Tag Archives: Hollywood Suite

Slasher: Aaron Martin and Ian Carpenter preview Flesh & Blood

There are several new faces added to the cast of the new season of Slasher. Dubbed Flesh & Blood for Season 4, the blood-soaked horror anthology series created by Aaron Martin boasts perhaps the biggest name in the genre: David Cronenberg.

The actor and director jumped at the chance to play Spencer Galloway, a manipulative businessman who gathers his family together to compete in a deadly game, with the winner to be declared sole inheritor of his fortune.

Alongside familiar Slasher faces playing different characters fighting for Spencer’s fortune are Paula Brancati, Jefferson Brown, Patrice Goodman, Sabrina Grdevich and Christopher Jacot are new faces in Rachael Crawford, Jeananne Goosen and Alex Ozerov. We spoke to creator Aaron Martin and showrunner Ian Carpenter about how the new season—kicking off Monday at 9 p.m. ET on Hollywood Suite—came about.

Ian, how did the writing room work for Slasher: Flesh & Blood?
Ian Carpenter: Aaron and I were in the writing room, and we did all of that on my porch. When we started the show, we were in the heart of [the pandemic]. One of the very first [times writing] was when I took one of the last flights around when I visited him in Vancouver to kind of gestate all of this. We did it all in person, and I don’t know of a writer that doesn’t think that’s essential. There is something about a Zoom meeting that puts pregnancy on every single second and all of this pressure for it to be loaded. Aaron and I are very productive, and I bet 50 percent of [writing] it is us being idiots and cracking jokes. I just feel so strange via Zoom.

Aaron, did you have multiple seasons in mind when Season 1 of Slasher was conceived or was it more organic?
AM: It’s been more organic. There have been ideas for locations or settings or backgrounds for seasons. Every season is a new thing and, usually, it starts with a theme or an issue. [Flesh & Blood] came about because Shaftesbury and, I think Shudder had already come on board, said we could develop it. I had just spent the Christmas holidays with my family. I love them, but by the time I was done, I wanted to kill a few of them. I think that’s when I said to Ian, ‘What if we did a family reunion where they actually get to kill each other?’ That’s how we approach every season. Season 3, Solstice, [was inspired by Justine Sacco] who tweeted something she thought was funny and was horribly offensive, and by the time she landed 12 hours later, it had blown up and ruined her life.

Because the show isn’t killings every five minutes, we need the stuff to build around, the thematic stuff and dramatic stuff is how we do that.

One of the things I love about Slasher is the dialogue is so believable. Aaron, is it difficult to write dialogue?
AM: I don’t think so. I think, in my scripts if you go back to Degrassi and definitely Being Erica, I never try to do dialogue that is cool and flippant. I write how I think people talk. And then, when I’ve finished a script I’ll go back and read it and if I’m stumbling over words or it doesn’t seem real, I’ll change it.

Ian, Adam MacDonald returned to direct Slasher: Flesh & Blood. You have known each other for years. Do you two have a shorthand, where there’s not a lot of discussions? Do you each know what the other is thinking?
IC: I’m really fortunate that Adam and I were close friends before Slasher started. Incredibly, we were both hired within weeks of each other on Solstice. This season, we felt absolute confidence in each other, what we were going to do, what we were strong at, what we needed to talk about. It is shorthand with him, just as it is shorthand with Aaron. It lets you focus on what matters, which is also important when it comes to hiring key creatives on a crew. We’re so lucky to have so many of ours come back.

Aaron, having so many cast and crew return to the Slasher family season to season must be very fulfilling.
AM: The great thing about working in Canada is that it’s a small community, and that’s great because it’s of that. I love actors and I love bringing back actors, for this show especially, because it’s a great opportunity for them to show different facets of themselves. It is a great feeling to have them respond that way, and you want them to.

Ian, what was it like to have David Cronenberg as part of the cast this season?
IC: He was amazing. He was so complimentary, so excited about the material and really saw the depth in it. He is so crucial to the story, so it was exciting to hear how he was connecting to that. And then, as much as we are this scrappy little show, David Cronenberg has said, ‘Yes, I want to be on this show.’

