Doug Jones — aka the Faun and the Pale Man (scrawny Shar-Pei-thing with hand-eyeballs and evil grapes) in Pan’s Labyrinth, Abe Sapien in Hellboy, other strange things in just about each other Guillermo Del Toro project, and Bette Midler’s zombie ex-boyfriend in Hocus Pocus — lately did an interview with Collider, and spoke about his role in an upcoming del Toro film. Given that the information of said movie, titled The Shape of Water, have largely been kept secret, the interview revealed a excellent deal much more than was previously identified of the project.
What was previously recognized is quite considerably what’s there on the IMDB page: beyond Jones, its cast includes Sally Hawkins (quite good commence), Michael Shannon (the good continues), Octavia Spencer (yup, great), Richard Jenkins (also great), and A Critical Man‘s Michael Stuhlbarg (so that’s 6/6 for a cast of fantastic character actors), and it’s“an other-worldly story, set against the backdrop of Cold War era America circa 1963.” In his interview, although, Jones makes it clear that one particular of the the factors that earns the “other-worldly” description is that he’s not specifically playing a man (as usual), but rather a fish man:
I’m a fish man that is kind of a one particular-off. I’m an enigma, nobody knows exactly where I came from I’m the last of my species so I’m like a all-natural anomaly. And I’m getting studied and tested in a U.S. government facility in 1963, so the Russian Cold War is on, the race for space is on, so there’s all that backdrop and that undercurrent.
He notes that mentioned fish-man — like so several mutant movie humans prior to him — is currently undergoing government tests for use in the military (or, significantly less frequently, for space travel). The government is attempting to hold the piscine technology a secret from Russia. Sally Hawkins, he explains, plays a cleaning lady who gets entangled in a really like narrative with the fish-man. Jones says, “She comes and finds me, has sympathy on me, and then that is the story that you’re actually gonna adhere to with this entire backdrop.”
Collider notes that the fish-man theme had currently been rumored, but people had assumed that Shannon would be playing that starring function — so we’ll have to see what sort of creature (or, sure, anything’s feasible — human) del Toro has up his sleeve for the actor. For those who’ve been waiting for a return to the historically-interested fantasy/horror noticed in Pan’s Labyrinth and The Devil’s Backbone, this statement from Jones ought to further pique your interest: “It is artfully and beautifully [produced]—if this does not end up with Guillermo back at the Oscars, I will be surprised. I will be very surprised.”
Jones as Abe Sapien in ‘Hellboy’
Uproxx notes the similarities amongst TheShape of Water character and Hellboy‘s Abe Sapien, who was also played by Doug Jones (though he was voiced by David Hyde Pierce), and was likewise a fish-man stuck in a government facility. Even so, even on the off-chance that The Shape of Water actually sees Jones reprising that role, it seems like, no matter what it is, this won’t be anything resembling a classic superhero movie: “It’s not a sci-fi [film], it is not a genre film, but I am a creature in it,” he said.
This previous weekend, Flavorwire posted about how Jennifer Lawrence would be playing writer/artist Zelda Fitzgerald in a film adaptation of Zelda, Nancy Milford’s bestselling biography. That project is becoming created by Ron Howard, “with an eye to direct,” according to the Hollywood Reporter, and here we are once again, now writing that Scarlett Johansson will also be playing the 20s icon in a separate project called The Gorgeous and the Damned. (Oh, and also, it should be talked about that there’s at present an amazon series — Z: The Beginning of Every little thing — in which Christina Ricci stars as Zelda Fitzgerald, in the works for Amazon — whose pilot debuted in November of last year and whose whole very first season will air in 2017.)
THR reports that this project, financed by Millennium Films, has the advantage of access granted by the Fitzgerald estate to documents transcribed in a sanatorium where Fitzgerald was getting confined. She was in and out of sanatoriums in her adult life (and died in a fire at the Highland Hospital in Asheville, NC), and was diagnosed with schizophrenia — although as Therese Ann Fowler, author of Z: a Novel of Zelda Fitzgerald (on which the Ricci series is based) emphasizes in the Telegraph:
While right now we know it to imply serious mental illness requiring delicate and frequently lifelong treatment with medicines, therapies, and at times institutionalisation, in Zelda’s time it was a catch-all label for a range of emotional issues. It was frequently applied to females who suffered depression or exhaustion brought on by not possible situations.
