March 2018

Artist: Nap Eyes

Album: “I’m Bad Now”

Label: Paradise of Bachelors

Reason We’re Cranking It: As intimate as a living room performance, “I’m Bad Now” invites you inside, rolling out a welcome mat from the very first sound that breaks free from your speakers. Warm and enticing, the third full-length from the Novia Scotian foursome is like a hot cup of coffee on a cold March day – calming at first, but you know it will give you that much-needed pick-me-up once it absorbs into your bloodstream.

What The Album Tells Us About Them: Playing like a great work of contemporary fiction where each song is an additional chapter in the story, “I’m Bad Now” is a new kind of New York Times Bestseller. Singer, songwriter and rhythm guitarist Nigel Chapman is both author, bringing a compelling narrative to his lyrics, and illustrator, adding depth to the world that Nap Eyes has created through his vintage voice.

Track Stuck On Repeat: We’re following Chapman and crew on “Follow Me Down,” a song that calls out to us like a subdued singalong, leading us step by musical step down a pathway that will remain in our minds well after we move on from the album. We can leave it, but it won’t leave us.

Coming To A City Near You: Nap Eyes tour dates can be found here.

And that means…

In a series filled with demons, murderous trees, and a hell-raising grimoire called the Necronomicon, it says something that the scariest storyline to come out of “Ash vs Evil Dead” may be that the man tasked with stopping all of the evil is actually a… gulp… father.

No one ever said that making the undead dead again would be easy, but for Ash Williams, chainsaw-wielding, boomstick-blasting anti-hero of “The Evil Dead” franchise, the most difficult thing he may have to face in Season 3 of the Starz gorefest is his own teenage daughter, played by the Australian-born Arielle Carver-O’Neill. Responsibility isn’t exactly Ash’s thing, unless there is a taproom called Responsibility in Jacksonville.

We recently sat down with Carver-O’Neill to discuss raising the bar higher than possessed cadaver colons, sprinkling “Ashisms” into her performance, and staring down the nozzles of eight blood canons.

TrunkSpace: You’re joining one of the wildest, no-holds-barred shows on television. How long did it take for you to say to yourself, “How the hell did I get here?” while on set? Were you thrust right into some crazy, Deadite-filled scene that felt just left of reality?
Carver-O’Neill: The first week of filming felt like shooting a drama. I was crying almost every day as Brandy loses her mother and her best friend all in one horrific and bloody evening so there were a lot of tears. When I finally saw the first episode I was surprised at how funny it was, I kind of forgot that it was a comedy.

But that really is what’s so special and unique about “Ash vs Evil Dead.” As Bruce put it to me one day on set, “It’s the place to come if you want to learn.” As an actor it’s so exciting and it keeps you on your toes. One day you’re shooting fight scenes and action sequences with stunt performers, the next you’re in a drama grieving the loss of the life you knew, another you’re in a comedy and witnessing Bruce Campbell deliver epic one-liners and trying really hard not to laugh.

TrunkSpace: Was the idea of working on a series with no storytelling filters an exciting one when you first signed on to inhabit Brandy? As you just mentioned, you’re getting to play with so many genres in a single show, which even in today’s vast television landscape seems like a rarity.
Carver-O’Neill: Definitely! It was fun to watch just how far they take things this season. I mean, last season Bruce was attacked by a cadaver’s possessed colon so of course you think, “Where on earth can they go from there!?” But they did, and they do! Our incredible team find such creative ways to up the stakes and the gross factor. Kelly has something on her leg for a little while and the prosthetics department did such an incredible job that looking at it made me feel nauseous. I can’t wait for people to see it. Poor Dana (DeLorenzo) had to walk around with that thing on though – she deserves an award. I couldn’t sit with her at lunch unless she covered it up.

TrunkSpace: The core evil-fighting trio of Bruce, Dana and Ray Santiago have built up an amazing on-screen chemistry. Were you fighting any butterflies coming into the cast and feeling a bit like the new kid in class? How long did it take for you to feel a part of the “Ash vs Evil Dead” family?
Carver-O’Neill: I was definitely nervous going in, but I was also so excited to have a job and be working with such icons like Bruce Campbell and Lucy Lawless and learn as much as I could. The first piece of advice Bruce gave me when I met him was, “If you’re not having fun, you’re doing it wrong,” so I did my best to keep reminding myself of that. That being said, everyone was so welcoming, supportive and nice that I felt part of the family very quickly. They’re all such good people and great actors, I learnt so much from working with them… and we also had the world’s greatest crew.

TrunkSpace: From a performance standpoint, what was it about Brandy that you were most excited to dive into? As more of the season came into focus for you, did new aspects of her personality reveal themselves?
Carver-O’Neill: They did – we only get the scripts as we’re filming so her arc kind of revealed itself to me. It made the journey a little more real. She didn’t know where she’d end up and neither did I! Brandy goes on this incredible journey. Her entire reality is shattered and those closest to her are taken violently and traumatically and she’s left feeling very alone, confused and grieving. Not only for her mother and best friend but for the world she had created around her. She’s also the kind of person who needs to figure things out for herself, she doesn’t trust easily and so she doesn’t just believe what anyone says. She needs to find answers for herself. Through that she not only grows physically stronger throughout the season but she also gets mentally and emotionally stronger as well.

TrunkSpace: Brandy is Ash’s long-lost daughter. Those are some big genes to fill. Are there any aspects of how Bruce presents Ash that you get to mirror given the fact that you’re his onscreen offspring?
Carver-O’Neill: Bruce and I talked about putting in mannerisms (we called them Ashisms) and some moments where you see Brandy do something that Ash would do. We don’t know if they’ll make the cut, but we had a lot of fun finding them to show just how alike they are.

And even though Brandy didn’t grow up with Ash, they do have a lot in common. They share that Williams’ stubborn streak, the habit of acting first and thinking later (or never in Ash’s case), their trust issues and sense of humor. But at the same time I still wanted Brandy to be very much her own person – she’s more ambitious and quite a bit smarter than her father.

TrunkSpace: One of the things that seems like a rite of passage for all “Ash vs Evil Dead” regulars is a complete on-camera drenching in blood and/or demon-related fluids. How long did it take before you got covered in cinematic goo and what was that experience like?
Carver-O’Neill: I had eight blood canons while filming the 10 episodes of this season. Yup, eight! And a blood canon is only one of the ways they get you with the gore and viscera!

In case anyone doesn’t know… a blood canon is a way they can hit you with a hell of a lot of fake blood in a shorter amount of time. So there’s a keg of cold, sticky fake blood with a hose connecting to an air pressure tank thing with another hose being held by a very happy-looking special effects crew member who is pointing the end of that hose at you, and most likely at your face. There are also different nozzles on the end to change the look and shape of the blood as it hits you… I could write a book on this process just from one season! Anyway, it sounds like a chainsaw and it feels like a high pressure hose and there is no controlling your face or body when it hits you. Pretty much every time you have to pretend you don’t know it’s coming so the shock is real. It’s quite the adrenaline rush. I recommend it to everyone.

