FLICK ATTACK: Where did the H go? The credits just read “Dwight Little.”
LITTLE: I think it was after Rapid Fire, maybe. I got bored with it.
FLICK ATTACK: It’s been a lot of years since your last feature, so why Tekken?
LITTLE: It was a chance to re-collaborate with Alan McElroy, the screenwriter, who I did Halloween 4 and Rapid Fire with, and he and I have a great, common creative interest and rapport. I thought the Tekken world was a great platform for a martial arts movie. I had some success with Marked for Death and Rapid Fire, and it looked like it was in my area of expertise.
FLICK ATTACK: Were you familiar with the video games at all?
LITTLE: Only in sort of a passing way. I wasn’t like a hardcore player, but my two boys are into it, so I get into it vicariously. There was a mythology about the family and the Tekken corporation like you get inspired by a short story or a novel. I also love the ever-changing, interactive fight designs, so that was visually interesting to me. I thought it’d be a way to freshen up the genre of a martial arts action movie.
FLICK ATTACK: So then how do approach turning a video game into a movie?
LITTLE: You look at the exiting source material and find the thing that makes you passionate or gets you excited. I made the movie like I would make Rocky or Gladiator: The goal is to make a good movie, not a good video game. You have to commit to the characters to keep viewers actively commited to the story. Poppy visuals are not going to do it for 100 minutes. Alan and I said, “You know what? Jin and his devil wings and the boxing kangaroo — let’s leave that for a CGI or an anime movie. Let’s leave these heavy supernatural items on the table.”
FLICK ATTACK: Are you disappointed it’s coming out on DVD instead of hitting theaters?
LITTLE: Sure, but that reflects the world we live in. This movie, made 10 years ago, obviously would have been released on 2,000 screens. To market and release a movie now national is a $35 million to $40 million commitment in marketing. Our world is changing so fast, but Tekken will be platformed on Blu-ray, on Redbox, on iTunes, on VOD and Netflix and pay-per-view, and that’s how movies go into the world unless it’s Warner Bros and they have that massive marketing muscle.
LITTLE: That was a movie that really kind of opened and closed without generating much interest at the time. It’s kind of startling to me, because on DVD, I guess it’s found a second life. I guess the reason is that movie is artistically very odd. You take a Robert Englund slasher movie and kind of do a mash-up with a very literary, opera-art movie, and put those two movies together. A lot of people really didn’t like it, but other people loved it, so it’s a challenging movie. If you’re a straight-up slasher movie, you’re suddenly going to be watching Faust on stage at the Budapest opera — I like it because of that, because it’s unpredictable.
FLICK ATTACK: So you’ve directed Freddy Krueger and Michael Myers. In a fight between those two, who’d win?
LITTLE: Between Freddy and Michael … Freddy’s too smart. He would outsmart Michael.
FLICK ATTACK: I think Halloween 4 is among the best of the sequels, but you never got to do another one since.
LITTLE: I think it’s time, honestly, to put it to bed. What Alan and I did is we went back to John Carpenter’s movie and said, “What made this movie?” And we just looked at it over and over and it was Jamie Lee Curtis and Donald Pleasence. If you have that investment in the characters and you care about them, then everything else is going to fall into place. That’s a movie. I think people sometimes lose sight — it’s just like in Tekken: If you find your way into Jin and his dilemma and his search for vengance against his mother’s death, then the rest of it, you’ll just follow him into the world.
FLICK ATTACK: Yeah, but Tekken doesn’t have Kathleen Kinmont taking off her shirt.
Ashley C. Williams is the middle section of last year’s family feel-good hit, The Human Centipede.
FLICK ATTACK: First, the obvious question: Should I let Centipede writer/director Tom Six babysit my kids?
WILLIAMS: Sure thing! He’s a sweetheart. Most people just think he is sick in the head, which is understandable. But he really is the opposite of what you think!
FLICK ATTACK: When you signed up for The Human Centipede, did you have any idea it would become a pop-culture touchstone before it was even released, or did you think it was destined for oblivion?
WILLIAMS: Honestly, I had no idea it would be this big a hit in the cult horror film world. I just thought, “Hey, this role could either make or break my career,” and hey, it turned out pretty good! We were just happy when it got into some film festivals and it just kept growing from there!
