August 2019

Artist: Pine

Socials: Facebook/Twitter/Instagram

Hometown: Ottawa, ON

Members: Holden Egan, Darlene Deschamps, Andrew Turenne

TrunkSpace: The band is set to release its debut full-length on September 13. As you gear up to its release, what emotions are you juggling with?
Deschamps: All kinds! (Laughter) Kinda feel crazy wondering what’s next. It’s been a weird couple years making this record – lots of relief coming for all of us, for sure.

TrunkSpace: The self-titled debut follows up your EP, “Pillow Talk,” which you released in 2017. What did the band take from that experience and seeing those songs come together in the studio that you applied to the full-length?
Deschamps: How important it is to build your song structure as well as you can. Vocal layers, and then even more vocal layers this time. The band being a team and supporting each other the best we can. The LP is definitely more of what we wanted to sound like.

TrunkSpace: We’ve heard a number of bands talk about the post-studio doldrums that set in after they finish up a record. Did you experience any of that when you called wrap and how do you channel that creative energy when the recording process is done?
Deschamps: Sometimes it happens for a number of circumstances – we were always working towards something and after the studio, finally having the album finished always feels great. You come out feeling stronger and like you learned something. Sometimes after the studio, you feel more inclined to be creative because you’re so open to it, at least for me.

TrunkSpace: What could someone learn about the band in sitting down the listen to the album as a whole? What does it say about Pine right now in 2019?
Deschamps: You could learn that we had a long year while writing the record. It’s part of its energy though and when you are writing you just express your feelings at that moment in time. You captured a time frame. Right now, we are so proud of the record, and are super happy that things played out the way they did despite any error along the way because if they didn’t happen it would be a different album.

TrunkSpace: What are you most proud of with the album?
Deschamps: For myself, I’m proud of all of it. I’m proud of my vocals. I feel strong and I feel like I’ve grown. The drums are so fun and our friend Alex Brownlee did an incredible job bringing it to life. Holden got to embrace his guitar and really shine. Due to having one guitar, Andy got to groove his life away and now I get to dance way more.

TrunkSpace: How does the Pine live experience differ from what we can currently hear on the self-titled debut? Where do the songs and the overall sound become something unique to the stage?
Deschamps: Things are a little spicier live. We sometimes bring in a second guitar (Certainty’s Brent McSwiggan) and have other parts added. Sometimes we just play songs a little different. We truly have fun and love playing live.

TrunkSpace: What do you get out of being in a band, and Pine in particular, that you can’t achieve as a solo artist. Does the creativity of the rest of the group inspire your own creativity?
Deschamps: I honestly do get inspired by the rest of the group. Hearing songs gets me excited to write on them. And I think the rest of the group definitely feeds off each other based off the 8-minute jam songs they write and jam together. (Laughter) Having other people to count on you and make you want to work harder for the group and inspire you is important.

TrunkSpace: When it comes to what you do, outside of the creative aspect, what is the most important skill set a musician needs to have in order to go on this journey that you’re on?
Deschamps: All the answers, which we don’t have them. But we move forward anyway – gotta live it out and love it the best we can. You just go on.

TrunkSpace: Growing up back in the 80s, pine-scented air fresheners were our favorite scents hanging in the cars of our parents. So, what would a Pine air freshener smell like?
Deschamps: Not a pine tree ‘cause it has nothing to do with that. It would smell like cilantro because I long for it.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Deschamps: Nah, cause I don’t wanna mess with fate.

Pine’s self-titled full-length album is due September 13 from No Sleep Records.

Even with his successful run as Jonathan Morgenstern on the fan-favorite fantasy series “Shadowhunters,” Luke Baines continues to want to push himself artistically, working to strike a balance between large-scale commercial projects and the kind of smaller independent films that feature characters not typically seen in mainstream productions. His latest project is just that, the dramatic “A Dark Place,” which the English-born actor admits to having reservations about prior to accepting the role of Alex.

“I was really kind of scared because the material was so intense at times,” he said in an exclusive interview with TrunkSpace. “I just didn’t want to do it and not be able to pull it off.”

We recently sat down with Baines to discuss the indie leap of faith, growing comfortable in his own skin, and why he’s looking forward to laughing a little on-camera.

TrunkSpace: You’re enjoying success on “Shadowhunters,” but we’re curious how important it is for you as an artist to continue to pursue projects like “A Dark Place” to appease your own creative hunger?
Baines: It’s really interesting because going into this I was really scared to do this film because it’s such an ambitious project in terms of the writing, and how much time we had to actually shoot it…

TrunkSpace: Twelve days, right?
Baines: Yeah.

TrunkSpace: Crazy.
Baines: Yeah, it really was. So, there were days, just because of the way that filmmaking works, that I was jumping between suicide and the happiest moments of my life, and they were scenes that were scheduled back-to-back. So I’d be crying and then they’re like, “Okay. Great. We’re going to rush you over to the next set, and you’re on your first date with Jas.” I’m like, “Okay. Yeah. Uh-huh. Give me one second?” So, that was really difficult. But it’s obviously  a lot different when you’re doing an independent film like this, and all of the decision makers, essentially, are in the room and they’re on set with you. So, there’s so much more freedom to be creative, and to make different choices, and to throw out ideas and to collaborate. That’s not something you always get an opportunity to do, obviously, on a large scale Disney production. So, that was really nice.

And moving forward, it’s totally something that I would love, to be able to create a balance between doing the larger commercial projects that definitely are important, because a lot of people get to see them and you, and they’re good from that perspective, while also doing this kind of indie smaller budget creative stuff.

TrunkSpace: With that said, there must also be a bit of a leap of faith for you as a performer, because in those early stages of a project like this, you don’t really know what kind of distribution you’ll have when all is said and done?
Baines: Yeah. 100 percent. It is something that is really scary as an actor. These projects come up, you read them, and then you have to try and make a decision with your team whether or not this is going to be something that is good. With this, with Chris (Piñero), this is his first film, and the fear part of it is that it’s my face at the end of the day. So, if the film is crap then I’m the one that looks bad. I was really kind of scared because the material was so intense at times. I just didn’t want to do it and not be able to pull it off. But I met with him and we had a coffee, and I just remember he’s just so full of passion, and he’s so enthusiastic, and there was just something about it where I was like, “You know what? Yeah. I want to do this.” And then going into it I said to him, “Look, it’s not my job to decide whether or not what I’m doing is good. I’m putting all my faith and trust in you. I’m going to go all out, you tell me if it works, and you tell me if doesn’t, and I hope that whatever we get on camera is something interesting.”