My first blood canon we had new directors to the series and it was also their first blood canon… they got a bit excited and just let it roll for about 30 seconds. That’s a steady stream of blood to my face for 30 seconds straight.

TrunkSpace: Those Deadites love to throw out one-liners while they’re raising demonic hell, but truth be told, that Deadite look – the milky white eyes, gnarly teeth and emaciated faces – is pretty terrifying. When you’re staring down a costar in Deadite makeup, is it easier to tap into the primal fight or flight response for the sake of the scene? Does it help you to express fear as Brandy?
Carver-O’Neill: It always does make it a little easier when it’s all there in front of you. The prosthetics and visual effects team on the show are such incredibly talented and skilled artists that it does take some getting used to when you’re standing behind a Deadite in the lunch line.

I had so much fun working with different methods on the show. Sometimes all the Deadites are right in front of you, grabbing at or chasing you and that’s always a little easier. But it was such a fun exercise when you get to use your imagination and there’s actually nothing there. Or you’re fighting an inanimate object, or yourself!

TrunkSpace: In a single sentence, how would you best describe your acting journey from where you began your career to where you are today on “Ash vs Evil Dead?”
Carver-O’Neill: Hard work pays off.

TrunkSpace: Within that journey, did you ever question if you were taking the right path? Was acting a choice or the ONLY choice for you?
Carver-O’Neill: I never really had that day or that moment where I was like, “That’s what I wanna do! I wanna be an actor!” I’ve just always known and always loved it. I can’t remember a time that was different. Though it’s definitely had it’s hard moments, there’s been a lot of struggle but I keep reminding myself in those times that persistence is key. I’m a hard worker and I love doing it and I plan on acting until I either can’t or I stop loving it.

TrunkSpace: If someone came to you with a time machine and offered you a chance to have a glimpse at what your career will look like 10 years from now, would you take the futuristic peek?
Carver-O’Neill: Nope. I would hate knowing. It would make me so neurotic! And those movies never turn out well… either it’s good news and they get complacent so the future changes and goes bad, or it’s bad news and they try desperately to change it, only to make it worse. I’m good letting my story unfold as I go.

“Ash vs Evil Dead” airs Sundays on Starz.

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers, and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Mill House Motion Pictures founders Jordan Foley and Jonathan Rosenthal, whose new film “All Square” is set for its world premiere this Saturday night at SXSW. The moving drama tells the story of John (Michael Kelly), a bookie who befriends Brian (Jesse Ray Sheps), his ex-girlfriend’s son, and schemes to take bets on the boy’s youth league baseball games. The film also stars Josh Lucas, Pamela Adlon, Tom Everett Scott and Yeardley Smith.

We recently sat down with the producing pair to discuss making independent films in the content-binging age, finding the perfect Brian, and why everything is coming up Mill House.

TrunkSpace: There is more content reaching the masses in any given week than ever before. I know it seems counterproductive, but does that actually make it more difficult to get a film made these days? We would think that the more content saturating the market means that each individual project has a steeper hill to climb to capture eyeballs?
Rosenthal: I don’t necessarily think so. Yes, there is more content out there than ever before, but this is largely in part due to the fact that there is a higher demand for content than ever before. You have an audience that now is seeking new entertainment every evening on tens of streaming platforms beyond the once bi-monthly pilgrimage to the movie theater, and what’s more, given this age of connectivity we live in, an audience that is fractured into very informed and opinionated sub-groups. Making films, especially indie films, will always be a steep hill to climb, but I think one fact remains timeless, there will always be a place and market for quality films, and a film’s quality will always speak for itself.
Foley: There’s more content out there, but the quality of content isn’t necessarily increasing. What it does mean, however, is that there are more outlets to distribute content; which is, we believe, a very good thing for independent filmmakers. More distribution channels and more distributors, means a higher demand for a larger amount of quality content.

TrunkSpace: Your film “All Square” is getting a lot of early buzz. From a business standpoint, what is the key to turning that buzz into a profit and finding not only critical success, but commercial success as well?
Foley: The more eyeballs we can get on the film, the better, obviously. Buzz will hopefully translate into interest, and if people are interested enough, they will hopefully be willing to pay to see the movie. Right now, our goal is to get the movie in front of those who can help us to create a positive buzz – the press, the tastemakers and the influencers.
Rosenthal: A good cook never reveals their secret sauce.

TrunkSpace: How did “All Square” first come into your lives? Was it one of those projects that you knew you wanted to be a part of immediately?
Foley: The writer, Timmy Brady, had been a friend of mine for a long time. He originally sent me the script for feedback. Jonathan and I had just formed a production company, and we made an offer to come on board to produce and finance half of the budget. Through Michael Kelly, our producing/financing partners at Paperclip, Yeardley Smith and Ben Cornwell joined shortly thereafter and we were off to the races.

TrunkSpace: The film has an incredibly accomplished cast. As producers, does that make your lives easier when you can sit back and go, “Okay, well performance-wise we have nothing we have to worry about so now we can focus on X, Y and Z.”?
Rosenthal: Film will always be a collaboration and no matter who your cast is there’s always work to be done and hurdles to jump. Working with experienced actors is always reassuring, but I think one thing you learn is that on any set, the energy you bring and how seriously you approach the production is, in return, what you receive from your cast and crew. It’s never safe to assume that because you have one right element that everything will fall into place. A good actor shows up ready to do their part to the best of their ability but that still means you have to, in turn, do the same.
Foley: We were very lucky on this one. We had an incredibly accomplished cast, but we also had an experienced crew (from “House of Cards”) and a seasoned director with a very clear vision for the movie. We had other challenges to overcome, but the cast, crew, script and director were all top notch.

TrunkSpace: TrunkSpace recently featured your young star Jesse Ray Sheps. That is a role that was crucial to the success and believability of your film. How much discussion went into how you were going to cast the part and what was it about Jesse that made everyone confident he was your Brian?
Foley: We went through an extensive casting process when trying to find our Brian. This was the biggest ticket item for us. We attempted to cast locally out of Baltimore, but had no luck. We went national and looked at kids from across the country, including LA & NY… we still had a tough time finding someone that could truly fit the role. Eventually, we brought on Casting Director, Meredith Tucker, who was able to find us two really solid options. John Hyams, our director, flew out to NYC to meet with the two young actors; along with Michael Kelly and writer, Timmy Brady. Once the producers all had a chance to see the tapes, it was a unanimous decision that Jesse was our Brian.

