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Being a professional wrestler – performing live in front of thousands of people at a time – prepared Robert Maillet for his career as a film and television actor. Even on his first project, the big screen, big-budget adaptation of the graphic novel “300,” the man once called Kurrgan in the squared circle was now perfectly comfortable taking direction from Zack Snyder and having all eyes on set fixated on him. Compared to the audience at an event like WrestleMania, the cast and crew of a film, even one as ambitious as “300,” couldn’t match the headcount of what he was used to working in front of while at the WWE.

We recently sat down with Maillet to discuss his latest project “Polar,” fighting an invisible enemy at his audition, and how his successful Oddities run at the WWE stemmed from dancing at an after-party.

TrunkSpace: Looking back over your career thus far, would 12-year-old Robert be surprised by how it has played out?
Maillet: Yeah, I think my 12-year-old self would be surprised because at the time, to be an actor, work as an actor – and also work as a professional wrestler – it was far away from my mind at 12 years old. And though I used a lot of my imagination at the time – I was a daydreamer and I loved movies and stuff – never would I imagine I would be in films.

It’s also not surprising, though. What I was doing at the time, when I was 12, I used to draw a lot… tell stories. Caricatures and stuff. I was into Conan, all the animated stuff – cartoons. Anything that inspired me, I would draw and tell stories, so I was kind of a storyteller, much like being a wrestler and an actor kind of have similarities.

TrunkSpace: And with your new movie “Polar,” which is based on a graphic novel, it has sort of come full comic-book-circle.
Maillet: That’s true. Funny though, a lot of the stuff I worked on, most of it is always based on comic books… graphic novels and comic books. “300,” my first big feature film I did is a true story, based on the true event of Frank Miller’s graphic novel. So, that’s fascinating when you think about it. That’s true.

TrunkSpace: A movie like “300,” or “Pacific Rim,” which you also starred in, and now “Polar” as well… they all have a visual element to them that make them feel like a live action comic book.
Maillet: That’s right, and it’s great to see that medium, that form of storytelling – comic book form – that’s so popular to translate into TV or films. Imagination can go anywhere – there’s no boundaries – so you can get some really great original stuff out of it. It’s really cool to see.

TrunkSpace: You mentioned being a storyteller even at an early age. Do you view the path of your career as one career, or was professional wrestling something separate than your on-screen acting? Because from an outside perspective it seems that professional wrestling could be a really great boot camp for on-camera acting because there is so much character work involved.
Maillet: For sure. And you’re right, I see my career as kind of the same path – the similarities between acting and wrestling. And wrestling has prepared me for being an actor, because when I was with the WWE for a couple years – my big break, of course – it’s very much is like show biz. The way the whole machine was run, the marketing machine and especially for TV stuff – when they were doing the live events and Pay-per-views and WrestleMania – it was very much show biz. You’re in character, you gotta somewhat have a script as well, you gotta know the finish and all that stuff. A lot of it is rehearsals and it’s all about storytelling – making sure the audience gets sucked into your story, gets connected with your character and what’s going on in the ring. That’s the basis for acting. It wasn’t a shock for me the first time I went on a TV set or a movie set. It was very familiar. And to me, because I was in front of a live crowd, in front of thousands of people every night, I was very comfortable being on set… being in front of the lights and in front of 50 people behind the camera.

I remember my first day on “300.” I was in makeup – five hours of makeup – and we did rehearsals for like a month prior to it. And then finally the day comes to shoot my first day… a big Hollywood feature film. It was a big deal so there’s, like I said, 50 people behind the camera just looking at you. Lights and camera are on you and you think, “I should be nervous.” It’s the one time I would have been I guess, but wrestling prepared me.

TrunkSpace: Was the success and interest of “Polar” a surprise at all? Even on IMDb it peaked at the top MOVIEmeter spot, which is not an easy feat with everything else out these days.
Maillet: It was. I remember reading the script and I remember doing the audition – it was over a year ago now, just before Christmas of 2017 – and I had no lines. I had no lines for the sides. And they wanted me to reenact a big fight with Duncan (played by Mads Mikkelsen) that would never happen in the film. They wanted me to reenact it, basically by myself, so I had to pretend I was fighting somebody else who was invisible. (Laughter) The whole scene was described basically as I stab him or shoot him and then I punch him and I fall into a barn and eventually he gets swept into the barn and kills me. So I had to reenact the whole thing.

So I used my wrestling background, my acting background, to use my imagination and I hadn’t heard from them for over a month. And then a month later, January of last year, they offered me a role because they loved my performance. And when I read the script, it was in your face, I mean, they weren’t pulling punches in that film. And I knew it was gonna work because I loved those kind of films. That’s my genre, as a fan. It’s so different and unique and I like it when they’re not afraid to show the audience. It’s a great way to shock. I love that stuff.

TrunkSpace: For the viewer, the end result is always the most memorable part of a film or TV show, but for you, we would imagine it’s the process. What will you take with you through the rest of your life – the thing that will stay with you – from shooting the film?
Maillet: Well, I think it’s the friends… the people you work with. I got close to the group, to the A-team. We got really close in filming. I had a great time with the people. We really got along very well, and I think it shows on film. It was so fun to work with all of the actors and the crew, especially with Jonas Åkerlund, the director, he was so nice and so open to our ideas. He’s easy to work with.

It’s funny with Mads – great guy, he’s a cool guy – I met him prior to that, maybe four years ago now, for a HorrorHound convention in Indianapolis four years ago. We were represented by the same convention agent, so after the event we would all go out, a group of us, to eat supper, including Mads, and so we got along very well that weekend. We started taking selfies together. (Laughter) Unbeknownst to me, four years later, I’m chasing him around the woods. It was kind of cool.

TrunkSpace: We talked earlier about how you were always a storyteller. You’ve been involved in some pretty wild storytelling in film, but are those the wildest storylines you’ve been involved with, or did your days in professional wrestling lead to more crazy things happening with you from a narrative standpoint?
Maillet: I think professional wrestling. At the time when I was there, it called the Attitude Era. They were pretty risky with the stuff they were trying to do. They had a wrestler who had a porn actor gimmick, behaving like one of those you see on www.hdpornvideo.xxx.

TrunkSpace: Val Venis, right?
Maillet: Val Venis! But see, he worked that gimmick so well and he was this natural, great talent and he made it work. Not a lot of guys would have made it work.

At the time, it was very risky and I was afraid they were going to do something with me… something that wouldn’t be comfortable, which, in a way, they did. They put me in as this drooling monster, the evil Kurrgan who destroys everything, and then they pitched me the idea to do this fun-loving… The Oddities. I remember I was at home and I got a call from Vince Russo… not Vince McMahon… the head writer. And he never called. He never called my home before and I was like, “What the hell is going on?” (Laughter) I was kind of in limbo at the time. They weren’t sure what they were doing with me, with the whole Kurrgan thing, and then he pitched me the idea of this fun loving group, dancing and having fun while dressed up in tie-dyed goofy clothes. The whole thing was to introduce ourselves singing Miss America dressed up in tuxedos.

