit to run the company. Once he enters the house, he finds that she may not be as crazy as everyone thinks.

Whoah! Rewind That!: It’s tough to describe this without spoilers, so we’ll just use a few words to set the scene that you’ll want to watch more than once. You’ll know it when you see it: a mass murder ghost, dozens of Winchester repeating rifles, Sarah Winchester, Eric Price (the doctor with an addiction) and shards of glass. That’s all you get because we can’t give anymore!

Watercooler-Worthy Tidbit: Most of the filming took place on a sound stage. The actual Winchester mansion design is very cramped… but we think they maybe didn’t want all those “real” ghosts photo bombing the movie.

And that’s why we’re giving it…

Artist: Legend of The Seagullmen

Album: “Legend of The Seagullmen”

Label: Dine Alone Records

Reason We’re Cranking It: Any supergroup that includes members of Tool and Mastodon with a kick ass visual element to boot deserves to be cranked to capacity. The fact that these particular men of Seagull crafted a series of psychedelic singalongs for salty sailors of storytelling makes it all the more sweeter. We’re invested. Take our money!

What The Album Tells Us About Them: While the instruments are there to remind us that we’re listening to an album, this is really a multimedia creation. Sure, they’ve given us a taste, but we want to learn more about the legend of these particular Seagullmen, so sign us up for the movie, series, or comic book. And if it’s not already in the works, we suggest they all get greenlit soon.

Track Stuck On Repeat: “The Fogger” grabs us and sinks its riffs into our fleshy little minds, captivating our folds twofold, both musically and in the gripping yarn it spins. There are layers here. Peel them back and enjoy!

Coming To A City Near You: Stay tuned for Legend of The Seagullmen tour dates here.

And that means…

Name: Lindsey Schuberth

Hometown: Blue Springs, MO

Current Location: Los Angeles

TrunkSpace: When did you know that you wanted to act for a living?
Schuberth: You know, the first time I can remember telling someone I was going to be an actress was my sophomore high school biology instructor. She was asking me what science class I wanted to take next, and I told her that I wouldn’t need to take anymore as I was going to be an actress. If I only knew that I would go on to major in both Biology and Theatre in just two short years! (Laughter) I did always love to perform though and was involved in all the talent shows and plays in school and church.

TrunkSpace: Was there a particular performance or actor/actress from your childhood that you remember being drawn to and inspired by?
Schuberth: Honestly, I have two moments that I distinctly remember inspiring me towards a career in acting. The first was watching my sister, Lauren Schuberth, in a community theater show when I was five. It was the first time I had seen live theater, and I’ll never forget how this enchanted world of knights, princesses, and castles came to life right in front of me. I was hooked. The second, was watching a movie called “A Walk To Remember” at the age of 12. I was so moved by Mandy Moore’s performance that I knew I wanted to also inspire people the way she inspired me in that film. To inspire, encourage, make people have emotion and really feel life, that was thrilling to me. I knew through acting I would have the opportunity to help people, and that still gets me so excited!

TrunkSpace: How did you decide to approach your career as an actor? Did you formulate a plan of how you wanted to attack what is known for being a hard industry to crack?
Schuberth: In my mind, as a 16 year old, growing up in the heartland of the US, my plan was to go to college, get a degree in Theatre, and then move to New York or Los Angeles. I didn’t know what it actually took to approach this kind of career. As I studied at Greenville College (University) in IL, I found out they had a study “domestically” abroad program called the LA Film Studies Center in Los Angeles. So, I quickly signed up for that to get to LA to see if I even liked on-camera acting, or maybe God would show me another route he wanted for my life. This program was fundamental in teaching me about living in LA as an artist. It solidified that LA was the place for me!

TrunkSpace: When did you decide to move away from your home and pursue acting as a career? How old were you at the time?
Schuberth: After attending the LAFSC program in LA, I knew that I was going to move back, but I had one semester left of school, so I returned to finish. Once graduated, I saved enough money in one month to get me to LA, so in July of 2012, at the age of 22, I made the big move. It was a scary and thrilling time in life.