TrunkSpace: Well, and there’s certainly plenty of examples of performers doing 100 million dollar movies that don’t work out, so in a way, as intense as those 12 days probably were, you can also justify a leap of faith like that by saying, “Well, it is 12 days and I’m going to take a gamble on the material and hope that it pays off?”
Baines: Yes. And that was kind of my thought process was, “It’s 12 days, and it may never come out…” But I’m proud of Chris and what he’s accomplished. He wrote, directed, edited and produced this film, and it’s good. I’m really proud of it.

TrunkSpace: You mentioned that the role and the writing in general were ambitious and that you wanted to make sure that you could do it right, but was part of the desire to embrace the character of Alex the fact that a role like this would not be available in terms of the types of projects that are being made in the mainstream?
Baines: Totally. And that was something that was 100 percent another draw to doing something like this. I also really loved the fact that it was so grounded in reality. A lot of the stuff that I’ve done in the past is in the sci-fi/horror space. So, to be able to play real human relationships – real human situations – obviously, they’re a little bit heightened because it is a film and not a documentary, but it was nice to actually not have to visualize the demon coming for my head, and just actually play an emotion that I understand.

TrunkSpace: For the audience the end product is always the most memorable, but we would imagine it goes a lot deeper for those involved in a project. For you, what is something from your time making “A Dark Place” that you’ll carry with you through the rest of your career?
Baines: Good question. I think the thing that I’m proudest of with this film was not self-moderating. A lot of the times, as an actor, you come up with the character, or the situation, and you have an understanding of what it is, and then you put out there what you want to put out there. With this it was the first project where I really said to myself, “Listen, the director’s job is to paint this picture, your job is just to bring some color, and he gets to decide what he wants to use.” And so, I really did put a lot of faith in Chris to be able to make sure that it did look good, and it was really, really scary. And so, for me, it was like a personal challenge that I overcame, and I’m happy about that.

TrunkSpace: In terms of your craft as a whole, do you enjoy acting as much today as when you first stepped foot onto a set?
Baines: Yeah, I really do. I actually think that I love it more, to be honest. Earlier in my career I was more focused on doing good work and pleasing people, I guess, and now I feel like I have a little bit more freedom where I can just go and live in the character’s moment, and explore that. And so, I feel like there’s more of a sense of freedom that comes with that, and I think it’s just from having done different projects, and knowing that sometimes they turn out great and sometimes they don’t turn out great. And a lot of that is out of my control. So, I’m better off just focusing on the character and enjoying it more, and I think that I’m doing that now.

TrunkSpace: Is part of that too, just as we age – as humans – we get more comfortable in our own skin?
Baines: Yes. 100 percent. It’s funny, I remember having an agent, God, like six years ago now, say to me that after every major life event you become a different actor. Whether you get in and out of a relationship, have a child, or buy a house, or whatever it is… and it’s so true. I think that, as actors, we can play all emotions, but the ones that come better to us are the ones that we’ve experienced ourselves. And so, the older I get, and the more that I grow, and the more life experience I have, and the more comfortable I am in my own skin, and the more confidence I have, the better I am as an actor.

TrunkSpace: If somebody came to you tomorrow and said, “Luke, here is a blank check. Go and green light any kind of project you want for yourself.” What would you throw into development?
Baines: It would be a comedy, because no one is going to cast me in that. Yeah. If someone’s giving me a blank check I’m going to do some kind of extremely elevated comedy so that I get a chance to actually have some fun and not cover myself in fake blood for one project.

“A Dark Place” is now available on iTunes, Blu-ray, DVD and On Demand.

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 Christopher Piñero, writer, director and producer of the suspenseful new film “A Dark Place” about riding the creative roller coaster, keeping on-set emotions in check, and embracing preparedness.

TrunkSpace: “A Dark Place” is your feature length directorial debut. Although audiences have already had a chance to view it at festivals, it will be released on VOD, Blu-ray and DVD on August 13. What emotions are you juggling with as you gear up to its release?
Piñero: It’s like that scared, excited feeling when you are approaching the drop on a roller coaster. More excited than scared, but still a bit of fear, which I’m okay with. I think, more than anything, I hope people connect with the characters and are moved on some level by the story.

TrunkSpace: As a director, what is more nerve-racking, waiting for a wide release like you’re on the eve of, or sitting in with a live audience during a screening?
Piñero: Without a doubt a live audience. There’s no place to hide, you’re stuck with a few hundred people for two hours praying they enjoy it. I remember our first screening for the movie – my heart was jumping in and out of my chest and my inner monologue was screaming, “They hate it!” But, there was a moment early on in the movie that the audience had a strong, positive reaction to and I knew I had them after that point. At least with a wide release like this I can go hide in my closet and turn off my phone.

TrunkSpace: Not only did you direct “A Dark Place,” but you also wrote, produced and edited the film. Was there ever a point throughout the production that you had wished you had taken on less? Did it ever get overwhelming?
Piñero: Absolutely. I went from doing a thirteen-page short to a hundred-plus-page feature and one thing I didn’t anticipate was how relentless the schedule was. We shot this in 12 days, and I remember on day six we were shooting the party sequence. There was at least 60 people on set – extras, crew and main cast included. After we broke for lunch I went into an empty bedroom and didn’t know if I was going to vomit or pass out. I hadn’t realized how overwhelmed I was and I couldn’t share with anyone, but my DP, because if the crew senses weakness, you’re done.

TrunkSpace: Did what writer Christopher wanted on the page ever contradict what director Christopher could achieve on set? Did the two creative yous ever butt heads?
Piñero: For the most part we were in sync. I had this story beat in the script that the director in me was never really happy with, but the writer side of me said, “No, this needs to happen.” When it came time to shoot that scene, we completely forgot to grab what was in the script. We were at the penultimate day of shooting when I had to rework that story beat on the fly and it wound up working so much better than what I had written.

