Attention Deficit Delirium

The most controversial and shocking horror film of the year is Deadgirl, a dark drama about two dysfunctional teens (a confused nice guy named Rickie and his bad boy pal JT) who discover a young woman chained up in the basement of an abandoned asylum. Rather than rescue and release her, they proceed to use her as their sex slave. The Deadgirl (bravely played and endured by newcomer Jenny Spain) seems barely alive and has the ability to heal from all the abuse her body sustains, which makes Rickie and the other boys he eventually brings into the sordid affair feel justified in their actions, even though what they’re doing is vile and inhumane. Disturbing and delirious, Deadgirl touches upon issues of sexuality, power, gender and class, and it also explores the blurred lines between adolescent love and lust and the confusion that those feelings bring. It’s also difficult to watch and will spark off debate before you’re even done watching it.

ADD conducted an exclusive interview with co-directors Marcel Sarmiento and Gadi Harel just prior to their film winning “Best Villain” (Noah Segan as JT) at last month’s Chiller Eyegore Awards in Los Angeles. Rape and torture have been brutally depicted in such cult films as I Spit On Your Grave and Last House On The Left, and while those movies are more graphic in their portrayals — and, some would argue, irresponsible and exploitative — Deadgirl sinks into your psyche because of what is often implied and not shown, leaving your imagination to run wild into places you’d rather not venture. The film, which has received press from The Washington Post, the Hollywood Reporter and MSN, is both engrossing and repugnant, something it’s creators are strongly aware of.



What response have you gotten to the movie so far?
Gadi Harel: The response from the DVD release has been pretty awesome. Just the fact they we’re winning this [Chiller-Eyegore] award next to Rob Zombie and the SAW franchise is kind of unbelievable. Being in that group is pretty spectacular. We had a big premiere in Toronto, and it really helped make our small movie into something more noteworthy. It’s gotten a really great release from Dark Sky Films. We see it reviewed in the Washington Post and see it on Netflix within the first week and a half — 27,000 people have ranked or voted on the movie. The response has really been great. How do people personally respond to the movie? It’s usually [split] right down the middle, but they’re noticing it and definitely seeking it out. It’s been a really exciting time for us.

"Deadgirl": A sick and twisted look at adolescent lust gone awry.

I was fascinated and appalled by Deadgirl at the same time. It’s one of those films that you can like and hate equally. You can see the intent of the film, but at the same time it’s really twisted and disturbing.
Marcel Sarmiento: We had the same reaction when we read the script. At first we were like, “Holy shit, you’ve got to be kidding me.” Then we couldn’t quite get it out of our heads and started talking about how there was something really intriguing about this idea, why it’s so relatable in a twisted way, and was there a way we could actually make this movie and make it watchable?

When you were casting for the part of the Deadgirl, what were your responses to the different actors who were auditioning for the role?
Marcel: I think we knew that we would have to get someone very special. We started with the route you might expect, with certain kinds of people that would have no problem with nudity coming to audition, and we thought we were in trouble. We did not want the kind of people that we were seeing, and we really didn’t know what to do. We thought we might not actually be able to make the movie because she is so vital obviously, but then we heard about this actress Jenny [Spain] who lived in the Midwest somewhere and had never really acted before. She really got the script, was really enthusiastic about it and got what we were trying to do. She had great instincts, and I think we really lucked out with her. It was a kismet moment because we really didn’t know who to cast and how to cast the part.
Gadi: Jenny brought a lot to the part. The greatest thing she brought wasn’t just comfort with nudity. She brought more. It requires a lot more than that. We did get lucky.

Some of the miserable, pathetic men in "Deadgirl".

For me, the scariest image in the movie is when Rickie is having an erotic fantasy about the woman he really likes, JoAnn, and then it turns into the image of the Deadgirl chomping at him. JoAnn represents the love side, and the Deadgirl represents lust. And the Deadgirl comes off as the scary image in that particular montage. Were you trying to contrast the confusion between adolescent love and lust?
Marcel: Yes, and it’s also scary and new. Intimacy is terrifying when you’re a kid. I think as much as you want to have sex, even if you really don’t know what it is, there’s something really scary and dangerous about the unknown. I think a lot of Rickie’s feelings have to do with wanting this thing, and maybe it’s JoAnn, but at the same time what it represents is terrifying.
Gadi: In the same way, what Rickie is thinking about JoAnn is what JT is thinking about the Deadgirl. They’re both imagining and objectifying find this ideal — twisted or not twisted, normal or not normal — of what love and sex is. Both stories are the same, and that’s the real connection — being young and figuring it all out, and obviously we take it to a hyperreal place.