TrunkSpace: Was that move an easy transition for you initially? How long did it take you to feel at home and find a good support group of friends and peers?
Schuberth: The transition for me was pretty smooth as I had just gone to school in LA and formed friendships and now had a network of people from that program to connect to as well. I also moved back out with a friend I had made through that program, so I was already living with a close friend. I also found a church community quickly after moving to LA, which was so helpful in making LA feel like home. I’m so grateful as I know many people come out without knowing anyone. Joining acting classes right away also gave me another network of people to connect with. When one chooses to move out here and he or she asks me for advice, the first thing I tell them is to make LA your home. Get a place to live, find community in whatever form you like best because you can’t pursue a dream without a support system. LA can be a very lonely place, but if you put yourself out there and start joining sports teams, acting classes, church groups, whatever that might be for you, it makes the pursuit that much better and more fulfilling.

TrunkSpace: What has been been your biggest break in terms of a particular role or project thus far?
Schuberth: My biggest break was in 2017 when I booked my first TV co-star for the online platform YouTube Red. The show is called “Rhett & Link’s Buddy System.” Season 2. I played a fun, hipster barista! It was an incredible experience to work alongside the YouTube titans Rhett & Link, known for their show “Good Mythical Morning,” as well as the director, Steve Pink, who has directed comedies like “Hot Tub Time Machine.” I couldn’t be more excited to see what happens next!

TrunkSpace: Is there a specific type of role you’d like to take on or a specific genre that you feel more at home in?
Schuberth: Yes, actually I was just offered a role in the Shakespeare play “Romeo & Juliet!” I’ve always wanted to do a full Shakespeare play, so I couldn’t be more thrilled! Ovation Arts is taking a modern twist with the show and having me play the male role of Tybalt!

Along with period pieces, I also want to work on romantic comedies, musicals, and dramas that deal with family dynamics. These are all among the genres I’d love to play both on screen and on Broadway! Ideally, I’d love to look back and see my career be shaped in both the stage and camera worlds.

TrunkSpace: What would you say is the greatest strength an actor/actress can have outside of acting ability itself?
Schuberth: Perseverance. This job is all about moving forward no matter the setbacks or “nos.” The people who don’t give up are usually the ones you see 20 years down the line with a career and a powerful story.

TrunkSpace: What is your ultimate dream when it comes to your acting career? Where would you like your path to lead?
Schuberth: The biggest dream I have when it comes to my acting career is that I might have a voice to create change in the world. I want people to know they have value, they are loved, and we all bring something unique to the table. If I can even make one person feel seen and worthy, then my career in acting has been worth it. I know God has created me to bring light and hope to those around me.

TrunkSpace: What advice would you give another young aspiring actor/actress who is considering moving away from home to pursue their dream?
Schuberth: I would say, if there is nothing else you can even consider doing, then come. Join the tribe, be ready to be challenged, to never give up chasing what you want, to live a journey that is only yours. It isn’t an easy one, but if you have the passion, it will be worth it.

TrunkSpace: Where can people (and casting directors) learn more about you?

IMDb

Actors Access

My website

My Instagram

Like moths to a flame, we were drawn to the charisma and ease of performance that Lizzy Plapinger contributed to the electro-pop outfit MS MR. With her latest project, the more alternative-geared LPX, we’re not just flapping our wings towards that flame, we’re flying right through it. (Check out the TrunkSpace review of her debut EP, “Bolt in the Blue,” here.)

We recently sat down with Plapinger, co-founder of Neon Gold Records, to discuss the sense of accomplishment in going it alone artistically, the inspiration behind LPX, and why she’s ready to get inside her own skin and explore her creative self even further.

TrunkSpace: Is there a different feeling – a different sense of accomplishment – with something like “Bolt in the Blue,” which is wholly yours as opposed to a more collaborative atmosphere like with MS MR?
Plapinger: It is a very different feeling. It’s just a really wonderful sense of showing a complete and whole side of yourself with the world. I’ve always been incredibly proud of everything that Max (Hershenow) and I have made together and shared. This is definitely a different feeling when it’s just sort of me and an audience; honestly even bigger than that. I mean, on my own as a self-released, fully independent artist to feel like we’ve gotten so much traction and attention, to have so many ears on the music without the push of a major label – it feels like a huge sense of accomplishment and sort of full circle of everything that I’ve worked for MS MR and Neon Gold Records and how it all sort of perfectly came together in the package of LPX now. I’m using all the lessons I’ve learned basically.