Rosenthal: Casting and working with child actors is always a tricky process. We actually spent nearly two months trying to cast the role of Brian before we found Jesse. I think the hardest part, especially for a film like this one and a young blossoming actors of Jesse’s age range, is we really needed someone who could just be a kid. So often young aspiring stars are stuck looking up the seemingly insurmountable task of what it means to be an actor; a pitfall that all too often leaves kids overacting or taking what we’ve come to call, “The Disney approach.” Between finding a kid with natural athletic abilities and finding one who could just be that kid stuck in that crossroads of childhood and adolescence… let’s just say when Jesse came around it was a simple decision.

TrunkSpace: The film is set to make it’s world premiere at SXSW on March 10 at 7 p.m. at the ZACH Theater. Will you both be there and is a screening of this capacity something you can comfortably sit through or will you white knuckle your way through it until the end?
Rosenthal: We will both be there, and actually for us, this one will be a fun experience, I hope, that we’ll be able to just sit back and enjoy. Not being in official competition and simply being a spotlight premiere affords the luxury of loosening your grip, just taking in the crowd reaction and really celebrating finishing the film, which is always an accomplishment.

TrunkSpace: You have a number of additional projects in the works. Was there anything you took from the “All Square” experience that you’ll apply to those others moving forward? Was there a lesson learned that you don’t want to learn a second time?
Foley: On each film you continue to learn and improve your ability as a producer. We both learned several lessons on “All Square” that we will continue to apply to every movie we produce moving forward. In any scenario, I think we can both agree that we only want to learn a lesson once… if possible.
Rosenthal: I think if there’s not a lesson to be learned from every project you work on then you’re not paying attention. Filmmaking is a learning endeavor that lasts a lifetime. There will always be a “happy dissatisfaction” in any creative process, the moment where you know you could keep refining forever but tell yourself it’s time to hit print, so to speak. If there’s one lesson I can share that we took away from this, I think It would be that we are on the right path and that our model for filmmaking we’ve come up with works and was not just a flash in the pan-type phenomenon.

TrunkSpace: When you guys put together your company, what were the goals? What types of films did you want to make and if we flashed forward 10 years, what would you want the identity of your company to be?
Foley: We met on a lower budget indie film called, “Desolate.” It was there that we realized we were capable of getting a lot of bang for our buck and that we could find ourselves a niche by focusing on similar budget movies. Whether it’s just a few years from now or 10 years from now, our goal is to be the first call on any aspiring filmmakers list of top indie producers. We hope to establish a reputation that Mill House is a team which supports and nurtures young talent and consistently finds ways to bring our films to the best possible release platform for our filmmakers.
Rosenthal: Honestly, and this may sound eye roll worthy, but we set out just to make good films – stimulating films that we could be proud of and would want to watch ourselves again and again. And I think that if in 10 years we can look back at a catalog of films, good films, some that won awards… sure that would be nice… some that had sales above expectations… of course you have to pay to keep the dream alive…  but I think at the end of the day, to be identified as a company that had creative integrity and stood behind what indie filmmaking is all about, telling stories and taking risks.

TrunkSpace: Your company is called Mill House Motion Pictures. As a pop culture site, we have to ask… does the name have anything to do with “The Simpsons” and Bart’s BFF, Milhouse Van Houten?
Foley: The term “Mill House” actually comes from the classic mills you find at the side of a river that used the water to grind flower, etc. The idea being: it’s traditional, functional, classic, timeless and constantly working… what was true centuries ago, still holds true today – like the basic principles of storytelling. However, we are both massive fans of “The Simpsons,” and it doesn’t hurt that we’re able to say… “Everything’s coming up Milhouse!”

“All Square” premieres March 10 at SXSW.

Chilling Out is where TrunkSpace talks all things horror and genre with those who work in the projects that give us the thrills and chills to keep coming back for more. This time out we’re chatting with Johannes Roberts, director of “The Strangers: Prey at Night,” the long-anticipated sequel to the 2008 surprise horror hit. Starring Christina Hendricks, Bailee Madison and Martin Henderson, the frightening follow-up tells the story of a family stalked by a trio of masked strangers, seemingly without any real motivation at all… other than a genuine joy for murder.

We recently sat down with Roberts to discuss how his vision for the film sprung from the first, the importance of pacing in “The Strangers” universe, and why he was nervous about some of the creative choices he made with “Prey at Night.”

TrunkSpace: When you’re preparing to helm a sequel to a movie like “The Strangers,” what’s your visual approach? We would have to imagine that you want to bring your own vision to the film while also looking to carry the established look and feel of the original?
Roberts: Yeah, it’s a tricky one, to be honest. I think initially we started quite faithfully to the world. When I first started I was like, “Okay, let’s approach this as a sequel.” And then it sort of grew into something… into its own beast. But there’s a lot that’s very faithful to Brian’s movie, the costumes and the sort of world it’s set in.

I’ve been wanting to do a movie like this for a long time where you get to use the zoom lenses and the split diopters and to really go, properly, sort of retro and with the fog machines rolling all the time and that kind of thing. So, yeah, it just sort of became it’s own thing. I’m just such a huge John Carpenter fan that I saw this as my chance to make the John Carpenter movie that he never made. It was “Christine.” It’s “The Fog.” I had fun with that side of things.

TrunkSpace: You mentioned the world, and it’s a world where pacing is so important in terms
of just how to structure the fear.
Roberts: Yes, absolutely.

TrunkSpace: That similar pacing of the original is something that carries over into your film, that sort slow burn.
Roberts: Yes, so much. I think Brian’s a super talented writer and I am a big fan of the first (film) in the way that you have this couple going through an emotional breakdown, and then so everything comes from that. To be honest, it’s not about the strangers, it’s about them and their relationship, and the strangers are almost… they sort of come out of it. They always signify this couple’s problems and they sort of become real life. We really sort of played with that in this one.

And then, yeah, the pacing is a huge… it’s the most fun thing I think about these movies like “The Strangers” and this one, “Prey At Night,” is you get to be really slow – like you have a real sense of dread building. And then when it goes, it just goes. Eventually it goes mental. So, yeah, it was a fun one.

TrunkSpace: From what we could tell, you’ve had a hand in writing nearly every project that you’ve directed. Does it make directing a different experience when you’re not also serving as the screenwriter on a particular project?
Roberts: Yes, it does. As a writer, as a director, you come on and you really shape the material. I think any good director, whether you’ve written yourself or whether you haven’t, you take the blueprint of the script and then you make it your own and you restructure it for the world that you want to make. So I get very involved in that side anyhow. When you haven’t created the characters yourself, it’s actually quite a freeing experience, I find. You approach things in a very different way. Sometimes it’s actually a much more visual way because that’s where you’re coming from. You’re not coming from the emotional world of the characters that you’ve built up. The film has a real style and look that was actually quite freeing that, maybe, I wouldn’t have been brave enough to do if I had written this and created it myself.