FLICK ATTACK: In The Brady Bunch, Jan Brady always resented being the middle girl. Can you relate? Do you think you had it worse than she did? Please remember before you answer that Marcia was really hot.
WILLIAMS: I can relate! And ironically, I am the “middle child” in my family, too, and it’s not the greatest feeling. But I do think that my character definitely had it the worst.
FLICK ATTACK: Do you now need knee replacements?
WILLIAMS: My knees are fine, thanks. But I suppose my character, Lindsay, might need them, if she survives.
FLICK ATTACK: Since you spent so much time attached to two of your co-stars, did you get to the point where you could finish each other’s thoughts? And, like, if Ashlynn Yennie stubbed her toe right now on the other side of the country, could you feel it?
WILLIAMS: Totally.
FLICK ATTACK: How to put this delicately? Okay, there’s no way to put this delicately: Were you having to smell Akihiro Kitamura’s butt the whole time?
WILLIAMS: Nope, there were several layers of fabric and gauze so that we wern’t ever touching. We were never ever skin to skin. There was a knob attached to the gauze that we bit down on to make it look like we were attached.
FLICK ATTACK: I imagine that since the movie came out, you’ve gotten a lot of attention from the wrong sort of people. What’s the creepiest fan experience you’ve had thus far?
WILLIAMS: Creepiest? Well, I get a lot of Facebook stalkers, especially on my fan page. They say some weird crap that is just … well … weird.
FLICK ATTACK: Speaking of, has appearing in the film affected your dating life?
WILLIAMS: Not at all! my boyfriend was very supportive of me doing this film.
FLICK ATTACK: According to IMDb, you were an uncredited villager in Willow. If that’s true, who’s scarier: an on-camera Dieter Laser or an off-camera Val Kilmer?
WILLIAMS: Well, I was only 5 years old in Willow, so I’m not sure of Val Kilmer’s personality off-camera, so I would have to say definitely Dieter Laser was insanely scary, even while he was off-camera! He stayed in character pretty much the whole time while he was on set.
FLICK ATTACK: You’ve won acting awards, you’re a professional dancer, you’re an accomplished painter. Does it bug you — no pun intended — that your obituary still might lead with The Human Centipede?
WILLIAMS: Well, let me correct some things before I answer. I am actually not a dancer; I am a singer and I paint as a hobby. I’m actually very proud of the work I did in The Human Centipede. Being known as “the middle piece” my whole life is nice, but obviously, I would like to work outside of the horror genre as well and not get “stuck” in it.
FLICK ATTACK: And now for a question not about The Human Centipede: What films are you working on now? And how medically accurate are they?
WILLIAMS: Right now, I will be shooting a a romantic comedy in August here in NYC called A Guy Named Rick, and then going off to England and Germany to shoot a horror comedy, which is “somewhat accurate” in a Shaun of the Dead kind of way, called Stagnant. I have some offers of some great films that I am in negotiations with at the moment, and I continue to do plays here in NYC! —Rod Lott
Best known for starring in the Highlander TV series and its last two film sequels, Adrian Paul is the star of Eyeborgs, making its Syfy premiere tonight.
FLICK ATTACK: How many of your interviews start off with the interviewer saying, “Yo, Adrian”?
PAUL: Once or twice, perhaps. It’s standard.
FLICK ATTACK: Eyeborgs has kind of done the impossible for a direct-to-DVD movie these days and broken through, gaining quite a cult. What do you attribute this to?
PAUL: I think it’s the subject matter in a sense. You know, when they first came up with the idea, it was during the elections and the introductions of cameras into cities like New York and Chicago and London. To me, it’s kind of like a political statement slash thriller, with sci-fi. They did a really good job for the time they spent on it. The CGI is incredible. It wasn’t done by eight companies; most of the big work was done by one guy. It’s a slightly different slant on “We are being watched.”
FLICK ATTACK: Is there any talk of a sequel yet?
PAUL: Yeah, if it does well, there’s a possibility of a sequel. They’re talking about “is it possible to make it into a series?” I don’t know what the answer to that is, but there has been some sort of rumor about it.
FLICK ATTACK: And now it’s making its Syfy debut. How’s it gonna play alongside the lofty standards established by Mansquito and Blood Monkey and Mega Python vs. Gatoroid?
