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Country Jam Terms And Conditions
This promotion is sponsored by Nicolet Law Office The office can be contacted at 715-835-5959, [email protected], or 402 Graham Ave, Suite 305, Eau Claire, WI 54701.
The contest will run from 7-11-2018 until 11:59 pm on 7/16/2018.
You must be 18 years of age, and cannot be an employee of Nicolet Law Office
A participant may enter no more than two times.
The entries will be entered into a random drawing using a computerized randomizer to determine the winner.
The winner will be announced on 7/17/2018 and that winner will be contacted via Instagram and/or Facebook.
The winner has 48 hours to claim the prize by contacting Nicolet Law Office, with their full name, phone number, address and email address.
This promotion isn't sponsored, endorsed or administered by, or associated with Instagram or Facebook, or any other social media used throughout the contest.
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Who Is The Best Lawyer In Eau Claire
Who Is The Best Lawyer In Hudson
Who Is The Best Lawyer In Superior
Who Is The Best Personal Injury Attorney In Hudson


The Institute for Environmental Medicine was established in 1968 by the Trustees of the University of Pennsylvania in recognition of the increasing need for study of the interaction of man with the environment. This formal step recognized a program with origins dating back several decades and the interests of Professor C.J. Lambertsen in research and training related to the undersea environment.
In the early 1960's, Dr. Lambertsen undertook the development of an environmental research center and, with major contributions from the National Institutes of Health, the Office of Naval Research, the Fannie E. Ripple Foundation, and the Harrison Foundation for Surgical Research, a system of interconnected chambers capable of simulating pressures ranging from 80,000 feet in altitude to 2,000 feet of sea water was installed. This system became functional in 1970 and, for the next 15 years, scientists from universities, federal agencies, and industry collaborated through the Institute on a series of multidisciplinary research programs designated as "The Predictive Studies". These pioneering studies probed the pathophysiology of oxygen toxicity, diving related stresses, and mechanisms of hypoxic response in humans.
Dr. Aron B. Fisher succeeded Dr. Lambertsen as Institute Director in 1985. Dr. Fisher brought to the Institute established programs in cell biology of the lung and basic mechanisms of oxidant injury. Subsequent recruitments included junior faculty with research interests in molecular genetics, biochemical toxicology, and immunopharmacology. As a result, the Institute has maintained its traditional excellence in systems physiology and toxicology and has established premier programs to study cellular, biochemical, and molecular aspects of environmental issues.
The Institute utilizes approximately 18,000 square feet of contiguous space on the ground floor and basement of the John Morgan Building of the University of Pennsylvania Medical Center. Major renovations completed in 1987 and 1996 have provided "state-of-the-art" facilities for conducting modern biomedical research. Within the Institute spaces are offices for 12 investigators and their associates, administrative offices, seminar and conference rooms, a microcomputer center, core research facilities, and research laboratories for carrying out a broad range of biomedical investigation on organisms ranging from unicellular to humans. The Institute also provides facilities for a hyperbaric medicine referral and treatment service that is unique in the tri-state area.


It's the final week of the regular season in the NFL, and the day games look to be so drama-free that it's nice to know the night game is a virtual playoff game. Worth watching, especially if the Seahawks become the first team ever to make the playoffs with a sub-.500 record.
TCU rules: What an awesome team, with an awesome story and an awesome attitude about their situation -- willing to celebrate winning the Rose Bowl for its own sake, rather than freaking that they aren't going to get a chance to win a national title.
Otherwise, the storyline was that the Big Ten got clobbered up and down: Wisconsin by TCU, Michigan State by Alabama, Michigan by Mississippi State and -- a bit less egregiously -- Penn State by Florida in Urban Meyer's last game at UF and Northwestern by Texas Tech.
NHL Winter Classic: As expected, so much cooler under the lights than during the day. The visuals were stunning -- and that's kind of the point of the NHL's biggest game of the regular season: A showcase for casual (and non-) fans to pique their interest. The Caps' retro jerseys took me back to my childhood of going to games at the old Cap Centre. Huge win for the Caps -- in the absence of a Stanley Cup title, arguably the biggest win the team has had in the Ovie Era.
The Heat's comeback from 20 down against the Warriors to get the win might be my favorite win of their season so far (to the extent I like ANY of their wins, which I really don't). But it shows an interest in Ws that inches them closer to actually being... well, if not likeable than at least respectable.
I'm quite sure he'll put out signals in July that he's interested in coming back for a team that will have him. Won't believe he's done until next season comes and goes without him playing -- and even then, it's unclear he wouldn't get into shape and try to come back in the fall of 2012. I'm totally serious. This is what Favre has done to us.
Wisconsin lost by two to the 3rd ranked team in the country, in a game that featured a dropped TD pass and a missed FG for the Badgers. I'd hardly call that "clobbered."
As for the other teams, I think only one was favored to win. The results aren't shocking at all. Using your generalizations, the SEC got clobbered by the ACC.


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Share this Story: SOL Global Continues Principal Re-Payments Towards $50 Million Credit Facility
SOL Global Continues Principal Re-Payments Towards $50 Million Credit Facility
Dec 02, 2021 • December 2, 2021 • 3 minute read • Join the conversation
TORONTO — SOL Global Investments Corp. (the " Company " or " SOL Global ") (CSE: SOL) (OTCQ SOLCF) (Frankfurt: 9SB) is pleased to announce that it has repaid an additional $2.5 million toward its $50 million credit facility with an arm's length lender (the " Credit Facility "), reducing the principal amount of the Credit Facility to $45 million. As disclosed in SOL Global's news release dated August 7, 2021, the Credit Facility was obtained to partially fund the acquisition of a non-convertible debenture pursuant to a settlement in a previously disclosed dispute. SOL Global intends to continue making similar payments towards the Credit Facility in the coming weeks and months, as the Company continues to take profits on various existing investments. The Company will continue providing further updates of material changes respecting the Credit Facility, including any additional payments.
Cautionary Statements
SOL Global Continues Principal Re-Payments Towards $50 Million Credit Facility Back to video
This press release contains "forward-looking information" within the meaning of applicable securities laws. All statements contained herein that are not clearly historical in nature may constitute forward-looking information. In some cases, forward-looking information can be identified by words or phrases such as "may", "will", "expect", "likely", "should", "would", "plan", "anticipate", "intend", "potential", "proposed", "estimate", "believe" or the negative of these terms, or other similar words, expressions and grammatical variations thereof, or statements that certain events or conditions "may" or "will" happen, or by discussions of strategy. There is no assurance that the transactions described herein will occur on the expected timeline, in the manner described, or at all. Forward-looking information is based upon certain material assumptions that were applied in drawing a conclusion or making a forecast or projection, including management's perceptions of historical trends, current conditions and expected future developments, as well as other considerations that are believed to be appropriate in the circumstances. While we consider these assumptions to be reasonable based on information currently available to management, there is no assurance that such expectations will prove to be correct.
By their nature, forward-looking information is subject to inherent risks and uncertainties that may be general or specific and which give rise to the possibility that expectations, forecasts, predictions, projections or conclusions will not prove to be accurate, that assumptions may not be correct and that objectives, strategic goals and priorities will not be achieved. A variety of factors, including known and unknown risks, many of which are beyond our control, could cause actual results to differ materially from the forward-looking information in this press release. There is no assurance that SOL Global will be able to continue to make payments or servicing other obligations under the Credit Facility, or its other current or future debt, on the expected timeline, in the manner described or at all. Additional risk factors respecting SOL Global can also be found in SOL Global's current Management's Discussion & Analysis, which has been filed on SEDAR and can be accessed at www.sedar.com. Readers are cautioned to consider these and other factors, uncertainties and potential events carefully and not to put undue reliance on forward-looking information.
The forward-looking information contained herein is made as of the date of this press release and is based on the beliefs, estimates, expectations and opinions of management on the date such forward-looking information is made. SOL Global undertakes no obligation to update or revise any forward-looking information, whether as a result of new information, estimates or opinions, future events or results or otherwise or to explain any material difference between subsequent actual events and such forward-looking information, except as required by applicable law.
SOL Global Investments Corp.
Paul Kania, CFO
Email: info@solglobal.com
Davis Richardson
AMW PR
Email: Davis@amwpr.com
News Near Vulcan

redpajama_set_name: RedPajamaCommonCrawl


History allows us to fully understand the shape of the present-day. Timelines are familiar forms of visual representation that help us understand our conception of history as a coherent, chronological narrative; rather, timelines represent the stories that came before us. Gay is Good is a timeline featuring a custom display typeface to demonstrate an in-depth study of LGBT history, a significant topic that has an extensive past, yet is still relevant today. The challenge was to create an engaging context and establish a visual language that humanizes the content.
Utilizing provocative statements that have been verbalized throughout time, the timeline acts as both a type specimen and a visual fortitude illustrating how the history's language, culture, and tone of voice has evolved. The typography is tight and the individual characters tile together to form a structurally-sound totem. The font, appropriately called QUEER SLAB, visually echoes the strength, resilience, and spirit of the LGBT community. Queer Slab is based off reverse-contrast "Italian" type, a typographic style that was not widely accepted upon its release due to its unconventional visual appearance and departure from the norm. This typographic reference emerged as a direct conceptual construct relating to the study and analysis of LGBT history.
Although the history is not exhibited in its entirety, the form itself honors the subject matter's evidenced milestones and embodies the LGBT community's tenacity and persistence. The developed elements of this manifestation serve as an impetus to extend bodies of work to follow.
Choose to design something that revolves around something you are extremely interested in. If you enjoy the content you are working with, it will make the project more rewarding and enjoyable. This semester-long project will allow you the opportunity to learn more about the content you choose to further explore.
Utilize the Decker Library for gathering inspiration.
Possess a playful attitude when approaching your design work by taking bold design risks and experimenting with form and media: learn a new tool, explore other design disciplines and industry domains, incorporate both digital and analog processes.