TrunkSpace: Does not having an emotional, creator-based attachment to characters make it easier for you to adjust and make changes to them on the fly, should it be revealed that a particular story or character element isn’t working as planned?
Roberts: I’m pretty good regardless. I would have spent, with “The Strangers,” three months. I would’ve worked and reworked that script over, and over, and over again. It’s not like you just go out with the material that you get and you’re just sort of out there doing it. Different directors work different ways. I think a lot of directors work purely on storyboards, for instance. They’ll sort of storyboard over and over again. For me, I need to pull the script apart and put it back together again like an old car or something. And I just need to do that over and over again, just pulling it apart, putting it back together, changing, moving. Sometimes it’s just a question of, “That scene needs to be joined with that scene,” or, “That scene shouldn’t be there, it should be there.” So I like to edit the movie before making it, to have made every scene feel shootable.

TrunkSpace: You mentioned being such a fan of John Carpenter and getting to make your version of “The Fog.” Did you try any new techniques or approaches to directing with this film that you hadn’t done in the past?
Roberts: I mean, very much in terms of cinematically, with the camera work. This is my 11th movie. I’ve come up from making sort of tiny B movies and I’ve always wanted to use the techniques that I used on this, but I’ve never been brave enough because they’re just not very fashionable. And I was really worried even though there is this kind of ’80s nostalgia going on, I just didn’t know if an audience would respond to the techniques that I was using with the zoom lenses and the split diopters.

I’m not a surgeon saving lives, but it was a brave movie for me with the way I shot it.

TrunkSpace: What was it like putting those choices to the test? Did you sit in on any early screenings and see in real time how the audience was able to react to them?
Roberts: Yeah. When we finished that movie and screened it, I was like, “How are people going to take this?” And we tested it. At the test screening… I don’t think anybody really knew how people would respond. And they just responded well, so it was like, “Okay, that’s done, fine.” (Laughter) But yeah, that could have gone horribly. As is always the way when you take a risk – you take a risk.

“The Strangers: Prey at Night” stalks its way into theaters this Friday.

Leanne Lapp first caught our “iZombie” eye as Gilda in the undead CW dramedy and now she’s returning to the network, guesting on tonight’s noir-inspired episode of “Supernatural.” Portraying a procurer of rare items who appears to know the whereabouts of one that is of particular value to the Winchester brothers, the Vancouver native is set to further complicate the already-complicated lives of everyone’s favorite demon-hunter siblings, sending them on a wild goose chase that is sure to get wilder than most.

We recently sat down with Lapp to discuss why she was excited about working on the series, getting to go full femme fatal, and the reason “Supernatural” has been so successful at capturing lightning in a bottle for 13 seasons.

TrunkSpace: You’re guesting on this week’s episode of “Supernatural,” a series we have covered in great length here. One of the things that we have heard over and over again from everybody who has appeared on the show is that it’s one of the most welcoming sets that they’ve ever stepped foot on. Was that your experience as well?
Lapp: Yeah, it was an amazing set to work on. They’ve been running for 13 years now, so the entire cast and crew know each other so well and are so comfortable with one another, they almost know what the other is thinking. So it’s such a smooth set to work on and that really makes things great when you’re just coming on as a guest star and you’re kind of the new kid in school. It makes things really easy and enjoyable.

TrunkSpace: And as you mentioned, 13 seasons, that’s such a rarity in this day and age where everything is getting more streamlined in terms of not only seasons, but episode counts as well.
Lapp: Yeah, that seems to be the trend. I feel like people are really enjoying television in the sort of mini series format these days, which I love as well, but I think the fans of the show just kind of pulled it through. The “Supernatural” fans are so, so supportive and that is the reason the show has aired for so long and has kept everybody employed.

TrunkSpace: It certainly seems, as far as the fandom is concerned, that for somebody guesting on the series, this is a universe where every character matters.
Lapp: I don’t know that I’ve worked on a show yet with such an amazing group of fans. It’s been amazing.

TrunkSpace: The fandom hasn’t seen your episode yet, but when the ending credits roll later tonight, will they accept Margaret or are they going to lash out against her?
Lapp: Well, she’s a really interesting character. The episode is a really interesting episode. When I first got the audition sides, I had so many questions, which of course, nobody would answer for me because it’s all kept under wraps. (Laughter) But the scene just seemed so different from anything that I had seen on the show or knew the show to be centered around and so, I was like, “Oh my gosh, what’s going on here?” The episode really is a very, very fun episode. It’s kind of, a little bit, stylistically different. You can see in the promo just with my character and a couple of other characters, it’s almost kind of like a film noir-esque episode, so I think that will be a fun one for people to watch.

TrunkSpace: That’s a dynamic that the show has always done well, sort of combining the elements of drama and comedy and mashing them together.
Lapp: Definitely. I don’t know if my character was necessarily the funny one, but there were definitely moments that were meant to be quite serious where I had a hard time keeping a straight face while we were filming because the other actors were just cracking up. But I got through it. (Laughter)

TrunkSpace: We’re sure you can’t say too much for fear of stepping into spoiler alert zone, but what can you tell us about Margaret and how she makes her presence known in this universe?
Lapp: Well, what I can say, I guess what’s already been released to some extent, is Sam and Dean are looking for a specific item the entire episode, and it’s something that they wouldn’t be able to find in a store. They’re not able to obtain it traditionally. They kind of have to seek out some pretty dark characters to get a hold of it and Margaret is somebody that they meet in this sort of black market community and she sends them on a bit of a wild goose chase for it.

TrunkSpace: Characters on the show tend to return, either to become allies of the Winchester brothers or to make their lives more difficult. That seems to be another element that the fandom really enjoys because it helps build out the world and add layers. Perhaps we could see Margaret again?
Lapp: You never know. That’s definitely kind of the vibe that the cast and the crew certainly have, and I’m not even necessarily speaking about my own character. I have so many friends and colleagues in Vancouver who have worked on the show over the past 13 years and the vibe of every crew member is like, “Well, we’ll just see you back here in a couple months or a couple years or a decade.” They just all sort of assume that you’ll be coming back because now, especially with that show, they’ve been running for so long, that I have friends that have played two different roles on the show. The vibe is definitely we’ll see you again soon.

TrunkSpace: So for you personally, what did you enjoy most about Margaret and getting to play her?
Lapp: So many things. I guess I can narrow it down to three things. One, I wanted to work on the show. It’s been running in Vancouver for so long and filmed a lot in the neighborhood that I grew up in as a child, so I grew up seeing their trailers and such, dispersed around my neighborhood. Two, as you can tell probably from watching the trailer for the episode, Margaret is sort of this femme fatal character who’s kind of trapped, maybe not literally, but her style and her vibe is very much of the ‘40s. I did that for so long on “iZombie” playing Gilda and I was excited to revisit that because I collect a lot of vintage clothing and stuff just in my own life. And probably the biggest thing is I really, really, really wanted to work with Amanda Tapping, who directed this episode. I had heard so many amazing things about her and I had met her in a couple audition rooms and she comes from a world of… she’s an actor as well who is now directing and she was just the most lovely person to work with, even in the confines of an audition room where you work with each other for five minutes and then you may never see them again. She was so wonderful and I just knew shooting an episode with her would be a great experience so, I really wanted to work with Amanda as well.