Jenny Spain in real life. Not undead.

I’ve discussed with directors like Dario Argento and Stuart Gordon the concern about how a lot of horror is viewed and criticized as being misogynistic. Gordon admitted to me that he thought a lot of horror was based upon the fear of beautiful women. A lot of genre filmmakers seem to have that issue, for some particular reason. Have you faced criticism on that front, particularly from people who don’t see further into the film than what’s on the surface?
Gadi: Yeah. Half the people just say that we’re living out some crazy rape fantasy that we have and dismiss it, but the other half really takes the time and sees a lot that we intended. Sometimes people see things that we didn’t intend. Feminists come out for it, and feminists come out against It. it’s just one of those movies that lays a lot out there for you, and a lot of people are open to it and a lot of people shut down immediately because of the subject matter, which we completely understand, too. Over the past year we’ve heard every reaction that someone can have to this movie.
Marcel: When you do a story like this, you know going in that a good chunk of people are going to easily dismiss it or label it because its [viewed at] face value. But that’s true of any movie. We just have a movie that you can get upset and excited about if it rubs you the wrong way or you don’t get it.

I’m a big heavy metal and horror fan, and I have discovered that some of those fans don’t get irony or symbolism. For example, you can have an anti-war song done from the perspective of a war monger to show how ugly the mentality is, but there are many people who will take it for literally what it sounds like. There are many horror fans that will go deeper into what’s happening in the genre, and then there were those that literally watch it for the gore and violence and don’t think about anything that’s going on underneath. Do you worry about people misinterpreting what you’re doing?
Gadi: We don’t worry about it because we know it’s going to come with it. We are really thrilled and excited at the number of people who are able to give the movie the attention and thought that we think it deserves. You never want somebody to dismiss something that you put a lot into and believe in and that you think says a lot. We had a screening where a mother and daughter talked about how much it moved them and captured the essence of being young and the fears, and they really responded to it. That’s really exciting.
Marcel: I’ll just add that I don’t worry about people misinterpreting it so much because in this story there are real consequences to what these kids do, and no one’s really enjoying themselves. I think those are two big differences from perhaps other movies that are pretty extreme. Nobody’s having a good time, even the “bad guys” who are doing it, and they all suffer real consequences. We’re not glorifying anything.

JT (Noah Segan), the film's villain. (Photo by Steve Dean.)

There are issues of gender and class at play here. At one point JT says, “This is probably the best we’re ever going to get.” Many people make certain decisions in their life and relationships because they’re taught or told that’s what they’re supposed to do. Were you thinking about that all when you are making this film? Were you contemplating the fact that some people don’t think they can get what they want and find themselves feeling trapped?
Gadi: Absolutely, and that’s such a key line. That’s not just a class thing or a gender thing. It’s just an element of life and of growing up and making decisions. When he yells, “This is the best we’re going to have,” it applies to so many things. When you’re a kid, it puts your entire future on a whole other level of having to really face, “What is my life going to be like?” And is that statement true? I think it’s a very universal thought and fear, whether it’s in this situation or not, and that was something that we really wanted to bring to the material — the truth of growing up and of looking at your life and the choices that you have to make. [It's] probably more so around that age, but I don’t think you ever really shake those moments. I think they come and go throughout your life. It was important to have these things that were timeless truths. It’s not just about kids and not just about kids today. It’s just about life, as pretentious as that may sound.
Marcel: We always argue about how people say this movie is so extreme and so awful, but when you really think about it and if you step away and break it down, what you see on screen is actually much tamer compared with some other movies. But for some reason our movie is considered much more horrific and awful and terrible because of the tone and the way we approached it. People come out saying they saw something that they never saw. They just imagined it. That’s really been fascinating and great.

A film like I Spit On Your Grave is a more brutal, extreme movie.
Gadi: Even with the recent [remake of] Last House On The Left, all we heard about was this brutal, intense, crazy rape scene in there, but it is in the form of this slickly packaged horror movie, and when you look at Deadgirl and see what we really show in terms of her and what the boys do, it’s actually quite tame in comparison. We’ll come out as a much more vile horror movie, but as Marcel said it’s because of our tone. It’s packaged in a really weird way that makes it feel a lot worse.