Yesterday i was so furious about everything.
And then the selfies with the snapchat's filters. Urghhhhh! I know i am one of those who felt really pretty especially using the flower on the head filter tuh, but do u have to instagram thenm? Sekali cukop la. Tayahla bajet lawa nak insta kan sokmo.
Simpan sendiri or share between close friends maybe in whatsapp or the snapchat itself. Dont annoys other people lah.
I know right! I was sooo bitter yesterday.
And tonite. Tonite i am sooo melancholic.
With so many old emotional conversations running in my mind. Like the question from R lastlastwik: videl, why are u still here? Kau sgt sabar kan?
And the unorganized store room. This one, majorly.
I am unpredicted and so so so melancholy.
And i felt like i deserve a vacation.
Sebenarnya, my cycle is here. Hiatus!


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Home Books Syndromes: Rapid Recognition and Perioperative Implications
Louis-Bar Syndrome
Louis-Bar Syndrome. In: Bissonnette B, Luginbuehl I, Marciniak B, Dalens BJ. Bissonnette B, & Luginbuehl I, & Marciniak B, & Dalens B.J.(Eds.),Eds. Bruno Bissonnette, et al.eds. Syndromes: Rapid Recognition and Perioperative Implications. McGraw Hill; 2006. Accessed February 02, 2023. https://accessanesthesiology.mhmedical.com/content.aspx?bookid=852&sectionid=49517869
Louis-bar syndrome. Bissonnette B, Luginbuehl I, Marciniak B, Dalens BJ. Bissonnette B, & Luginbuehl I, & Marciniak B, & Dalens B.J.(Eds.),Eds. Bruno Bissonnette, et al. (2006). Syndromes: Rapid Recognition and Perioperative Implications. McGraw Hill. https://accessanesthesiology.mhmedical.com/content.aspx?bookid=852&sectionid=49517869
"Louis-Bar Syndrome." Syndromes: Rapid Recognition and Perioperative Implications Bissonnette B, Luginbuehl I, Marciniak B, Dalens BJ. Bissonnette B, & Luginbuehl I, & Marciniak B, & Dalens B.J.(Eds.),Eds. Bruno Bissonnette, et al. McGraw Hill, 2006, https://accessanesthesiology.mhmedical.com/content.aspx?bookid=852&sectionid=49517869.
Heredofamilial neurocutaneous progressive syndrome characterized by cerebellar ataxia (early childhood), oculocutaneous telangiectasia (adolescence), and impairment of the immune system. Recurrent infections of the lung (pulmonary restrictive disease) and sinuses.
(Figure)
Ocular telangiectasias in a patient with ataxia telangiectasia.
Similar telangiectases in Louis-Bar syndrome can also be found on the ear.
Ataxia Telangiectasia Syndrome.
Described by Denise Louis-Bar, a Belgian neuropathologist, in 1941.
Autosomal recessive. The ataxia telangiectasia (AT) gene has been localized to chromosome 11q23.
Ataxia telangiectasia is a syndrome with multiorgan involvement. Pathophysiology cannot be explained by a single cellular mechanism. Neurologic: Cerebellar dysfunction, progressive neurologic deterioration, developmental delay; mucocutaneous: telangiectasia on conjunctiva and exposed areas; endocrine: glucose intolerance, hypogonadism.
Based on clinical features. Immunodeficiency as evidenced by low or absent IgA and IgE and atypical IgM. Slight elevation of liver enzymes in 50% of patients. May have raised α-fetoprotein. Glucose intolerance and hypogonadism particularly seen in females. Marked progressive cerebellar atrophy usually is demonstrated early by CT scan or MRI and characteristically defined as enlarged cerebellar sulci and cisterns and fourth ventricle.
Initial presentation usually is neurologic as evidenced by problems with development of walking, oculomotor abnormalities, and progressive neurologic disability. Risk of recurrent aspiration of oral secretions. In addition to telangiectasia, vitiligo, café-au-lait spots, and premature graying may be present. Absence of secondary sexual characteristics in females. Elevated liver enzymes associated with fatty infiltration of the liver. Ataxia telangiectasia patients are at increased risk for developing malignancies, particularly lymphoma and leukemia in children and gastric carcinoma in adults. Chronic respiratory infections and bronchiectasis, unresponsive to antibiotics, are frequently the ultimate cause of death. Unusual to survive beyond the third decade.
Neurologic evaluation, particularly cerebellar and bulbar function. Evaluate pulmonary and cardiac function in light of chronic lung disease. Objective evaluation of respiratory system may be difficult because of neurologic disease. Hematologic evaluation should look for malignancies that may result in pancytopenia, requiring blood or platelet transfusions preoperatively. Evaluation of hepatic function, glucose homeostasis, and coagulation profile.
Patient cooperation may be limited because of mental deficiency. Ventilation/oxygenation may be challenging because of chronic lung disease. May need postoperative ventilation. Increased risk of aspiration because of neurologic disease. Although there are no known direct cardiac anomalies, the presence of chronic lung disease and the potential effect of increased pulmonary vascular resistance on cardiac function must be evaluated.
Drugs that depend on hepatic metabolism should be used with care in the presence of hepatic dysfunction. Use muscle relaxants judiciously in presence of progressive neurologic disease.
Jones KL: Ataxia telangiectasia syndrome, in Lyons K (ed): Smith's Recognisable Patterns of Human Malformation. 5th ed. WB Saunders, Philadelphia, 1997, p 196.
Gatti RA: Ataxia telangiectasia. in Scriver CR, Beaudet AL, Sly WS, et al. (eds): The Metabolic and Molecular Bases of Inherited Disease. 6th ed. New York, McGraw-Hill, 1989, p 2702.


and documenting it is the province of the user, not of the supplier.
> I am documenting an API that returns data structures in XML.
> Definition), we need to describe elements that are determined by a user.
> _books_ are composed of one _title_ element and one _authors_ element.


Washington, DC joined a growing list of localities that have banned smoking in public places. It's hard to oppose the trend. No one seriously believes any more than cigarettes won't kill you or that second hand smoke is harmless. Still, there is a part of me that sees these high minded anti-tobacco advocates as little more than meddlers. That may only be because I am a devoted cigar smoker (having given up the insidious white cousins about 35 years ago). I may be just resisting the coercion of bans, even if they are for my own – and others – good.
Still, there is something that nags me.
I am of an age where in my youth "everybody" smoked at home, at work, virtually everywhere it was not a fire hazard. At a party you would have a foot of smoke hanging from the ceiling by 11 PM. If the party lasted into the wee, small hours you would have to survey the room through a thick fog of exhaled smoke. Talk about second hand smoke. That stuff was third and forth hand.
That doesn't happen any more. Most people do not smoke. I know smokers who even go outside to light up … in their own homes. You can't find a smoke-filled room anywhere – not even in the seat of political wheeling and dealing, the US Capitol. And all of this happened without any government coercion. There was an educational campaign – much of which was not government sponsored and warnings on cigarette packs which was. But by the time the anti-smoking forces appeared, smoking was on the run in the US. As fewer and fewer people smoked, more and more business responded to the marketplaces signals and limited or banned smoking.
So one has to wonder what these folks are doing with their bans except coming down out of the hills after the battle and shooing the wounded.


I am making this blog to inspire me to reach my goals. My goal started is not just weight loss but also to get toned. I lost 10 kgs and became muscley and toned but I have slipped off this track and now I need to get back in the game. I have made it my goal this summer to get fit, tanned and toned. I thought having a blog even if no one reads it will help me achieve this. I will be posting with pictures off food I had that day, my exercise routine and what else I have changed.
I am very excited about starting up this journey! I can't wait until I reach my goal. Also I will be posting pictures of myself pre-weight loss and post weight loss then also hopefully more pictures as I get more toned.


Bubsy 3D is a platform game developed by Eidetic and released on PlayStation.
Super Bubsy is a platform game developed by ATI Technologies and released on Microsoft Windows.
Bubsy II is a platform game developed by Accolade and released on Game Boy, Sega Genesis, Super Nintendo Entertainment System.
Bubsy in: Claws Encounters of the Furred Kind is a platform game developed by Solid Software and released on Sega Genesis, Super Nintendo Entertainment System.