TrunkSpace: Is an actor’s relationship with a director on a series different than with film? Do the dynamics change from medium to medium?
Lapp: In some cases. When you’re working on film, generally – hopefully – you have a little bit more time. Everything in television, the pace, everything goes so quickly. When I first started acting, I was working on some independent films and just small things and stuff like that where they had the location for as long as they needed it, or it was really about the director feeling happy about what they had gotten. And of course that’s the case working on television as well, but everything works on a much, much faster pace. The great thing about working with Amanda was, because working in television has to happen really quickly, and television is predominately what I work on these days, I’m used to maybe getting two takes. Maybe only one, maybe two, maybe three if I’m really lucky, and Amanda was the first director that looked at me and was like, “Do you just want to do that again?” And I was like, “Yes, I would love that!” She worked on “Stargate” for 10 years. She just knows that feeling of, “Gosh, I really wish I had another chance at that.” So that was really great. She really is an actor’s director.

TrunkSpace: You mention the speed of shooting a television series, but we know that you’ve also done a number of Hallmark Channel films, which as we understand it, can move even quicker, right?
Lapp: Yes, they shoot I think 10 of those at a time in Vancouver and they shoot on a three week schedule, sometimes less, and a lot of times you’re working with a skeleton crew, so half the crew is shooting one thing and half the crew is shooting another. But those sets, those movies, that’s another thing that has a really, really huge, supportive fan base that love Hallmark movies.

TrunkSpace: Absolutely. The Hallmarkies rival the fandoms of a number of genre shows, which tend to draw a more passionate viewership.
Lapp: Yeah, I was so surprised when I first started working on them. I guess I was just kind of ignorant to it because I hadn’t seen many of them until I actually started auditioning and working in Vancouver but, Hallmark fans are extremely supportive. I think the nature of a Hallmark film is, with some exceptions, as long as you’re having a good time shooting it, as long as it’s an enjoyable schedule to work on, it’s going to show and the audience is going to enjoy it. All of those films are just really feel-good movies that you come out of with a warm feeling in your heart, so I think as long as the set and the work experience reflects that, it shows.

TrunkSpace: And that kind of goes full circle back to “Supernatural,” because that is also what has made that series work so well for so long. It doesn’t take itself too seriously and fans can sit and chuckle their way through an episode, even when the stakes are high.
Lapp: Yeah, that’s so true. And, you know, that reflects as well on to Jared (Padalecki) and Jensen (Ackles). The show is huge and they’ve had such successful careers. You meet all types of people working as an actor when you come on different shows. Jared and Jensen are super humble, so relaxed and casual, and not stressed out about anything. There’s really this vibe on the show of which, doesn’t exist on every set. A lot of sets this isn’t the case, but there really is a vibe on the show of, “We’re not doing open heart surgery, we’re not saving lives, we’re making a TV show and it should be fun and enjoyable.” From other shows that I’ve worked on, I think when your lead, or in this case your two leads, project that attitude, it really stems from them and then it trickles down to all of the crew and the entire rest of the cast as this is the appropriate way to behave and act on a set. I think obviously the show has a lot of amazing things going for it, but I think those two guys really had a hand to play in making it the enjoyable experience that it is for every actor that guests on the show.

“Supernatural” airs Thursdays on The CW.

Featured image by: Kyla Hemmelgarn

It’s no surprise that we’re a bit obsessed with all things “Supernatural” here. Given that we have an entire section dedicated to the long-running series, it’s kind of obvious. The beauty of the show is that so many wonderful actors have passed in and out of the lives of the Winchester brothers after 13 seasons, introducing us to talents we may not have otherwise discovered. One of our recent favorites is Brendan Taylor, who as Officer Doug Stover, injected a smile-worthy dose of “aw shucks” into any given scene he was dropped into. That is until, SPOILER ALERT, he became a vampire and learned that monsters exist.

Taylor can also be seen returning to his role as Isaac in E!’s drama series “The Arrangement,” which kicks off Season 2 on March 11, as well as the Hallmark Channel movie “Love, Once and Always,” premiering this Saturday.

We recently sat down with Taylor to discuss what’s in store for Isaac this season, why there’s no fandom quite like the SPN Family, and how he transitioned from working in the art department to becoming an actor.

TrunkSpace: Season 2 of “The Arrangement” is set to kick off on March 11. What can we expect from your character Isaac this season and where will his impact be felt on the overall story arc of the season?
Taylor: Yes! So excited for season 2! Well, as we left off last season, Terence was starting to struggle with keeping Kyle and Megan under control and trying to be the face of the Institute, while still pushing forward his agenda and growing and expanding the organization. Last season Isaac helped Terence with both the Kygan situation, as well as with Terence’s personal struggles. And being a scientist, and trusting science over faith, he has some new ideas to help the Institute.

TrunkSpace: Issac is a scientist at The Institute of the Higher Mind. The series is a work of fiction, but it certainly plays up elements of Scientology that have been reported or rumored. Is Issac based on any of those “ripped from the headlines” tidbits that we may have read about?
Taylor: The Institute of the Higher Mind is a self-help organization that encourages introspection and constant self-evaluation in their members, and their variety of teachings and classes involve many different approaches to achieve this. Isaac who works for IHM goes about his job from a rational, tangible, scientific approach. His results are produced through research and testing. As opposed to Terence who approaches his teachings through belief and mindset, which is effective, but less quantifiable. So Isaac is a good balance to Terence.

TrunkSpace: From a performance standpoint, what was your approach with Isaac when you first read for him and how have those early choices impacted what you’re doing now in Season 2?
Taylor: I always played Isaac as someone who is fully aware of how smart he is, and of how much smarter he is than others. He’s often written as taking jabs at Terence, who he’s known for a long time, so I like keeping that element when playing Isaac. Friendly competition is always entertaining!

TrunkSpace: We live in a NO SPOILER ALERTS world, so it must be getting increasingly more difficult to promote a project prior to its premiere date. Is it a bit nerve-racking discussing a project and accidentally revealing details or plot points that the powers that be would not approve of?
Taylor: (Laughter) Yes, indeed it is! Finding a balance of what to say and keeping people engaged, but not saying too much can be tough! Believe me, it’s very tempting to tell you more. You’ll just have to tune in and watch.

