You know her best for her role as Beatress Johnson in American Mary, but Tristan Risk has been a very busy girl lately, and she's about to break big. She sat down with Dread Central to talk about her work, past and future.
Little Miss Risk is a compelling performer, a staunch horror fan and a charismatic interviewee. She talked about her beginnings, her affinity for her beloved character Beatress and the loads of work she's done since. Risk is as witty as she is alluring and we're sure you'll enjoy reading her interview as much as we enjoyed speaking with her.
We started at the very beginning and asked Risky how she got started in the acting business. "I've been a performer all my life," Risk said. "That's everything from doing stage shows, school plays, musicals, things at my grandpa's church. I didn't go to the church, but still performed in the recitals.
Little Miss Risk is a compelling performer, a staunch horror fan and a charismatic interviewee. She talked about her beginnings, her affinity for her beloved character Beatress and the loads of work she's done since. Risk is as witty as she is alluring and we're sure you'll enjoy reading her interview as much as we enjoyed speaking with her.
We started at the very beginning and asked Risky how she got started in the acting business. "I've been a performer all my life," Risk said. "That's everything from doing stage shows, school plays, musicals, things at my grandpa's church. I didn't go to the church, but still performed in the recitals.
- 9/9/2014
- by Scott Hallam
- DreadCentral.com
For another year, Sheffield's Showroom Cinema will play host to the horror jamboree that is Celluloid Screams from October 24 to 26. Now we have word on the festival's opening film, which is... *drum roll* – Astron-6's hotly anticipated The Editor!
From the Press Release
Celluloid Screams is pleased to announce the opening film of the festival’s 2014 edition will be ‘The Editor’, the highly anticipated new film from Canadian filmmaking collective Astron-6. The makers of ‘Father’s Day’ and ‘Manborg’ return with their own unique take on the Italian giallo, starring genre icons Udo Kier, Lawrence Harvey and Tristan Risk, which will officially open Celluloid Screams 2014 on Friday 24th October.
Astron-6 co-founders Adam Brooks, Matthew Kennedy and Conor Sweeney will attend the festival as special guests to present ‘The Editor’ and also a retrospective screening of Astron-6 short films, both of which will be followed by Q&As.
Celluloid Screams Festival...
From the Press Release
Celluloid Screams is pleased to announce the opening film of the festival’s 2014 edition will be ‘The Editor’, the highly anticipated new film from Canadian filmmaking collective Astron-6. The makers of ‘Father’s Day’ and ‘Manborg’ return with their own unique take on the Italian giallo, starring genre icons Udo Kier, Lawrence Harvey and Tristan Risk, which will officially open Celluloid Screams 2014 on Friday 24th October.
Astron-6 co-founders Adam Brooks, Matthew Kennedy and Conor Sweeney will attend the festival as special guests to present ‘The Editor’ and also a retrospective screening of Astron-6 short films, both of which will be followed by Q&As.
Celluloid Screams Festival...
- 8/12/2014
- by Gareth Jones
- DreadCentral.com
Interview Ryan Lambie 8 Oct 2013 - 06:19
We talk to producer Robert Watts about his remarkable career in movies, which includes the Star Wars trilogy, Roger Rabbit and more...
With a career stretching back to the 1960s, British film producer Robert Watts played a key role in making some of the most influential films of the 1970s. Just a quick glance over his credits as a producer reveals an extraordinary career, which includes Star Wars Episode IV: A New Hope and its sequels, the first three Indiana Jones films, and the groundbreaking Who Framed Roger Rabbit.
Those films are but the tip of the iceberg; before Star Wars, he worked on two James Bond films - Thunderball and You Only Live Twice - collaborated with Stanley Kubrick on 2001: A Space Odyssey, and, in films such as Man In The Middle, Darling and Papillon, worked with such legendary actors as Robert Mitchum,...
We talk to producer Robert Watts about his remarkable career in movies, which includes the Star Wars trilogy, Roger Rabbit and more...
With a career stretching back to the 1960s, British film producer Robert Watts played a key role in making some of the most influential films of the 1970s. Just a quick glance over his credits as a producer reveals an extraordinary career, which includes Star Wars Episode IV: A New Hope and its sequels, the first three Indiana Jones films, and the groundbreaking Who Framed Roger Rabbit.
Those films are but the tip of the iceberg; before Star Wars, he worked on two James Bond films - Thunderball and You Only Live Twice - collaborated with Stanley Kubrick on 2001: A Space Odyssey, and, in films such as Man In The Middle, Darling and Papillon, worked with such legendary actors as Robert Mitchum,...