TrunkSpace: At the same time, did you also feel more vulnerable releasing this particular material, because at the end of the day, all of the feedback, positive and negative, falls on you, correct?
Plapinger: Sure. It’s so weird. I never feel nervous about sharing music or videos or art. Not because I have some sort of full arrogant sense of it, but I just never put anything out unless I love it so completely, and I know, hand over heart, that whether it does well or it doesn’t, that I’m super proud of it. I’ve never had this anxious feeling of like, “What’s gonna happen?”, because I’m just so excited to be sharing things.

I feel like the biggest difference heading up to it was, honestly, just how much work went into it. It’s a really different thing when you’re plugging into a label and you have a whole team doing PR and you push this sort of international button and everything goes off at once. This is a really tiny team. It meant that the media leading up to it was sending personal emails to every person in the press that I’ve ever met and to any person I know at Spotify. I think everything about LPX is a lot more personal. With any sort of accolade or compliment that comes with it, it just feels that much more meaningful because I just know how much time and work and effort has gone into every piece of it.

TrunkSpace: How long has the project been gestating inside you? Was it something you have been thinking about for a long time?
Plapinger: I never had any sort of pre-meditated, preconceived notion of doing LPX while I was in MS MR. What we were sort of preparing for the third album at the end of the second album cycle, I just didn’t really know where we were gonna evolve and grow as a band at that point. Max had been writing and producing with a lot of different other artists, which is awesome and I was super supportive of. I did just honestly feel his evolution as a producer and as an artist and I think I really wanted that experience for myself, and in the process, to make music that was a little bit closer to the artists and bands and musicians that I grew up with listening to, which is really much more rooted in rock and alternative. Once we sort of decided to take a second and explain that in writing with other people, it’s only really then that I started imagining what a solo project would look like. I think it took about a year. It took four or five months for me to create “Tightrope,” which really set the blueprint for everything afterwards. And once “Tightrope” was written, it took me about maybe six months to get the rest of the material – keep writing, keep writing, keep writing, finding new collaborators, and then onto the music, which was a really awesome experience. It was a combination of being in the room with new people, which I’m really enjoying just what that means every time and how you have to reassert yourself every time you’re in the room with a new person… I assumed that going into the room with different people would mean, I don’t know, losing your sense of self and you acclimate to that person, and really it’s only forced me in the opposite direction to sort of understand my point of view as an artist more and more so that I can directly communicate that as soon as possible. Going through the process of mixing and mastering without a partner – I’ve always been so lucky to learn and have Max to help me with those kind of choices and those processes, and to do that on my own, was really awesome. I’m hoping that having that year under my belt, of doing that with “Bolt in the Blue,” I’m hoping I can move more quickly through the process and be releasing things a little bit more regularly now that that first body of work is out in the world.

TrunkSpace: And from an artistic standpoint, having “Bolt in the Blue” out in the world now must instantly charge you to get back into the studio and do more.
Plapinger: Totally, and literally the week that it came out, I was actually in Nicaragua where I wrote “Tightrope” and “Tremble,” which sparked the project, and was writing. I think I have the bones of the next body of work, the next couple songs that are going to be released. I’ve really not stopped writing even though this record just came out three weeks ago. I’m already looking to the next things, which is always a struggle. You’re always excited to put out the next thing but it took so much time to put “Bolt in the Blue” together I still want to honor and bring as much attention to that as possible, but I’m always excited to keep moving forward.

TrunkSpace: It’s like a painter. You finish a painting and you can hang it on the wall to be enjoyed, but at the same time you want to move on and paint your next work.
Plapinger: Exactly. My job is really done. I’ve made the music. Now it’s out in the world and I hope people love and appreciate it. All I really want to do is keep creating.

TrunkSpace: So will that next batch of songs be an extension of “Bolt in the Blue” or will you stylistically be trying different things?
Plapinger: It’s all in the same world genre-wise. Something that was really important to me with this first body of work was really just contextualizing LPX as something so different from MS MR, which really lived in the electro-pop world. I think when I first started releasing LPX songs, people didn’t know quite where to place me because I come from that genre. I love that these six songs really establish me in this alternative lane. I’m definitely still mining what that looks and feels like to me.