So, he didn’t see my face – my initial reaction while he was pitching me that – but I was basically saying no to myself. But I said yes of course. It was probably the only opportunity I would have to be with them. They would have let me go, probably, if I said no. So yes, it was very uncomfortable at first, doing that thing, because it was out of my norm, but it worked because it got over. The guys got into it. They got some great music from ICP and it got over. We got busy… really busy for a year. We did Pay-Per-Views, magazine covers and video games. So it worked, but it was not my thing to do, dancing in front of a crowd.

TrunkSpace: Unexpected lightning in a bottle.
Maillet: What happened was – this is a true story – there was a WrestleMania after-party in Boston back in ‘98. We could bring our wives with us, so I brought my wife. My wife, she loves to dance, so of course she wanted me to dance with her on the dance floor at the party. I should have known because there’s a lot of male wrestlers not dancing and they’re looking at me, staring at me. They couldn’t believe this dancing giant. So then Vince McMahon was there and saw me dancing and he couldn’t get the idea of me dancing out of his mind, so the whole Oddities thing came about.

“Polar” is available now on Netflix.

As a lifelong comic book fan, model-turned-actress Lovina Yavari is having to pinch herself with her recent track record of on-camera roles. Not only is she starring as Junkie Jane in “Polar” for Netflix, but she will also be appearing in the upcoming film “Shazam!” based on the DC Comics character of the same name and in Amazon Prime’s “The Boys,” adapted from the comic book series by Garth Ennis and Darick Robertson. It’s a pop culture-palooza of celluloid sequential success and it’s exactly what she always wanted.

We recently sat down with Yavari to discuss how her look is suited for the modern on-screen landscape, Instagram blow-ups, and what her career best-case-scenario would look like.

TrunkSpace: From an outside perspective, it seems like you are single-handedly taking over comic book adaptations in 2019. Not only are you currently starring as Junkie Jane in “Polar” on Netflix, but you’ll also be appearing in “Shazam!” and “The Boys.” Was this part of a masterful adaptation domination plan or a comic book coincidence? Does appearing in projects based on comic books and graphic novels appeal to your own personal interests?
Yavari: This was actually EXACTLY what I wanted so it’s surreal as hell. I grew up reading comic books – I loved anything by Grant Morrison, Alan Moore, Brian K. Vaughan, Joss Whedon, and Warren Ellis. It’s the best feeling in the world to be immortalized in these fictional universes. I never stop fangirling about it.

TrunkSpace: If we can spend some time talking about Junkie Jane… first, “Polar” is visually such an interesting film and sort of speaks to the future of mass market distribution. To us, this is a movie (along with “Bird Box”) that will make studios wake up and go, “Okay, maybe we don’t have to be in theaters anymore.” As an actress, do you feel like you’re working at a historically significant period within the industry where the new guard is replacing the old in terms of how things were once done? Can you see the change happening from your perspective?
Yavari: Oh yeah, I definitely see it. I feel like I joined the industry at the perfect time – there’s more diversity, better roles for women, more opportunities for actors and social media. I can create my own content and build my brand instead of waiting around to be discovered. Ten years ago someone that looked like me wouldn’t have had a chance in hell to be seen for auditions. It’s only been the last couple years that the industry has been stepping away from casting the classic Hollywood beauty types and actually taking more risks.

TrunkSpace: Once “Polar” hit Netflix, how soon after did you feel its impact? How long did it take for fans of the film to track you down on social media or for your rise on the IMDb STARmeter to take you by surprise? (Currently sitting at 191!)
Yavari: The “Shazam!” teaser trailer was released the same week “Polar” dropped, so my Instagram blew up immediately. I felt like I logged into some alt universe.

TrunkSpace: For the viewer, the final product is always what’s memorable when it comes to a film or series, but for those working on the project, we have to imagine that it is the experience that stays with you. For you, what was the most memorable aspect of getting to work on “Polar” and slip into the Junkie Jane persona?
Yavari: Working with my SPFX makeup artist Traci Loader. She applied all the tattoos and track marks on my character. Funny fact, I started out in film as a makeup artist, and was once her assistant years ago. So it was crazy as hell to bump into her on set and find out she was my makeup artist. Since she knew I had a makeup background, she let me help apply my character’s tattoos. I even chose all the placements for them. All the tattoos I picked out told a story on my body, giving them meaning helped bring Jane more to life. That process helped the most.

TrunkSpace: We recently chatted with a number of your “Polar” costars, including Fei Ren and Josh Cruddas. One of the things that was a constant between every conversation we had was just how welcoming and creatively-inspiring being on this particular set was. Did you have the same experience? Was the “Polar” set one that you hated having to walk away from?
Yavari: Hands down, both the cast and crew were such a pleasure to collaborate with. Jonas was such a cool director – I had no idea I was already a massive fan of his work until I met him. He directed so many of my favorite music videos. He has such a laid-back and welcoming attitude. He trusted me to portray Jane how I wanted. I was given a couple guidelines, but had free reign to do whatever. I know experiences like that are rare in this industry, so I’m insanely grateful for it.

TrunkSpace: You’re also a model. Are there challenges to trying to cross over into the world of acting in that, do you find that casting directors view you as a model who wants to act, as opposed to an actress who happens to model?
Yavari: I feel like modeling helped me secure a lot of gigs, especially since I first started out doing commercials and print ads. I also try to maintain a diverse portfolio so I could be seen for other roles that someone wouldn’t normally cast me as.

TrunkSpace: In a lot of your modeling shots, we see characters. We see you inhabiting a persona in the same way you would do an on-camera role. Do you approach modeling in the same way as acting in that, are you playing someone else when you’re taking part in a shoot?
Yavari: That’s exactly what I’m doing. I art direct and style all my photo shoots and one of the things I strive for is having my images look like stills from a movie or anime.

TrunkSpace: You’re still very early in your career but what has been a highlight thus far that you’ll carry with you moving forward?
Yavari: Oh man, being flown out to Cuba to work on a film. That was amazing. But honestly, every project I’ve had the opportunity to work on has been a highlight. It’s a constant reminder that working your ass off pays off. I’m eternally grateful for where I’m at and where I’ll be heading. I also have to give my agency, Hero Artists, massive props, too. They’ve been amazing with representing me and letting me be who I am, as opposed to trying to rebrand me into an existing artist. I get to be myself and work on projects I’m already a fan of. It’s unreal.

TrunkSpace: Give us the best of your best case scenarios. If you could pave your own career path, what would that route look like? What would be the ultimate dream?
Yavari: Work on “Star Trek,” have an action figure of my character and a comic book series (6-issue run with cover art by Junji Ito), voice for 30 video games and two abridged Shonen Jump anime series with 300 filler eps so I’ll never be out of an acting job, go to comic cons and do signings. Own a clothing, robotics, makeup and motorcycle company. Travel the world. Get my pilot license. Win an Oscar.

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?
Yavari: Nah, I already know where I want to be in life. Anything that happens on the journey there is a bonus.

“Polar” is available now on Netflix.

“Shazam!” is in theaters April 5.