Get all of the updates and events straight to your phone or computer! Help us reduce waste and keep you informed.
Join us every Sunday at 10:30AM for worship, praise, and a message from His word. Missed a message? Hear past services here.


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Globalising Halal Trade and Tourism: The Evolving Legal, Business and Marketing Eco-System
Special issue call for papers from Journal of Islamic Marketing
We are inviting submissions for a special issue on Globalising Halal Trade and Tourism: The Evolving Legal, Business and Marketing Eco-System.
Halal trade and tourism is rapidly burgeoning as a lucrative business both in countries with Muslim majorities as well as globally. Fundamental to the growth of the halal trade and tourism industry are friendly and supportive legal, business and marketing practices at both domestic and international levels.
Halal trade began with the Halal food production and has now expanded to other areas such as Islamic banking and finance, Halal healthcare, Halal cosmetics and most recently is the Halal hospitality. Therefore, now the notion of what is halal and what is not has attracted the attention of many industrial players. As halal trade is now no longer confined to halal food only, issues on good governance, best practices, good manufacturing practices and product standards are being developed to meet consumer demands. As preference for halal products become a global phenomenon, many Muslim majority countries as well as Muslim minority countries have decided to regulate the use of the term "Halal" in their fair-trade rules and some have resorted to establish Halal certification process.
The Special Issue also wishes to highlight arising issues in Halal Tourism. Although the Halal Tourism industry is still fairly at its infancy if compared to the conventional tourism, however, the concept of Islamic Hospitality is rooted in the Islamic theory of "respect for Dhuyuf (guests)" which existed as early as the coming of Islam. Scholarly work addressing issues revolving around Halal Tourism such as concepts, practices, prospects and challenges. The Special Issue also hopes to unearth work that provides a deeper understanding of Islamic principles of trade and hospitality and how this relates to the ethics of business in the Halal trade and tourism industry.
The primary focus of the special issue relates to the legal mechanisms, business practices and marketing strategies adopted by countries and companies that have embarked on the Halal trade and tourism journey.
Key areas are:
1. Business Ethics and Shari'ah Principles
2. Business and Marketing Practices in Halal Industry
3. Consumer Demands for Halal Products and Services
4. Halal International Trade and Codex Alimentarius
5. Halal Certification
6. Halal Genealogy, Current Trends and New Concepts
7. Halal Logistics and Supply Chain
8. Halal Tourism
9. Islamic Marketing and the Halal Market
10. Law and Halal Industry
11. WTO Rules and Regulations Relating to The Halal Industry
12. Halal Food Service Management
13. Halal Branding and Marketing
14. Islamic Principles in Tourism and Hospitality
15. Halal Tourism Eco System
All submissions must contain original unpublished work not being considered for publication elsewhere. Submissions will be refereed according to standard procedures for Journal of Islamic Marketing. Information about the journal can be found at http://emeraldgrouppublishing.com/products/journals/author_guidelines.htm?id=jima
The deadline for submissions is 30th September 2018. However, papers can be submitted at any time; and, when they have been received, they will enter the editorial system immediately. Papers for the special issue should be submitted using the ScholarOne Manuscripts, the online submission and peer review system. Registration and access is available at http://mc.manuscriptcentral.com/jima
The special issue editors (arranged alphabetically) are:
1. Prof. Dr. Ida Madieha bt. Abdul Ghani Azmi, Civil Law Department, International Islamic University Malaysia. (Abdul Ghani Azmi, I.M.), E-mail: [email protected]
2. Assoc. Prof. Mohamed Battour, Tanta University, (Battour, M.) E-mail: [email protected]
3. Assoc. Prof. Dr. Noriah Ramli, Civil Law Department, International Islamic University Malaysia, (Ramli, N.), E-mail: [email protected]
4. Assoc. Prof. (Dr.) Majdah Zawawi, Islamic Law Department, International Islamic University Malaysia, (Zawawi, N.), E-mail: [email protected]


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Djalmir Vieira de Andrade (born 22 April 1976), known simply as Djalmir, is a Brazilian footballer who plays for S.R. Almancilense as a striker.

He totalled 239 games over 12 seasons across the two major levels of Portuguese football, amassing Primeira Liga totals of 79 matches and 21 goals, mainly with Olhanense for which he made 145 official appearances (60 goals).

Club career
Djalmir was born in Aracaju, Sergipe. After only playing for modest clubs in his homeland, he moved to Portugal in 2000, going on to remain in the country for the following 12 years. He started with F.C. Famalicão in the third division and, after scoring 15 goals in each of his two seasons (only playing in the first half of 2001–02), moved straight to the Primeira Liga with C.F. Os Belenenses, where he failed to reproduce his previous form.

From 2003 to 2009, Djalmir competed in the Segunda Liga, with S.C. Salgueiros, C.D. Feirense and S.C. Olhanense. In the latter season, while at the service of the last, he netted a career-best 20 goals in 27 matches, helping the Algarve side return to the top flight after a lengthy absence. In 2009–10, he added 12 in only 17 appearances as they retained their league status.

Djalmir was used sparingly in the following campaigns. On 1 May 2011, however, he scored in the 93rd minute for the final 1–1 home draw against S.L. Benfica, which certified his team's permanence.

On 22 June 2012, Djalmir confirmed he would be leaving Olhanense. He retired from football the following month, being immediately appointed as his main club's director of football; however, after only a couple of months, the 36-year-old returned to active, as the team was struggling with several injuries.

Djalmir came out of retirement for a second time in October 2018, rejoining Olhanense, who now competed in the third tier, as well as announcing plans to run for its president in the upcoming elections. In the following transfer window, he signed with amateurs S.R. Almancilense in the same region.

References

External links

1976 births
Living people
People from Aracaju
Brazilian footballers
Association football forwards
Campeonato Brasileiro Série C players
Club Sportivo Sergipe players
Primeira Liga players
Liga Portugal 2 players
Segunda Divisão players
F.C. Famalicão players
C.F. Os Belenenses players
S.C. Salgueiros players
C.D. Feirense players
S.C. Olhanense players
S.R. Almancilense players
Brazilian expatriate footballers
Expatriate footballers in Portugal
Brazilian expatriate sportspeople in Portugal
Sportspeople from Sergipe