The transcripts recommend that F. Scott Fitzgerald took Zelda’s concepts with no accreditation — a suggestion that is been more and far more acknowledged in the previous couple of decades. Mark Gill, President of Millennium Films, mentioned in a statement:
It was the height of the Jazz Age, so you have all of that glamor and sophistication and living massive. But you also have the massive drama of fly higher, crash tough. [Zelda] was massively ahead of her time, and she took a beating for it. He stole her suggestions and put them in his books. The marriage was a co-dependency from hell with a Jazz Age soundtrack.
As described earlier, these documents aren’t the only suggestion that Fitzgerald took his wife’s tips: Zelda, as a Salon article from 2001 points out, was asked to evaluation her own husband’s novel — interestingly, the novel following which this film takes its title — The Stunning and Damned. (The novel itself is noted for its transparent fictionalized autobiographical components about their marriage.) She’d written in the overview:
It seems to me that on a single web page I recognized a portion of an old diary of mine which mysteriously disappeared shortly right after my marriage, and also scraps of letters which, though significantly edited, sound to me vaguely familiar. In fact, Mr. Fitzgerald — I think that is how he spells his name — seems to believe that plagiarism starts at house.
The screenplay for the film was written by Hanna Weg Millennium Films is now searching for a director.
He helped make prog-rock monsters Yes MTV stars in the Eighties, and he’s scored dozens of high-octane Hollywood blockbusters. But what Guitar Planet readers actually want to know is…
What was the final film score by somebody else that knocked you out? —Norm Balford
Oh, boy. You know, I feel there’s a cue in the  film Witness named “The Constructing of the Barn.” That’s some thing I liked a lot. Witness is that great film by Peter Weir, starring Harrison Ford. I need to almost certainly have a a lot more present 1 than that to mention, but I do don’t forget that piece of music as impressing me a fantastic deal.
Have you ever turned down a film score simply because you actually hated the story? —Rick O’Brien
I am afraid I can not say which film it was, but yes, I have. It was an action film that just did not go anyplace, and the dialogue wasn’t excellent. I keep in mind going to see the film, and I guess the director read my face pretty properly since he mentioned to me, “Well, we’ve just lost our composer.” It happens often. You read a script that you feel is not the greatest, but due to the fact the director is an individual you appreciate functioning with, you are going to have a tendency to go with it. A lot of occasions the image does turn out wonderful, but at times it doesn’t and I’m disappointed by the end.
Are there any guitar parts Steve Howe performed that you just can’t replicate? —Sally Mertel
I wouldn’t say “can’t replicate.” I remember Chris Squire saying to me when we went on the 90125 tour, “You know, there’s particular songs we’re going to have to do, but then there are optional ones that we could or couldn’t play. I’ll give you a list, and you can choose which ones you want to do.” He was quite sort about that. I chose some songs and worked out a different way of performing them. I genuinely did not want to just replicate Steve’s components otherwise, you’re a session player or a hired hand. I always wanted to try and do it in a way exactly where I could re-represent the music my personal way.
I detect far more of a blues influence in your solos than in Steve Howe’s playing. How important was the blues to you growing up?” —Alan Kowal
It’s funny, but I don’t think American blues influenced me considerably. I feel it was a lot far more the regurgitation of the white blues bands in England, like the Yardbirds. Guys like Jeff Beck and Eric Clapton have been critical to me. I also liked Peter Green a fantastic deal. It’s exciting to me—the British guys genuinely did anything with the blues. It wasn’t just a copy. It was a restructuring of the complete format.
If you could’ve joined any other band than Yes, which a single would it have been? —Tim Steer
Let me think about that…I never know! [laughs] I’ve honestly by no means considered that. Probably Mahavishnu Orchestra, though who knows how that would have gone? I like John McLaughlin and Chick Corea a lot. When that band very first came out, I genuinely got into them.
You had been a teenaged star in South Africa in your band Rabbitt. How awesome was that? —Guitar Pete
It was quite excellent, even though it was really strange due to the fact it had never been completed ahead of in South Africa. The 4 of us just type of lived in this bubble, and we thought that’s just what this job was. When I left Rabbitt to go to England and pursue music, I thought I’d have the identical success, and I was woefully shocked. But Rabbitt’s good results wasn’t overnight. I was working extremely heavily as a session musician even though that was going on. I would do sessions in the day, and then we did month right after month residencies at clubs. It was really hard work, but when it happened, it just happened.
