The film business has often acted like a double-edged sword to those inclined to prosthetic-heavy creature roles. Where as actors like Lon Cheney Jr. and Max Schreck were able to cement their legacies in the early years of film through those roles, other actors, especially in the genre world, have found creature roles to be professionally unrewarding, often eliminating the chance to escape the typecasting of silent, physical acting. Peter Mayhew, Kane Hodder and Ray Park are all living examples of how the industry can treat talented actors as if they have limited range because of iconic creature roles. These actors are often celebrated amongst the horror and genre communities, and yet, one actor refuses to allow his physicality restrict his acting prowess: Doug Jones.
Jones has been working in Hollywood for the better part of thirty years, beginning with parts in Batman Returns, Hocus Pocus, Tales from the Crypt, Mimic and Mystery Men. Due to his odd physical stature and exquisitely articulate yet eccentric manner of being, Jones became Hollywood’s go-to actor for creature roles, hopping from Monkeybone to The Time Machine to Men in Black II before landing his breakthrough role as Abe Sapien. And yet, even with a raised profile, Jones struggled to be recognized, as even if with loyal and progressively vocal fan base in the genre community, he was routinely being dubbed by more bankable actors for his dialogue-heavy creature roles, including Hellboy (with David Hyde Pierce) and Fantastic Four: Rise of the Silver Surfer (with Laurence Fishburne). It wasn’t until Jones was able to flex his acting muscles in Pan’s Labyrinth and Hellboy II: The Golden Army that his name recognition gained steam, propelling the actor into become a celebrated genre figure and a secret weapon of dramatic storytelling.
Jones, who recently took his make-up heavy creature roles into the world of television with the Third Season of Falling Skies, airing on 9 p.m. EST on TNT every Sunday, spoke to Diabolique about his prolific past, his productive present and his promising future…
DIABOLIQUE: This is your first season aboard Falling Skies, playing the role of a rebellious alien who adopts the moniker “Cochise”. What attracted you to this role? Had you been a fan of Steven Spielberg’s other alien-centric television production, Taken?
DOUG JONES: I’m going to be honest and say I don’t watch a whole lot of television myself. I had not seen Taken, nor had I seen Falling Skies, but I caught up with [Falling Skies]. I watched the first two seasons when I booked this job, and I was kicking myself, going, “Why wasn’t I a fan of this before?! I love this show!” So I became a fan of Falling Skies, and I’ve been a fan of Spielberg since the early days. E.T. is one of my all-time favorite movies and so forth.
So, Dreamworks Television being the producing umbrella over [Falling Skies] was draw #1, probably. The second [reason] was that I became a fan of the show, now that I’ve caught up. Thirdly, the make-up design on me as the alien Cochise was designed by Todd Masters and his whole crew at MastersFX, and he was someone I’ve worked with before. The creature effect people have gone on to give me referrals over the years, so my career happened because of them, really, and this is the same case. My name came up in the boardroom for this role because Todd Masters thought to have brought it up.
The name “Cochise”, of course, is a shortened nickname of my real alien name on the show, but it’s rather fitting because Cochise was also an important Native American figure in history. This Chochise is also a warrior and a trailblazer for his people, whom we call “the Volm.” So, working on the show now, I was seeing that all the aliens on the show had been bad guys, screeching and killing people, and here comes this more humanoid-shaped alien that’s more relatable with a kind and gentle face. And as you saw in Episode 1, the sound that came out of my mouth was perfect English, like a professor.
So I get tons of dialogue, tons of exposition and tons of explanation on why I’m there to help, but the question remains: am I there to help or hinder? Friend or foe? You’re never going to be quite sure. So if you watch the show, the way you’ll see this character is through the eyes of all the characters on the show. You’ll see him through Tom’s [Noah Wyle] eyes, where he defends me because we become buddies, since we’re both leaders. I’m the leader of my people and he’s the leader of his. We know how to relate, and I bring my technology and my know-how from my history of fighting off bad aliens, but the question remains: what’s in it for me? That question is posed by Colonel Weaver [Will Patton] and John Pope [Colin Cunningham]. They’re more of the crusty naysayers and they’re leery of me the entire season.
I found Cochise to be very charming. He’s got a certain element of Abe Sapien to him that I like. He’s very knowledgeable and very well spoken, which I like, and yet he’s a strong, sturdy broad-shouldered warrior. There’s a nice mix going on with him. So the character himself also drew me to the project.