I think that “Bolt in the Blue” feels like such a high octane, aggressive, prickly, high energy body of work, it’s kind of bursting onto the scene. I feel like the next body of work, or couple of songs, will still have that energy but might not be quite as aggressive. I don’t know. I’m still sort of figuring that out. New songs take on a life of their own, but I feel like the next couple songs might be the calm after the storm.

TrunkSpace: Artistically that must be kind of freeing. You’ve made your introduction to the world as LPX, and now it becomes less about establishing what that new sound is, and more about what is inspiring you currently.
Plapinger: Absolutely. And that’s always ever-evolving, especially if you’re a music lover and you’re always listening to new records. I think so much of “Bolt in the Blue” is honoring the artists that I’ve grown up with, especially the female heroes that I have in alternative like Siouxsie Sioux or Shirley Manson or PJ Harvey. And recently I’ve been listening to a ton of new ones, and that’s definitely shifting the influences that I’ve sort of embedded in the production. My writing style is never really going to change and I’m always sort of experimenting with the tone of my voice and what my body is physically capable of in a sonic way, which I really love. That’s really liberating for me to think of my voice like that.

It has been interesting to see that this sound is ever-evolving as I think it always should be. The first hurdle is out of the way, which is exciting. People know who I am and now there’s more room for me to even get inside my own skin.

“Bolt in the Blue” is available now.

Byron Mann is on one heck of a project run, but he’s the first to admit that it wasn’t planned. In fact, he couldn’t have planned it this way if he tried.

Not only can the Hong Kong native be seen starring in the new Netflix series “Altered Carbon,” but you’ll soon be able to catch him opposite Dwayne “The Rock” Johnson in the upcoming action film “Skyscraper.” Both projects’ trailers were part of the highly-anticipated Super Bowl roster of commercials, proving once again that you just can’t plan for this kind of thing.

We recently sat down with Mann to discuss the reason “Altered Carbon” feels more like a film than a television series, why it won’t be easy for other networks to duplicate, and the place he often finds himself engaged in character work.

TrunkSpace: “Altered Carbon” seems like such an ambitious show, especially by television/streaming standards. Just the visuals… the sets… they’ve really built an atmosphere and then dropped the characters in to inhabit it.
Mann: I didn’t realize how ambitious they were until I started training for the show, both individually and they had me work with a trainer every morning. It was pretty hard, rigorous training. Then, in the afternoon, we would train for the fight sequence in the pilot episode. We did that for like two months. Training for one fight sequence for two months – it’s pretty steep, yeah.

TrunkSpace: That’s amazing. It definitely had the feel of watching a feature film.
Mann: There’s no question that they were making a feature film. The director, Miguel Sapochnik, who won an Emmy for “Game of Thrones” last year… there was no question that his ambition was to make it that. I mean, listen, the camera that they used was the ALEXA 65. That’s the same camera used for “The Revenant,” the movie with Leonardo DiCaprio. That camera is only used for widescreen display of the image, like in a movie theater. It’s never ever been used for a TV show. He chose to use this camera for this television show, this streaming show, I should call it. The ambition was clearly there from the get-go to make it feature film quality. When you see the first episode, you’ll see very clearly that it is a feature film presentation.

TrunkSpace: Maybe that’s why the sets and world stood out so much to us, because of the widescreen display.
Mann: Yeah. Of course, when we’re filming, you don’t really feel it. I can tell, not only from filming, but actually from the preparation, the training and rehearsals going into it, that obviously the sets were… they built a new world basically. They built a studio for the series. They converted a printing mill into a studio in Vancouver. It’s called the Skydance Studios, and Skydance owns it. I don’t know how to describe it. They weren’t making another “CSI.” They were making a groundbreaking show, from the ground up.