TrunkSpace: Looking back 20 years ago, it would have been unfathomable to think that nearly every network would be seriously invested in the scripted series space. As an actor working in what many people are calling the new Golden Age of Television, is it exciting to see not only the quality of the projects being produced but the quantity?
Taylor: It’s crazy to think back 20 years ago about what we saw on TV. There is just so much to watch out there these days, and such great stuff. It’s definitely an exciting time to work as an actor. Getting on a good series is just as desirable for an actor as getting on a great film. And with all the networks and online streaming sites that produce their own content, combined with more demand for good stuff, there’s so much out there. And so much shooting in Vancouver. I’m crossing fingers for a busy year.

TrunkSpace: You’re also set to appear in the Hallmark Channel movie “Love, Once and Always.” The Hallmark Channel and Hallmark Movies & Mysteries are two of only a handful of networks that are still growing its audience. What do you think the draw is for audiences who continue to tune in week after week?
Taylor: That’s right! Such a fun shoot. Hallmark produces a consistent style of shows which are designed to appeal to a broad audience. I think there will always be a demand for wholesome, family-friendly entertainment. Sometimes we just want to watch two people fall in love, solve a crime, or share in Christmas spirit. They are always relatable, human stories that everyone can connect to.

TrunkSpace: One of the things that was a big surprise to us was that Hallmark Channel content has a rabid fandom much like genre shows. Calling themselves Hallmarkies, these loyal viewers are just as passionate as Trekkies. We know this is not your first Hallmark Channel production, so have you felt the reach of the Hallmarkies having been a part of this world before?
Taylor: (Laughter) It’s true! With social media, fans can connect and stay in touch so much easier with the content they love. I haven’t had many Hallmarkies reach out yet, but I’m ready for it!

TrunkSpace: Speaking of rabid fandoms, you’ve surely felt the reach and passion of the SPN Family. How much hell did they give you when your character Officer Doug Stover recently broke Donna’s heart?
Taylor: (Laughter) Well it’s funny you see it that way. I love the SPN Family. Such a great honor to be a part of. To be honest, I was worried about the reaction to that final scene before it aired, but it was largely hopeful, and understanding by the fans. Doug is not used to the world of monsters that Donna kept from him, and just knows a simpler life as a cop. And keep in mind, he just woke up from being a vampire for like four minutes prior. It’s pretty clear that Doug loves Donna, but it’s all pretty overwhelming. Maybe he needs to get back to a simpler life, or maybe he just needs time to process it all.

TrunkSpace: “Supernatural” seems like a rarity in the business in that an actor can guest star on the series and instantly leave their mark on the universe while also being accepted by the fan base. Was that your experience?
Taylor: Absolutely! There’s nothing else quite like the “Supernatural” fandom. It’s different from say, Trekkies or “Star Wars” fans, in the sense that it’s a frequent, linear, ongoing storyline that people can tune in to. I think it’s any actor’s dream to leave a legacy of sorts in the business, and to originate and create a character that is not just noticed, but appreciated.

TrunkSpace: You started your career in Hollywood by working in the art department on such shows as “Falling Skies” and “Supernatural.” Was acting always in the cards or did life put you on a path that you didn’t originally intend?
Taylor: My first job after college was in the art department, on the cult classic “The Wicker Man” with Nicolas Cage. From then on I made connections and kept working on other films and shows in different capacities. I found acting in high school, and was naturally gifted at it and encouraged to pursue it, but I didn’t really have the confidence or believe that it was an actual thing I could do. It was always my first love, and deep down it’s what I wanted to do. I think that’s why I kept electives in college in acting and theater, and when I was done I continued with scene study classes at smaller acting schools. And when I was working on set, I would watch the actors and talk with them. It was a great gift meeting some big stars and watching them do their thing in front of my eyes. It inspired me to pursue my dream, and I would prioritize acting class, auditions, and plays. And very slowly, NOT overnight like we often hear, it became what I do all the time. It’s just taken perseverance and unwavering dedication to get there.

TrunkSpace: Finally, we read that you are a self-taught mechanic. We always felt one of the greatest real-world skill sets a person can have is being able to change his/her own oil or swap out a set of bad brake pads. Sadly, however, we can do neither. What advice can you give us on pulling on our big boy pants and making this valuable real-world knowledge a reality?
Taylor: It’s a great skill to have. I did my first oil change on my first car when I was 16, literally by following directions in a copy of “Cars for Dummies.” I was beaming with pride, after six hours or however long it took me. You got to start somewhere, right? Nowadays, we have a glorious thing called, “The school of YouTube.” There are countless great videos and tutorials online, ranging from beginner’s jobs like oil changes and brakes to swapping engines and custom fabrication. I would suggest starting there, and if you have questions about your specific vehicle, join web forums and Facebook groups to get more info. I’ve only been able to learn what I have through those means. And I’m still learning. On that note, if you’re interested, you can check out my car’s Instagram. You heard that right, @stageathegame!

“Love, Once and Always” premieres March 10 on Hallmark Channel.

“The Arrangement” returns March 11 on E!

Featured image by: Kristine Cofsky

Chef: Ryan Lopez

Current Chef’s Title: Private Chef/Consultant

Website/Social Media Handles:
www.chefRL.com
IG: chefryan22

Chef Ryan Lopez started his career as a bus boy in the metro Detroit area. Fast forward a few years later, and he is working as a private chef for professional athletes like Kevin Durant, Amir Khan, Gabe Holmes, Donald Penn and Andrzej Fonfara, to name a few. Chef Lopez even spun some amazing dishes for Big Sean, who is of course known for spinning rhythmic raps. If there is a culinary equivalent to catching lightning in a bottle, Chef Lopez has done it. We recently sat down to talk turkey (terrible pun intended) with Chef Lopez and his take away on all things food and what the future may hold.

TrunkSpace: When and why did you start cooking and who has been the biggest influence in your life with regards to your culinary journey?
Chef Lopez: I started cooking when I was 15 years old. My father would go to the local market and grab produce on the weekends. So, during the week my brother and I would do a lot of cooking for ourselves while our dad was at work. Around that time I got my first job at a country club as a bus boy. I got to see and talk to the chefs and always admired them.

My culinary mentor would have to be the chefs from my culinary school/craft college. They taught me a lot about this profession.

TrunkSpace: What style of cuisine do you enjoy creating the most and why? And what would you consider your signature dish?
Chef Lopez: I love cooking New Mexican cuisine. I have family in New Mexico, and through my youth and even now, I’ve had the chance to travel there quite a bit. I love the spice and culture behind that food. Working for an athlete most of my professional culinary career, I work a lot on bringing your traditional healthy foods a twist. Chicken, brown rice and broccoli are great, but there’s so many great ways to eat healthy, and I try to bring that to the light.