Rickie (Shiloh Fernandez) and JoAnn (Candice Accola) deal with the deadly denouement of "Deadgirl". (Photo by Steve Dean.)

Rape is a topic that is difficult to handle in movies. I recall seeing the Jason Statham action movie Crank. I like a lot of his stuff, but this had a ridiculous sequence where, in order to keep his heart rate up so he doesn’t die from the poisoning he’s been given, the “hero” wants to have sex with his girlfriend in the middle of a crowded marketplace. She’s a ditzy blonde who gives in to him, and everyone is cheering him on while he does it. It’s played for laughs, but that offended me because it was clearly a rape scene. And it wasn’t funny. But then when the serious, Oscar-winning Jodie Foster movie The Accused came out, one female film critic reported that some teenage boys snuck in at the end of a screening just so they could watch the gang rape scene in the bar.
Marcel: I will say that our movie is not very sexy, and that’s one difference between a lot of these other depictions of this kind of stuff. I’m sure there are people out that are getting a thrill from the movie — there are people for everything — but I feel like in all of those other movies, even The Accused, the aggressors are more powerfully shown and [as] having fun, whereas these kids in our movie aren’t ever. Even when they’re doing what they’re doing, they always seem miserable.
Gadi: There is a desperate sadness to all of their action. They so want something that they don’t have in life. It’s not even sex, its power or just feeling that they belong with their friends and aren’t different. There’s all this other stuff going on. But like you said with Crank, with this story most people we talked to just assumed we were making a campy, B-level movie like Zombie Strippers; a crazy, fun movie. If we did that, I feel we would’ve gotten a huge release, like playing in malls. Just going with the campy comedy really makes these actions much more acceptable, which is worse. It should be worse to make light of it, but for some reason it can almost be more accessible to people.

One of the wonderful aspects of the DVD revolution has been the unearthing of classic creepy tales from movie and television vaults worldwide. And this Halloween season is bringing us even more deliciously dark treats with the reissue of the following series, some of which have been kept locked underground for many years. A bulk of these are anthologies, the one genre that tends to be very hit or miss both in terms of content and special effects. One has to forgive some of the cheesiness that occasionally pops up in these shows; at least horror fans are a forgiving lot. We crave fresh meat, and the following series offer plenty for this Halloween.

BLOOD TIES — This Canadian series, based upon novels by Tanya Huff, actually managed to make it on to Lifetime during 2007-8, but it’s reception was short-lived. A variation on the vampire procedural drama first pioneered by Forever Knight, Blood Ties focuses on Vicki Nelson (Christina Cox), a headstrong P.I. with degraded eyesight solving supernatural cases with a dashing vampire (who moonlights as a graphic novelist) while also consorting with her former cop partner. Despite a hokey pilot, the show actually developed some teeth, along with a fun sense of humor. Nelson is a strong, savvy heroine, and its nice to see a vampire that does not always have the upper hand while handling supernatural threats and, despite centuries of accrued wisdom, still loses his cool with mere mortals.



FEAR ITSELF — After Lionsgate bought the rights to Showtime’s occasionally controversial Masters Of Horror series, they stripped out the sex, excess violence and political overtones for broadcast on NBC, and the result was a middle of the road shriek show that occasionally delivered a few serious chills. Two of the best: Larry Fessenden’s “Skin And Bones,” with Hellboy‘s Doug Jones in super scary form as a farmer turned flesh eater, and Mary Harron’s “Community,” a Twilight Zone episode-in-disguise with Brandon Routh and Shiri Appleby as a couple who discover that their exclusive new neighborhood makes the concept of a “nice place to raise your kids” seem absolutely terrifying. Routh’s connection to Superman makes this one (un)intentionally extra creepy. There are some worthwhile episodes here, but ultimately it is clear that horror anthologies work better on cable without commercial interruptions. FYI: Five of these stories never aired on NBC.