redpajama_set_name: RedPajamaWikipedia


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Exclusives Interviews Movie News
[Interview] Meet James Jude Courtney, Your New Michael Myers in 'Halloween' 2018
March 27, 2018 October 21, 2018 Matt Artz 0 Comment Halloween 2018, James Jude Courtney, Michael Myers
The horror event of the year is the return of Michael Myers in the new Halloween movie, along with the franchise's most recognizable icons in John Carpenter as executive producer and composer, Jamie Lee Curtis reprising her role as Laurie Strode, and Nick Castle suiting up as Myers again, but make no mistake, there is a new man behind the mask stepping into The Shape, his name is James Jude Courtney, and he's about to make a killer impression.
When it was first announced that Castle would once again play Michael Myers 40 years after he originated the role in John Carpenter's 1978 Halloween, it was announced that Courtney was also cast in the role, and many might have assumed that Courtney was only doing the stunt work. But having talked to both men in recent weeks since filming wrapped, I can assure you that this is more than just the sharing of a role, but in fact a passing of the mask, from the original to the new.
I've been fortunate to meet and talk to almost all of the men that have portrayed Michael Myers on screen, and I don't think any of them have ever approached the character quite like Courtney has. He knows the history, he respects the legacy, he's bringing four decades of experience that he believes has all led him to this moment, and he is deadly serious about getting it right for us, the fans.
Read on for our interview with James Jude Courtney on becoming Michael Myers.
James Jude Courtney is der Kindestod in the 'Buffy the Vampire Slayer' episode "Killed by Death".
Can you tell us how you got into this business, and ultimately what has now led you to Haddonfield?
(laughs) Well it's kind of crazy, man. In fourth grade I knew I was going to make movies for a living. I had several epiphanies at that time in my life, and that was one of them. So I picked up my dad's 8mm camera and started making my own movies, in fifth grade for every little project and through high school and college. So when I graduated from journalism school – I went to a top ranked journalism school at the University of South Carolina, so I have a great respect, by the way, for what you do. I think, maybe at this day and age more so than any other time, it's so important that journalism is respected. It's such a lifeline for information. And you know, for a show like this (Halloween), with a huge fan base, where integrity and excitement and all these wonderful things are bound, it's really great that you're doing what you do, man. So thank you. I'm really grateful for this opportunity to speak with you.
I majored in journalism because I wanted to learn how to research and how to present information to the public in a way that would mold their minds and create new ideas or challenge ideas. When I got to California, I intended to make my own films, but my reasoning was that if I got in front of the camera I could learn every aspect, because I would see and feel everything. I'd be able to shadow amazing directors, or see scripts that were sometimes good and sometimes not. But every time a film is made it's a minor miracle, whether it's good or bad.
When I got out there (to California), my first job was a tour guide at Universal Studios, which was awesome. And being that Universal has done so many amazing horror films, we were very deeply educated in the tradition, so we could share that with the tourists. And then shortly after that, I was cast in The Adventures of Conan, which was the live Conan the Barbarian show at Universal Studios.
I had never really thought about doing stunts. My idea was to be an actor and then write and make my own films. But I'm an athlete, and I've done martial arts off and on since 7th Grade. So when I was cast at Conan, putting swords in my hand was just a really natural thing. Doing high falls – I did probably 3,000 high falls in that show and easily 8,000 sword fights. And it was a really physical show, thousands of stitches, concussions, broken bones. It was a really physical, beautiful show.
While I was there, three of the guys – Brian Thompson, Alex Daniels, who's a top stunt coordinator, and Clint Carmichael – snuck down one Halloween night and actually spent the night in the Psycho house (at Universal Studios). It was crazy fun. Only some knuckleheaded actor-stunt guys would do that. So our initials are engraved somewhere at the top of that structure.
So I just kept pursuing, writing screenplays, and learning and growing. I got to play lots of bad guys and lots of tough guys, because of the physical nature of being an actor-stuntman. Not too many people do that. People really focus on acting or focus on stunts, and for good reason, because a lot of times people will say, 'Well he's just an actor who does a little bit of stunt work,' or, 'He's just a stuntman who does a little bit of acting.' But the reality is, you refine and work on both, which is what I did – I studied with Stella Adler, who is an iconic acting coach, Marlon Brando's coach, and I had a private coach in the Royal Academy of Dramatic Art.
The first role I played in a film was in a little Cannon film, a labor of love for the director-writer, and I went and stayed in a psych ward for a weekend, and learned from the psychiatrists and the orderlies, and stayed with murderers. It was fascinating. I learned so much. And that knowledge I carried with me through my career, and certainly brought into the work I did on Halloween.
There's really kind of a striking similarity in Buffy the Vampire Slayer, where I played a character called der Kindestod and I murdered children in their dreams. When they cast me in that, it was because of the way I moved. It was my ability to bring a character into physicality and then allow that to define how the character moved.
So all this training brought me to this amazing, beautiful moment, where I get to step into this iconic role that John Carpenter and Nick Castle created. The room was already filled with just ample information, and the fan base, and the years and legacy. And then I got to bring my experience and whatever talents I have into this.
It sounds like it has all been leading you to this point.
The beauty of it is that in my life and really in my career, the most beautiful things have come out of left field. I actually had made the decision, because I'm very close to making my own films, not to step in front of camera unless I was called specifically by a friend or someone who knew I was right for a particular role.
Out of the blue, the stunt coordinator Rawn Hutchinson, who did the Rob Zombie Halloweens and has been around for years, when he read the script, he told Malek (Akkad) and David (Gordon Green), 'Look, this is a role that, the way it's written, this is really physical, and it's also going to demand really deep acting chops. So you need a guy who can do both.'
After Rawn called me, I went down to meet them. When I did the first audition in Charleston before I even met David Green, I was driving, not even out of the parking lot, and I got a call from Los Angeles asking my availability. I hadn't even got to the interstate before I got another call from Los Angeles asking if I'd be willing to come back and meet David. So there was something really big happening there.
So after that first meeting, it didn't take them long to make a decision.
At first I didn't know, because they were supposed to shoot in October, and then I didn't hear anything, so I was like, 'Okay, that's fine.' It was awesome to step in front of an audition camera again and get to meet David and Ryan (Turek) and Malek and all those guys. But then, I think it was sometime in early December, I got the call, and they said, 'Hey man, you got it.' I was extremely stoked.
So had Rawn worked with you before?
Oddly enough, we have known each other for years and we've worked on projects together where he was the stunt coordinator and I was only the actor, but he knows I am a stuntman as well, he knows my capabilities. Of all the people he knows, and he knows a lot of people because he's been around a long time, he just felt I was the guy that could bring those two elements together.
James Jude Courtney as Gyor on 'Babylon 5'.
Before we talk about the new film, this is the 40th anniversary of the John Carpenter's original Halloween, so can you talk a little about how familiar you were with that film or even the franchise before this project came into your life? Most people can't remember the first time they saw it, but have you been a horror fan?
My mom and dad were both very supportive of film. My mom was my first cameraman. My dad used to sit with us and watch horror films when we were little kids. We were too small to watch them or we'd be scared, but if Dad was there, it was cool. So he would sit and we'd watch the great old Boris Karloff films and the Lon Cheney films, the great old horror films. So I've definitely been tapped into horror my whole life.
Knowing that I was going to make films, in high school and college, I went (to see movies) with a critical eye, because I was trying to learn and pick up information. And there were two films when I was an undergrad at University of South Carolina that I saw and I knew immediately that they were game changers. One was Rocky and the other one was Halloween. I walked out of Halloween and went, 'Dude, this is a game changer. There's a whole new paradigm being created right now.' So I remember it very, very well.
Of course over the years I've seen it again at various times and when the new ones come out you go see them. It's just a part of my life. You know what mean?
I never envisioned that I would be so honored as to be able to step into The Shape.
That sounds like me and my 10-year-old son. We've been bringing him up on horror, like you said, starting with the classics and working our way up over the years, so he's got a true appreciation. So it sounds like your parents did it the right way for sure.
I had awesome parents. I had six brothers. We spent a lot of time together, my brothers, my parents, and I, and movie nights were one of them. It was always something, and there was an education going on that I didn't understand at the time.
Now let's talk about stepping into The Shape. This is the horror event of the year. So in December (of 2017) you got the call saying that you got it. Can you walk us through what happened next?
In December they sent me out to do the life cast of my face. So I went out and met (makeup effects artist) Christopher Nelson for the first time, and we did the life cast. We cast the masks to my face, and the other prosthetics, which you will discover during the course of the film.
Then in January I went down (to Charleston, SC) and did a week of rehearsal. David called me actually prior to rehearsal, and we talked about the character and we talked about movement. He said, 'Look, I really see a certain – yes, The Shape moves a certain way and Nick Castle was the one that created that iconic sort of presence, but – I have this idea that there's a certain cat-like quality to the efficiency and movement.' I said, 'Well oddly enough, David, I have a cat in my lap right now.'
In fact I used a cat to design my movement for der Kindestod. I think cats are the most perfect hunting, killing machines on the planet. And the beauty of it is we don't judge a cat for what a cat does. A cat does what a cat does because that's a cat. So I sort of carried that movement and the non-judgmental approach to the way I moved as The Shape, which I learned from my cat Parcival. He's a little Grail Knight. He's a badass.