TrunkSpace: It’s been said that food is the gateway into a culture, that it identifies a history, family and a region. What do you feel your food says about your culture and history?
Chef Lopez: To be honest and not just give this question the right answer, the answer is I’m still searching for that answer myself. There were no chefs in my family or professional cooks. I learned from experiences in my life, tastes that I’ve had and places that I’ve gone. I hope to get more active in my journey to find what foods make me tick and find a voice.

TrunkSpace: Every cook and/or chef has a really bad service, and it haunts them, but they grow and learn from it. Do you have a worst service memory that keeps you up at night? And how did it change you as a chef?
Chef Lopez: There are a lot of things that can go wrong in a restaurant and I’ve seen those things. I think the things that I try to instill in young cooks is to be prepared and to be organized. There are so many mental errors you can make in a kitchen because your brain is in 20 different places. I try to minimize those mental mistakes by being extremely organized and prepared.

TrunkSpace: On the flipside of that, do you have a particular memory of your best service or a moment in your career that really stood out and has stuck with you?
Chef Lopez: Always the best moments to me are family meals and just taking downtime to collaborate with your peers.

TrunkSpace: Do you have a set path in mind for your career and where it’s going? Where do you see yourself 10 years down the road?
Chef Lopez: I really focus on just getting better every day. I want to be better than I was yesterday.

TrunkSpace: With the advancement of technology in the past few years, food has also advanced in many ways. Has it changed the way you cook at all?
Chef Lopez: Technology has helped the average customer really understand food in a way that 10 years ago, they didn’t. Data and systems have helped restaurants and chefs to create menus and become more profitable. All these things are great for the evolution of food culture.

TrunkSpace: Molecular gastronomy… is it mad science or mad tasty? Do you feel it has a place in the culinary scene as entire dinner courses, or should it be used more in balance to further enhance traditional dishes?
Chef Lopez: Molecular gastronomy has a place in the culinary scene and is here to stay. At the end of the day, if a dish can be delicious and bring a memory or an emotion out of you, then it has done its job.

TrunkSpace: Chef life and tattoos seem to go together like sweet and savory. Do you have any food-inspired ink? And if so, what does it mean to you?
Chef Lopez: I don’t.

TrunkSpace: If someone offered you a blank check to open your own restaurant, whether that would be a brick and mortar, food truck or gastropub, what would your vision be? Where would it be located and what type of food would you focus on?
Chef Lopez: I would love to bring a new American restaurant to Oklahoma or Michigan, focusing on local and seasonal foods. I would like it to be a casual but elegant dining experience. A wood burning oven in front for guests to see and an open kitchen. I can’t give it all away, but maybe one day it will come true.

Series: Everything Sucks!

Where To Watch: Netflix

Starring: Jahi Di’Allo Winston, Peyton Kennedy, Patch Darragh, Claudine Mboligikpelani Nako, Quinn Liebling, Elijah Stevenson, Rio Mangini, Sydney Sweeney

Creators: Ben York, Michael Mohan

Reason We’re Watching It: Not to pop culturally carbon date some of our staff, but some (if not all) may have worn Dr. Martens and flannel while listening to Oasis and Pearl Jam during art class in high school. “Everything Sucks!” takes a retrospective look at what it’s like to be an awkward, creative teen while attending high school circa 1990-something. It’s a comedy full of heart, not only from the perspective of the students, but the parents as well. You’ll be laughing one minute and fighting back tears of happiness the next.

What It’s About: The show is a teenage dramady set in the ‘90s. It’s a tale of not fitting in, first loves, new loves, creativity and trying to find your place in life during those awkward high school years. The series focuses much of its attention on Luke (Winston) as he tries to woo Kate (Kennedy), the principal’s daughter. Meanwhile their parents find a mutual affection for one another and bond over past experiences and life as single parents.

Whoah! Rewind That!: There is a scene where Luke recreates all of the iconic ‘90s music videos and syncs it to “Wonder Wall” by Oasis. This is all done in a creative, heartfelt attempt at asking Kate to be his girlfriend.

Watercooler-Worthy Tidbit: The scene that takes place at a Blockbuster video store was shot at only one of 10 remaining brick and mortar stores still in operation. Unfortunately, it closed at the end of 2017. R.I.P. Blockbsuter. We will always be kind and rewind!

And that’s why we’re giving it…

Artist/Band: Ellisa Sun

Website: www.ellisasun.com

Hometown: Seal Beach, CA

Latest Album/Release: Moon & Sun/April 2017

Influences: Amy Winehouse, Lake Street Dive, Lauryn Hill, Norah Jones, Alabama Shakes

TrunkSpace: How do you describe your music?
Sun: Ah, such a difficult question! When people ask me this question I generally say “jazz/soul”. My band and I create a sound that’s equal parts easy listening and rockin’. Let’s say Norah Jones and Alabama Shakes had a baby, but then the baby was raised in a chaotic household by Amy Winehouse and Lauryn Hill. The baby was also heavily influenced by her godmothers Alicia Keys and Brazilian singer Elis Regina. Simple enough, right?

TrunkSpace: When we first heard the remix for “Past Noon,” we said to ourselves, “This is has a very sexy vibe to it.” After listening, we went to your Twitter page and saw in your self-description section that you wrote, “I make sexy music.” We were right! Do you view “sexy” as a genre or is it a component of what you create?
Sun: This question makes me so happy. I constantly use the word “sexy” to describe how I want my music to sound, and it drives my bass player Niko crazy. He literally just gave me shit a couple months ago and said, “You need to come up with adjectives other than ‘sexy’ to describe music!” Now my band and I try to use the word as much as possible. I grew up listening to a lot of R&B/Neo-Soul, which is the sexiest music. Lauryn Hill’s “The Miseducation of Lauryn Hill” and Alicia Keys’ first album “Songs in A Minor” were the first CDs I bought, and the element of sexiness is undeniable. The feeling I get from listening to R&B/Neo-Soul heavily influenced my musical tastes. In my opinion, “sexy” is both a genre and a component of what I create. It’s a way to describe music that really turns people on (figuratively, of course), and everyone has different ideas of what that means. It’s that moment when you’re watching or listening to a performance and you say “UH!” or physically respond with your body without being aware of it.

TrunkSpace: We can hear so many different styles of music within your own signature sound. Is bringing in those different elements a conscious effort or is what we decipher just a natural blending of who you are creatively?
Sun: It’s definitely not a conscious effort. Lately this has felt like both a problem and a gift – my band and I are influenced by many different types of music, and we want to convey that in our performances. As I continue to “build my brand” and navigate the music business on my own (I am my own manager, publicist, etc.) a lot of people have told me to pick one genre and stay there for continuity and success. I understand this perspective, but have a difficult time putting it into motion since I’m so passionate about simply creating the best art that I can, and sometimes that art doesn’t fit into one box.