TrunkSpace: What is a lesson you learned throughout the process of making “A Dark Place” that you’ll apply to future productions you involve yourself in? What will you do differently with your follow-up?
Piñero: I’ve learned preparedness in all facets is key to making a movie. A lot of the shots you see in the movie were decided on the day of shooting, because of the restrictions we had on the locations. Another thing I get better at every time I direct is communicating what I want concisely. And I get that way by painstakingly studying the script in pre-pro then throwing it all away when we start shooting!

TrunkSpace: What are you most proud of with the film?
Piñero: I’m most proud of the film we created under the circumstances we were shooting in. We made this with money from my family and friends and I couldn’t be prouder of the results. At times we shot 11 pages per day, which is a little insane, but we pulled it off. And that was down to the cast and crew going above and beyond for the movie.

TrunkSpace: Do you think that bringing “A Dark Place” to life has altered your path? Has making this film changed how you look at your career as a whole?
Piñero: Yes, absolutely. The wealth of experience I’ve gained from going through that shoot is going to help me tremendously for the rest of my career. It was like boot camp for me. My hope from the beginning with this was, we get distribution and that will afford me an opportunity to tell a story on a bigger scale. We’ve achieved half of that goal so far.

TrunkSpace: What would 12-year-old Christopher think about his future directorial debut? Would the boy who dreamed of making movies be surprised by the film or your choices in it?
Piñero: I grew up in a military town and the thought of being a director was so foreign to me. Although, movies were everything to me when I was a kid, almost a religion, I was completely ignorant to the film-making process. I believe 12-year-old me would be ecstatic that I even made a movie to begin with. I strive to make movies that I would want to see on screen so I think he would be happy.

TrunkSpace: If someone came to you tomorrow and said, “Christopher, here is a blank check, green light any project you want for yourself,” what kind of movie would you make and why?
Piñero: Funny you ask that. I’ve just completed my next script, “Rosemont Forest,” and I’ll be looking to shoot that next. It’s a coming-of-age thriller, with horror elements that’s set in the ‘90s.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Piñero: I wouldn’t. As much as I like to try to anticipate and visualize things, I don’t want any spoilers. It would be like cutting out the first and second act of a movie and missing out on what makes the adventure so special.

“A Dark Place” is now available on iTunes, Blu-ray, DVD and On Demand.

As a former professional football player who spent years inside the NFL, “Family Reunion” star Anthony Alabi embraces the parallels between his old career as an athlete and his new career as an actor. Like a well-managed locker room, a set can take on a family-driven atmosphere where impenetrable bonds lead to memorable results on the field, or in this case, the screen.

“It’s beyond the words on the page,” he said in an exclusive interview with TrunkSpace. “There’s got to be that stuff in between that can really show the audience, ‘Oh, there’s a real relationship here.’”

We recently sat down with Alabi to discuss tackling impossible careers, going against type, and why, like football, acting goes beyond the Xs and Os.

TrunkSpace: Professional actor. Professional football player. Both are careers that very few people ever get to enjoy. Do you feel like you’ve captured lightning in a bottle twice in terms of the opportunities that you’ve had in your career?
Alabi: That’s so funny you say that, because that’s always the kind of thing that I say. I tell people, “Don’t ask me to do it twice because I don’t think it’ll happen.” I feel very fortunate to have done what I did with football – to reach that level and to be able to play there and to leave under my own choice – and then be able to come and do this. And once again, it sounds good. It sounds like, “Oh you just went and did it,” but there was a lot of pain and suffering and tears. A lot of psychological heartache in between that. But in the end it all seemed to pay off.

My dad… I remember when I told him when I was leaving the NFL to retire and that I wanted to be an actor, and he was like, “What is it with you and impossible careers?” (Laughter)

My best friend kind of put it the best. I’m just kind of annoyingly ambitious. I have this thing, and I think it should be with anybody, if you feel that you can do something and you feel that you have the ability to do it, then I don’t see why you wouldn’t go do it.

TrunkSpace: There are 32 professional football teams, which means there aren’t a lot of spots available for people inside the NFL. With so much content being produced these days due to all of the various streaming platforms and cable networks, do you think it is easier to break into acting than it is football?
Alabi: You would think that, but once again… there’s more volume of shows – more stuff – but there’s more actors. There’s more people to compete against.

I really wanted to set a couple of things in my head when I first started. The biggest thing was, 1.), don’t tell anybody you played football. And I think the big thing about that for me was making sure that people didn’t just immediately assume that, just because you were a professional athlete, that now you want to be an actor because you just miss the attention and you’re in it for the wrong reasons.

The second thing is I wanted to go against type. I knew that immediately when they saw me walk through the door, they were like, “Oh cool, you’re going to be the bouncer or the thug or the cop or the detective or just the big guy that doesn’t really say anything. You’ll kind of just always be intimidating and always just have a scowl on your face.” And that‘s not what I wanted to do.

TrunkSpace: Which is great because now you’re on a show with Richard Roundtree who has had to deal with that himself.
Alabi: Right, and we talked about that. It’s a big thing. They’re going to see how they see you until you change the perception, because we all know in this town it’s “perception is reality.”

I was fortunate enough to get with reps that really believed that and we were kind of parallel in the thought that we needed to go against type. We needed to put me somewhere different. And I think that did a lot.

TrunkSpace: As the performer, you also have to be willing to go that route and not just work to work, which is a difficult thing to maintain when you’re already pursuing a career where so much is out of your control.
Alabi: Right. And I think it’s a process. I think patience is something that’s underrated and I’m still learning. Immediately you want to come in and be like, “No, I just want to work. I want to get the work done.” That’s great, and you may start working a ton, and you’re a bouncer and your this and that, but then all of a sudden you’re capped as a costar or all you do are these small parts constantly where you’re always a mean guy in the prison. Or you’re the mean guy security guard or the mean guy corrections officer. You never kind of break out of that, that’s how they see you. It’s why I never shied away from the parts I get in like “Pee-wee’s Big Holiday” where I was a transgender hairstylist. I’m like, “I don’t care, I’ll play any of it,” because once they can see that, “Oh, he doesn’t care, he’s willing to kind of go there and do anything,” that’s when it frees you up to kind of be anything you want.