DIABOLIQUE: The mystery regarding Cochise’s personal agenda on the show has been talking point amongst fans as this new season progresses. Was it important for you in playing this alien character that an element of moral complexity exists in your performance
JONES: Sure. I think in playing any character that moral complexity ups the ante and the stakes for you as an actor because there’s much more to want. That’s what I love about science fiction in general, especially in what I’ve been doing in the sci-fi world all these years and ESPECIALLY with a director like Guillermo Del Toro where he makes monsters into leading men. And now, they’ve added [Cochise] to Falling Skies, who is an alien from outer space but also is a pivotal storyteller and is a part of the show now. With that comes all of the moral complexities you were speaking of, and you get it on a learning curve as well.
I think what comes out is that in his travels through the universe, he’s encountered other species on other planets before that have been sub-par. He’s been superior in most of the situations that the Volm has landed in. I think [Cochise] is surprised that humans have as much fight in them as they do, and as much intellect. But what really boggles his sensibilities is the human spirit: how they care for each other and that even that when it looks by all of their appearances that they’re going to lose and that they’re underdogs, somehow they’ll fight until it brings them back to the top again. That’s an element that Cochise and his people have never encountered before. That learning curve is also what made the character so fun to chew on as an actor.
DIABOLIQUE: Without ruining anything about the upcoming season, did you ever question the direction of your characters story arc or did you approach the role objectively?
JONES: You know, I never did question it. I never nagged the producers or said, “Hey, what’s gonna happen with Cochise? Am I going to stay alive on the next episode?” Basically, what struck me was the television schedule itself. You’re doing an hour of television in eight days, so it’s quite a tight schedule, and with the amount of dialogue that I had to memorize alone, along with the make-up application I went through every day and the rewrites that would come down all the way into the day you’re filming. That was very complex, so in terms of worrying about what happened on the next episode, I didn’t even have brace space for it. I was just worried about the episode I was in.
DIABOLIQUE: Earlier this year, you appeared in Don Coscarelli’s John Dies at the End. How did you become involved in that project? Were you familiar with David Wong’s popular absurdist book beforehand?
JONES: Well again, as a part of the time issue, I’m not much of a reader. I’d met Don at a horror sci-fi convention called Crypticon in Seattle since his table was next to mine as we were greeting fans. During our breaks in the day, we had very friendly conversations, and it kind of left us saying, “Hey, we got to work together someday!” “Yeah, let’s do that!” Lo and behold, about a year and a half later, I got a call through the casting channels that Don Coscarelli was looking for me.
There was discussions that he was having a bit of a time casting the role of Roger North in John Dies at the End, at least in the story that I was told. Every name that was brought up to him was like, “Hm, yeah, but no.” I guess they auditioned some people, and he was like, “Yeah, but no, but they’re great, but I don’t know.” Then, one of their office production assistants who was a guy I’d met doing a student film- I’d done a favor for a film student and he was on that young lady’s crew- brought up my name. He said, “Hey, I worked with Doug Jones recently. What about him?” And that’s the name that made Don Coscarelli go “Hey! Hey!”
I guess I carry enough quirk with me. I’m not a romantic leading man, so I’m just thankful for stories and directors like Don Coscarelli who understand the quirk and oddity that is me and finds a place to put me. Roger North, in terms of how I took him on as a character, was a delicious fit for me.
DIABOLIQUE: What was your reaction to John Dies at the End as a completed film? Do you approach your comedic performances differently than you would dramatic or creature roles?
JONES: This is what’s fun about John Dies at the End: It’s a little bit of the creature and dramatic roles mixed in with a lot of comedy, so it was a great combo platter wasn’t it? Even as Roger North, I’m this freaky looking human who is the gatekeeper to other dimensions, and I come to inform our two young leads that they’re about to embark on saving Earth and how to get there. It was an important role but I also brought with me this inquisitive curiosity. Since the portal has been open, I’ve been observing these humans and I’ve got some questions: why do they do what they do? Why is there one shoe on the side of the road? I thought it was such brilliant writing.