And David was also really sensitive and generous when he said, 'We're inviting Nick Castle to come back to do a little work. Do you have a problem with that, because you're the Michael Myers now?' And I was like, 'Oh my God. Are you kidding? What an honor it would be, first of all to meet the guy, but secondly to work with him. How good does that get?'
So we started work, and I can't remember if it was the second or third week that Nick came in and did kind of a cameo. He did a couple of scenes, and I'm in the scenes with him, which is really beautiful. He and I were hoping that would happen, because he even said, 'This is the passing of the torch.'
We met with foreign journalists on the set, and Nick was so super gracious and just saying, 'Look, I've come in to do a cameo. Jim is our Michael Myers now.'
The crazy thing about Nick is that he is such a giant talent. Not only what he created instinctively and intuitively with Michael Myers, but look at his body of work. The man is just a genius. And he's the kindest, most generous, neatest guy you'll ever meet. I have a friend and a brother for life in Nick.
So through the filming, I'm in every scene. I was there almost every day, long days, (and it was an) extremely physical role.
The script is different than previous incarnations, and it would be with guys like Danny McBride and David and Jeff (Fradley). These guys are brilliant writers. Then you've got Blumhouse and their whole perspective. Look at what they just did, winning an Academy Award (for Get Out). I mean, come on. And Ryan Turek, who is one of the guys who was instrumental in putting this all together and the representative for Blumhouse on the set, is just a prince of a man. And he's so into horror. His knowledge is just so deep.
And I have to say this, man, and this was a real big thing for me and a first in my life: I took what John Carpenter and Nick had created, but I co-created this character with Christopher Nelson. Christopher's work with the mask and the prosthetics, and his deep knowledge of the Halloween tradition and the characters and how they move, not only creating the mask that when I put it on something special happens, but he was with me every single shot.
He was the guy that put the mask on and took it off, and he would drop little pearls, like little whispers or reminders. He wasn't directing me, but his knowledge was so deep. Sometimes we'd do a take and all the sudden I'd get five or six notes from five or six different people, and that's a lot to remember. 'Okay when you get to the bottom of the stairs I need you to move one inch to the left.' But Chris would always bring me right back really deep into, like, 'Okay, this is what it's all about.'
So I feel like I co-created this moment with Christopher Nelson, who is just a giant of a talent and one of the finest human beings you'll ever meet.
And he's an Oscar winner too (for Suicide Squad). It sounds like he was almost like a coach, pulling you back into that mindset needed to get back into the character. And it sounds like he's a fan himself too.
Oh yeah, big time. He actually had said to me later on, 'You know, I was offered to do this, and of course I'd be super excited to do it, but I made up my mind that if I didn't like the guy playing The Shape, if I didn't think he was right, I wasn't going to do it, because I wasn't going to invest myself in something I didn't think was going to be good.' But after we sat and talked, he realized, 'Yeah, we got the right guy,' which I take as a massive compliment from such a talent.
The beautiful thing was every single day before I'd step on set, I spent 45 minutes to an hour in his trailer. So it was Chris and I talking about things and getting into the moment. The music Chris played every morning or every afternoon before the day started was the music that set the tone for what it was we were going to do that day or that night.
I've got to tell you, man, it is singularly the most joyful and uplifting, fulfilling experience I've ever had professionally.
It sounds great. I want to go back just a little bit to working with Nick. When you say you did scenes together, I'm assuming you mean it will be intercut with the two of you, not two Michaels in the same scene?
That's correct, exactly. The thing is – I didn't look at any press while I was working. I just wanted to stay focused. But I started reading this thing about my being his stunt double. I mean, Nick is 5'10, 170lbs, and I'm 6'3, 210lbs, so… (laughs) I think that'd be really difficult to pull off. Nick was very gracious.
Of course we want the fans to understand that he's back. And I'm not much of a self-promoter, at all. I never have been. But the other side of that is, Nick said, 'Look man, you're doing the work. You take credit for what you do. The fans are going to love you, and the fans are awesome.'
And the great news is that I'll get to start travelling with Nick to these conventions and stuff. The awesome part of that for me is I really love people. And the people that I've met so far – the fans that did manage to get onto the set, and there were very few because it was a closed set – to see their reaction when they're meeting Nick and when they were meeting me, like the new Michael Myers, to see the joy that they had in their eyes. It was like, 'Oh my gosh, I get to be one of the guys who brings joy to these people who have been fans for years.' How good does that get?
That's something else I wanted to talk to you about. Obviously you realize that this is a legacy with a huge, passionate fan base.
At one point somebody on set asked me, 'Are you ready for this?' And I was like, 'I don't know.' This is a hallway I've never walked down, man, and now the lights aren't on. I have no idea what it holds for me. But at least I have a knife in my hand. (laughs)
And I have to give a shout out to Jamie Lee. She is bad to the bone. She's an amazing human being, a larger than life talent, and a woman who is – I mean, wow, what a pro. Working with her was definitely also a highlight of my life. And getting physical – that woman – I'll just tell you this: When actors say they do their own stunts – Okay, I can say that because I do. I worked with Tom Cruise on Far and Away, and yes he did do his own stunts. He did his own fighting stuff. – But it's really rare. Usually a double comes in and does this or does that.
Jamie Lee is tough as freaking nails. She is a bad to the bone woman.
Nick has said too when he was talking about you (at his Mad Monster Party Q&A) basically that Michael is very physical in this film. Can you elaborate any on that?
I think, having seen all the films myself and doing what I do, the script first and foremost lent itself towards a far more physical nature. And David Green's directing of course, I mean, wow, what a great director. The cinematography (by Michael Simmonds) is amazing. Even Nick said, 'Wow, there's no way I could have done this.' You know he's 70 years old, and he was never a stuntman. And I had so much experience with weapons and physicality.
I think it takes it to a natural progression. I would certainly hope that there's nothing that the fans would be upset about. I think it really takes Michael Myers to a natural place of what The Shape is really capable of.
And Jamie Lee wrote me a beautiful little note thanking me for the depth that I went to embody this. Without the muscle memory of being able to do the things physically that I did, that would have been impossible.
I wasn't there for the first one obviously, but Nick was just walking around saying, 'This is just like the first one. The crew and the cast are just amazingly close, and it's a family and everybody's happy to be here.' It was great to see him walking around happy like that, and to see him and Jamie when they saw each other it was like, 'Boom! Here we are.'
Yeah, when I talked to Nick, that was one of the things he told me, that both he and Jamie commented on how alike the atmosphere on this new set was to that of the original set in 1978. It's got to be a trip for them, and for Carpenter, to have all of this happening 40 years almost to the day later. It's really kind of unbelievable. I don't think fans thought it would happen like this, but I think everybody's getting real excited, from what we've seen so far.
The fun in that was watching Nick walk around just happy. He was so sweet, he went to a place called Jim & Nick's BBQ and he bought me a shirt that says "Jim &Nick's BBQ" on it. So I put the mask on and sent him a little selfie, which we're really not supposed to do, but I trust Nick.
He told me also that David and Danny's whole intention from the start was to really capture that essence of what Carpenter had going on in the original. Did you get that vibe too?
From an intellectual point of view, absolutely, when I read the script and in talking with David, from a left brain point of view looking at this, yeah, this is a very creative, very intelligent natural progression from the first one, without a doubt. However, as soon as we began work, I got out of left brain and went into right brain mode, and that's just really about the intuition and the character that's already been created, and then whatever work I did to embody that.
For me, it's kind of metaphysical in a way. There's a thing that's called the morphogenetic field. If you believe the universe is one big soup bowl filled with information, the thing that John Carpenter and Nick Castle created is information that exists in the universe. So my job was really to find that information, to find that vibration, that bowl filled with The Shape in the original Halloween, and to become, to define myself in that space and allow that space to inform me as to how this was going to happen 40 years later.
What had transpired in the 40 years of Michael Myers' existence that has now informed him.
I think the writing is brilliant. And Jamie Lee's character is a very intelligent, natural progression, and she embodied it to a T.
It's kind of both, you know what I mean? You have to honor it, embody it, and then let it go.
Being so tied to the role psychologically, was it easy to shake off when you weren't shooting, or was it easier for you to just be like Michael, off in the shadows?
I've done over 15 years of volunteering for group therapy sessions in a thing called family conciliation therapy that actually draws into this morphogenetic field. So oftentimes with someone who volunteers, they represent. So I've represented heinous perpetrators. I've represented protectors, like Archangel Michael, or protector animals. What I've learned from that experience is something that very definitely helped me in creating the space in the work I just did (on Halloween).
What I learned to do is to drop into it, be it fully, and then breathe out of it. So what I would do for each scene is, once we began filming a particular take or angle, I'd drop in – and you're going to have (numerous) takes to do – find that space, and be in it. While things were being rearranged or re-setup or whatever, I would just stand quietly. In fact, Atilla (Salih Yucer), the brilliant first A.D., referred to me as the Buddha, because I was just extremely quiet and I would just stand. I wouldn't move.
But the moment I'd hear someone say, 'Check the gate', and know they're going for a different setup, I'd take a deep breath and boom, I became Jim again. Then when they'd be ready and we'd have another series of shots, I'd breathe into it, find that space, like quickly. I could do it in and out and never carried it. I didn't take it home with me. I slept well.