TrunkSpace: You’re playing against type in “Family Reunion” as well. Has the role of Moz helped to change perception?
Alabi: Yeah, it has, and I think more so than them seeing it, it was more of just having more screen time for them to see it. With a guest star, you don’t really get a chance to show all of it. It’s just kind of a snippet here or a snippet there. At most, if you get a top show, you may get a little more in the episode, but I think being able to have an entire series in a body of work with episode in and episode out, they can see it. “Oh wait, he can pull that off, or, “He is different.” And that’s what I loved about the show. It’s one of the things that I really, really hold onto with “Family Reunion,” is that Moz is not a traditional football player type.

When you look at Moz, and when you look at the way he interacts with his family – the way he interacts with his parents and in his relationship with Cocoa – it’s different. It’s different than the stereotype that we’ve all had where it’s like this big, black football player, kind of silent type, who doesn’t really interact much and where the kids are more of my wife’s problem and not mine. That’s just the stereotype, and like I said, perception is reality. But with all that being said, Moz is different. He’s funny and he’s strict when he has to be. He’s loyal and loving and caring about his parents and his wife and his family, and I think he’s whatever he needs to be in the moment. That’s what producers and casting can see is that there’s a dynamic there where it’s not just a single line throughout the series where Anthony/Moz is just funny. It’s not that. There’s dramatic moments. There are moments of anger, there are moments of comedy, there are moments of vulnerability. And I think all of those things, when they see that and they see that body of work, it suddenly now changes the perception and opens me up to do other things, which has happened.

TrunkSpace: So as a performer, when you’re spending a prolonged period of time with a character like you have with Moz, does it enhance your performance because you’re seeing so many sides to this person?
Alabi: It does. And I think, you have to understand too, day one, I can do all the research that I want… I can sit there and think of moments and background and really dive into the character of Moz, but I’m not going to know anything until the interactions really start. That’s the biggest thing. Once we started kind of getting into it… and then we got the 20 episode order, which is beautiful… but once that started happening, around Episode 5 or Episode 6 of filming, I started to realize, “Oh, I can speak this and I can speak that and this is my point of view of that and point of view of this.” When you start really getting to flesh out the corners, the deep corners of that character, things change. They’re characters, but in that world of “Family Reunion,” it’s a human being and just like any other human being, they have to evolve. And I think that’s the biggest thing. I think that over time, no matter what, you’ll see Moz evolve. Where it goes, I don’t know, because a lot of that has to do with writing, but a lot of it has to do with the interactions with the other characters on the show.

TrunkSpace: So then are there parallels to football in that regard where, say, your first day in a game you may have some nerves – same as being on set – but once you get beyond that and get more comfortable on the field, it becomes less about the experience and more about focusing on your job and what you’re there to do?
Alabi: There are a ton of parallels between football and acting and I would say one of them is that. I always learned, in football, when you’re prepared you move and when you move fast, you move competent. And with competence comes an ease. I think that’s the same thing in acting. I think if you show up on set, you’ve done the work, you broke down the episode or the scene and the moments that are in it – you’ve broken down what you’re going to do and you’ve made choices – I think when you prepare then you’re kind of quick on your feet. So if something happens in a scene, you don’t lose that moment because you weren’t prepared… you play off of it. And I think that’s where all the juicy bits and all the best stuff comes from, the stuff that just comes off of an interaction where you’re like, “I just think this is appropriate right here.” And for me, acting and football are very similar in that way, where there is an ease. I think once you’ve gotten that first line out, once you’ve gotten that first scene out, suddenly you’re comfortable and you get into a rhythm and you start to feel the music of it and you can just buy it. When you go on set you feel it and you know exactly how Moz would respond. You know how he would feel. You get the interaction. I think that is what helps as time goes on.

TrunkSpace: We’ve been in locker rooms. We’ve been on sets. When either is firing on all cylinders, there really is a family atmosphere present. That must be another welcome parallel between your two careers?
Alabi: Absolutely. I was telling my wife the other day because we were talking about it… it’s like I’m never not around family. And it’s great because I look at somebody like Loretta (Devine), and I feel like have a special relationship because she plays my mom on the show, but since day one, it’s always been this kind of loving, caring kind of relationship where I tease her and look after her and she is always there to give me some advice and always there to make sure that I’m okay. And she’s constantly just around and loving. If you look on set where Tia (Mowry-Hardrict) is, that’s where I am, and where I am, that’s where she is. We’re always together. I think those are the things that really build that relationship. That’s the stuff that people will see on screen where it’s like, “Oh, that’s not scripted. They just have that chemistry. They’re just close.”

And you’re right, it’s the same thing in football. There’s a reason why Peyton Manning and any good receiver he’s ever had were in sync. It’s because it’s beyond the Xs and Os. It’s beyond the words on the page. There’s got to be that stuff in between that can really show the audience, “Oh, there’s a real relationship here.” And that could be small things like a touch here on the shoulder or it could be a look when the camera’s not focused on you. It could be a little thing that you say under your breath that doesn’t have anything to do with the scene, but you say to each other. Those little interactions are what make people go, “Oh my God, I love them. They’re great.”

“Family Reunion” is available now on Netflix.

Title: Scary Stories to Tell in the Dark

Rated: PG-13

Genre: Horror, Thriller, Mystery

Release Date: August 9, 2019

Run Time: 1 hour 51 minutes

Directed By: André Øvredal

Written By: Alvin Schwartz (novel), Dan Hageman, Kevin Hageman, Guillermo del Toro (screenplay), Marcus Dunstan (story by), Patrick Melton (story by)

Starring: Zoe Margaret, Michael Garza, Gabriel Rush

Reason We’re Watching It: If you didn’t grow up reading “Scary Stories to Tell in the Dark,” a novel by Alvin Schwartz, then you heard about it on the news. It is one of the most banned books at school libraries… because it terrifies children. Our staff is a little coocoo for horror, so when we heard Guillermo del Toro was bringing these stories to visual life, we had to see our childhood nightmares play out on the silver screen.

What It’s All About: One of the things that surprised us about this movie was how well the story and narrative weaved all of the scary stories together. It’s always a challenge to take a handful of separate stories and try to blend those together into one cohesive film, and it was done masterfully here. There is even what we believe to be some social and political commentary going on, as this is set during the Nixon era but parallels some of the issues that we see happening today.