Featured image by: Angelo Manalac/Shirt by: Jon Lam/Location: E Blue E-Sport Stadium

With the new Netflix movie “Polar” being so stylized and visually enticing, actress Fei Ren had the freedom in making her character Hilde her own. Adopting a soft look with her makeup over one eye and a harder look with the other, the asymmetric approach not only fit into the aesthetic of the film, but allowed her to tap into her character’s backstory and discover the A-team assassin’s duality.

“It’s a great creative playground because I had the option to make the character larger than life and explore it artistically.”

We recently sat down with Ren to discuss Hilde’s spirit animal, the film’s on-set atmosphere, and how acting was never part of her original game plan.

TrunkSpace: “Polar” is based on the webcomic/graphic novel of the same name. Comics continue to be a well that Hollywood taps, both for film and television adaptation. As an actor, what is it like having that source material (and existing audience!) available to you, but at the same time, not having the pressure of stepping into a brand that the masses have been exposed to yet, like a Spider-Man or Batman?
Ren: Finding Hilde and her layers was almost no different to working on any other characters. I think that with “Polar” being such a stylized graphic novel without words, I had lots of room to fill in the blanks of her backstory. It’s rather freeing. In acting, there is a saying that the more specific you get, the more universal and relatable your character becomes. I imagine that no matter how large a fan base a character has, our job is still connected to the human core and to make it our own. Pressure from the public will always be there, but when you are creating art, you can’t do it to please everybody’s idea of the character. You have to make it your own and step into that skin and become it.

TrunkSpace: The original comic was very stylized as you mentioned, and what’s great about the film adaptation is that a lot of that is carried over in terms of how it’s shot and the use of color. Visually, what makes the work you did on this project unique in comparison to previous roles?
Ren: It’s highly stylized and very edgy. It’s a great creative playground because I had the option to make the character larger than life and explore it artistically. The makeup, hair and costume department did such an amazing job creating my look. And working together as a team, I ended up discovering some of the character’s history. For example, the different makeup on each eye. It started as we were doing testing makeup on different eyes, and the whole team ended up loving the asymmetric look. So, Hilde had one soft look on one eye, and a harder look on the other, which worked with the hair too! The look inspired me to discover Hilde’s duality. Hilde’s past being soft and feminine didn’t serve her well in that world. Hence, she becomes the hardcore, sleek, efficient killer you see now. She only lets down her guard in front of Blut. So, every day, her soft eye is a reminder to her to stay focused and her hard eye shows her determination. Overall, it was plenty of fun because we were given room to create and explore!

TrunkSpace: From the outside looking in, this was a physically demanding project to be a part of. How did you prepare to slip into the butt-kicking shoes of assassin Hilde?
Ren: I had a personal trainer for kickboxing and did yoga daily. The production also gave me thorough gun and safety training for an entire week, so the weapons became part of my body. Listening to hardcore heavy metal music also helped me slip into Hilde’s mental space!

TrunkSpace: When you learned that you had been cast as Hilde, what aspects of her were you most excited to bring to life and did that change the further into production that you got? Did you discover new things about her that you ended up enjoying more than you would have expected?
Ren: When I first got the role of Hilde, I loved the idea that she is cocky, masculine and savage. I imagined her spirit animal as an ape. Then the chemistry of the “A-team” being so playful and family-like, Hilde becomes a black panther. She is sleek and economical with movements when she is hunting. She is protective of the A-team, playful at times and holds them together when necessary. So, she is still intense, but has more colors and shape, which is more fun to play!

TrunkSpace: For the viewer, the most memorable part of a film or television series is the end product, but for those involved in it, we would imagine it’s the experience. For you, what aspects of working on “Polar” will you carry with you through the rest of your career and life?
Ren: The grounded passionate energy of the people in the film’s crew. Rumor has it that some Hollywood stars and directors are tricky to work with. I had an excellent first-hand experience! On the set of “Polar,” there were no egos and no games. Everyone is passionate about the work, and not taking themselves too seriously. During lunchtime, we all got together and joked around, ate, talked about the scenes, and we all come from different parts of the world, so we shared stories. The production was in the winter, and sometimes the days got long and freezing cold. Shooting a movie is not easy, so having a great ensemble makes a huge difference!

TrunkSpace: From what we understand, your career in the arts began after you started modeling. Did pursuing modeling ultimately inspire you to change direction with your life and take a path that you may not have walked otherwise?
Ren: Oh, totally! I was so nerdy before I started modeling. My world view was my parents’ vision: get a degree in accounting or finance, get married at 25 and have babies. I didn’t know what I wanted, let along dare to dream of pursuing arts. Growing up trained in dancing and painting, I always liked arts and performing, but to think this passion could turn into a career path was seemingly impossible. My family is made of scientists, engineers and professors. They appreciate art as leisure, but never considered it as a job. Getting into modeling, traveling and starting to discover different artistic expressions freed and empowered me in so many ways. It awakened parts of me that had been suppressed. In modeling, I learned to take control of my own destiny, follow my passion, persevere in learning, which becomes essential for building my acting career.

TrunkSpace: You’ve been acting for about five years now. In that time, what is the biggest lesson you’ve learned either on set or in the midst of a job that you find yourself applying to all of your work moving forward now?
Ren: There is a balance in owning your character work and allowing it room to grow by collaborating with your team. You have to trust your instinct and allow yourself to play. I think filmmaking is such a collaborative art form. There is the initial audition, but once you’re on set, your role usually evolves and deepens or deviates quite a bit from your original idea. It’s important not to hold on to the idea of what you think your character should be, but get into the whole skin of it, get into the body, allow your body and instinct to play, allow yourself to be in the moment. It’s where the best work lives. On the other hand, though, you have to take ownership of your work. Sometimes people have inputs and ideas on what they think your character could be. It can be confusing if you take all the suggestions. So, you need to find a balance, trust what you’re bringing as long as you serve the true intention behind the story you are telling.

TrunkSpace: You’re also a director. Do you think having that perspective makes you a better actor and does knowing what an actor needs from a director make you a better director?
Ren: I believe they complement each other. When I am directing theater, I often use my own acting tools to help actors find the emotional truth of the characters and get very specific with relationships and intention in the story. Directing and coaching other actors can help me understand my own acting better. That said, I find it’s often still easier to bring other actors to do their best job than it is to direct yourself.

TrunkSpace: You have a passion for the theater. In terms of acting, does the stage give you a different experience personally than when you’re performing in front of the camera?
Ren: Very different in many ways. In theater, the effect of your work is immediate, there is an energy feeding back and forth from the audience. It’s electrifying. Especially in comedy, the laughter and energy of the audience become part of the play. Also, in theater, you live the character’s whole arc at once, without cut and reset. It feels more complete during performing. With film acting, lots of times there are hundreds of people around the set and when the director says action, it’s on. You’ll record a scene multiple times, from different angles. You experience the character in chunks and the challenge lies in staying focused, ready and keep discovering it moment to moment, takes after takes, with all that’s happening around you. Both are exciting and require you to show up and be present, put ego aside and serve the character and the story. And both are satisfying when you feel or see the impact and joy you brought to your audience at the end of the day.

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?
Ren: (Laughter) Maybe not! Life is magical, and I don’t want to know how the magic worked, and then watch the magic show. It would ruin the fun. I want to experience it moment to moment!