FRIDAY THE 13TH: THE SERIES –This late-night series from the late Eighties bore no resemblance to the Jason movie franchise, but it played with a fun concept — three antique store owners must retrieve the possessed objects sold by the Satanic former owner. The main cast (Chris Wiggins, singer Robey and, alternately, John D. LeMay and Stephen Monarque) had a pretty good chemistry (with Wiggins clearly the standout thespian), and many of their adventures — involving everything from a cursed mirror to a murderous scarecrow to a wheelchair with supernatural healing properties — were pretty fun. The most poignant episode was Season Three’s “Hate On Your Dial,” in which a magical car radio sends a bitter man back in time to the Fifties to reconnect with his racist father, with horrifying results. The show’s bombastic, dramatic score from Fred Mollin, who also did the music for Forever Knight, was an added plus.






THE HUNGER — Here’s another series with no connection to the movie that spawned its title. Well, that’s not entirely true. The arty cinematography, sensual escapades and metaphysical musings remained, but the vampires were rarely there. Instead, this Tony and Ridley Scott-produced series explored how lust, passion and desire, usually for the wrong things, leads people down the wrong path. Terence Stamp (General Zod himself!) hosted Season One, while David Bowie hosted Season Two, and many episodes were written by established genre authors like Graham Masterton, Karl Edward Wagner and Poppy Z. Brite. Like Tales From The Crypt, The Hunger featured many stars and rising stars — check out the twisted, supernatural “Menage A Trois” with Daniel Craig, Lena Headey and Karen Black — in strange stories. One of the most beguiling is “The Secret Shih-Tan,” with Jason Scott Lee as a master chef who is cajoled into preparing a most distressing dish. Not all of the episodes clicked, but many were worthwhile, and Stamp’s introductions in Season One were devious fun. (Season Two is next for me to watch.) Many argue that The Hunger was for people who liked softcore porn because there were always obligatory nude scenes in every episode; frankly, not all of them were sexy, and purposely so.

MASTERS OF HORROR (on Blu-ray) — Mick Garris’ ominous Showtime series assembled many well-known genre directors (including Dario Argento, Don Coscarelli, John Carpenter and John Landis, among many others) and allowed them to create hour-long short films with the quality of full-length features. With creative freedom and without networking censoring — the lone exception being the banning of Takashi Miike’s squirm-inducing Imprint, which I suspect may have been a marketing ploy since most of its violence and nastiness is off-camera — the veteran filmmakers got to let loose all sorts of ghouls, demons and maniacs on the small screen. There were deranged serial killers, a deformed and sexually predatory woman, patriotic zombies and even a malicious film that drove anyone who viewed it to homicidal madness. Part of what made this show stand out was the way it tackled hot button topics like gun control, abortion and animal rights, most of which popped up in Season Two. One gripe: Season One has been released on four separate Blu-rays, which makes collecting the series expensive. Amazon has a great deal on them right now.

TALES FROM THE DARKSIDE — George Romero’s seminal late-night series from the Eighties has been out-of-print on video and never on DVD…until now. This low budget compendium of fear fare was not overtly scary but usually served up its tales of retribution with a wicked sense of humor, continuing the EC Comics vibe that Romero excelled at with Creepshow. While the budgetary limitations occasionally stuck out, the show did generate some classic tales, including “Monsters In My Room,” with a young Seth Green as a kid who is afraid of the creatures in his midst but whose angry stepfather refuses to believe in, and “The Last Car,” a ghostly tale on a night train free of blood but not of fear. Both have great twist endings. It’s great to see this series available to the masses once again.

Julie Benz looking a bit more glamorous than her "Dexter" alter ego Rita Bennett. The color of the dress is a nice touch. (Photo credit: Jsquared Photography.)

With her girl next door appeal and charm, Julie Benz seems unlikely to be married to a self-righteous serial killer on Dexter, baring her fangs in Buffy the Vampire Slayer or Angel, or battling for survival in Saw V and Rambo. When she started her career she wanted to be in romantic comedies. Funny how things turned out — she has appeared more and more in violent and bloody film and television fare over the last two decades. Who knows, maybe it’s all Dario Argento’s fault for first casting her in Two Evil Eyes, although many of Benz’s fans are probably happy he did. Ultimately most performers cannot predict their career trajectories, and that can be rewarding for both them and their fans, as this star has learned.

With the fourth season of Showtime’s Dexter ready to launch (on Sunday night at 9 PM Eastern), and the movie Boondock Saints II: All Saints Day arriving in November, Julie sat down to chat with ADD about her Dexter character Rita Bennett and her blind love for a serial killer, her Boondock role, how her career has traveled down some very dark corners and why she likes the simple life.