TrunkSpace: Which sort of calls out other networks. Executives at all of these other networks are going to be saying, “We need our own ‘Altered Carbon’.”
Mann: Oh man, that’s easier said than done. You can’t just duplicate that overnight. You can’t. It’s so hard making anything these days. It’s hard making a television show. It’s hard making a feature film. Not only do you have to make a show like that, then you have to make it a super duper outside-the-box, groundbreaking show. Forget about it. You can’t even plan it. A lot of things that came into being. There’s Laeta Kalogridis. She wrote “Terminator Genisys,” “Shutter Island.” She’s the leading science fiction writer in Hollywood. “Alita: Battle Angel,” the movie that is coming out from Robert Rodriguez… I mean, she’s it. She’s the Steven Spielberg of writers. Then Miguel Sapochnik, who was the executive producer and also directed the first big episode, which took 30 days to shoot. So you have a lot of these things coming together to make this kind of a show.

It’s like the Patriots – it’s a lot of things coming into one. Bill Belichick, Tom Brady, and Gronk. The reality is, in football terms, you can’t even duplicate that. Where are you going to get another dynasty? If one of them leaves? If Brady leaves?

I’m very honored, very humbled to happen to be a part of this. It’s awesome.

TrunkSpace: When you signed on, did you dive into the source material, Richard K. Morgan’s 2002 book, to see what came before?
Mann: No. When I first started, I talked to Laeta Kalogridis, the showrunner. She said, “Don’t read the book.” So I didn’t. I just read the script, and I had many, many hours of sitting down with her alone, and just asking her questions like, “What’s going on? What happened?” It’s a new world with new terminology, a new technique of how things work. It’s like “Blade Runner.” It’s a brand new world. Believe it or not, I think 50 years from now, I think our lives will be very close to what we see in “Altered Carbon.” It’s predicated on this premise, that everyone has a “stack,” like a gift in their vertebrae. All humans have this gift. Even if your outer body dies, you can go resave yourself again. As I understand, they’re heavily invested in this technology right now, as we speak.

TrunkSpace: So when you’re playing in the sandbox of a whole new world with new terminology and techniques on how things work, does it allow you to take a different approach to performance than you would with something set in modern day New York, for example?
Mann: Not really. As an actor, when you’re doing a scene, you just want to find out the questions. “Who are you? What do you want? What’s happening in the scene?” It’s still human emotions. No matter how sci-fi everything gets, the baseline is still dealing with very basic human emotions – love, jealousy, desire, power – all that.

TrunkSpace: Between “Altered Carbon” and the projects you have due up, you’re getting to work in a lot of different genres. As an actor, is it a treat to get to play in so many different types of projects?
Mann: Yeah, I guess it’s fun. It doesn’t really faze me too much. After playing so many different characters, I think it’s all… the stuff I said earlier, it applies to every single project. Basically, you find out who you are, what you’re doing here, and what are you trying to do? That hasn’t changed from the ’70s and the ’60s, when you had movies like “The Graduate,” or “Serpico,” or “The French Connection.” And now with “Altered Carbon,” it’s still the same thing. Especially for an actor, it’s just you playing in an emotion.

TrunkSpace: Is that the personal draw for you as an actor, the discovery of finding out who a character is?
Mann: Yeah. Sometimes you find it on the tape, when you’re filming. That’s gold, if you actually discover that.

TrunkSpace: Are you someone who looks at someone sitting in a coffee shop or in line at the grocery store and breaks down who they are? Do you have those storyteller moments where you’re trying to discover “characters” even in real life?
Mann: Well, it can hit you anytime – character thoughts can hit you anytime. Once you’re thinking about it, it’s in your subconscious. For me, I’ll tell you when it hits me, it hits me when I’m taking a shower. Sometimes I’m in the shower a long time, and you think about these things.

TrunkSpace: We can totally see that. No distractions. No cell phones. Just you and your thoughts.
Mann: Yeah, and the water is warm, hopefully. When you’re under warm water, your body relaxes. When you’re relaxed, a lot of good things happen to you. I’ve thought about that. I said, “Why do I have these great thoughts when I think in the shower?” It’s usually because your body is really relaxed.

TrunkSpace: You had two trailers for projects you’re in run during the Super Bowl. One was for “Altered Carbon,” and the other was for “Skyscraper,” starring Dwayne Johnson. Not too shabby for the most watched television event of the year!
Mann: Yeah, no kidding. Like I said, you can’t plan for this stuff. You just can’t. You just have to go along life’s journey, do the best you can, and then life will kind of find your way towards these things.