Slasher: Flesh & Blood airs Mondays at 9 p.m. ET on Hollywood Suite.

Images courtesy of Cole Burston.

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Hollywood Suite and WIFT Toronto launch Indigenous writer program

From a media release:

Today, Hollywood Suite is pleased to announce a partnership with Women in Film & Television Toronto (WIFT Toronto) to launch the WIFT Indigenous Writers Program. This career accelerator program is designed specifically for Indigenous writers at the mid-stage of their careers to provide them with networking, industry insight training and mentorship opportunities.

We are thrilled to collaborate with WIFT Toronto on this important initiative to support and amplify Indigenous creators as they take the next steps in their careers,” said Julie Kumaria, SVP, Marketing & Content Distribution at Hollywood Suite. “We are proud to support Indigenous storytellers and help them bring their unique perspectives to the screen.”

“Over the past number of months, we have been listening and learning in dialogue with our Indigenous colleagues and collaborators to identify ways to be a further ally to champion Indigenous voices”, said Karen Bruce, Executive Director, WIFT Toronto. “We are grateful to Hollywood Suite for their support in the creation of this crucial program and are thrilled that this new initiative will support our ongoing commitment to identifying and supporting Indigenous artists in Canada.”

The free, intensive four-day program will include two full-time mentors, industry guest speakers, case studies, writing and pitching workshops, and peer-to-peer mentorship. By engaging key partners including industry leaders, experienced creators, writers, broadcasters, funders and more, the program aims to bring the best education and career opportunities to Indigenous creators whose stories need to be heard.

The application portal will open on August 9, 2021, and all WIFT Toronto members who are First Nations, Métis, or Inuit are encouraged to apply. Applicants who are First Nations, Métis, or Inuit who do not currently have a WIFT Toronto membership may still apply. Anyone chosen for the program that is not a member will be granted a one-year complimentary membership thanks to donations made to the Foundation for WIFT Toronto.

Detailed information on the program including the application process and deadlines will be available shortly.

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Hollywood Suite’s A Year in Film returns for Season 2

Last year, Hollywood Suite debuted its excellent documentary series A Year in Film. The program, divided up into the features that were made during a certain year in history, explores how movies reflect the events, mood, politics, and culture of their time.

Now the curtain has been pulled back on Season 2, digging deep into the films that hit screens in 1975, 1986, 1994 and 2000.

A Year in Film: 1994, debuting Sunday, December 20, at 9 p.m. Eastern on Hollywood Suite 90s Movies—the Hollywood Suite channels are available in a free preview all month—explores the stories behind some real heavy-hitters in the genre.

Set amid cultural touchstones like Nelson Mandela’s presidential election, the 1994 version of Woodstock, the debut of Friends, the OJ Simpson car chase, the attack on Olympic skater Nancy Kerrigan and the death of Kurt Cobain were the debut of blockbuster and indie films that resonated with the public. The Lion King, The Shawshank Redemption, Pulp Fiction, Forrest Gump, Natural Born Killers, Clerks, Reality Bites, Speed, True Lies and a trio of Jim Carrey flicks—Ace Ventura: Pet Detective, The Mask and Dumb and Dumber—captured eyeballs.

In Canada, Canadian filmmakers gained notoriety with hits like Double Happiness and Exotica.

As with Season 1 of A Year in Film, film critics and experts like Cameron Maitland, Alicia Fletcher, Radheyan Simonpillai and Adam Nayman explain society and cinema from the time.

A Year in Film: 1994 airs Sunday, December 20, at 9 p.m. Eastern on Hollywood Suite 90s Movies. A Year in Film: 2000 debuts Sunday, December 27, at 9 p.m. ET on Hollywood Suite 2000s Movies (HS00).

Image courtesy of Hollywood Suite.