Whoah! Rewind That!: There were so many great visual moments in the movie, but when the “Me Tie Dought-y Walker” (Troy James) shows up, let’s just say he knows how to make an entrance! And it was during this scene that we whispered to others in the theater, “Are you sure this is PG-13?”

Watercooler-Worthy Tidbit: James, the actor who plays the “Me Tie Dough-ty Walker,” also played the “Baba Yaga” witch in the recent “Hellboy” reboot starring David Harbour as the lovable red demon. James first showcased his contortionist skills on the hit TV show “America’s Got Talent,” and of course, played Rag Doll in “The Flash.”

And that’s why we’re giving it…

It’s hard to imagine that completing an album – especially one as visceral and as mesmerizing as “Love & the Dark” – could be both a triumphant celebration and a realization of loss, but for singer-songwriter Jason Hawk Harris, there was a lot of pain in seeing his creative vision come to life. Surrounded by sorrow and haunted by personal demons, the founding member of The Show Ponies put all of himself into his country-influenced solo debut, and he knows there isn’t any looking back.

“I’ve had a few moments in the last few months where I’ve thought, ‘Do I really want all these people to know this much about me,’” he says in an exclusive interview with TrunkSpace. “I’ve come to the conclusion that this is just what I do, whether I like it or not.”

We recently sat down with Harris to discuss regulating artistic urges, not becoming a country caricature, and why his baggage will never crush him.

TrunkSpace: You went through a lot personally in seeing “Love & the Dark” become a reality. With everything that you’ve endured throughout the process, are there parts of you that wish this music didn’t have to exist in its current form? As an artist, are there days where you would have preferred there had been more “Love” to write about and less “Dark?”
Jason Hawk Harris: Hindsight is 20/20, so I think I look back on what’s happened now and see this beautiful mess that led to a record that couldn’t have existed without it. But when you’re in the shit, you certainly don’t want that stuff to be happening. So I guess the answer to your question is both yes and no.

TrunkSpace: How has expressing yourself through songwriting changed you as a person? Did the creative journey of “Love & the Dark” alter your way of thinking and how you looked at the world?
Jason Hawk Harris: Songs take on a life of their own after you’ve relinquished your grip on them and send them off into the world. That said, I don’t know if it’s the actual songwriting that changes me, or if my songwriting is just me documenting the changes that have happened as a result of the traumas and triumphs of my life.

TrunkSpace: The album will be released on August 23. With such a personal connection to the songs on “Love & the Dark,” what type of emotions are you juggling with as you gear up to release it into the world?
Jason Hawk Harris: There’s some really personal stuff on this record. I’ve had a few moments in the last few months where I’ve thought, “Do I really want all these people to know this much about me?” I’ve come to the conclusion that this is just what I do, whether I like it or not. I write as honestly as I can, because I’m trying to be honest with myself. My hope is that it helps people be honest with themselves too. That’s what my favorite lyricists do for me.

TrunkSpace: Is there ever a fear as a songwriter and artist that you are putting too much of yourself into a song? Does a part of you ever want to be more guarded in the process?
Jason Hawk Harris: Yes. In fact, I’ve had a number of moments where I go to my wife and say, “Hey, is this too personal?” And sometimes the answer is, in fact, YES. “Yes, Jason, it’s too fucking personal,” she’ll say, except she doesn’t like the F word. I shudder to know what I would’ve put out into the world if I didn’t have her to help regulate some of my more uninhibited artistic urges.

TrunkSpace: What would someone learn about you – both as a person and as an artist – in sitting down to listen to “Love & the Dark” in its entirety?
Jason Hawk Harris: That I’m sad in spite of the fact that I’m almost recklessly hopeful. I’ve got a lot of baggage, but I’m not worried about it crushing me.

TrunkSpace: What are you most proud of with the album?
Jason Hawk Harris: I don’t think I’ll ever write another song like “The Smoke and the Stars.” I don’t think it will be the song that connects with people the most, but I don’t think I’ve ever combined all my sensibilities into one song like I did with that one.

TrunkSpace: For years country music has had a very slick, pop-influenced spin that has turned it into much more of mainstream genre, but many artists like Sarah Shook, Joshua Hedley and yourself are bringing an old-school feel, which is making it fresh in a totally nostalgic way. Is your overall sound something that you set out to create or was it a natural transition when you ventured into a solo career?
Jason Hawk Harris: It was natural. Traditional country music lines my oldest memories. It’s the sound of my childhood. I’m influenced by a lot more than just country, so a lot more slips in, but I hope I’m respecting the traditions of the genre as best I can. I feel like a lot of mainstream country artists are making a caricature of country music that misses the mark. Even though I’m slipping in and out of country music on this record and in most of my music, I make it a priority not to do that.

TrunkSpace: We love great lyrics… the kind that stick with us well after the song comes to end. What’s a favorite lyric of yours that you have written and why?
Jason Hawk Harris: The second verse of “Phantom Limb.”

It’s coming in waves, it’s numb in between
When I’m not crying I can’t feel a thing.
And the air gets so thin, I breathe what I can.
Then blow out the smoke, that laughs as it floats
And waves like a flag. I wish you’d come back.

I like it because I really don’t know what the smoke is doing at the end of the verse, but it manages to be perfectly evocative of the larger theme of the song. This is what I’m always trying to do, but it only comes along every now and then. I just hope I catch it when it does.

TrunkSpace: What would 12-year-old Jason think of your musical journey thus far? Would he be surprised by the path you have taken?
Jason Hawk Harris: Well… He’d be surprised I was playing country music or at least country-influenced music. Twelve-year-old Jason really loved Queen, so ultimately I think he’d be disappointed with the fact that there aren’t more contrapuntal harmonized guitar solos than anything.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Jason Hawk Harris: No way. I’m doing this thing where I’m trying to live day-to-day, where I’m kind to myself and I don’t beat me up. Seeing 10 years of mistakes all at once might send me to an early grave. I like today. Today is good. I can handle today. I can’t handle 10 years, five years, one year, one month or even one day from now, but I know I can handle today.

“Love & the Dark” is available August 23 from Bloodshot Records.