When it comes to comedic timing, I’m not sure if it’s a learned thing or not. I’m not sure what the magic is that makes something funny. I just know that when I want to laugh, I do. I want to make a character where is there’s a laugh to be held, I want to be the first to have that laugh. I want to do something that’ll make me chuckle, and as long as I have that, I’ll have a great day. I found myself having a lot of great days on my new show on ABC, called The Neighbors, where I play a recurring character named Dominique Wilkins, and that’s just a sitcom in a half-hour format, so it’s all about the funny.
All my class-clownery from grade school and high school, while in defense mode, like “I better be funny or these kids aren’t going to like me,” that came into play. That’s where I developed any sense of timing or physical tomfoolery was just trying to get a laugh before they laughed at the way I looked.
DIABOLIQUE: You’re probably best known within the genre world for embodying Abe Sapien in the Hellboy films. Considering those films were your second collaboration with Del Toro, following Mimic, was there anything specifically you wanted to prove in the role of Abe Sapien?
JONES: Well, I never go into a project with something to prove. Hopefully, we can make it to the end of the project, and call it a wrap and no one hates me. I think that’s all I have to prove. “Can I accomplish the task ahead of me?” It’s a built-in fear, I think. For most actors, it’s, “Are we pulling it off? Are you buying this?” So, I was given this character who’s a man-fish mutant that, at the time, had no history. No one had any idea where he’d came from besides being found in a tank in an abandoned hospital basement. So, I guess I wanted to take on this fish-guy and make him loveable, and make him the calming influence on the B.P.R.D. (Bureau for Paranormal Research and Defense) team that I felt he was when I read the script and the comic book. He had an intellect and some answers, and he was THE brain counterpart to the brawn counterpoint that was Hellboy. So I just wanted to make sure I embodied that correctly.
When I went into this project that had a source material and a fan base already built in for that source material, I thought I owed them an awful lot. So I went back to that source material to figure out what they had been reading and loving all these years. I had to love it too because I had to take care of [Abe] for them. That was my main concern.
DIABOLIQUE: The chemistry between the cast of the Hellboy films appears to be fluid and potent, leading to a rapport that appears more natural than most superhero or sci-fi properties allow. Was there a sense of camaraderie outside of the shared passion for the material?
JONES: Absolutely. It’s funny how Ron Perlman, Selma Blair, Jeffrey Tambor and I are all like the characters we play in the Hellboy movies. Ron Perlman and I had talked about it a couple times while we were filming the second movie, and he is really a cigar-smoking, brazen, gruff-sided guy with a heart of gold and a sense of family that he’ll defend to the death. I’m more on the genteel side, and I’m a calming peacekeeper. Selma Blair is very much a sassy talking, fiery, quick-witted and hilariously funny woman who is like a sister. So I thought I felt very much a sense of family with them. Jeffrey Tambor was, of course, the wacky uncle that would come to your birthday party with a hand-zapper. He’s like that in real life, so when he’s a befuddled head of the B.P.R.D., it’s such a great fit for him.
So from Hellboy to Hellboy II, that sense of family only strengthened. One change my character did make between the two movies was that my character had a love interest. It was Abe’s first time falling in love with the Princess Nuala, so he had to take some matters into his own hands with his innocence and lack of street smarts. [Abe] had to fight the good fight along with the team. In the first Hellboy movie, you’ll see my physicality was very fin-like, or very fins-in-water like. In Hellboy II, the physicality was toned down just a hair to give him a bit of a stronger stance. So that’s one visual difference you might see.
DIABOLIQUE: Even if he was voiced by Laurence Fishburne, your physical portrayal of the Silver Surfer was well-received by fans of the Marvel character. In fact, the comic book community often cites your portrayal as the highlight of an otherwise lackluster film. In retrospect, how did you feel about playing that particular superhero? Do you prefer motion capture or old school make-up effects to bring your characters to life?
JONES: I love the Silver Surfer. With a passion in my soul, I love him. That was another case where I had not been reading the book. That was not my comic book of choice when I was a kid. I wasn’t aware of him that much. So when I was offered the role in the movie, I went to a comic book store and said, “Give me everything you’ve got on the Silver Surfer,” and I found so much inspiration and love for this character, as the fans did, from those original volumes where he was introduced and then spun off into his own series, in which he was drawn by Jack Kirby and written so eloquently and poetically by Stan Lee.