TrunkSpace: Are you comfortable in your own songwriting skin? If so, can you pinpoint the moment you found your voice?
Sun: Here’s a fun fact about me: it was my dream to be a singer and musician since I was 10 years old, but I didn’t start writing songs or singing in front of people until I was 23. I’m 29 now, so I still feel like this is only the beginning. My songwriting is an ever-evolving process, and I think it will continue to be a process for the rest of my life – and that’s the beauty in it! If I was done growing, then my music wouldn’t grow.

TrunkSpace: What does your writing process look like? How does a song go from inception to
completion?
Sun: Usually I write my songs on guitar, coming up with a melody and lyrics either at the same time or separately. When I feel comfortable performing it, I’ll play it for my band and they add parts. It’s truly a collaborative effort and takes lots of open minds, communication, and love. Quincy (drums), Niko (bass), Ethan (trombone/trumpet), Daniel (saxophone), Chuck (lead guitar), and David (keys) are such talented, creative, hilarious guys and I am so, so lucky to have them – we work together really well and we truly have fun! After several rehearsals and lots of trial and error, we decide it feels ready and we perform it live to get a pulse on how people respond. Then we go back to rehearsals and make changes as necessary.

Late last year and in 2018 we’ve started writing songs a little differently – right now we’re working on a song that started with a guitar part Chuck wrote, and a song that started with Niko writing the chord progression and feel.

TrunkSpace: What is your favorite part of the songwriting process? What gives you the biggest thrill?
Sun: I’d say there are two favorite parts for me: The first is when I finish the song on my own – when I sing and play it on guitar and it feels more or less complete. The second is when I bring it to my band and they start adding their parts/ideas. Watching them play around with parts at the beginning of the process is so much fun because they’re not taking themselves too seriously and they’re simply feeling the “sexiness” of it.

TrunkSpace: Many songwriters have said that the process is a bit like therapy for them. Do you find that to be the case with your own songwriting?
Sun: Absolutely. I feel so lucky to have found songwriting as a form of therapy. I think everyone needs something to process their crazy, whether that’s singing or dancing or writing or drawing or running or knitting or playing Scrabble. Songwriting is a way to get something out of me. If I didn’t have it, I’d probably be locked up in a room somewhere.

TrunkSpace: Creative people are infamous for being extremely hard on themselves in the creative process. Does that apply to you, and if so, where are you hardest on yourself?
Sun: Ah, yes. This most definitely applies to me. I wish I wasn’t so hard on myself sometimes but I think it’s been built into me – might have something to do with my childhood but that’s another story! I tend to be hardest on myself when I first perform a new song in front of my friends or bandmates. I’m always critical of the quality of writing and my vocals, and I worry a lot about what people will think. We all have our inner critic, and mine is definitely mean sometimes, but I try to use it to make my music better and improve my work.

Another fun fact about me: I have several day jobs to make ends meet – I’m a Yoga instructor and a private voice coach. I am essentially running three businesses at once: my music, my yoga classes and my voice classes. One of my best friends has recently become a yoga instructor too, so we often swap stories and techniques (if you would like to know more about what it takes to complete yoga teacher training, head to https://www.siddhiyoga.com/become-certified-yoga-instructor). I am incredibly busy and running around from job to job, and it can be very difficult to make time for my music. My inner critic tends to make its way into my brain during those moments, telling me I’m not working hard enough or doing enough for my art. But alas, I must work to make ends meet, especially in the expensive Bay Area.

TrunkSpace: You released your debut album “Moon & Sun” about a year ago. Are you creatively a different person than when you wrote those songs? Has your musical POV changed?
Sun: Wow, I can’t believe it’s been almost a year! I don’t think I’m a different person now, but I do think I’ve grown creatively a great deal over the past year. I’ve been taking some of the Guitar Lessons Austin has on offer to improve my chops. One of my biggest idols is Lianne La Havas (if you don’t know her you better look her up NOW!) and she is a badass guitarist in addition to singer/songwriter. I’ve been listening to a lot of her music and hoping to get to that level someday. It’s also important to me that I stay a good guitarist because I play a lot of solo shows in addition to full band shows. I’m also collaborating with a couple producers on electronic music. Meanwhile, my band is more solid than ever, and it feels so good to have a group of people dedicated to my music.

TrunkSpace: What do you want people to take from your music? What messages do you hope they uncover and decipher in a way that they can apply to their own lives?
Sun: Above all, I want people to be inspired by my music. I honestly never thought I’d have the guts to do what I’m doing now. When I was growing up, the thought of singing in front of people paralyzed me with fear. But it was my dream to share my voice. I finally found it, and I hope my fans can find theirs too. Whether “finding your voice” means to literally write a song and sing it yourself, or maybe just finding some other creative outlet for yourself, do it. Don’t doubt yourself – just “jump and the net will appear!”

That’s not my saying by the way. (Laughter) I believe that’s some famous quote from someone I can’t remember right now. (Laughter)

Music has always been a really cathartic tool for me to process what I’m feeling – you can go to a therapist, talk to your friends, or drink as much alcohol as you want, but nothing helps me work through my thoughts and feelings more than listening to a really good song or album. I hope my music can do that for people.

TrunkSpace: What can fans expect from Ellisa Sun for the rest of 2018?
Sun: Big, big things are coming in 2018! I don’t want to disclose too much, but let’s just say I’ll be doing A LOT of touring in 2018. Right now me and my band are recording a 5-track EP entitled “Just A Little More”. We hope to release it by the summer. Stay updated with me by following me on all the things – i.e. Facebook, Instagram, and Twitter – to know exactly what I’m doing and where I’ll be.

Game: Sonic Dash & Pac-Man

Initial Release Date: February 21st, 2018

Publisher: Sega & Bandai Namco Entertainment

Genre: Classic Arcade & Endless Runner

Platforms: Mobile Devices

Why We’re Playing It: Both Sonic the Hedgehog and Pac-Man carry with them nostalgia and a rich gaming history. Many generations grew up playing these games in arcades and on consoles. Who knew that years down the road we would be playing those same games but on our phones and with better graphics? It’s enough to make Doc Brown say, “Great Scott!”

What It’s All About?: TrunkSpace is no stranger to crossovers, just check out our Trunk Funnies! This pairs two of our favorite gaming icons, putting Pac-Man in Sonic’s world and Sonic in Pac-Man’s world. Each game is essentially the same as it was before but with a twist on the storyline with the characters switching places “Freaky Friday” style.

That’s Worth A Power-Up!: New playing skins aside, these are still great games at their core. They are all-ages friendly, but be aware that there are in-app purchases if you hand your device off to the little gamers in the house. The graphics in “Sonic Dash” are gorgeous and the “Pac-Man” gameplay keeps the classic arcade feel you know and love.

Bonus Level: One nice feature to this game is that they offer “family sharing,” which means that up to six people can use the app and share it on different devices, allowing for any purchases made by the group to be carried over.

And that’s why this game is a Certified Quarter Muncher!