PAUL: I don’t know. Syfy comes out with some good product and other product they do for not a lot of money, and it’s pure entertainment, pure fantasy. I think they’re never going to go away. They’re just going to get bigger. They’ll do different types of film, but this one has a sci-fi element and there is an audience for it.
FLICK ATTACK: My 5-year-old wants one of those two-legged Eyeborgs for his birthday. Can you pull some strings for me?
PAUL: Well, if it does well, you can know for certain they’ll do merchandising on it, so I’ll let you know.
FLICK ATTACK: Is it more difficult acting against a spider robot that’s not really there or Christopher Lambert?
PAUL: Ohhh. That’s a harsh comment, actually.
FLICK ATTACK: No, it’s good-natured. All in fun.
PAUL: You have to have a very good imagination. All I was told was that I was given a rundown as to what these things might look like and what their capabilities were, in a sense. I actually choreographed the fight and sat down with the robot designer and the director, and came up with what could be done, how it would move. I was just fighting air, pretending there’s this eight-legged thing kicking my ass.
FLICK ATTACK: Speaking of Highlander, answer honestly: How long would it really take you to cut off someone’s head?
PAUL: How long would it take?
FLICK ATTACK: Yeah.
PAUL: Well, it would take you literally one slice. It depends on what you’re using. —Rod Lott
Reginald Hudlin is the director of the hit comedies House Party, Boomerang and The Ladies Man, and the writer of Marvel Comics’ Black Panther animated series, which is now on DVD from Shout! Factory.
FLICK ATTACK: So, Black Panther. Were you a comic book geek in childhood?
HUDLIN: Uh, yes, I was.
FLICK ATTACK: And even today?
HUDLIN: And even.
FLICK ATTACK: It’s okay to admit it.
HUDLIN: Yeah, I mean, it’s so funny … what I’m about to say is a “nerd conversation,” but there’s debates over geek vs. nerd, right? I always go, “I’m a nerd, not a geek, because nerds actually have sex.” So, you know, that’s how I separate myself.
FLICK ATTACK: Was Black Panther a favorite of yours growing up?
HUDLIN: I loved all comics — Marvel, DC, Gold Key — but I loved Captain America and I loved Black Panther, because I felt like they were essentially the same character. They were both these noble symbols of their nation, and I just love that idea.
FLICK ATTACK: And you have Captain America in this show, as well.
HUDLIN: Oh, absolutely. In fact, we actually took that one scene and expanded it out into a four-issue miniseries with Black Panther and Cap’s first team-up, where they fought Red Skull and the whole gang, because I just love those characters so much.
FLICK ATTACK: Having written for film and comics and now animation, how hard was it to go from one medium to another? I presume they each have their own challenges.
HUDLIN: Yeah, they all do. Switching from medium to medium, you learn so much about each one and the other. When you make a movie, you’re trying to keep someone entertained for 90 minutes. When you do a TV show, you’re trying to keep them for an hour or half of it, but really what you’re trying to do is keep it so exciting that when you get to a commercial break, you don’t turn the channel. And when you do a comic book, you’re trying to get them keep turning the page. When you get to that last panel, do you want to see what happens next? All of them is all about keeping the viewer engaged through short or long periods of time.
FLICK ATTACK: Do you have a favorite among those?
HUDLIN: No. For me, you find a story you’re excited about and find what’s the best medium for that story.
FLICK ATTACK: As a kid, did you notice that nearly all the African-American superheroes — few as they were — had to have “Black” in their names, like Black Panther, Black Lightning, Black Vulcan?
HUDLIN: For me, I was a huge Black Panther fan; there was nothing “token” about him. I just thought he was a character with a tremendous amount of integrity and stood on his own. I was not so much into Black Lightning, although certainly, perfectly fine idea. Black Vulcan the cartoon character was always sad to me, because he didn’t have any pants on. And also, the name — I mean, at least Black Lightning, that is sort of a phrase. Black Panther, there is an animal called the black panther. Black Lightning is a phrase. Black Vulcan is idiotic. It’s like Black Goliath: inappropriate. I mean, “Really, dude, Black Goliath? He can’t just be Goliath?” That’s when it all goes wrong.