Your career started with a very eclectic mix of roles, but more and more you’re becoming famous for roles in violent films. How did that happen?
[laughs] I have no idea. It just seems to be the nature of how my career has taken shape. It’s definitely not a conscious choice or something I seek out. I attract these characters that are flawed and dark in many ways. I got into this business to do romantic comedies. That’s all I wanted to do. Twenty-four years ago when I became an actress I wanted to be the girl in a romantic comedy. I wanted to be Julia Roberts or Sandra Bullock. [On television] I only wanted to do sitcoms. I had no desire to do anything dramatic, and it wasn’t until I started working with Joss Whedon on Buffy that he pushed me [there]. All of a sudden I started becoming known as a dramatic actress.  I’ve had a much more challenging career than I ever imagined I would have. When you work in genre material, on a show like Buffy and Angel or even Dexter, given that they’re so extreme it’s much more challenging for an actor, I find.

Benz went dark, both in tone and hair color, for "Saw V". Luckily she took "Horror 101" with Dario Argento nearly two decades earlier.

It’s interesting that the first role you were in 19 years ago was in the Dario Argento segment of Two Evil Eyes. What was that like being your first film?
I had no clue. I wanted to be an extra on the movie. I was literally sitting in the hallway to be seen to be an extra, and Dario Argento just happened to be walking down the hall. He looked at me and said, “You, come here.” He didn’t speak much English. I was with my Mom, and he took us into the conference room and looked at me and goes, “Walk.” I walked across the room, and he said, “Walk back.” Then he looked at me and said, “Okay, you’re Betty.” I was like, “What?” “Do you want to be in my movie?” I said, “Yes.” He said, “No, no, no, no. Do you want to be in my movie?” And I was like, “Yes!” My Mom and I were looking at each other like, “What is going on here?” I had five lines with Harvey Keitel. It was the first time I had been on set. I had done some commercials, but nothing like this. I was fortunate enough that the dialogue coach was one of my acting teachers, and he helped me through it and to navigate my way on set. I was also hired because I play the violin, and the character had to be able to play the violin, so that helped.

Your father is a surgeon. Does he find any irony in the fact that you’re on Dexter?
No, I don’t think so, but I think my father would love to see me play a doctor some day. I come from a family of doctors – my great grandfather, my grandfather, my Dad, my uncle, great uncle and cousins. The whole family is medical doctors. I wanted to be the first female doctor in the family, but I just can’t stand the sight of blood, to be honest with you. So I decided I could become an actor and play a doctor, but it hasn’t happened yet. Maybe one day it will.

Can you stand the sight of fake blood?
Umm…I have issues, but I get through it.

Even cheeseburgers become cruel symbols in "Dexter".

What can you tell us about the new season of Dexter?
I think we all feel so lucky part to be of a show that attracts such high caliber talent. We had Jimmy Smits come on last season, and he was amazing as Miguel Prado, and now John Lithgow is joining our cast. It blows all of us away. I think it elevates the work that’s on the show, and it’s inspiring to everyone. It’s amazing. We’ve had Keith Carradine as well. This season is our best yet. When John Lithgow plays creepy, he plays creepy. He plays another serial killer called The Trinity Killer, and that’s about all I can really say. It’s an amazing counterpoint.

In Season One, Rita dressed like Lara Croft for Dexter. What was that like?
That was fun and silly. It was a love scene, so there was a level of tension in regards to that, but it was fun to break out of her normal, oversized, baggy, downtrodden look and seeing her accepting her sex appeal.





What do you like most about Rita?
I love the growth and transition that she’s gone through. She started out as a fragile and damaged bird in many ways, and through the love of Dexter she has blossomed into a very strong woman, into the woman she probably was before all of the damage was done to her. It’s almost like you’re watching a train about to crash because you know at any moment that the rug could be ripped out from underneath her. The more secure she becomes in her relationship with Dexter, and the more bonded they become together through their marriage and having a child together, you’re just waiting for the [other] shoe to drop. It’s a big shoe.

"Dexter": A TV series with killer family values.

Do you think the show will ever let the other shoe drop?
I think it’s definitely an element that at some point could be revealed. I hope never, personally. I honestly believe that Rita would never accept it anyway. You could say you’ve been filming her life and this is what your husband does in his free time, and you could show the footage to her, but she would say that’s not him. I don’t think it’s stupidity or naïveté. I think that when you share your life with someone – when you share your heart, your body and your soul and you create a life with someone – we’re not made to handle that. If you’re in love with a serial killer, what does that say about you?