Title: The Boys

Rated: TV-MA

Genre: Action, Superhero, Dark Comedy, Drama

Release Date: July 26, 2019

Run Time: Approximately 60 minutes per episode. (8 Episodes/Season 1)

Starring: Karl Urban, Erin Moriarty, Dominique McElligott, Jack Quaid, Anthony Starr, Elisabeth Shue, Jennifer Esposito, Jessie T. Usher, Laz Alonso, Chace Crawford, Tomer Capon, Nathan Mitchell, Karen Fukuhara

Reason We’re Watching It: Not only are there superheroes in the show, “The Boys” has a team of creative superheroes behind the scenes comprised of Seth Rogen, Evan Goldberg and Eric Kripke. After seeing how Rogen and Goldberg handled bringing “Preacher” to the small screen, “The Boys” had us at, “Hello.”

What It’s All About: A team of vigilantes band together to try and take down a corrupt group of superheroes. This isn’t your kiddos Marvel movie so unless your children are over 30, we would recommend they sit this one out. You will soon find yourself rooting against the so-called heroes of the show and questioning what would life really be like if superheroes flew among us.

Whoah! Rewind That!: You’ll find yourself rewinding several moments in each episode and rubbing your eyeballs in a cartoon-like manner, asking yourself, “Did I just see that?!” But to avoid some spoilers we’ll go with the scene you can view in the final trailer for “The Boys.” Hughie Campbell (Quaid) is sharing a tender moment with his girlfriend near the street when A-Train (Usher) literally runs right through her, splattering Hughie with viscera and leaving him still holding his girlfriend’s hands, the only thing left of her.

Watercooler-Worthy Tidbit: “The Boys” is based on a real comic book series of the same name by Garth Ennis and Darick Robertson. Ennis also wrote and created “Preacher,” the last TV series that Rogen and Goldberg worked on for AMC.

And that’s why we’re giving it…

When Stephen King tweeted out props for the new zombie apocalypse series “Black Summer,” it didn’t only pique the interest of horror fans, it also sent a jolt of excitement throughout the cast. Series star Christine Lee, who plays Korean-speaking survivor Sun, reveled in the shout-out from the King of Horror, but more than anything, she enjoyed bringing a hero to the small screen that audiences are not used to seeing.

“There was so much satisfaction in playing an immigrant woman who turned everyone’s expectation upside down,” she said in an exclusive interview with TrunkSpace.

We recently sat down with Lee to discuss taking stylistic risks, her real-world zombie survival plan, and why she always ends up doing what her heart tells her to.

TrunkSpace: Starring in a Netflix series is an exciting journey in and of itself, but then Stephen King went ahead and gave it a thumbs up. What would 12-year-old you think about this chapter in your life if she had a glimpse of what was to come?
Lee: My 12-year-old self would have freaked out but told no one about it? I always wanted to be an actor but to imagine that I’d be in a show that Stephen King gave a shout out for, would have felt like a far-fetched dream to me.

TrunkSpace: “Black Summer” is a prequel to the hit Syfy series “Z Nation.” Is there a change in the on-set energy going into a job knowing that there will already be an audience waiting for you on the other side?
Lee: I think the creative team had a lot of confidence going into “Black Summer.” They’ve already made a show that ran for five seasons. They knew how to work together. Of course, we were taking a risk in stylistic choice. But John Hyams really trusted his team to bring their A game. And we did.

TrunkSpace: What were you most excited about exploring with your character Sun when you first read for her and what did you grow to love about her as time went on and more of her personality and journey were revealed to you?
Lee: All I knew about my character for certain was that she was only going to speak Korean – I was very excited for that. But what was even better was that Sun turned out to be a total badass. There was so much satisfaction in playing an immigrant woman who turned everyone’s expectation upside down.

TrunkSpace: We touched on it earlier in our conversation, but Stephen King – the KING of horror – gave “Black Summer” some serious love on social media. Do you think that opened up the series to horror fans even more so than it already was, and from your interactions thus far, how are lovers of the genre embracing what you’re bringing to the small screen?
Lee: Oh yeah, his tweet was totally unexpected and it attracted more attention from the audience. I think the viewers find our show refreshing. Some of them are shocked by the fact there’s no build up and we just push them into this crazy experience. But honestly, that’s the best way to keep people on the edge of their seat.

TrunkSpace: When you’re working on a show that involves zombies, there must be some surreal moments on set from time to time. Did you have any “pinch me” moments where you looked around – zombies at the crafty table – and said, “Whoa… I did not see this coming in my career?”
Lee: My favorite moments on set are the times when I hang out with actors in zombie make up, just sipping coffee and talking about random things in life – like paying bills, or finding a babysitter. We could have the most intense moment on camera and then just ask, “When’s lunch?” It’s honestly the best. We all gel together because we love creating that fantasy and illusion for the audience. And to see what goes on behind the scenes is just a cherry on top.

TrunkSpace: For the viewer, the end result of a film or series is always the most memorable, but for those involved in a project we’d imagine it is the experience. What will you take from your time on Season 1 of “Black Summer” that you’ll carry with you for the rest of your life and career?
Lee: I came out as a different actor after “Black Summer.” I’m so lucky to have worked with so many creative and talented artists from that show. Thanks to “Black Summer,” I’ll always be hungry to create an innovative show for the audience.

TrunkSpace: We’ve all been there. It’s late at night, we’re tossing and turning because we’re unable to sleep, and we start thinking, “How would I do in a world where a real zombie outbreak occurred?” Now that you have some hands-on zombie survival experience, how would you fare if the world went the way of the undead? What would be your approach to seeing tomorrow’s sunrise?
Lee: I’ve thought about this a lot – and I’ve decided that I’ll put my cat as a priority. I don’t care if that will get me killed. So I’ll pack water, knives, cat food, and my cat. And run to an isolated place. Maybe I’ll use my old boss as a bait for zombies to buy some time. Just kidding (..or am I?)

TrunkSpace: Outside of acting, you also sing in a cover band. What is your absolute, hands down favorite song to cover and why?
Lee: “Kiss” by Prince. I love the quiet sexual confidence in his delivery until things blow up in his guitar solo. It always gives me so much joy to belt out that last verse, too.