FLICK ATTACK: I was surprised at how much humor there was in these episodes of Black Panther. It made me think it would work well as a feature film. Are there any discussion to do that in live action?
HUDLIN: Yes, I think it would be a great movie. There have been talks of a Black Panther movie for 15-plus years. I remember after my first film, House Party, I did a deal at Sony Pictures, who at the time had the rights to Black Panther. I remember reading some of the scripts, and they were horrible! They had Black Panther as a guy living in the projects of America. He had no idea about his African heritage. I just said, “Look, whether I’m involved in this movie or not, you can’t do this! This is evil!” Which is probably not the most politically correct way to express your opinion, but I’m not one to bite my tongue. So, yes, lately there’s been talks. That’s really Marvel’s decision and they play their cards close to vest. I wrote this miniseries and made this DVD so that whether there’s ever a Black Panther movie and whether I’m involved in it or not, people can look at that and go, “Well, that’s what Black Panther is! That’s who he should be!” and I’m happy to have succeeded in that.
FLICK ATTACK: You brought up House Party. Isn’t it about time for a House Party reboot?
HUDLIN: I’ve been getting that a lot. Usually, I get people asking for a Boomerang sequel, but yes, the House Party conversation has been popping up a lot. Fortunately, I do actually have an idea, so I guess this month, I need to actually write that idea down.
FLICK ATTACK: You know, after four of those movies, Kid and Play — I still don’t know who’s who.
HUDLIN: Well, Kid had the hair.
FLICK ATTACK: And since you brought up Boomerang, how does it feel to know that there’s an entire generation of men who can’t look at a woman’s foot without vomiting?
HUDLIN: They’re looking at the wrong toes! Well, there’s also a generation of women who get pedicures all the time because of Boomerang. I’ve been complimented on both sides.
FLICK ATTACK: You’ve spurred the economy when it comes to mani-pedis.
HUDLIN: Absolutely!
FLICK ATTACK:Serving Sara: Were you a fan when you cast Bruce Campbell or was it just a case of the first actor you saw who fit into the hat?
HUDLIN: I pleaded for Bruce Campbell. I was like, “You know, man, I know it’s not your kind of movie. I just want to hang out with you.” The irony is I found the DP for House Party from watching the trailer of Evil Dead II in Times Square. I just said, “Whoever shot that is the guy I want to work with.”
FLICK ATTACK:The Ladies Man. First of all, I think Tim Meadows is a funny guy. But, if you assume that The Blues Brothers is at the top and It’s Pat is at the bottom, where would you rate The Ladies Man among the SNL movies?
HUDLIN: Wow. That’s a tough, tough thing, because … do you put Blues Brothers at the top or do you put Wayne’s World at the top?
FLICK ATTACK: I’m going with Blues Brothers, because Wayne’s World doesn’t quite hold up as well. Some of its jokes are so 1992.
HUDLIN: See, I haven’t seen either in a million years, so I’m just going to keep them safe in my shuttered memory. I loved Blues Brothers when I was a kid, I loved Wayne’s World as a young man. Where does Ladies Man fit in that pantheon? You know, I never saw It’s Pat, so I don’t know if we need to be sitting next to It’s Pat or defending the honor of It’s Pat. I can’t speak to that. It’s weird: Ladies Man is not as funny as it should be, even though Tim Meadows is hilarious. There’s a lot of funny, funny scenes in it. The greatest gift of working on the movie was working with Will Ferrell. Magnificent. Actually, I did the movie because it has a musical number in it.
FLICK ATTACK: Oh, it wasn’t Julianne Moore as a clown?
HUDLIN: That came later. Nice! That was just bonuses after I got onboard. You know, it’s not what it should be, but there are 14-year-olds who worship me because I made Ladies Man, so who’s to say?
FLICK ATTACK: More recently, I’ve seen your name in front of a lot of TV shows I watch. So I want to know which show you directed had more awkward pauses, Modern Family or The Office?
HUDLIN: Oh, wow, good one. Good, good question. Both shows are faster-paced than you’d think, but I guess The Office wins for sheer number of awkward pauses. By season six when I got onboard, they had mastered the uncomfortable double-take. The show is great because the characters feel so much shame.
FLICK ATTACK: Who would you rather work with again: Jamie Foxx or Sofia Vergara’s breasts?