“Polar” is available now on Netflix.

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 Chris Conner, star of the new film “The Harvesting,” which is available now on DVD and Digital HD.

We recently sat down with Conner to discuss the horror of isolation, playing in the fantastical worlds he loved as a child, and inventing Edgar Allan Poe.

TrunkSpace: The isolation of farmlands has been terrifying us since we first saw “Children of the Corn” way back in 1984. When you initially read the script for “The Harvesting,” what was the potential that you saw in it? Was it psychological? Was it jump scare-based? Something else entirely?
Conner: Yes, psychological. I think it was the feeling of isolation. It seemed that this family was at a breaking point and instead of communicating and working together, Jake retreats to the country. The farmland should be a place of quiet solace…

TrunkSpace: In the film you play that man, Jake, a husband and father who is enthusiastic about the idea of getting “away from it all” as he heads out to the country with his family. Is part of the terror in a film like “The Harvesting” the idea of helplessness as a parent to protect the family, because as parents ourselves, that’s certainly the vibe we felt in watching the trailer?
Conner: Sure. And the need to reconnect with our own childhoods through our children. If they can see where Dad grew up maybe they will understand him better. If everyone could just slow down and listen, the family could be saved.

TrunkSpace: Isolation certainly increases the creep factor in a horror film, but how does it impact production? In shooting the film, were you just as “away from it all” as the fictional characters themselves?
Conner: We weren’t too isolated as a production or as actors. It was made on a shoestring so we all were a big messy family shooting it. Dan (Shultz), our producer, was a little like Jake in the film, just keeping the family together.

TrunkSpace: What was it about Jake that you wanted to help bring to life? What aspects of him did you have the most fun inhabiting for the duration of the production?
Conner: It’s fun to play in the horror genre in general. Playing into certain tropes or against them is always a good challenge. And young dad roles are a new thing for me, so it was fun with the kids as well.

TrunkSpace: For the viewer, the final product is always what’s memorable when it comes to a film or series, but for those working on the project, we have to imagine that it is the experience that stays with you. For you, what was the most memorable aspect of getting to work on “The Harvesting?”
Conner: Lancaster, Pennsylvania is a beautiful part of the country. I’ll always remember the rolling hills and the kind folk there.

TrunkSpace: Horror as a genre seems to have a built-in audience. Is it appealing working on a project knowing that, in a way, you’re going to have eyes on it based on the interest in the genre as a whole?
Conner: Totally. I recently wrote a western and that is exactly why I did it. You watch things growing up and you want to play in those worlds. Sci-fi, horror, westerns – all those genres are places I want to play. They have an audience AND I’m a big fan.

TrunkSpace: We loved your character Poe in “Altered Carbon” and we were sorry to see him – spoiler alert – go. Is that one of those roles that comes along and you instantly know it has the chance to be special from a performance standpoint?
Conner: Yes and no. Poe wasn’t in the books and we had to “invent” him as we went along. Really great writing helped with that. And it seemed to click for me.

TrunkSpace: What has been the highlight of your career thus far?
Conner: Poe in “Altered Carbon.” It’s a really special character. And my first time getting to contribute more of myself in something that ends up on screen. You mostly get that in the theater, but I got a chance to do it on a really big Netflix show and that is just awesome.

TrunkSpace: Is there a character that you portrayed – perhaps even in a guesting capacity – that you wished you had more time to spend with and explore further?
Conner: Most everything I have ever done! A lot of TV and film gets rushed and I always think about how I would have done it differently. But then you gotta move on and be in the moment for the next story to tell.

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?
Conner: Naw… I think being surprised along the journey is so cool. I turn to my wife all the time and say, “How did we get here?!” It’s been a helluva ride so far and in 10 years I’m sure I’ll be shocked at where I am.

Hopefully, in a good way.

“The Harvesting” is available now on DVD and Digital HD.

After reading the script, Josh Cruddas fought hard to be a part of “Polar” – the new Netflix film based on the graphic novel by Victor Santos –  so hard in fact that he worried that he may have come on too strong when he first met with director Jonas Åkerlund and producer Jeremy Bolt. Calling the screenplay the most “exciting, badass, funny and promising” he had ever read, the Nova Scotia native’s tenacity paid off and he was cast as the assassin Alexei, proving that talent, when mixed with passion, is a powerful combination.

We recently sat down with Cruddas to discuss the universe he’d sell his car to be a part of, the terror of being trained in terrifying weaponry, and the unexpected benefits of his career as an actor.

TrunkSpace: “Polar” is based on the web-comic/graphic novel of the same name. Comics continue to be a well that Hollywood taps, both for film and television adaptation. As an actor, what is it like having that source material (and existing audience!) available to you, but at the same time, not having the pressure of stepping into a brand that the masses have been exposed to yet, like a Spider-Man or Batman?
Cruddas: To me, it’s incredibly exciting. New, quality IP in film is hard to find these days, with the traditional studio model less likely to take big-budget risks on content without a big built-in fanbase. I think Jeremy (Bolt), Keith (Goldberg) and the other brilliant minds at Dark Horse and Netflix have really stumbled upon a gold mine in Victor Santos’ graphic novels; here’s a fantastic comic world begging for a film adaptation, compete with some die-hard fans, but underground enough that the rest of us can still be surprised by everything when we see the movie version. And for me, as the actor, I can rest a little easier knowing that nobody’s comparing my version of the character to, let’s say, Daniel Day-Lewis’ 1994 Oscar-winning version, you know? That all being said, I’d sell my car for a chance to be in a Marvel movie.

TrunkSpace: The original comic was very stylized, and what’s great about the film adaptation is that a lot of that is carried over in terms of how it’s shot and the use of color. Visually, what makes the work you did on this project unique in comparison to previous roles?
Cruddas: I got VERY lucky in this film to work with Jonas (Åkerlund), who’s a visual maestro, as well has his team of Pär Ekberg, Susie Coulthard, Lea Carlson and Emma Fairley. These people have created this brilliantly vibrant world that myself and the other actors get to live in. I think it’s a welcome rebuke of a lot of the grey, so-dark-and-shaky-you-can’t-even-see-the-fight-scenes cinematography style we see in certain big action movies and TV these days. The TV show I’m shooting right now is also very colorful too, but I’ve never done anything as stylized and sleek as “Polar” before. Usually the most colorful thing onscreen with me is the four strands of ginger hair I have left on my head!

TrunkSpace: The trailer definitely has that bad-ass, pump-you-up feel to it. Upon first glance, it’s sort of “Taken” meets “A History of Violence.” When you first read for the project, what excited you most about it and did it meet those first impression expectations when you called wrap?
Cruddas: I thought I had made a mistake, reading the screenplay before meeting Jonas and Jeremy last winter – it was one of the most exciting, badass, funny and promising scripts I’d ever read. So when I went to meet with them, I loved the role so much and was so desperate for the part that I thought I went completely over the top in my excitement for the job. Thankfully they gave it to me anyway, and I think the whole team (including our huge, incredible crew who worked longer hours and longer nights than I ever had to) really captured the magic I found in the script as we shot the film.