TrunkSpace: What has been the highlight of your career thus far?
Lee: “Black Summer.”

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Lee: Hmmm… I definitely know I want to direct and produce. If the glimpse of the future says I’ll be successful, awesome. If it shows me that I’ll fail, I’ll still go all out. I’m an all-or-nothing kind of person. And I end up doing what my heart tells me to do even when people say it’s a stupid decision.

Season 1 of “Black Summer” is available now on Netflix.

With “Wu Assassins” set to premiere August 8 on Netflix, series star Celia Au is prepared for the world to see her in a completely different light, though what the show’s possible success would mean for the future is not something any performer can ever truly prepare for.

“I mean beyond the work itself, I have no idea,” she says when asked about the impact of “Wu Assassins” in an exclusive interview with TrunkSpace. “I know that I’ll always be Celia Au and maybe I can pay off my mortgage earlier than expected. (Laughter)”

We recently sat down with Au to discuss unwrapping the excitement surrounding the series, having two shows on the air at the same time, and why she has Photoshopped herself into some of her favorite films.

TrunkSpace: From an outside perspective, “Wu Assassins” doesn’t only look like a ride as a viewer, but to be involved in a series like this – with such big set pieces and complicated choreography – it must have been a ride to be a part of as well. As you gear up to its premiere and the idea of people sinking their teeth into the first season as a whole, what kind of emotions are you juggling with?
Au: Wow! That’s a good question! I am still trying to figure out what my emotions are right now. I am definitely excited! Every time when I receive an email notification about the show, I am like a kid on Christmas morning. I am so proud of what we accomplished together as the Wu fam and I just can’t wait for you guys to check it out.

TrunkSpace: From what we’ve seen, this feels like the kind of show that could become a big hit for a platform like Netflix. That being said, is it important for you to try and not assign expectations to projects that you work on knowing that so much is out of your control? Does that help to not be let down when a project doesn’t find an audience?
Au: I definitely hope that people are going to enjoy and have fun watching it. I know for sure we had a lot of fun shooting the show. I do believe in sending good positive energy into the universe and not worry too much about things that are out of my control.

TrunkSpace: With Netflix rolling out all of the episodes at once on August 8, do you feel like you’ll have a pretty good idea right away if “Wu Assassins” will have an impact on your life beyond the work itself? If it’s a smash hit like “Stranger Things,” it could literally change things overnight.
Au: Oh my! It would be amazing if our show is a smash hit like “Stranger Things!” I mean beyond the work itself, I have no idea. I know that I’ll always be Celia Au and maybe I can pay off my mortgage earlier than expected. (Laughter)

TrunkSpace: Huge show. Huge platform in Netflix. Does it feel like, regardless of it becomes a smash hit with audiences, that “Wu Assassins” will be a career game changer for you that could open up other doors within the industry?
Au: Being on “Wu Assassins” has already been a game changer for me because I’ve met some awesome people just working on this show. I definitely hope that the show will open doors not just for me and our cast but for Asian Americans in the industry.

TrunkSpace: For the viewer, the end product is always the most memorable because that is what we see, but for those involved in the project we imagine it goes much deeper than that. What is something about your work on Season 1 of “Wu Assassins” that you’ll carry with you through the rest of your life and career?
Au: For sure the friends I’ve made on the show. I know that we are going to be friends for life. Career wise, my character Ying Ying is something completely different than any characters I’ve played before so the world can see a new side of Celia and what I can do.

TrunkSpace: Not only do you have “Wu Assassins” premiering on August 8, but you also have Season 2 of “Lodge 49” debuting on August 12. In this industry, does it feel like “when it rains it pours” in terms of the work not only coming in, but also with it finding its way into the world at the same time?
Au: Yes! I totally agree with that. It’s funny because I shot Season 2 of “Lodge 49” months after we wrapped “Wu Assassins” and now they are coming out four days apart. I feel like this happens a lot to people in our industry. We can be unemployed for a long time and suddenly when you book one job, there will be another job that wants you and they almost always have an overlapping schedule.

TrunkSpace: You grew up hanging out in your parent’s video store. As you look back at where you’ve come from to where you are now, would that little girl be surprised by the path you’re on or was this always in the back of her mind? What would excite young Celia most about where you are now?
Au: This was most definitely not on young Celia’s mind. I remember watching movies and being like, “Oh! That’s cool but how do these people make a living by playing pretend?” I think what will excite young Celia the most about present-day Celia is that she gets to see Asians on screen as heroes and kicking butt! When I was a kid, we used to be obsessed with the Power Rangers because that’s the only show where we could see Asian American superheroes.

TrunkSpace: You have a background in graphic design. If you could Photoshop yourself into any movie poster past or present – and in doing so be magically a part of that film as a performer – what would you choose and why?
Au: Of course, I did! I mean it is so much fun and I do the same to my friends’ faces as well. I’ve Photoshopped my face onto Hiro from “Big Hero 6,” Satsuki from “My Neighbor Totoro” and most recently, Peni Parker from “Spider-Man: Into the Spider-Verse!” I’ve turned them all into either birthday invites or holiday cards.

TrunkSpace: What has been the highlight of your career thus far?
Au: I think the highlight of my career thus far has been the opportunity to meet/work with all the creative minds in the industry and getting to be on a show playing a character that young Celia would pretend to be.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Au: Yes, I would 100 percent take that journey. YOLO!

“Wu Assassins” premieres August 8 on Netflix.

Season 2 of “Lodge 49” debuts August 12 on AMC.

Feeling as if he had been transported into a post-apocalyptic video game, Kelsey Flower relished in getting to step onto the “Black Summer” set after the designers had their way with it. Between the abandoned cars, shattered windows and gory blood smears, he was sent packing mentally into another world, making it easy for him to tap into his character Lance. Constantly on the move, Lance has an uncanny ability to land on his feet through the course of Season 1 (now available on Netflix), even in the worst of circumstances, leaving his real-world alter ego to deliver more emotion – fear, sadness, despair, etc. – than dialogue.

We recently sat down with Flower to discuss Stephen King’s stamp of approval, shooting in his hometown, and why being cast in “Black Summer” is a reminder to add more cardio to his daily routine.