“Altered Carbon” is available now on Netflix.

“Skyscraper” arrives in theaters July 13.

Mann can also be seen returning to SyFy’s “The Expanse” later this year and the upcoming Blumhouse thriller “Only You.”

Featured image by: Diana Ragland

Artist: Son Lux

Album: “Brighter Wounds”

Label: City Slang

Reason We’re Cranking It: Like a soundtrack to a trippy dream playing in its entirety throughout every nook and cranny of our subconscious mind, the album takes us on a steady tram ride high above the haunting songwriting of Ryan Lott. Your job is to sit back, enjoy the ride, and take in the scenery.

What The Album Tells Us About Them: Lott and his fellow Son Lux’ers aren’t just writing songs, they’re establishing an environment, building an ambiance that becomes part and parcel of the experience. If the band were a piece of bread, “Brighter Wounds” would be the butter.

Track Stuck On Repeat: “Dream State” doesn’t only offer a callback to our reason for playing the album at obscenely loud levels, it also pumps us up, inspiring us to get back in touch with our New Year’s resolutions and improve our physical and/or emotional selves. And therein lies the beauty of music… its ability to impact you beyond the surface.

Coming To A City Near You: Son Lux tour dates can be found here.

And that means…

Jason had his hockey mask. Freddy had his glove. Simon has… his huggable, squeezable, loveable plush body, which he will use to lull you into a false sense of security before horrifically murdering you.

Yes, not only do we live in a world where we have to worry about deadly flu outbreaks, erratic weather, and an endless run of New England Patriots’ Super Bowls, but now we have inanimate felt killers to fear, at least according to the exciting new horror/comedy mashup from Lisa Ovies, “Puppet Killer.”

With the film set to hit the festival circuit throughout 2018, we recently sat down with felt-based star Simon to discuss whether or not puppets receive the same treatment as human actors within the industry, how he found his artistic motivation, and his personal goals as a puppet working in film.

TrunkSpace: Your new movie “Puppet Killer” features, pun intended, a killer cast. In 2018, does a felt-based actor receive the same equal treatment as flesh-based actors on the set of a film like this?
Simon: No, and I think it was bullshit! I was NEVER invited to eat with the rest of the cast or to hang out in their green room. I didn’t get my own chair… I was left alone every night in the props room. It was as if I was an actual puppet instead of an actor playing a puppet. I did get a really awesome handler though, I am grateful for that. Her name was Asia and we hung out a ton on set. It was almost as if everyone else was scared of me…

TrunkSpace: Can you give us a little insight into how you became involved in “Puppet Killer.” Was the part created for you? Were you created for the part?
Simon: I believe I was created for the part although I can’t see the film being anything without me. My mom and my dad (Jack Fox) met working on another puppet movie and spent about a year deciding exactly what I looked like. Personally, I think they nailed it.

TrunkSpace: This may be a bit too personal, and feel free not to answer if we are venturing too far down the Oprah rabbit hole, but do you still have an active relationship with your maker/designer?
Simon: YES! I live with Mom and spend time with Dad when I can. Mom is pretty good about taking me to meet fans and to attend conventions. She even took me to LA and Vegas to meet Jessica Cameron. SHE IS SO PRETTY! I was a guest on her show “Scream Queen Stream” with her bestie Heather Dorff and it was one of the best days of my life. They even let me drink!

TrunkSpace: For those who aren’t familiar with “Puppet Killer,” can you give us a little bit about your character and where the journey takes you throughout the course of the film?
Simon: Well, the story is really about the friendship between me and my onscreen/offscreen bestie Aleks Paunovic. His character grows up and starts to think he doesn’t need me anymore but I remind him that he and I should be together forever. Other than all the killing, it is a really heartfelt story about a boy and his best friend.

TrunkSpace: From a performance standpoint, you have to go to some pretty dark places in the film. What did you tap into internally/emotionally to bring yourself there?
Simon: I just let it sink in. You know, Aleks thinking he doesn’t need me anymore and what I would do. It was really easy once I realized it was them or me. I really enjoyed the experience.