TrunkSpace: For the viewer, the most memorable part of a film or television series is the end product, but for those involved in it, we would imagine it’s the experience. For you, what aspects of working on “Polar” will you carry with you through the rest of your career and life?
Cruddas: Good point! There were a lot of memories I’ll take with me from shooting “Polar.” The A-Team (assassin squad) really bonded over the months, so we would go sing karaoke till the wee hours and post the results to our group chat… Johnny Knoxville once sank me in a game of pool by looking me dead in the eyes while he pocketed the 8-ball, and that kind of humiliation is something I’ll never forget. Also, being trained on the weapons was a terrifying and humbling experience – regular people like myself should have no access to those things! But more than anything, it gave me the confidence to play more action-oriented, stunt-heavy roles like this one in the future.

TrunkSpace: The film is a Netflix original. You also worked on “Cardinal” for CTV/Hulu, and will be appearing in “Wayne” for YouTube Premium. With so many platforms producing such incredible, character-driven content these days, how has that landscape opened things up for actors? Are there more opportunities today than there were even a few years ago?
Cruddas: Definitely. I was lucky to pop by on “Wayne” last summer and being in North Bay during the autumn for “Cardinal” was one of the coolest experiences of my career so far. It reunited me with my buddy Billy Campbell who was my first on-screen “dad” in “Copperhead” for Warner Bros back in 2012. So I don’t know if it’s just that I’ve finally figured out how to not be the world’s worst actor, or if there’s just more opportunity with Netflix’s incredible investment in Canadian productions and all these new streaming services (my next show is for another new streaming service) – but I’m just grateful to be working!

TrunkSpace: You’re also an award-winning music composer whose work has appeared in numerous projects. How do you balance your creative interests and do you view them as separate paths or one continuous path with different stops along the way?
Cruddas: I was super lucky that my parents decided to enroll me in piano lessons when I was six. I had an incredible teacher named Diane Krochko who didn’t punish me for not wanting to just play Mozart all the time. She actively encouraged creativity, along with a lot of other mentors in my early life, including my parents who home-educated me and my sisters who appeared in short films myself and my friends used to make. I think all of those experiences and people guided me to where I am hopefully going now, by giving me the chance to play – both musically and onscreen.

TrunkSpace: Creative people are always their own worst critic. Are you harder on yourself as an actor or as a musician?
Cruddas: Probably as an actor. But it’s fairly equal. I often think while I’m working on something that I’m the worst actor who ever lived and I’d be better off switching careers as soon as the cameras stop rolling. It’s only when I get up the courage to watch my work after it comes out that I realize it’s not abhorrently bad and I convince myself to keep at it. Musically, sometimes I’ll spend hours on four bars of a theme because it’s just not feeling right, but then I’ll often get carried away by the emotion when I’m writing – if I can make myself cry with a few notes, then I hope it can do the same for the audience.

TrunkSpace: What has been one of the most unexpected benefits of a career in the arts that you’ve experienced, but could have never anticipated when you first set out to pursue your dreams?
Cruddas: Cool question. Probably passing along the few things I’ve learned along the way. One of the greatest privileges of my life is my role volunteering at SickKids hospital in Toronto, reading stories and singing songs in the library there. I’m also very lucky to teach at a children’s performing arts/triple threat school called Stagecoach in Canada, and I never thought I’d enjoy that job as much as I do. I had turned down numerous teaching gigs in the past because I thought I’d be rubbish at it, but my talented friend Emma Smit convinced me to take over her class one day five years ago, and I’ve never looked back. I’m quite sure teaching acting has made me a better actor, and the kids keep me grounded – anytime I have to cut my already-receding hair for a role, I step into the classroom and get roasted more thoroughly than a Thanksgiving turkey.

TrunkSpace: What has been the highlight of your career thus far?
Cruddas: That’s a difficult one! “Polar,” “Cardinal” and “Copperhead” are up there, as well as a film called “Duet” that I made a couple years ago with my best friend since age six, Andrew Coll. When I heard a violin section play music that originated in my head for the first time on a film called “10000 Miles,” that was insanely special too. And the project I’m shooting right now is extremely close to my heart but I’m not allowed to breathe a word about it or I’ll be dragged through the streets by my hair.

Hmm. I think more than anything, just being able to do what I love for a living is one of the greatest feelings in the world, and it’s not lost on me how lucky I am to be able to do that.

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?
Cruddas: Great question. I think I’d want to keep my career a surprise for future Josh (hopefully I still have one), but I would love to see the state of the world in 10 years. We’re in a scary, pivotal spot right now, with social media, fear-mongering and gerrymandering the enemies of truth, democracy and our planet at large. I hope more than anything that in 10 years, we’ve invited empathy and facts back to the table, and we’ve started letting smart and compassionate people make the decisions again.

“Polar” premieres Friday on Netflix.

Annette Reilly is seizing the day. The talented actress and director has overcome daunting obstacles on her quest for creative fulfillment, including a life-changing battle with colon cancer where she discovered silver linings in even the darkest of clouds.

The Alberta native can currently be seen starring as Sabrina’s mom, Diana Spellman, in the hit Netflix series, “Chilling Adventures of Sabrina.”

We recently sat down with Reilly to discuss raising a teenage witch, instantaneous celebrity, and why her biggest hurdle in life was also her biggest blessing.

TrunkSpace: Raising teenagers isn’t easy. Raising a teenage witch… well, that’s well beyond our pay grade! For those who have yet to binge their way through “Chilling Adventures of Sabrina,” what kind of mother is Diana, and how has she influenced her daughter? Where do we see Diana’s impact the most?
Reilly: Diana, to me, is a strong willed yet gentle mother. She’s a bit of a mama bear. She’s protective of her daughter and will do anything to keep her safe. I think Diana, being mortal, is a huge influence on Sabrina. I mean, Sabrina was raised by witches. Her struggle is largely to reconcile the two sides of herself, mortal and witch, the mortal side being represented by Diana.

TrunkSpace: The series has been receiving an incredible response from fans. What has the experience been like for you, seeing it released into the world and watching the Season 1 reactions occur in real time?
Reilly: Oh my gosh. It’s been unreal. I wasn’t sure how the show would be received, and to be totally honest, didn’t really even know what I was getting into when I was cast. There was a fair bit of secrecy surrounding it at that point. The reception has been beyond anything I was expecting.

TrunkSpace: Being involved in a series like “Chilling Adventures of Sabrina,” does it have an instantaneous impact on your career as a whole? Does the buzz of one project lead to more doors opening on other projects?
Reilly: I would say, in general, yes. There comes an instantaneous “celebrity” status of sorts. I think, as a whole, the more you can get your name out there as an actor, the more rooms you can get into and, as a result, the more roles you end up getting cast in.

TrunkSpace: The series intro is fantastic. It’s nostalgic, and yet modern at the same time, while instantly setting the tone for what the viewer is about to watch. When you first read for the series, did that tone come through? Could you get a sense of what the series was going to look and feel like?
Reilly: Oh! Isn’t it wonderful?!?! I absolutely adore the opening. I saw it for the first time at the premiere and looked over to my partner and mouthed, “OMG.” It satisfies all my comic book fandom needs.