What are the relationships like between all the past and present Yes members? Are the guys in Yes upset that you and Rick are going on tour? —Chris Gallen
I genuinely don’t know. It is not one thing I concern myself with, so I never know and I don’t care. It is not some thing I spend a lot of time thinking about. The only guy I speak to fairly usually is Alan White, who has always remained a quite close buddy. Alan and I don’t have any concerns at all.
I really like the demo of “Owner of a Lonely Heart” from your album 90124. A lot of cowbell on that. Have been you influenced by Blue Öyster Cult’s “Don’t Worry the Reaper”? —Roscoe L. Jenkins
No. [laughs] I’d have to say no to that. There is a lot of cowbell on the demo, but I guess that just sounded correct to me. When we recorded it with Yes, it was kind of a conscious point to take out the cowbell since I wanted it to be a lot cleaner—I wanted the drums to be quite crisp. I did that demo on a very unsophisticated method, and I’d had to mix issues in a particular way to preserve on recording. Undertaking the Yes album, there have been certain parts from the demo that were loud and unbalanced, but I type of liked them. We kept these ideas intentionally.
I assume you have a lot of guitars, but do you have a certain preferred? —Antonio La Penza
I have 3 favourite guitars: My old Fender Stratocaster, and then I did a signature model with Alvarez numerous years ago, which I nonetheless play, and I’ve just not too long ago carried out a new signature model with Washburn, which I also love playing. I use it largely in the studio. I possibly won’t be making use of it on any of the songs we’re performing on tour.
What’s the story with that one particular Strat I usually see you play? —Leo Trinsty
Oh, boy, that guitar goes back a extended way. I have to have been 15 or 16 when I got it, and it’s stayed with me considering that. I don’t forget really clearly throughout a Rabbitt concert, at the end of a show, I threw the guitar fairly challenging to my roadie. He was in fact a bit of a fucker, and he mentioned, “I’m not catching that!” The guitar dropped and the neck broke. That wasn’t great. I utilized a Telecaster neck on it for six months even though the original neck was being fixed. We’ve been via wars together, that guitar and me. The neck nevertheless has a little piece of wood, like a stent, on it.
What’s the most cash you ever spent on a guitar? —Samuel Bader
Oh, God. I’m not like some individuals who spent silly amounts on guitars. I think I spent about $ 8,000 on a brand-new Gibson 400 Super Custom. It is a great guitar, but I do not know if it was worth the income because I decided I wanted to get another one just like it to take it on the road. I ended up receiving a Washburn copy of it, which I truly prefer.
I am a huge fan of your album Jacaranda. Your preceding solo album was 23 years prior to that one particular. Will I have to wait another 20 years for the next one? —“Big” Mike Moody
[laughs] The answer to that is certainly no. The wait will not be quite that long. But the factor that makes me sort of smile is when individuals say, “You have not completed an album for 20-odd years,” and they do not take into account the dozens of soundtrack albums I’ve completed. There’s lots of very good stuff on them, but for some reason they’re not looked upon as rock albums.
I adore the final Yes album you did, Talk. How did the guys take to you being in the producer’s chair for that a single? —Melissa Malloy
Jon Anderson was totally into it and loved it. Tony [Kaye, keyboards] and Alan have been entirely fine with it, too. Chris was a little apprehensive at 1st, because we had been genuinely close—he didn’t want something to get in the way of our relationship. But I feel he realized quite early on that that wasn’t going to be an issue, so it was fine. They all got into it. I think the worry was that I was carrying out the album on a technology that had never ever been done just before, and it was type of time consuming. Men and women had to stand around and wait, so I think it frustrated some of them. But the finish result was one thing they were all fairly satisfied with.
On your upcoming ARW tour with Jon Anderson and Rick Wakeman, will you concentrate on a particular period of Yes, or will you feature bits from the complete catalog?” —Adam Wilkens
We’re featuring stuff from the complete catalog, and we’re truly attempting to strategy the songs fresh and do them differently. We do not want to just pull the records and say, “Okay, right here it is. Let’s find out it.” Certainly Jon, Rick and I know all the stuff and can play it, but we’re really attempting new approaches to do it, so it is got a new point of view. I feel it’ll be exciting for everybody.
Do you ever show pictures to Rick Wakeman of him in the capes and gowns in the Seventies and ask, “What the hell had been you pondering?” —Ed Santangelo
[laughs] There is no purpose to show Rick all that stuff. He’s the 1 constantly telling the jokes. Honestly, he’s got to be the funniest musician I’ve ever worked with. He takes almost everything in stride.