David complimented me on that ability to be able to drop in and drop out. He told me there was a film he worked on where there was an actor who wasn't able to do that and was nearing psychosis by the end of the film, because he just couldn't let it go. And I could see that happening to someone who wasn't capable of dropping in and dropping out.
Somehow, everything I've done has prepared me for this moment. I just feel so fortunate that I've had the experiences I've had in my life that have honed whatever I'm able to bring to this, and I can't be the judge of that. All I can say is my experience was beautiful. Whatever it is that I was able to bring and whatever I was able to do to give David Green what he wanted, to make Malek happy that I was there, and make Chris Nelson happy, was done so organically. It's like when you find something that you do and you love doing it, and you happen to do it pretty well, it just flows. It's like a hot knife and butter.
We had long days, man. I had to see a chiropractor and get massages, do acupuncture. (laughs) It was not easy by any means. It was long hours and hard work, but it was just so fulfilling.
So were you there on set filming pretty much every day of the shoot?
I had a couple days off through the shoot, but mostly those days I would end up coming back to do electronic press kit or interviews with journalists. The principals, Jamie, myself, Andi (Matichak, and Judy Greer), we did a photoshoot with Dan Winters, who is an iconic photographer. So that was going to be a six-day week, but then of course the photography was on the one day off, so that was a seven-day week. We put in crazy hours and crazy days.
Those photos I'm sure will probably be used in the promotion of the film at some point.
I have a couple of them that Dan gave me, which I can't show to anybody, but they are stunning. There's a reason why this man has photographed two presidents.
If you look at it, the talent that has come on board to make this film – and everybody who has come on board has a Halloween story, some kind of impact that Halloween made in their lives, and that's why they're there.
It really feels like everybody was in it for all the right reasons and has respect in all the right places. It really is impressive when you look at the talent both in front of and behind the camera. And then you've got Blumhouse and Universal who are going to present it. Who better right now to present this movie in October, the perfect release date?
Even if you look at the cinematography – Michael Simmonds and his operators Paul (Daley) and Stewart (Cantrell) – these guys are really tight. Stewart and I did a long steadicam shot that initially they thought they were going to have to stitch together with digital. But we did it. The chemistry that happened between all of us, it was like playing basketball with your brother, who you've played with for 20 years, so you don't even need to look to see where he is when you pass, because you know exactly where he's going to be. We had that kind of chemistry when we were working with camera and special effects and stunt coordinator, and the action. We all had this synergy where we just knew. Everybody just knew.
That sounds amazing.
The other crazy thing is, years ago a buddy of mine was dating (John Carpenter's ex-wife) Adrienne Barbeau and we used to play volleyball at her house, and for years I played tennis at (Halloween II and Halloween: Resurrection director) Rick Rosenthal's house. I had no idea that I was on the periphery of an orbit that was going to draw me into this amazing, beautiful place.
At the martini shot, the last scene you're going to shoot, which happened to be my scene, when David yelled, 'Cut!', the entire crew was around me just off camera and they were applauding.
Chris Nelson took my mask off and he said, 'Look around, man. Absorb it. You deserve it.' And they were applauding. It still brings tears to my eyes, because I have never felt that kind of love for putting in – I mean, we do what we do because we love what we do. We would do it free. It doesn't matter how uncomfortable it is. But to have that kind of appreciation from so many really talented people, I mean everybody there, props, the grips, you name it, everybody who was there was so super stoked to be there.
Man, we were tired towards the end, but everybody was still, 'Good morning! Good to see ya,' big hugs.
It sounds like the whole thing was super special, and I think that's what us fans have been hoping this project would be. It's been a long time coming, but it seems like it was worth the wait.
Well how perfect is it that it's the 40th anniversary? And then there's the perfection of Blumhouse stepping out and quality horror getting the recognition that it deserves finally for the artistry. Instead of being a genre, let's talk about art. Let's talk about talent, right?
And certainly there have been incredible, iconic, beautiful horror films through the years, and innovative horror filmmakers and amazing performances, but I think there's something in the synchronicity of the timing of all this that is – I still don't understand it and maybe I never will, but I certainly feel super honored to be a part of it.
I think you're right. Especially after watching the Oscars the other night, it feels like it's the right time and the right studio. They've made all the right moves, starting with getting Carpenter involved.
And he was out there (on set) and he was awesome, wonderful to talk to. He's a funny guy. He's a salty old dog. But his energy, once I embraced his energy, I was like, 'Oh his energy has been here every day. It's been a part of this every single day.'
And I have to say the thing with Universal, man, because I was a tour guide at Universal Studios, this is like a coming home for me. I have always had a special place in my heart for Universal Studios, because I started there, and I spent so much time on that back lot just steeped in history and lore. So for me to do a Universal film right now, it's special. It's like a victory lap for me.
And it's great too because Michael is one of the modern Universal Monsters. He's right up there with Frankenstein, Dracula, and the classics.
I think, nothing overt, but there are subtleties that you'll see in the movie when it's released that pay homage to the layering that those old classic horror films had. They weren't just cut and dry slashers. There was humanity involved. There were layers of character development. There were things done that certainly had been done with other horror films, but I think there's a certain classic quality to what those guys at Roughhouse and Blumhouse saw and what they created.
As the story goes, when Ryan (Turek) was made aware that the project might be available and pulled together the elements from his Blumhouse perch, I think they all understood that something special was about to happen.
And Malek – I've got to tell you, Malek Akkad is one of the finest human beings you will ever meet. He's bright, he's brilliant, he's kind, he's compassionate. He has amazing depth of knowledge in filmmaking in general but specifically with Halloween and the legacy that his father was. Had his father not been there and seen what he saw in John Carpenter, this may never have happened. I think Malek has really carried that torch forward from his father nobly and well.
Was Malek on set the whole time during filming of the new movie?
Yep, he was there the whole time.
And I know John came in for a while. About how long was he on set?
John was there for a few days, enough to be around and see things and meet people. I don't know this, but my take was he didn't want to be the 800lb gorilla in the room. He wanted to come in, give everybody his blessing, shake some hands, look in some people's eyes, have a few laughs, and move on. He was letting David and the Roughhouse/Blumhouse crew do what they do, which is what a great filmmaker would do. When you bring talented people like that, you've got to let them run.
It sounds really exciting, especially when you talk about the writing.
When I got the first draft, I was like, 'Oh, we're on to something here, kids!' The subtleties in their script is what – The broad strokes and the arch of the story are all super solid, but it's the subtleties that they put in there that give people like myself and Jamie just whole boxfuls of gifts to work with. These guys are really good writers.
Another thing Nick had mentioned is that they made sure there's a lot of Easter eggs and references to the original sprinkled throughout for the fans. Is there anything you can tell us about any of that?
All I can say is: I agree with Nick. (laughs)
Right now I feel like I'm the luckiest guy in the world, and it's only going to get more and more fun, as I get to meet the fans and I get to travel around with Nick. Let's see where this leads.
The thing is, and I'm aware of this enough, that fans have an ownership, they feel like they have an ownership of the films, because they've invested so much of themselves into it. I think it's a really beautiful thing. So I'm really looking forward to the dialogue that happens, because people are going to have opinions and they're not all going to agree. There's going to be ideas that are passed back and forth, and there's going to be questions and answers and conjectures. And isn't that beautiful when a piece of art starts a conversation?
Absolutely. And I think that's great that you're looking forward to meeting the fans and having this dialogue with them. Was there any particular moment, maybe it was the first moment, when you put the mask on and you just realized, 'Holy crap, I'm Michael Myers in the new Halloween'?
I don't know that I had an awareness of 'Oh my God, I'm Michael Myers', but here's what happened. We were doing some work prior to my getting the mask, shooting a very complicated scene. Christopher Nelson shows up on set at 11 or 12 o'clock at night, he had just flown in from Los Angeles, carrying a box. And it's like, 'Okay, he's got the mask.'
So David, Danny, Jeff (Fradley), Mike (Simmonds), Rawn (Hutchinson), and myself, we all walked off to a room to the side where nobody could see it, and Chris pulled out the mask, and he said, 'Okay Jim, let's put it on and see what it feels like.' So I walk over and he puts it on me and fastens it in for me, and I was like, 'Whoa.' David goes, 'What does it feel like, Jim?' I said, (lowers voice to a near-whisper) 'It's perfect for killing.' It was perfect.
And all the sudden, this thing happened to me inside. I had already created the energy, I already knew the space, but man that was like afterburns, dude – And the love, it's more than just the beauty of the art that Christopher created when he did the mask, it's all that knowledge he put into it, and somehow he imbued all the history, the 40 years of history and all the work that all the people have done, and all the fans' expectations and love. I felt all of that. I will never forget the first time I put that mask on.
That sounds awesome. That's the moment I was looking for.
When I put it on, everybody was just like, 'Whoa.' That's all they could do was just make some kind of guttural response. There was no 'Hey that's pretty good looking.' There was none of that. David and everybody was just like 'Whoa.'
I don't know when they're going to put out a picture of the mask, but I know the internet is going to explode when that happens.
I would hope that it's a Dan Winters photograph, because he captured not only the beauty and artistry of it, but he captured the spirit of it. I wish I could share with you, but it's such a masterpiece. The mask itself is such a masterpiece.