As far as the tone of the show goes… as I mentioned, there was some secrecy surrounding the project when I first read for the role of Diana. Looking back to the audition, I would say yes. The tone was definitely there when I first read. I really had no idea what they would do with it all though. For instance, the lenses they use to shoot this series are insane and give the show such a unique look. I could never have imagined what those would bring to the overall tone.

TrunkSpace: Your character’s future is a bit in limbo – literally. Do you yourself know where her future story is heading, or at this stage, is it just as much a mystery to you as it is to the fans of the series?
Reilly: This is TV! No one ever knows where the story is heading! (Laughter) Ok, I’m sure Roberto (Aguirre-Sacasa) has a pretty good idea… but it’s a mystery to me!

TrunkSpace: For the audience, the most memorable aspect of a series is the finished project, but we would imagine for you, it’s the process of seeing it all come together. What was the biggest highlight of being involved in the series thus far – the moment that you’ll carry with you through the rest of your life/career?
Reilly: Oh gosh. There’s so many highlights. I’m really not sure I can pick just one! Doing the floss with Bronson Pinchot, Miranda Otto and Lucy Davis, all in a line, was a good one. I never in a million years thought that would happen. I’ve also developed a wonderful relationship with Georgie Daburas, who plays Edward, Sabrina’s dad. I’m always grateful when a friendship comes out a gig. But, the biggest highlight for me is actually something I can’t talk about yet. Stay tuned!

TrunkSpace: Chicken or the egg question. We know that you’re also a director and producer, so which love came first… was it working in front of the camera or behind it?
Reilly: My first love has always been acting. I started when I was a kid and knew instantly that it would be a part of my life forever. I started directing after I finished my acting degree and it was then that I realized I could use both my acting and artistic skills as well as my more logical, administrative side, all at the same time. They both fulfill me in very different ways. I’ve often thought that I should focus on one or the other, but I don’t have it in me to give up either. And then I do projects like my most recent short film, “A Typical Fairytale,” where I directed and starred (and also produced) and I realize that I CAN do both! Why not! Although, not sure if I would wear all three hats at the same time ever again. (Laughter)

TrunkSpace: What has been the biggest hurdle you’ve had to leap in order to get to this point in your career and what did you take from that experience that you apply to your career moving forward?
Reilly: My biggest hurdle was also my biggest blessing. I was diagnosed with Stage IIIb colon cancer back in 2011. I had surgeries, did chemo, the full meal deal. I’m not going to lie, it was tough. My daughter was a toddler at the time. There’s nothing like trying to potty train while you’re doing rounds of chemo. (Laughter) I learned a lot about myself from that experience. I truly believe that there is a silver lining to every dark cloud, if you choose to see it. My silver lining was that I discovered what I needed to do to live my truest life. I discovered my self worth. I discovered how fleeting this life can be and that I should seize every opportunity. That’s basically how I’ve been living ever since and it seems to be working for me!

TrunkSpace: We read that you love high level math, which is a skill set that probably helps in the role of producer, particularly when it comes to staying on budget. What are some other skills that people need – beyond the creative – to work in this industry?
Reilly: A tough skin. This is show BUSINESS. A strategic mind and tough skin will help more than you can ever know. You can’t take things personally, or you’re done. Especially as an actor.

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?
Reilly: Heck no! I’ve seen enough “Star Trek” episodes to know better than to mess with the space-time continuum. Also, I enjoy the adventure of life. Knowing an outcome before it happens takes the fun out of the journey. And why are we all here if not to enjoy the journey? I’ve been face to face with the end game. I’m good just riding this out as long as possible and enjoying every minute of it.

Season 1 of “Chilling Adventures of Sabrina” is available on Netflix now.

 

There is a lot to get lost in when sitting down to binge the Netflix series “The Haunting of Hill House,” a family drama/horror hybrid based on the 1959 Shirley Jackson novel and reimagined by filmmaker Mike Flanagan. The element of the nail-biter that most enamored us didn’t come from the scares or the story itself, but instead, the performance of actor Robert Longstreet, who took a supporting character in handyman Mr. Dudley and turned him into a memorable piece of an already-stellar ensemble. His mesmerizing monologue in the episode “Eulogy” was not only a highlight of the series, but one of the finest pieces of dramatic acting that we have seen in quite some time.

We recently sat down with Longstreet to discuss how he nailed the monologue in only four takes, why he’s happy to be peaking in his 50s, and the reason he can no longer leave the house without showering.

TrunkSpace: This must be a bit of a wild ride for you, from when you booked the gig as Mr. Dudley to now. What has the experience as a whole been like?
Longstreet: It started out so crazy. I got this audition and had that monologue for two days and memorized it for the audition, and then I got a call in the car driving home that they had booked me a plane ticket. I was on a flight at 5:30 the next morning and then standing in front of the mansion with Henry (Thomas) the day after that, so it was just a whirlwind.

TrunkSpace: So the monologue was what landed you the part?
Longstreet: Yeah, it was between me and a couple of people, and Anne McCarthy (the casting director) sent the takes to Mike (Flanagan), and he chose me, which was incredible.

TrunkSpace: There’s been so much love on social media for that monologue. For us, it was easily one of the most moving aspects of the season…
Longstreet: Oh, thank you so much. Yeah, I’m so proud of it. It’s overwhelming because I’ve heard from people that I haven’t heard from in years who have seen it, and I’ve definitely gotten some offers, but I’m being picky and chasing good writing. It’s just been unreal. And I’m not on any social media at all. In fact, Mike was so generous – he read me some Tweets on set last week. He said, “Do a Twitter search. There’s love for you all over the place.” And I said, I don’t even know what a Twitter search is, Mike.” (Laughter)

TrunkSpace: Well, that’s probably not a terrible thing because whenever there’s love on socials, there’s always a corner of the Web filled with negativity just for the sake of negativity.
Longstreet: I’m sure, and that’s the Devil’s bargain of that – if you believe the good stuff, you have to believe the bad, too. If I agree with a bad review or someone says something shitty about me, it crushes me.

TrunkSpace: With this project and your work in it, we have seen nothing but good things being said.
Longstreet: Oh, I’m so glad. Thank God. Yeah, I would just dissolve. (Laughter)

TrunkSpace: You mentioned that you’re chasing good writing. With this project in particular, beyond your monologue alone, it seemed like a real actor’s project. Every actor had their moment, their own monologue, and it just felt like this was a piece that was written for actors as opposed to – and especially in the horror genre – the acting being an afterthought.
Longstreet: Right. Exactly, and those are the things that you just don’t care about. If you go to a movie and you watch 50 million people get shot and you’re not invested in any one of them, it just becomes a bore. But Mike is a real actor’s director and in a way that is kind of shocking. He’s trying to build an ensemble and a family, and he brings people back, and he says, “I’m going to give you something completely and utterly different the next time.” And you can trust him because he really does it!

And the way that he directs actors is with such gentle care. He sets it up so easy and talks to you so calmly and sweetly and is usually joking most of the time with you to try to relax you. He’s really cognizant of what actors need, and he just gives you only active direction. He doesn’t confuse you. It’s very brief, but really succinct. He just knows exactly what he wants and exactly how to make an actor comfortable to get it.