People don’t like feeling that they’ve been deceived.
It’s also a reflection of yourself. It’s why so many serial killers’ wives and family members still don’t believe it. Because what does that say about them? And for Rita, it goes even deeper. What does that say about their child? It’s a Greek tragedy in many ways. I don’t think Rita will believe it. She already fell in love with a drug-addicted abuser. She doesn’t have a great track record.

Making movies in jungles with Sylvester Stallone will test your mental and physical mettle.

What was the most fun thing and the most difficult thing about shooting Rambo in Thailand?
The most difficult was the physical elements. We were out in the jungle. It was unbelievably hot, and the bugs were the size of birds. It was rough. I did an interview and said my trailer looked like a 1962 bomb shelter, and then got called out – “Why are you an actor if all you want is glamour?” The point was that it was rough. There was no glamour on that set, but it was also part of the excitement of doing it. It was a once-in-a-lifetime experience for me. I’ve never experienced anything like that. You just had to throw yourself into it. I was working opposite Sylvester Stallone, a film icon, and he wasn’t just starring in it. He was writing, directing and producing. I was able to witness why he is a film icon and why he is one of the most recognizable people in the world. No matter how you feel about his work, his level of commitment and work ethic is so extreme and inspiring. He gave me a great piece of advice: What we do is being captured on film for eternity, and there’s no caption that comes up underneath saying, “Please forgive the actress in this scene, she’s having a bad day.” There’s none of that. You have to commit to every second of footage that’s being shot. You have to give your all. And that’s hard.

You’ve had an interesting career so far, and with all of these recent projects it seems that you’re bubbling under and getting ready for something bigger.
That would be nice. When I saw Boondock Saints II for the first time, [I saw] a character that you don’t see me in at all. She’s so completely different from me, and that was the challenge. I watched it going, “I can’t believe that’s me.” I think I’m evolving. I evolve a little bit slower than other people, but I’m evolving.

Rita spending time with her seemingly normal newborn in the new season of "Dexter". (Photo credit: Randy Tepper/SHOWTIME.)

How is the Boondock Saints character of Eunice Bloom so much different than you?
First, she’s extremely Southern, and I’m not naturally gifted at accents. I have to work very hard at them. She’s a fiery redhead, she’s sexy, she’s a badass with weapons. For the first time I wasn’t playing a victim or a love interest. I was playing a woman who could take on the men. She’s smarter than everybody else, she’s tougher than everybody else and she’s sexier than everybody else. She doesn’t lose her femininity. She wears 6-inch stiletto heels to a crime scene. She’s dressed in tight pencil skirts and wears pink rubber gloves. I describe her as the woman every man wants to fuck and every woman wants to be. And that is not me in real life!

What do you think your fans would be surprised to learn about you?
I don’t know. A lot of people think that Rita is not very close to me, and I think Rita is probably closer to me than any other character I’ve played. I have a little bit stronger armor then she does, but in many ways her vulnerability, her sensitivity, her positive outlook and her commitment to love and relationships, all of that stuff is more me, even her flaws. I have never been abused or experienced the depth of anything that she’s gone through, but for some reason I just innately understand her. I remember when I was auditioning for both Debra and Rita, I originally thought that Debra was an amazing character because she got to swear all the time. I worked my ass off on those scenes, and I really didn’t do a damn thing to prepare for Rita. Then they tried me for Rita, and as soon as I opened my mouth they said, “You’re our Rita.” It was hard for me to acknowledge the fact that this woman is just me. I just understand her.

The ideal husband and father...if you're oblivious.

If you have that same sense of naïveté as Rita, how does that affect you working in this business?
I have a great group of people that surround me. I’ve been with my manager since the very beginning. I’ve been with him for 24 years, so I have an amazing support team surrounding me. I think that I do have an amazing business sense as far as the industry goes. I keep it purely business and don’t take it personally at all. Maybe I should but I don’t, so I am able to separate that aspect of the industry. I’m very normal. I know people think actors lead these very glamorous lives, and I lead a very simple life. I have got a little house and two little dogs. Yeah, I get invited to certain glamorous parties and it’s fun, but I have a lot of friends that aren’t in the industry. I cook a lot. I don’t know, I’m just normal.