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Slasher: Flesh & Blood in production for Shudder and Hollywood Suite

From a media release:

Shudder, AMC Networks’ premium service for horror, thriller and the supernatural, announced today that it has teamed up with award-winning production company Shaftesbury to make a new eight-episode installment of the hugely popular horror series, Slasher. Hailed by Bloody Disgusting as “top-notch horror storytelling”, Slasher: Flesh & Blood will stream exclusively on horror platform Shudder in the US, Australia and New Zealand in 2021. Shudder will also be the streaming home for Flesh & Blood in Canada, the UK and Ireland following its linear premieres in those countries. The series will be broadcast exclusively on Hollywood Suite in Canada. Production is underway now in Ontario, Canada.

Slasher: Flesh & Blood follows a wealthy but dysfunctional family gathering for a reunion on a secluded island. Their old wounds and competitive rivalries flare up when the family realizes a masked killer is on the island, intent on cruelly picking them off one by one. As with the past installments of the series, Slasher: Flesh & Blood will combine elements of traditional murder mystery with the intense horror and bold kills that audiences have come to expect.

Canadian horror legend David Cronenberg has joined the cast for the new season, which will also continue Slasher’s trend of bringing back cast members in new roles. Returning from previous seasons are Paula Brancati, Jefferson Brown, Patrice Goodman, Sabrina Grdevich, and Christopher Jacot. New faces this year include Rachael Crawford (Heartland), Jeananne Goosen (The Walking Dead), Sydney Meyer (Departure), and Alex Ozerov (The Americans).

Slasher is developed and produced by Shaftesbury and created by Aaron Martin. Slasher is executive produced by Aaron Martin, Christina Jennings, Scott Garvie, David Ozer, Thomas P. Vitale, and Ian Carpenter, who also serves as showrunner; Adam MacDonald is director.

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Hollywood Suite original A Year in Film salutes key years in cinema

I was seven years old in 1978. The year before, Star Wars and Close Encounters of the Third Kind had rocked my world, leaving an indelible mark and cementing my love of movie theatres.

But back to 1978, when films like Days of Heaven, Dawn of the Dead, The Deer Hunter and Saturday Night Fever came out. I was too young to watch any of them then—but since have, many ironically on Hollywood Suite—but they left equally important marks on those who saw them in a darkened cinema. Now, thanks to Hollywood Suite—and its first-ever original series—the movies of that year are celebrated.

A Year in Film: 1978, debuting Friday at 9 p.m. ET on Hollywood Suite 70s—all of the Hollywood Suite channels are in a free preview this month—explores those movies while also giving background into what was happening in the world at that time. In 1978, there was a lot, including three popes, serial killer culture and the height of disco.

There to help explain society, and cinema in 1978, are Hollywood Suite film and content specialist Cameron Maitland, Drunken Cinema’s Serena Whitney, author and film critic Geoff Pevere, Brendan Ross and film curator and historian Alicia Fletcher. They break down why a movie like Grease existed in the first place, the height of John Travolta and Saturday Night Fever and Thank God It’s Friday. They also analyze how The Deer Hunter and Coming Home explored the impact of the Vietnam War, how groundbreaking Halloween and Girlfriends really were and how Canadian tax shelters led to The Silent Partner, starring Christopher Plummer, being made.

Each half-hour episode is informative and educational, and really helped me understand why these films were made in the first place, and how they influenced those to come.

Future instalments include A Year in Film: 1978 with Star Wars: Return of the Jedi, Spacehunter: Adventures in the Forbidden Zone, The Big Chill, Videodrome and The Dead Zone; A Year in Film: 1992 with El Mariachi, Reservoir Dogs, Malcolm X and Wayne’s World; and A Year in Film: 2007 featuring There Will Be Blood, Zodiac, No Country For Old Men, Juno and Away From Her.

A Year in Film: 1978 airs Friday at 9 p.m. ET on Hollywood Suite 70s Movies. A Year in Film: 1983 debuts Friday, Dec. 15 at 9 p.m. ET on Hollywood Suite 80s Movies. A Year in Film: 1992 debuts Friday, Dec. 22 at 9 p.m. ET on Hollywood Suite 90s Movies. A Year in Film: 2007 debuts Friday, Dec. 29 at 9 p.m. ET on Hollywood Suite 00s Movies.

Image courtesy of Hollywood Suite.Facebooktwitterredditlinkedinmail