TrunkSpace: From what we can tell, this is your first acting gig. What lessons did you take from the experience that you’ll apply to your career moving forward?
Simon: I realized as long as I am the star, I want to be in movies. I liked working with the crazy talented cast and really hope to work with Richard Harmon on “The 100” one day. He and I really hit it off so I really think it is only a matter of time.

TrunkSpace: Is there any concern at all that you’ll be typecast as a homicidal puppet moving forward? Did you put any thought into that when you accepted the role?
Simon: I don’t think it is a problem as I expect “Puppet Killer” to be a franchise that I can milk for quite awhile. It didn’t affect Chucky so I think I will be okay.

TrunkSpace: When you look back at the film, what are you most proud of in terms of your own individual performance?
Simon: The fact that I held my own amongst such talent. The cast is so good and I was really intimidated at first. I kept worrying I would fan boy or get nervous. I actually did a few times, especially when I had a bedroom scene with Lisa Durupt… she is so pretty and good at what she does, that was a nerve racking day but we were both really professional and held nothing back.

TrunkSpace: We know that you’re Canadian. In your opinion, do Canadian puppets have the same amount/quality of opportunities as those based in the States?
Simon: Given tax credits right now and how busy the Vancouver film community is, I think it is a great time to be a Canadian in film.

TrunkSpace: What do you think some of the biggest misconceptions are regarding felt-based actors?
Simon: That we are only puppets. We are actors, we are committed and we want to be included. Aleks and I hang out a lot and we just talk like people – he never makes me feel like “just a puppet,” but not everyone is so great. My agent puts me out for everything and I really appreciate it. My goal is to play a character without it being a part of the story, a character that just happens to be a puppet.

TrunkSpace: You’re active on social media. It’s a great place to promote projects and stay connected with family and friends, but it can also be a very septic place filled with hate. What are your thoughts on our social media society as a whole?
Simon: Sometimes it is a ton of fun, other times really intense. I pick and choose my moments and hope people start to understand the impact of social media and their responsibility. Be kind, people. There are already enough dicks out there, don’t be another one.

In our ongoing feature Between the Sheets, TrunkSpace picks the imaginative brains of authors to break down what it takes to create the various worlds and characters they breathe life into via the tools of their trade… sheets of paper. While technology continues to advance and change the pop culture landscape, the written word has remained one of the most consistent and imaginative art forms.

This time out we’re chatting with author Alafair Burke about her new novel “The Wife,” what she is most proud of with the book, and why she tends to goof off in six-minute increments.

TrunkSpace: You’ve published an impressive number of novels over your career thus far. With your latest, “The Wife,” having just reached the masses, do you still experience the same level of excitement/nerves that you did when you released your first published work?
Burke: Honestly? If anything, it’s worse. With the first book, it’s hard to believe you even have your name on a book. Now I have that same excitement, combined with the nerves of meeting or beating expectations.

TrunkSpace: In terms of your journey with “The Wife,” did the experience of writing and researching this particular book change in any way from your previous novels? Did the inspiration come from a different place?
Burke: Angela Powell is unlike any of my previous characters. “The Wife” was born of a single observation: when a married man is accused of sexual misconduct, the public gaze inevitably shifts to include his private partner – the wife. No matter how hard she may try to avoid the spotlight, she becomes part of the narrative. From that idea came Angela. The crime part of the book came well after I already empathized with Angela for entirely separate reasons. This book is probably the most personal one I’ve ever written.

TrunkSpace: What is your method for discovering and then unraveling the fictional crimes that take place in your work?
Burke: I always find my plots by exploring character. I know generally that something happens and then I try to think about the people affected by that. What do their lives look like in the weeks, months, and sometimes years after? What in the past brought them to that moment? By trying to look at each character’s world – past, present, and future – from that person’s perspective, somehow I manage to find a beginning, middle, and end to the story. For this book, I knew everything about Angela’s past before she met Jason, and her reasons for being so extraordinarily committed to this marriage, before I knew what Jason was accused of, what he actually did, and what would become of the accusations.