He’s such a Christ-like figure to me in his origins and how he became the Silver Surfer. He sacrificed himself into service for Galactus to save his own planet, and that sacrificial type of hero will always grab my heart. He also has this cosmic power and he’s stunningly beautiful to look at. It’s the most beautiful I’ve ever been on film, I’ll tell you that much. When they slipped that rubber muscle suit on me, I was like, “Can I wear this to the beach, you guys? Alright? Bye! I’m out!” But it was great. It was just great. That’s a character I’d love to revisit again.
As far as the voice issue goes, of course that wasn’t by my choosing. I think Laurence Fishburne is a brilliant actor, but at the same time, I don’t think any actor wants to see any part of their performance replaced, me included. It was probably a studio decision, since 20th Century Fox wanted to attach a big name actor to this very iconic role. At that time, Pan’s Labyrinth wasn’t out yet and I’d hadn’t been booked for Hellboy II yet, so the studio wasn’t sure that my name would carry enough in. I think at that point there was a certain slice of fandom world that knew who I was and was glad that I had the role, but that may not have made a ripple effect at the studio level to dissuade their decision. But that’s fine. It all worked out fine. When I go through any contracts for movies now, there is a clause in my contract that covers that my voice will not be replaced. I learned a lot from that process.
DIABOLIQUE: Obviously, aside from the Hellboy series, you’re best known from your dual role in Guillermo Del Toro’s Pan’s Labyrinth. Did you feel like you had a greater sense of responsibility on the set of Pan’s Labyrinth as the tale was so personal to Guillermo and your roles were so crucial to the effectiveness of the film? At any point did you feel overwhelmed by those responsibilities?
JONES: All of the above. I was elated to be a part of such a beautiful story, just from reading the script. You know, when you read a lot of scripts like I do, and you get one like that where you get goosebumps and you’re wiping tears from your eyes as you close the last page, you know you’re on to something good, something that could become a classic. So there’s that and working with Guillermo Del Toro again, knowing he had written the script and would be directing it himself. I know that he wanted to tell this story properly, so I was like, “Yay! It’s all going to work out!”
But at the same time, it’s in Spanish. I don’t speak Spanish. Now, I’m going to be the one person who single-handedly ruins this masterpiece. I was sure of it, so I was extremely intimidated by that prospect. I was playing the title character, and when the Pale Man was added in, I had a separate character, so there was that. I had no idea that was going to become the iconic image that it has. I think the Pale Man ended up on four magazine covers that year. So there was an unexpected ride ahead of me when I said yes to that movie, for sure.
But for all the intimidation of this great big thing, you want to take challenges that scare you and test you, because you do love it and it does scare you. It forces us to grow and to prove and better ourselves, I think, and that was the experience that I did have on Pan’s Labyrinth. I was thinking for sure that I was going to fail and not be able to carry a movie in a five hour make-up application with reams of Spanish dialogue. But at the end of the day, they yelled, “That’s a wrap on the movie!” Then we all applauded and cried with each other, and we did it. It happened.
Then, you jump ahead to a year later and you’re on the red carpet of the Oscars, and the movie has 6 nominations and your make-up artist has won Best Make-up that year. It’s a fun ride to go on, and a life-changing one to go on. That was the film, for me, that turned the page on how people thought of me. Before, I was the freaky creature-acting boy and nobody knew my name. Most journalists would call me a mime, and I hadn’t mimed in years! But that was the movie when people starting calling me an actor and terms like “movie star” were being brought up with my name and I thought, “Wow, I thought I’d never see the day.”
DIABOLIQUE: Do you prefer working on big-budget studio productions, like Hellboy or Fantastic Four, or do you prefer working on independent productions like Adaptation. or Pan’s Labyrinth? In turn, do you wish you’d get offered more dramatic and experimental work as opposed to genre films?
JONES: Well, I love them all, honestly. Those big-budget studio films and those indie films both have their merits and audiences, and I can appreciate both. What I can appreciate about the studio system is that they have money. A LOT. So what studios can create on film is splendiferous and fantastical. I think I just made up two words. But what I love about the indie films is that the filmmakers, like the writer, director and creative types, are given way more freedom. They’re not worrying about marketing plans or demographics or product placements. They’re worried about telling the story that they need to tell. I can get on board for both for those dudes, I really can.