TrunkSpace: With that in mind, and going back to your monologue, was that always intended to be shot without cutaways? Was it always supposed to be JUST you?
Longstreet: Yes! I think there was a safety built into it in case it didn’t work, but that was four pages long, and we did four takes, and the fourth take is the one that’s in the show. He (Mike) came up to me after I had botched three of them… every time I got to the daughter, it was so painful, my mind would just blank out… and so he came up to me, and he said, “We’ve got it. We have got this thing, and I can cut to Henry and cut to his reactions and do it, but if you get through it once all the way, it’ll be art.” And I was like, “Well, hell, yes, let’s do that immediately.” Then we did it! He completely took the pressure off of me and said, “Let’s just do it again for shits and giggles.”

TrunkSpace: Another powerful moment that you delivered on was in the very last episode when you’re carrying your daughter out of the house. There’s just something about your body language that is… it’s such a gut punch.
Longstreet: Oh, it’s just brutal. It’s the weight of the world, and her dead weight is just sinking me down beneath the floor boards. That’s someone who’s lost everything. I feel so bad for the Dudleys. I really do. They’re just in hell.

TrunkSpace: For the viewer there was this sense of there being something ominous about the Dudleys right up to that point where you delivered the monologue in the basement. Was that always the intention?
Longstreet: That’d be a really great question for Mike. I think so. I think it was, to have them be a mystery. They’re kind of caught up in this whole thing, too, and they don’t have a lot of options. I mean, they live right there on the property! They’re old enough where I don’t see them being able to change careers or do anything different. They’re not nefarious, but they have to be very careful to dole out their information as well as they think that the current occupants of the house can handle it, or we’d be out.

TrunkSpace: Right. If you came on too strong, you’d be out on your butts and then you would lose that connection to your first born.
Longstreet: Definitely, and I actually think there’s a loving part of them that they’re the caretakers of the house and also trying to be the caretakers of the occupants of the house because they know how bad it is. They’re playing tricks with the magic of it. They know if they get out before dark, they’re away from all the evil. We try to encourage people to pray. We try to encourage people to do little, subtle things to try to get a little more light into that house. We just have to be very careful, or we’d be out, and we’re the police of that place.

TrunkSpace: What’s so interesting is that while most of the characters had their story arcs wrap up, in a lot of ways, the Dudleys ending was really just the beginning.
Longstreet: Well, I’d better get my old ass there just in time, too. (Laughter)

TrunkSpace: Don’t drive any vehicles too fast!
Longstreet: No! God, I’m being very careful until I can make it up there myself.

TrunkSpace: Has this series been a game changer for you? Has it altered the way you’re viewing your career moving forward?
Longstreet: Oh, it definitely has. It’s the biggest thing I’ve ever done, and I’ve made like 70-something movies. Probably in the first three days, as many people saw this show as had ever seen my entire career of movies. (Laughter) So it’s a game changer that way… and becoming friends with Mike. He’s someone that I genuinely love and trust now, so that’s actually the biggest game changer. And he put me in “Doctor Sleep” immediately. He said, “We’re going to work on a million things together,” and everybody says that, and I was like, “Yeah, right, right.” And then in four months, I was working with him again, so I will never doubt that man again.

TrunkSpace: We’ve seen people call you an overnight success, but with more than 70 movies under your belt, there’s nothing overnight about that. Is that a little strange to hear, knowing how hard and how long you’ve been working?
Longstreet: Yes, but I think it’s always that way for people. I’m starting to take off in my 50s, which is so… I guess that’s better than peaking in high school, but it feels so strange. It definitely feels like it’s kicked into gear.

I would say like it’s a Sisyphean journey, but I’m Sisyphus who finally learned how to keep the rock at the top of the hill.

TrunkSpace: Peaking in your 50s has its benefits. So much of the early, adolescent self-consciousness is gone, which probably helps in this business.
Longstreet: Yes, and thank God. I didn’t start working until I had bags under my eyes. I had no character before. I looked like a doll, I think, and nobody knew what to do with me.

TrunkSpace: So was acting always the plan? Was there a plan B?
Longstreet: No. I mean, I loved music, and I wrote a lot of songs, and I did that, but if I ever got discouraged with acting, I would go back to working with the mentally handicapped. I was a medical counselor, and I loved that because it was nothing about me. The emphasis was all off me, and I could get refreshed that way through other people and then get back at it. I’ve stopped for periods of time and I tried to live in Wilmington, North Carolina, and be a normal guy for five years, but I’ve never been more depressed in my life.

TrunkSpace: Creatives tend to have a gypsy soul.
Longstreet: Yes, and you can put as many blankets as you want over it, but that gypsy soul will burrow right out again.

It was something that… I dared to dream, and the negative critic that we all have in our heads told me it would probably never happen, but I couldn’t stop. I was just too in love with it.

TrunkSpace: And thank God you didn’t stop. Your story is very inspirational. It’s a powerful message for people not to give up on their dreams.
Longstreet: I hope so. I would love it if someone could look at it and feel the same way, because I literally… 10 years ago, I felt as lost as ever probably. But I started doing it myself. I started finding scripts and executive producing things and giving myself really good roles in independent film, and that’s really hard. I don’t think I ever want to produce again, but if I hadn’t have done that, if I hadn’t made my own venue, I never would have even gotten to now.

TrunkSpace: Is success scary? Can it all become overwhelming at times?
Longstreet: Yeah, it is. That’s why I stay out of it so much. I try not to read anything and just live my own small life and hopefully am not cognizant of all that, because I think anyone can get sucked up and wrapped up in that.

I had a couple people point at me in the Atlanta airport, and I was like, “Ooh, that’s going to be a new thing.” (Laughter) I feel like a paranoid person anyway, so maybe it’s probably equal. Maybe it’s just sort of like leveled out now. (Laughter) But yeah, it’s a little shocking. Now you can’t walk out of your house after not showering for two days and go anywhere. You’ve got to be a little more careful.

Season 1 of “The Haunting of Hill House” is available now on Netflix.

This October we’re focused on one thing and one thing only… watching as much horror-related programming as possible to prime the pop culture pump in celebration of Halloween. Our consuming will be taking place nightly, and while there’s no rhyme or reason to how we’re going about choosing our scary screenings, we’ll do our best to tell you how we did it so that you can watch them as well.

Title: The Curious Creations of Christine McConnell

Directed By: Not Listed

Starring: Christine McConnell, Colleen Smith, Michael Oosterom, Mick Ignis, Drew Massey, Adam Mayfield, Dita Von Teese

We Watched On: Netflix

Trunktober Approved Because: Part Food Network and part twisted “Fraggle Rock,” this is a series so quirky and unusual, it’s hard to imagine such a thing could even get greenlit, but we’re thankful it did. Imagine it this way… If Lydia Deetz from “Beetlejuice” created a show based on the writings of “The Handbook for the Recently Deceased,” and in doing so, became the Martha Stewart of the afterlife, this is what the show would look like.