TrunkSpace: As you look back at the work, what are you most proud of when it comes to “The Wife?”
Burke: I tried to capture the complexities of sexual assault allegations, including the reluctance of survivors to come forward and the reasons they so rarely lead to convictions. I tried to delve into the reasons why women might (and do) stay silent, gloss over – even internally – violent encounters, or even find themselves apologizing and blaming themselves. At the same time, I wanted to point out that even the accused offenders have people who still love them.

TrunkSpace: Your father is an author, your mother a librarian. Was there an emphasis placed on reading in your house and how important were books to you even at a young age?
Burke: There’s no doubt having a writer for a father and a librarian for a mother shaped my passions for reading and writing. Reading was a constant – our house was filled with books, and every member of our family is a storyteller. I was convinced I wanted to write mysteries since I was a young kid, and would tinker on my father’s manual typewriter, cranking out page-turners like “Murder at the Roller Disco.” Seeing my dad write every single day, even when he was out of print for a decade, I learned (some would say the hard way as his kid!) that you need to write for reasons other than income.

TrunkSpace: We read that it was a real life crime that first inspired you to pursue a career in criminal law and ultimately, to becoming a novelist. Upon consuming certain pieces of pop culture, many people will say something to the effect of, “that particular element of the crime was not believable,” but we tend to believe that if you can imagine it, it has probably occurred in some capacity somewhere. As someone who has seen the dark side of humanity first hand, is the line between fiction and reality not as impenetrable as some care to believe?
Burke: I grew up in a community terrorized by a serial killer who called himself BTK, a gruesome shorthand for “Bind, Torture, Kill,” and I’m sure my fascination (arguably an obsession) with crime, both real and fictionalized, can be traced to those years. But your point is well taken. Interestingly, the times I worried I was stretching the truth a bit too far in my fiction, no one thought anything of it. But the couple times people have said, “not sure that’s believable,” I could have provided footnotes to make the case that it was absolutely real.

TrunkSpace: How long did it take for you to discover your voice as a writer?
Burke: Depends on what you mean by “voice,” I guess. I think it’s clear all of my books were written by the same person, and I think the tone and sensibilities behind the written work are pretty close to the way I even talk to my friends. But I think it took me a couple of books to grow confident in my storytelling. In my early books, I often included more legal detail, both because I happen to like it but also because I suspect I was trying to prove that I had something to offer. Now that I’m more confident in my storytelling, if I find myself hauling out the legal stuff, I hit the delete key unless it advances plot, setting, or character.

TrunkSpace: Regarding the process, is writing a labor of love for you or does it feel more like labor? Do you enjoy the process?
Burke: It’s both. I understand that no one wants to hear a writer complain that the work is hard, but it is. Unlike other tasks, good intentions and strong will don’t necessarily cut it. Sometimes you try and try and the goods just aren’t there. No fun. But when the magic is happening, that’s pure love.

TrunkSpace: And what does that process look like? What are the ideal conditions for putting in a good day of writing?
Burke: My friends joke that if 15 minutes go by without something fun happening, they find me pulling out my laptop. I just try to keep enough structure in my life so I don’t miss deadlines. As a lawyer, you learn to account for your time, so my idea of goofing off is going on Facebook to look at friends’ pictures for 18 or 24 minutes since lawyers’ time is billed in six-minute increments. It helps that I have a schedule and am forced to be mindful of time. Sometimes, I just have to compel myself to write the next book. I might write 500 really bad words, but I still wrote the 500 words. Besides, there’s always revision.

TrunkSpace: Do you self-edit as you write?
Burke: I just write until I’m done and then read and re-read until it seems right to me. I get a lot of credit for good plotting, but Hand to God, I don’t write with an idea toward pace or plotting. I focus entirely on character, and it always seems to work out.

TrunkSpace: Where are you the hardest on yourself as a writer?
Burke: I always think every book is a disaster until it’s completely done, and then I usually end up thinking it’s the best one yet. Neurotic? Absolutely, but it seems to work.

TrunkSpace: What are you working on now and what will people be able to read next?
Burke: I’m working on the next Ellie Hatcher novel, which should be out in a year. Ellie leaves her work and goes home to Wichita, Kansas, which is where I grew up. I decided to take her out of New York and allow readers to meet her mom who has been off the page until now.

“The Wife” is available now from Harper.