TrunkSpace: Having a show on Netflix is exciting enough, but what was it like getting a plug from Stephen King – an icon in the world of horror?
Flower: It was definitely surreal. It was crazy. I had to double check and make sure it was actually him. (Laughter) It was just such a nice vote of confidence, particularly in a genre that’s been very saturated. There’s tons of zombie things, so it was very nice to have one of the masters of horror say that it stood out for him as something new and great.

TrunkSpace: It no doubt opened the door for some people who may not have thought to check out “Black Summer” to then sit back and give it a stream.
Flower: Exactly. I saw so many comments under that Tweet that were like, “Oh, I wasn’t really going to watch it, but maybe I’ll give it a shot.” That kind of thing. So yeah, for sure. It was great.

TrunkSpace: What we thought that was great about “Black Summer” was its nonlinear storytelling approach, especially with that first episode. It really hooks you.
Flower: Yeah, I think the creators did a really good job of making sure that we knew that this was something different right away. You’re like, “Oh wait, that just happened…” and so you’re kind of invested right off the bat.

TrunkSpace: You shot a portion of the series not far from where your parents live. Do you feel a sort of special connection to the series, not only because of the work, but because of how it ties into your own hometown?
Flower: Absolutely. It was such a special, special project, not only because it was the biggest project I’ve done thus far, but because I got to shoot it in my hometown in a bunch of locations that I’ve had memories from growing up. I shot at a school where I had one of my first dances. And just the fact that I got to bring my parents to set – and my brothers to set – and show them what I do and what I’m pursuing, it was very special and it was nice to share that with family, for sure.

TrunkSpace: Is it a little weird that actors spend so much time telling themselves that they have to go to other places – Los Angeles, New York, Vancouver, etc. – and then here you are filming this big show in your hometown?
Flower: (Laughter) Yeah. It always seems like that’s the way. They say if you want to work in Calgary, you’ve got to move to Toronto. If you want to work in Toronto, you’ve got to move to LA. That kind of thing. It was very funny, but it made it all the more special, and I’ll do it anytime. It’s a good excuse to see family.

TrunkSpace: You mentioned that this is the biggest show you’ve ever done. Do you view “Black Summer” as a game changer for your career, and if so, have you felt its impact already?
Flower: Yeah, absolutely. I found myself kind of graduate, like get a promotion, in this industry. I was able to get better representation here in Toronto because of it with one of the top agencies. I’ve been able to put myself on tape for LA projects, and just bigger projects and bigger roles, too. Usually I just go out for a small principal, or like a one-liner with 30 people auditioning to say, “Hey, he went that way.” Now I’m getting the chance to audition for meatier, larger roles, which is amazing.

TrunkSpace: Your character, Lance, doesn’t exactly have an easy apocalypse, which from an outside perspective, made it look like a very physical shoot. Was there ever a point where you were running, fleeing or leaping off the top of a bus where you felt like, maybe, you bit off a bit more than you could chew given the physicality of it?
Flower: I definitely remember thinking, “Ooh, I should have done some more cardio for this.” (Laughter)

It was very physical, obviously. I spent more time running than speaking, for sure. And as it is with film, every scene you see me running, I probably had to do that five to 10 times just for continuity and getting it all right. And because they wanted that look of the jean jacket and the hoodie, I had to have that in the middle of the summer. There was definitely not a lot of prop sweat on that shoot. (Laughter)

But I was a kid a candy store and I was having the greatest time, for sure. It was a positive experience the whole time, and just a good reminder to me to do some more jogging. (Laughter)

TrunkSpace: Yes, you did more running than speaking on the show, but you also had some very dramatic, moving moments, particularly in the bunker where you spoke up for Jaime King’s character. That was a scene where, less (dialogue) was absolutely more.
Flower: Yeah, that was actually a really, really great challenge, and it was very validating because up until this point, I had been cast as like the funny stoner – the Seth Rogan kind of character. The guy who’s the awkward best friend. So it was definitely great to have the directors come in like, “No, we cast you because we think you’re a great actor and we think you can tell things, because we know that we’ve written a script that has minimal dialogue, and we cast you because we think you can tell the story without words.” So, that was very validating… and very, very nerve wracking. But also, I was incredibly grateful to have directors that trusted me with what I could do and what I could bring to it. It was incredibly rewarding.

TrunkSpace: There wasn’t a lot of Lance’s backstory presented to the audience. Was that backstory presented to you, or did you have to kind of figure out who he was pre-apocalypse on your own?
Flower: We had a little bit of backstory. There’s a monologue that I auditioned with for the initial audition that gave me a little insight into who Lance was. But for the most part, they really let me leave it up to my imagination, and bring certain things and backstory that I had come up with. So, talking to John (Hyams) and Abram (Cox), we were able to collaborate a little bit on who Lance was, and he’s surprisingly close to me.

TrunkSpace: And that’s interesting because, here he is, a guy who can’t necessarily get out of his own way, and yet he’s one of the last few survivors of the apocalypse.
Flower: Yeah. The whole thing with Lance that was described to me was that he is the guy that should have died first, and for whatever reason, he didn’t. We all have that friend that for some reason, they just keep getting lucky and they just keep going, and they don’t even know why or how. They’re not even aware of it, but things just work out somehow. He (Lance) just has this crazy will to survive. And it’s kind of this idea of in this world, the heroes die quicker and the good people who stick their necks out, they die faster.

TrunkSpace: A series like this – where you’re surrounded by zombies and the apocalypse – it must present some pretty surreal moments on set, like standing at the crafty table with a member of the undead. What was the most surreal moment for you that you’ll carry with you through the rest of your life?
Flower: Oh, man. There was this awesome scene I got to do where it was just me. I get to walk out into the street where the great set decorators have made it this… there’s abandoned cars, and a car on fire, and windows smashed in, and all this stuff, and I just got to walk into this world. It was like I stepped out of the alley and there’s just this world of apocalyptic chaos. It was just this crazy moment that was so wild, and I get to play pretend like this. It was so much fun because they did such a good job in this tiny Alberta town. It’s quiet, and there’s chaos and bloodstains. It was just this crazy, surreal moment of like, “Oh, I just stepped into a video game and now I get to explore this new world.”

Season 1 of “Black Summer” is available now on Netflix.