Biggest Scare: This isn’t a scary show, but the elaborate curious creations that Christine cooks up in the kitchen are terrifying, mostly because we know our versions could never come close to looking as amazing.

This October we’re focused on one thing and one thing only… watching as much horror-related programming as possible to prime the pop culture pump in celebration of Halloween. Our consuming will be taking place nightly, and while there’s no rhyme or reason to how we’re going about choosing our scary screenings, we’ll do our best to tell you how we did it so that you can watch them as well.

Title: Cargo

Directed By: Ben Howling/Yolanda Ramke

Starring: Martin Freeman, Simone Landers, Anthony Hayes, Susie Porter, Caren Pistorius

We Watched On: Netflix

Trunktober Approved Because: We were leery of this film at first. We didn’t want to dig it, even though we love Martin Freeman in almost everything he’s in. Like bread left in the toaster too long, we are thoroughly burnt… when it comes to anything zombie-related. But then something incredible happened. Howling and Ramke make a zombie movie that isn’t about zombies. Sure, they’re there, heads in the sand, but really this is a film about family, desperation, and the most nerve-racking ticking clock we’ve experienced for some time.

Biggest Scare: For parents, especially those with little ones, the biggest scare is the premise itself because it makes you wonder what you would do if placed in the same exact situation. If you were in a zombie apocalypse, and you had been bitten, how far would you go to make sure your child was safe before you turned into the living dead and tried to eat them? Seriously, it’s scarring!

There’s so much to love about the Netflix series “Ozark,” and like a gift that just keeps on giving, Season 2 saw Trevor Long’s role in the captivating storyline expanded. That was great news for the Rhode Island native who plays Langmore crime family patriarch Cade, but it was even better news for the viewers because everything he brought to the screen was 100 percent binge-worthy gold.

We recently sat down with Long to discuss the many “Ozark” surprises, how he breathed life into Cade, and why you won’t find him sitting down with a psychic for career advice.

TrunkSpace: “Ozark” took a lot of people by surprise and had them binging like they’ve never binged before. Was the success of the series a surprise for you or did you know that you were involved in something special even in the early going?
Long: It was definitely a surprise. That said, in the back of my mind there was this feeling that this could be great. Just knowing how good the writing was and, of course, the talent they had lined up, but I was pleasantly surprised how it took off.

TrunkSpace: What about in terms of your character Cade – did you know his role within the story would be expanded heading into Season 2 or did that come as a pleasant surprise?
Long: I really didn’t know too much. However, Jason Bateman graciously hinted at it when I saw him at the premiere after Season 1. He basically said, “Get ready to work, you’re getting out of prison.” So, from that I knew I would be at least in it a bit more than Season 1, but I had no idea that I would be in it to the extent I was until about a month out from shooting.

TrunkSpace: As Cade’s story has expanded, what have you been enjoying most about his path and how that has impacted your day to day on set?
Long: I really enjoyed the colors they brought in his story out of prison. It was a lot of fun to explore this sort of wildness and unpredictability that Cade expressed. The writers gave me a lot to play with for sure. Being on set was like being with family. It was always a lot of fun, even if the material was really dark. We just had to have that lightness when sitting around and waiting. It was a lot of heavy material to live out.

TrunkSpace: We read that you did a lot of research to bring Cade that “Ozark” authenticity that seeps throughout the entirety of the series. What was it about him that you felt needed the research to get right, and what was the most difficult aspect of that journey?
Long: I knew Cade was so different than who I am on so many levels – someone who was so destructive and abusive to his daughter was something I certainly had to face inwardly in my imagination and interior emotions. But the outward physical aspects of Cade were what really propelled me to research. His accent, for instance, and even how he moved physically. I knew I had to have his rhythms right, so I tackled this by watching a lot of documentaries and even movies such as “Winter’s Bone.” I also read a lot of books by southern writers that depicted low lives in order to catch their essence and to color my imagination. I love doing this kind of stuff as long as I don’t become too lost in it. I take what’s essential. I guess the difficult part was to truly embody Cade in a very truthful and honest way that brought me alive.

TrunkSpace: Many of the scenes in “Ozark” are very heavy, and we would assume, could be emotionally draining for the performers involved. Did you have days where you felt like you needed to do an emotional download after a particularly rough day of shooting?
Long: Oh, of course. I did that by hanging out with the Langmore’s off set. We were like a very happy, funny, and dysfunctional family. We became very close. Laughter was essential to keep from burning out.

TrunkSpace: What’s great about the series – and Cade in particular – is that there is a lot of gray area with the character for the audience to fill the gaps on backstory and internal motivations. Was that a conscious decision, to leave bread crumbs for the viewers to follow on their own?
Long: To be honest, yes, but that credit really goes toward the writers. They beautifully kept the audience guessing, and myself as well. It’s such a privilege when the writing is that good to just let it take you where it wants to. I just got to keep it as simple as possible and stay out of the way.

TrunkSpace: What can you tell us about your new film “Seeds,” which if we understand it, you also produced? There’s some freaky imagery in the trailer!
Long: I can say it seems to be a pretty uncomfortable film to watch, and that is something we tried to achieve. I did help produce, but that really entailed bringing together a lot of elements that I had access to from many years in the business, such as people I could call on and bring in to help the process.

TrunkSpace: Seeing you in “Seeds” reminded us of our own high school wrestling days. Did you have to suck some weight to play Marcus in the film? Was that something that the script called for or was it a physical trait that you brought to the character through your own journey of discovery?
Long: (Laughter) That’s funny. Yeah, I felt I had to lose some weight. It was not indicated in the script, but I instinctively came to know that Marcus should not look like this healthy, fairly strong guy. So, I dropped down to about 155 pounds. Normally, I am about 185 pounds, so the weight loss was pretty significant for me. It did take some time to get into a proper weight-loss routine, but I could handle it well. I know products like these Proplant Complete Shake ingredients work really well to help regulate appetite and fast metabolism. However, I felt that this guy had to look and feel weak from his emotional decay and the actual physical anguish he inhabited. So, taking plant protein wouldn’t have helped me look weak! All of these things affect me as an actor in how I express another’s life. It can be as subtle as just a very different pair of shoes. I live for that kind of stuff.

TrunkSpace: The film takes place on the New England coast. We know you’re a New England boy. What is it about New England that makes such a great setting for horror films/thrillers? It just seems like a regional staple for genre projects.
Long: That’s an interesting question. I’ve never really thought about that, but now that you mention it I will start to. Maybe it’s that it has all those puritan roots, and there are certainly a lot of woods, and New England, as you know, in the winter can look and feel pretty downright depressing… spooky even.

TrunkSpace: Time machine question. If you could jump ahead 10 years to see what your future/career held, would you take the trip, and if not, why?
Long: Really? That’s tough. I would have to say no. I’m very impressionable. If a psychic tells me I won’t work as an actor for the next three years, I would spiral into depression. I’m also a firm believer that everything unfolds in the only way it can at that particular moment, no matter how much we think we are steering the ship. It will be whatever so-called destiny has mapped out for my career 10 years down the road. I’m always in favor of being surprised.

Seasons 1 and 2 of “Ozark” are available for streaming on Netflix.