As for the dramatic work, if you had asked me that seven years ago or ten years ago, I would have said, “Yes, I would love to get more dramatic or experimental roles.” Since Pan’s Labyrinth came out, people, like directors and indie filmmakers, have approached me about stepping outside my box. So I have been offered and I’ve done many roles now that allowed me to do something without rubber on my face, with a great character arc and great relationships and stuff like that.
One of my favorites is a film that would never be covered in Diabolique Magazine. It was a sleeper indie film called My Name Is Jerry, and you can find it on Netflix, Hulu or Amazon. It’s a very simple coming-of-middle-age story about a guy in his 40’s going through a mid-life crisis, and coming to terms with his estranged daughter and estranged love for himself. It had a sense of purpose and reinvention and a lot of those things I’ve gone through as a middle-aged person. I’ve been given so many opportunities now, and what brought me to the attention of these young filmmakers and up-and-coming directors was my genre work and their desire to be somebody who lets my voice change a little bit. They gave me another way to voice myself and my career.
DIABOLIQUE: Throughout your career, you’ve had the opportunity to play many different creatures and odd men, some of which come from folklore or are revered pop culture icons. Is there any role that you’ve yet to embody that you wish to portray in the future? If so, why?
JONES: This is going to be a multi-part answer. First, I have never played a vampire, and I would like to. Not a sparkly, young pretty one because I’m not any of those things. I’d like to go classic. I’d love to be in a vampire film filmed in black and white, like if we could revisit Dracula, or even more yummy, Nosferatu. That would be a dream for me to do. I would also like to play a white-winged benevolent angel, in something, I don’t care what.
Another thing I’d like to do is Broadway. I’ve never played on the Broadway stage, ever. I would like to do a stage production of A Nightmare Before Christmas, playing Jack Skellington. There you go.
DIABOLIQUE: That’s an incredible idea. Just the way that you handle your physicality and the elegance of your voice, you’d be perfect for that. You should talk to whoever you can about making that happen, because it’s a legitimately great idea.
JONES: Well, thank you. I’m glad I’m not barking up the wrong tree.
DIABOLIQUE: You also appear in Josh Waller’s Raze, which recently was picked up for distribution from IFC Films. Can you elaborate on your role in that project? What was the experience working with such a strong ensemble of female performers, such as Zoe Bell, Sherilyn Fenn, Rachel Nichols and Rosario Dawson?
JONES: Oh, Raze. What a fun ride that was. What an intense ride that was. When I read the script and was offered the role of Joseph, the patriarch of the society that abducts women and makes them fight each other to the death. Just from the premise alone, I made a funny face and went, “I don’t know about this.” Then I read the script, and it’s as brutal as the story can get. So that was one of those things where I’ll read the script, and the next step would be to have a coffee date with the director. I wanted to know for my own sake, “How is this story going to be told? Whose hands am I going to be in? How is he interpreting the script that I just read? What’s the voice of this movie going to be?”
So, I met with Josh Waller, and his enthusiasm for this project was not, “Let’s get a bunch of chicks in tanktops to fight each other? Won’t that be hot?” It was far from that. It was more, “What lengths will a woman go to in order to protect the ones she loves?” The stakes are very high for the women that we abduct, because we also have their families or loved ones or significant other of some sort under surveillance, and if a woman refuses to fight or loses her fight, we will off that significant other. So that’s a high stake, and that forces them to try to save the ones they love.
Raze really is about the power of a woman. There are so many films about guys fighting each other, and nobody raises an eyebrow at all. It’s like, “Yeah, it’s a fighting movie! Go get ‘em, Van Damme! Woo!” So if this movie was men in the same exact story, not one gasp would be heard from the audience. But it’s women, so of course, everybody’s going, “My Goodness, this is exploitative and weakening to women!” But it’s quite the opposite. It’s actually very empowering. Why can’t women be action heroes?
Zoe Bell, at the head of this cast, is a-mazing. She has a stunt background, and she started as Lucy Lawless’ stunt double on Xena: Warrior Princess, and of course, she caught Quentin Tarantino’s eye after Kill Bill, Grindhouse and now, Django Unchained. She’s in everything now, but for her to be the star [of Raze], it’s just a perfect fit. She’s as tough as nails, and she’s like one of the guys, but she’s also very much a sexy woman. She’s perfect. And her acting skills have sharpened up so much. She had to reach a lot of levels in this movie, and she hit them all with such beautiful melody.