That's the thing with this film. The cinematography is so masterful. There are so many masterful elements to this film. Again, at the end of the day, the fans are going to love what they love or not like what they don't like, but I have to say, when you take this many gifted people that have this much love and passion for Halloween, you can't help but think that the fans are going to be really just as happy as we are and feel like they're a part of it.
Their (fans) opinions and all the time and love that they've invested into Halloween was definitely with us there, and we talked about it. We talked about how much this means to people, and that we were the ones lucky enough to be there doing the next Halloween. But who are we doing it for? Of course we're doing it for ourselves because we love doing this, but we're doing it for them too. Without them, there is no us.
I think fans will love hearing that they were on everyone's minds on set. It is a unique and special family.
How do these things happen? In the late '70s, for me those two films, Rocky and Halloween, two things that happened that changed the course of filmmaking. Then fly forward to now. And where does it take us from here?
I guess that's something we will talk about in our next conversation, what comes after 40 years later.
I'm sure something will.
As a fan, it makes me feel good to hear that the people making this film are treating it with the respect and reverence we all want.
And a lot of people worked for a lot less money than they normally work for. This was a true labor of love.
In so many ways, it felt like it must have felt on that first film, when they were just doing something new and exciting, and it wasn't about money or a career. It was about doing what we freaking love, and knowing you had something special.
Like you said, it's dreams come true for so many people on so many levels, it sounds like.
When you see the film, you'll see the insane amount of talent they invested in this film.
I think it's great that Nick has kind of given you his blessing, kind of like Carpenter giving David and Danny his blessing. I just think it's an awesome passing of the torch.
That was so important (to me) for Nick to be so gracious. When we did the first presser (on set interview) together, you know we're sitting side by side, of course they want to talk to him first, and they start firing questions at him. I didn't know how he was going to handle this, because I didn't know him yet. And the graciousness with which he handled everything – That's why when I read this thing that said, 'James Jude Courtney is in a couple of scenes,' first of all as journalism major, journalistic integrity to me is the center point of what we do as journalists, because they have to know they can trust us.
Then I thought about how, even by lack of information or conjecture, it's just wrong to mislead the fans. We don't have to give the fans everything. Part of what we do as filmmakers is leaving people waiting and wondering and conjecturing, but at the end of the day, I felt it was really important in talking to you that they knew what they were getting into. I didn't want to have something misperceived and then have somebody having to explain something they said or something they did, when in fact Nick and I are both coming from this place of being super stoked to do what we did.
Normally, when you finish a show, and you have your name on a director's chair, you get to take the back of the chair, but they keep the chair. A lot of people frame them or whatever. Props gave me the whole chair. They wanted me to have the chair with the energy that I sat in every day. So I'm sitting here looking at it right now. (laughs)
I feel like my whole career is starting over again, except I'm coming in with 30 years of knowledge that I get to apply to it, and with a great group of people and an amazing fan base. I mean, wow, man.
You know, all these alleged divisions in society – race, color, gender, whatever – it doesn't matter. I've been hit up on Facebook by people from around the world, from Muslim countries and South America, but all these alleged divisions that exist in our society do not exist among Halloween fans. They're just Halloween fans, man.
The new Halloween arrives in theaters on October 19.
[Read our interview with Nick Castle on reprising Michael Myers in Halloween 2018 here.]
[Read our interview with Christopher Nelson on making Michael Myers' mask for Halloween 2018 here.]
James Jude Courtney
For more Halloween news, follow @HalloweenDaily.
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text:
The Basement Legacy
By Last updated Apr 16, 2015
"It's gonna be crowded tonight," a skinny guy in glasses says in an almost indecipherable language known as Bostonian. Eighteen students sprawl around a former basement apartment in various stretching positions, preparing for the intermediate Muay Thai class. A group this small wouldn't even register in a multi-thousand square foot gym, like the gargantuan one in Las Vegas that rhymes with Mextreme Shouture. But this is Sityodtong, a postage stamp on the envelope of most professional MMA training facilities, and is located just outside Boston, in Somerville, Massachusetts.
Despite it's Napoleonic size, it's turned out some big names in the sport, like Kenny Florian, Marcus Davis, Jorge Rivera, Patrick Cote and Stephan Bonnar, all of whom have called it home at various stages. Ernest Hemingway once criticized William Faulkner by saying, "He thinks big emotion comes from big words." Sityodtong proves that big champions don't have to come from big gyms.
It is a Friday night, and those of us with no social life are underneath Ron Della- Grotte's law offi ce on Cutter Street, stretching for class. Sityodtong lies beneath street level in what used to be Mark DellaGrotte's apartment before he transformed it into his fi rst martial arts studio. Ever heard of a gym with a bedroom and kitchenette next to the mats? At Sityodtong, you can get tapped out and make an omelet two minutes later to ease your pain. UFC veteran and journeyman fi ghter Aaron Riley, who is only two weeks away from his next contest, occupies the Sityodtong Bed and Breakfast this particular week. Riley has employed the services of DellaGrotte and Kenny Florian to sharpen his game, a common practice in this rapidly growing sport.
"Shadowboxing. I want to see aaams only," DellaGrotte demands in his nearly foreign tongue after warming the class up with jump ropes. He stands around fi ve feet nine inches, a slender welterweight whose face changes instantly from brooding scowl to pleasant smile. He has a crooked boxer's nose and a voice that resonates at just the right octave to fi ll the gym when he speaks. Born and raised in Somerville, he would have been a natural drill sergeant if he didn't bleed BoSox red and his feet weren't anchored in New England.
Because of the close confi nes, I shadowbox in an area about ten feet long between a padded wall and a brick column. There is just enough space for about four punches before turning around and going back the other way like a duck in a shooting gallery. Hanging on the wall that I keep running into is the fl ag of Thailand along with a series ticular ser ries of Mongkol headbands (the Thai version of belt rankings). DellaGrotte has spent so much time in the Kingdom that he is practically half Thai. He speaks the language fl uently, bows in the traditional "wai" when entering the ring, and blasts Buddhist music through his stereo, a refreshing break from the usual death metal that drowns out conversations in most gyms. His students call him "Kru" in deference to the title he's earned as a master instructor in the art of Muay Thai. Even the name of his gym, which means "son of Yodtong," is an homage to his Thai training.
"Guys. Look here," he says, stopping the class to show us what 'right' looks like. "Your strikes should fl ow like this."
Like anyone who walks the walk, he leads by example, showing us poor schleps the proper way to step into an elbow, grab the plum when delivering a knee, and use footwork to combine them effectively. There are men of action and men of gaseous outbursts, and only one of these types earns credibility among a crowd whose lives revolve around violence. DellaGrotte's ability to prove himself earns the attention and respect of these men, a critical combination for effective MMA training.
It isn't rocket science, but his technique is impressive for a guy who hasn't fought in years. He throws elbows that slice sweat beads and kicks that split pads. His forearms and shins are like steel folded by a master blacksmith that has been developed from years of training here and in Thailand. He hunches over when he stalks his opponent, using his shoulders to protect his head. When he holds the pads and takes a hit, he growls in what I assume is some mystical Thai tradition, but sounds more like an angry badger in a turf war. Everything he does is mastery in motion and he maintains the physique of a man just a few weeks away from fi ghting shape—just in case the call ever comes to be the next Erik Paulson invited out of retirement. Instead of relegating the sparring to a hired gun or a boxing coach, he does it all himself, proudly gloving up against whomever, whether it be professional or amateur. DellaGrotte once gave Ninja Rua a few lumps when he questioned his methods.
"Use that scapula when you throw an elbow," he tells the class while demonstrating the move. "It's not just the aaam, it's the whole shoulder getting into it. Now get cha shingaaads."
"Ka-Pum," they all respond, a Thai phrase apparently meaning, "Yes, your Lordship."
The shadowboxing continues, but with combinations. Jab, cross, lead elbow, rear elbow, lead knee, front knee. Two students hit pads in the tiny ring while the rest of us made sure the walls take their deserved punishment. Halfway through the instruction, DellaGrotte fi nally hands out a few compliments. Being the father of three, I recognize the positive reinforcement as the same thing kids need to keep them from getting frustrated. Fledgling fi ghters and twenty-somethings are no different, but a middle-aged man like me doesn't need it. Or do I?
When it's my turn in the ring, I throw at least fi fty kicks at an instructor who holds pads, before the unmistakable voice of the Kru breaks the air behind me. "Niiiiice," he says, as my red shin retracts from the pad. "That's the way you do it."
The kick feels fi rm indeed, but the compliment feels better. It shouldn't have because as an adult secure in my manhood, an attaboy loses its value around age thirtyeight. But even the most secure manly man fi nds reassurance in the voice of a proven veteran when he ventures outside his comfort zone. DellaGrotte is like the cool uncle whose house you wanted to go to as a kid because he had all the video games your parents didn't allow. But more importantly he is the undisputed king of this New England basement and a foremost authority on Muay Thai. So in this small corner of the MMA world, his compliment carries about as much weight as John Wayne's.
"Fighters need their asses rubbed more than kids," DellaGrotte tells me later. "With a kid, you can tell him right from wrong and if he doesn't listen, you let him go out and learn. In the ring there's a lot more at stake, so if you go in there and the fi ghter lacks confi dence or he doesn't believe in himself, then he's lost before the fi ght starts. You have to fi nd the balance between over-confi dent and under-confi dent."
I momentarily wonder where he got his own reinforcement from when my moment in the sun turned into a brooding eclipse. DellaGrotte's compliment apparently sent me across the line into the over-confi dent crowd because the next punch I throw—a left hook—is way too hard. My glove crashes into the instructor's pad and my wrist pops, sending jolts of pain all the way up my arm.
Oh crap! I thought. Play it off.