- 10/7/2013
- by ryanlambie
- Den of Geek
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
“They say this place here is haunted.
Yeah, but only by a ghost...”
It’s a good way to burrow in, those Superimpositions. Those defiant anti-subtitles. “I’m having Font issues...” Walken whines somewhere. Me too. My favorite is in Domino: the fabulously absurd and banal, the “with Dad” that over-clarifies that the guy who looks nothing like Lawrence Harvey (who ever did?), that guy we’ve just seen in The Manchurian Candidate in 1962 is, in the diegetic account, still alive, and still her father in 1993. Markerian is supposedly the word for this.
Superimposition of text—against and over the weak image.
<- the previous analysis | movement index | the next analysis ->
“They say this place here is haunted.
Yeah, but only by a ghost...”
It’s a good way to burrow in, those Superimpositions. Those defiant anti-subtitles. “I’m having Font issues...” Walken whines somewhere. Me too. My favorite is in Domino: the fabulously absurd and banal, the “with Dad” that over-clarifies that the guy who looks nothing like Lawrence Harvey (who ever did?), that guy we’ve just seen in The Manchurian Candidate in 1962 is, in the diegetic account, still alive, and still her father in 1993. Markerian is supposedly the word for this.
Superimposition of text—against and over the weak image.
- 12/3/2012
- by Uncas Blythe
- MUBI
Domino is my least favourite Tony Scott movie for one singular reason: Keira Knightley.
Don’t get me wrong, there are a lot of flaws in Scott’s “ode” to real-life model-turned-bounty-hunter, Domino Harvey. And he’s not successful in achieving the vibe and intent that he is aiming for. Yet, Scott’s unique visual eye and unarguable sense of pace (not to forget his brilliant casting ability) could’ve seen this film through as dispensable but watchable, at best.
However, by putting Knightley in the lead role, the film has no such chance. It becomes an out-and-out car-crash of epic proportions. Knightley is so miscast, so inconceivably not up to the task required of her and so absent of the level of talent required that she creates a vacuum around her into which she sucks the life from all the very talented cast members around her – and essentially the film itself too.
Don’t get me wrong, there are a lot of flaws in Scott’s “ode” to real-life model-turned-bounty-hunter, Domino Harvey. And he’s not successful in achieving the vibe and intent that he is aiming for. Yet, Scott’s unique visual eye and unarguable sense of pace (not to forget his brilliant casting ability) could’ve seen this film through as dispensable but watchable, at best.
However, by putting Knightley in the lead role, the film has no such chance. It becomes an out-and-out car-crash of epic proportions. Knightley is so miscast, so inconceivably not up to the task required of her and so absent of the level of talent required that she creates a vacuum around her into which she sucks the life from all the very talented cast members around her – and essentially the film itself too.
- 10/22/2012
- by Gazz Howie
- We Got This Covered
Find out what this is all about with our introduction Here.
Domino is my least favourite Tony Scott movie for one singular reason:
Keira Knightley.
Don’t get me wrong, there are a lot of flaws in Scott’s “ode” to real-life model-turned-bounty-hunter, Domino Harvey. And he’s not successful in achieving the vibe and intent that he is aiming for. Yet, Scott’s unique visual eye and unarguable sense of pace (not to forget his brilliant casting ability) could’ve seen this film through as dispensable but watchable, at best. Like the next film we’ll be covering on this list, for example.
However, by putting Knightley in the lead role, the film has no such chance. It becomes an out-and-out car-crash of epic proportions because here is an actress so miscast, so inconceivably not up to the task required of her and so absent of the level of...
Domino is my least favourite Tony Scott movie for one singular reason:
Keira Knightley.
Don’t get me wrong, there are a lot of flaws in Scott’s “ode” to real-life model-turned-bounty-hunter, Domino Harvey. And he’s not successful in achieving the vibe and intent that he is aiming for. Yet, Scott’s unique visual eye and unarguable sense of pace (not to forget his brilliant casting ability) could’ve seen this film through as dispensable but watchable, at best. Like the next film we’ll be covering on this list, for example.
However, by putting Knightley in the lead role, the film has no such chance. It becomes an out-and-out car-crash of epic proportions because here is an actress so miscast, so inconceivably not up to the task required of her and so absent of the level of...
- 9/26/2012
- by Gareth Howie
- Obsessed with Film
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