I’ve worked with Zoe before, in her first foray into starring roles with Angel of Death, which was a web series on Sony Pictures Television for a website called Crackle.com. Then, they compiled that web series together to make it into a TV Movie, which aired on SpikeTV. She played a mafia hitwoman in that, and I played her mafia doctor. So we worked together before and got along famously. It was her suggestion that they come find me for this role of Joseph in Raze. When I heard her name [attached], that’s what was the other draw for me, since not only did I have a great director in the way of Josh, but it’s also Zoe Bell, so I had to do this.
And then, they went to casting [Joseph’s] wife, Elizabeth, in the movie. And when Sherilynn Fenn came in, Josh Waller said, “Oh my Gosh. We found her. This is gonna be good.” When I heard the name “Sherilynn Fenn”, I almost wet myself. We’re talking iconic television with Twin Peaks and her performance as Audrey. I had a cat around the time Twin Peaks started airing, and what do you think I named that cat? “Audrey.” That’s because of Sherilynn Fenn. Now, I’m meeting her and she’s playing my wife?! It’s insane. She’s still quite a beauty to this day. To be with her on film was just very wonderful. When the camera rolls, something very real happens in her. She’s got such an understated honesty about her that’s just delicious to play with.
All in all, Raze was a great experience for me. We just had our premiere screening at the Tribeca Film Festival to quite a lot of critical acclaim. The critics are actually loving it. Nobody tries to tell you it’s not brutal, since it’s as brutal as it can be, and the fight scenes are bloody. It’s disturbing, but it’s also help telling an empowering story, believe it or not. I don’t know how they pulled it off but they did.
DIABOLIQUE: The IFC label is a pretty great sign for genre pictures, as they’ve been putting out a lot of visually unique and creatively uncompromising films as of late, so that was an indication, for me at least, that Raze was a titled to be watched.
JONES: Yeah, that’s right.
DIABOLIQUE: Aside from Raze, do you have any other impending genre work coming out in the future? Are you interested in reprising Abe Sapien for a potential third Hellboy feature or possibly the Silver Surfer, should the rights revert back to Marvel?
JONES: I would jump at the chance to play either of those characters again, so yes. I love the Silver Surfer, and when I took Fantastic Four: Rise of the Silver Surfer, I did have a three-picture deal in place with 20th Century Fox. That optioned was never exercised, and that’s fine, but I did that with excitement that he would spin-off and do his own movies. Hellboy III would be another delight in my life, if we could do that. I feel that the story does need to see a trilogy to close it out, and it does need a third part because we were kind of left with unanswered things and teasers of what’s to come, and it hasn’t come yet, so I’d love to close that story out. Abe Sapien could live on in another incarnation, whether it’s a movie or TV version of the B.P.R.D. comics, or the Abe Sapien comics. He has life beyond the Hellboy comics, so I’d love to revisit him in any of that because he’s my favorite comic book character in anything that I’ve played. I love Abe.
As far as other genre work, I wish, I wish, I wish I could talk to you about what I’m filming right now. My last day was May 31st, actually, but the secrecy on this project is so tight that my name is not published on the call sheets, because they don’t want anyone taking a picture of the call sheet and twittering about it. If you heard the name of the iconic character that I’m playing, you would recognize the name or the type of character that he is. Otherwise, I have to be done talking about it because I’m terrified. I want to tell you so badly, and I want to shout it off the rooftops, but the secrecy on this project is so tight. There’s nothing on IMDb about it and it’s nothing you’ve heard of because they’re so tight-lipped about it. But keep looking for it, and when I can talk about it, I sure as heck will.
You can catch Doug Jones on Falling Skies every Sunday at 9 p.m. EST on TNT, as well as on The Neighbors, which returns with it’s second season later this fall on ABC. You can also see him in John Dies at the End, currently on DVD and Blu-ray, as well as Netflix Instant Streaming. For more on Jones and his prolific future, check back into DiaboliqueMagazine.com!
– By Ken W. Hanley
Ken W. Hanley is the Web Editor for Diabolique Magazine, as well as a contributing writer for Diabolique Magazine and Fangoria Magazine. He’s a graduate from MontclairStateUniversity, where he received an award for Excellence in Screenwriting. He’s currently working on several screenplays spanning over different genres and subject matter, and can be followed on Twitter: @movieguyiguess.