Rather than come to the rational conclusion that this is a simple Muay Thai class and not worth the risk of permanent injury, I drive on, damning the pain and hoping I remembered my bottles of Motrin and horse tranquilizers.
"Don't think so much, just do," Della- Grotte says as he c
alls out combinations. "Shake your foot out. Don't think, just kick. Keep moving forward. Remember Muay Thai always moves forward." I do as instructed and move forward punching timidly at best with the aching wrist.
Muay Thai isn't the only thing with forward momentum here. Over the last fourteen months Sityodtong slowly but surely amassed a win streak that is unparalleled in MMA. Not since Jorge Rivera lost to Terry Martin at UFC 67 in February 2007, has Sityodtong lost a fi ght in the UFC. Kenny Florian was on a four-fi ght win streak and Marcus Davis has had an impressive eleven straight wins. Both Patrick Cote and Stephan Bonnar turned their misfortunes around after training with DellaGrotte and Aaron Riley is here hoping the Sityodtong magic will rub off on him.
"I don't think we've been past the second round in the past ten fi ghts," DellaGrotte says after class, as I hide my injured wrist in my pocket. "And that's just the UFC. Globally we're on like a twenty-two win streak."
Kenny Florian is a key reason for that impressive number. Despite having no fi ght in his immediate future, Florian came down to Sityodtong on this night to work on Aaron Riley's ground game just a few feet from the Muay Thai class. Dripping with sweat, the two lounge against an independent piece of fence as the amateurs prepare for the nightly cleaning. Sityodtong doesn't have the space for a full-sized cage, so DellaGrotte installed two separate pieces of octagon-style fencing for his guys to work against, which Florian uses to show Riley a few of his favorite techniques.
Florian is just two weeks removed from his fi ght with fellow geek Joe Lauzon, which the media overplayed frenetically. The "geek you don't want to mess with" schtick was getting old.
"I do get tired of that," Florian said. "Everyone has this perception of the stereotypical MMA fi ghter looking like…Phil Baroni. You know? They hear the term 'fi ghter' and have an instant perception of ripped abs and bulging muscles." I secretly think Florian takes satisfaction in being the anti-buff muscle monkey, but the criticism leveled at him for having such an un-fi ghter-like physique was wearing thin. "I hate that people conjure up an image based on a profession. I mean what if you went to a doctor's offi ce and Baroni walked out? It could happen."
Marcus Davis suddenly appears in a pair of jeans held up with a huge hand grenade belt buckle. "I got a text message from Jorge Gurgel, Mark," he says with a smile to DellaGrotte. "It says, 'Tell Mark my heart is broken.'" The pros all laugh, getting the inside joke that no one else does. My confused expression earns an explanation from DellaGrotte. "Gurgel wants to come and train, but I'm hesitant because of the Franklin-Lutter fi ght," he said. "You're training Lutter?" I ask.
"Yeah. I like Jorge. He's a great guy and he's in through Marcus so I can't say no to him, but…I'm going to see Jorge across the Octagon with Rich and I'm going to be in there with Travis and I don't want there to be funny energy. So I told him after the Lutter-Franklin fi ght we'll get on the same page and I'll bring him in."
DellaGrotte met Lutter during season four of The Ultimate Fighter when DellaGrotte was a coach and Lutter was a contestant. They got along despite Lutter's renowned diffi culties with trainers, and the relationship continued after the show. Lutter was on the verge of a major fi ght with Rich Franklin and enlisted the services of DellaGrotte to be in his corner for it.
"Mark says he'll make it up to you with a full body massage," Davis says out loud as he types in the text message with the ease and accuracy of a high school senior. "That's fucked up," DellaGrotte says, as Davis laughs and hits the send button.
The training day is over, which means it was time for the deepest ritual of Sityodtong. It isn't a pagan tradition of strapping on goat leggings and dancing around a bonfi re, but for an MMA gym (and I've been to plenty of them), it may as well have been druids chanting to stone monoliths at the summer solstice. With a bottle of disinfectant in each hand, DellaGrotte cruises through the gym spraying down everything like a gunslinger at high noon in Dodge City while his students do the same.
"I can't stand dirt or things out of place," he says, as he sprays down each heavy bag. Everyone pitches in, mopping mats, wiping down mirrors, and scrubbing pads. Even the ring ropes get a thorough wipe down. "It's the old Samurai way," Della- Grotte practically chants like a mantra. "Everything has to be in place or I don't sleep well. It's a belief that if your foundation is right then your life is right."
Kenny Florian also has a belief. He believes gym bags are unnecessary when a reliable plastic grocery bag is available. "Sawatdee Kap," Florian says, bowing to Della- Grotte as he climbs the stairs to leave with a bag of sweaty clothes in a Whole Foods bag.
Saturday dawns overcast and chilly in metropolitan Boston. Getting to Sityodtong is like weaving through a labyrinth of oddly angled streets and row houses, all of which have fences, but no yards. The large houses of Somerville are ripe for gentrifi cation, a process of reclaiming and improving historic neighborhoods to make them trendy and valuable. But no level of gentrifi cation could ease the parking burden around Sityodtong, as my Somerville parking violation can attest to.
Only two things happened in Sityodtong on Saturdays: Johnny McDonough's MMA class and open gym for professionals. Both are daunting adventures when your lead wrist is swollen and sore. But that's why God invented prescription drugs, so with the miracle of synthetics numbing me up, I jump into McDonough's class and quickly discovered two things: shooting in for a takedown on the knees of a former paratrooper sucks, and leaving your neck exposed ends a fi ght quickly. But self-discovery is the heart of training, no matter what the discipline. Muay Thai, Jiu Jitsu, Judo, whatever…it's all about fi nding your inner strengths and weaknesses, both physical and mental, and overcoming them.
My training partner is a New Yorker transplanted to Boston named Joe Boffi . The focus of McDonough's training is to fi ght our way out of a corner and the strategy to achieve it is to throw a combination and then shoot in for a takedown. Boffi lumps my face up a few times and when I shoot for his hips, he gives me a guided tour of the guillotine choke factory.
Boffi 's story is similar to many MMA hopefuls. He'd taken martial arts classes growing up and had been in enough bar brawls to consider himself talented at fi ghting. Yet after a year of training at Sityodtong, Boffi can only recall one clear lesson he's learned above all others.
"I realized just how much I didn't know," he says, panting after class. "I want to get into the ring, but not until Johnny says I'm ready." "And how long will that be?"
"He's got another year or so," McDonough says. "You can't rush it. I mean once you turn pro, your record is your record. It's permanent. Unfortunately a lot of people put faith in a fi ghter's record. They look at it and think they know how good or bad he is because of that simple set of numbers."
McDonough looks from one end of the gym to the other, which only requires a small turn of his head.
"We try to keep them out of the pro ranks until they're one hundred percent ready," he continues. "The last thing th
ey need, or this gym needs for that matter, is someone going into a fi ght unprepared. That preparation takes time. These are perishable skills that have to be mastered over a long period of time."
Just then Aaron Riley, who was a perfect example of this philosophy, rolls out of the Sityodtong B&B in a pair of shorts and white t-shirt, looking like he just woke up. Riley is only twenty-eight years old, but has thirty-three fi ghts to his credit. He's been training for nine years, but still recognizes that he had much more to learn, especially in the wake of a three-fi ght losing streak. He gets his opportunity to expand on his knowledge a few moments later when DellaGrotte and the pros arrive.
Riley is the focus of the sparring session, which consists of fi ve rounds of fi ve minutes each. Jorge Rivera, Tateki Matsuda, and a variety of other fi ghters take Riley to his limits, but each time he responds with courage and determination while Della- Grotte barks out commands, like "Turn the cornaaa, Aaron," and, "Niiiice, kid…now you're getting it." Having seen Riley fi ght before, I think he looks less like the guy who lost to Ryan Schultz at the International Fight League Finals six months prior and more like the kid who took Robbie Lawler to the brink in a 2002 slugfest at UFC 37.
Watching DellaGrotte work with him makes it clear that he has a talent for bringing out the best in his guys as long as they listen to him. When DellaGrotte speaks, Riley acts…and it works. He continually gets the better of his sparring partners and earns repeated praise from DellaGrotte. It is a symbiotic relationship, but at the same time it is really nothing outside the boundaries of any good fi ghter-trainer combination. Instead of criticizing Sityodtong's size, I start to wonder if it is actually its X factor. The limited space has to have some sort of benefi cial effect on the training. But how? The small ring seems disorienting and there is no full-sized cage. These two factors alone must have created a false sense of space in a real fi ght.
"None of my guys are runners because we don't have room to run," DellaGrotte explains after the open gym session. "My guy's timing and accuracy are sharper because they're forced to fi ght in a phone booth. It teaches them head movement and footwork because there's not enough room to get away from the guy you're sparring with."
Even if used to his advantage, the tiny gym still doesn't seem fi tting. DellaGrotte is undeniably one of the best trainers in MMA, yet there is hardly a smaller facility in the entire sport.
"The gym is not the recipe for the wins," DellaGrotte says as we kick back in the kitchenette he once prepared Spaghetti- O's in. "A lot of the great gyms that I went to in Thailand that had sick fi ghters and champions were shitholes. As much as I want to get out of this basement…as much as I want the big globo-gym…and as much as I think I deserve it, not just for me, but for the name of Sityodtong, it's not a necessity to be successful. I wouldn't have that personal touch that I have right now with everybody."
He scratches his arms as Riley enters to retrieve his shower shoes. "A while back I thought that bigger was better and I wanted that, but to me the important thing is winning fi ghts and keeping the team rolling."
And that is the heart of the matter. The warehouse gyms and chain McDojo's aren't what the man from Somerville is about. A palatial training facility would be a hollow, materialistic victory compared to the reputation of Sityodtong and the legacy of Mark DellaGrotte.
"God keeps me going," he says. "My faith that I was put on this earth to do what I do keeps me going. My family motivates the shit out of me. I want to do well for my family so my kid brother can see me on TV and say, 'That's my brother,' and when my kid says his name is DellaGrotte, people ask, 'Are you Mark's son?' I don't care if I die with a pocketful of sand, I really don't. But I want the name of DellaGrotte to be remembered in history."
Kids and fi ghters aren't the only ones who need reinforcement.
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