HUDLIN: C’mon now. I worked with Sofia, not her breasts, so technically speaking, I wouldn’t be working with them again. But if I were to work with them, I wouldn’t ever stop.
FLICK ATTACK: I’ve got one last question for you.
HUDLIN: Yes.
FLICK ATTACK: I want you to know you made my life miserable. It was the summer of 1994. That’s when Bebe’s Kids came out on VHS. I was working at Blockbuster Video at the time, and our store had three copies, and there were always, always rented. I fielded calls all day long, people came in wanting it, and when I told them we were all out, customers every day took their anger out at me. And when they couldn’t rent it, they’d want to buy it and ask how much it was, and I’d say, “$99.95,” because that’s how much VHS tapes cost back then, and they’d get even angrier at me! So my question is, will you apologize?
HUDLIN: I think your manager should apologize. What kind of dick gets that kind of demand and doesn’t get more copies?
FLICK ATTACK: I’ll tell you what kind: corporations!
HUDLIN: Right. This corporation said, “This thing really isn’t that popular, and despite enormous evidence to the contrary, we’re going to ignore that.” That’s the story of that whole movie. It was frustrating, because Cool World came out the month before, and that didn’t work. And so Paramount said, “We’re out of this animation thing,” and I was like, “Wait wait wait! We had a movie! We had a movie!” It performs incredibly well on DVD and cable. I was at BET and they were like, “Oh, my God, we just can’t show Bebe’s Kids enough.” I still tell Paramount about it and they don’t get it. Why can’t the signal connect to the brain? There’s some kind of disconnect.
FLICK ATTACK: Well, they didn’t work at Blockbuster that summer, that’s why.
HUDLIN: This is the problem. They need more guys like you in the corporate offices.
FLICK ATTACK: They don’t ask me.
HUDLIN: Well, I’m going to quote you from now on: “Mr. Rob —”
WARD: I’m at home today. I just put away, like, eight boxes of Christmas decorations in the back shed, and I feel like I deserve a cocktail or something for it.
FLICK ATTACK: Drink up!
WARD: No, it’s a little too early. But I swear, it was exhausting! So if I’m a little out of breath, that’s why.
FLICK ATTACK: I forgive you. So I was doing last-minute IMDb research and I learned that we both have daughters named Audrey, and you and my wife have the same middle name, so obviously, we share excellent, impeccable taste.
WARD: Oh, my God! Exactly! I don’t know when your wife was born, but it seems like around the time I was born, it was a very popular name. It seemed like I had no less than five friends who have the middle name Marie, so it must’ve been the trendy name of the time.
FLICK ATTACK: However, I have not had a guest role on Party of Five. So that’s where the similarities end.
WARD: Yeah. You didn’t die of a drug overdose. Didn’t devirginize Bailey, no.
FLICK ATTACK: Speaking of IMDb, it says you speak Japanese. Confirm or deny?
WARD: “Hello. Good morning. My name is Megan. How are you? What’s your name?” I grew up in Hawaii and every school offered Japanese. I had started modeling at the age of 9, so it seemed like a practical thing for me to learn. I wasn’t 100 percent, but I could read and write it. I could get around! But that was a long time ago. When I got to sushi restaurants now, inevitably, by the end, I go, “I know what he said,” but it’s far back and covered with dust.
FLICK ATTACK: Onto Dark Skies, since that’s what we’re supposed to be talking about. At the time it aired, serialized shows weren’t exactly in vogue. But after the success of Lost and 24, do you think it would do better nowadays?
WARD: Oh, my God, yes! It was completely ahead of its time. Part of its tragedy is that it was compared to The X-Files in that people felt it was ripping off X-Files. And the only way it was similar is that it involved aliens and a male/female lead. Other than that, it was a very different show and very much like all the shows that have been on now. I don’t know what it’d do — you can’t make these predictions on what will hit — but it’s very of-the-now. It’s very subversive, it’s very complicated, it involves historical events. Imagine now, people could be Googling and going to Wikipedia during an episode. Historically, it was all accurate, and that’s what made the intrigue and the twist on the story cool, and the more you knew about that, the more interesting it would be. It would be very timely to do that now.
FLICK ATTACK: Which was scarier for you: the alien creatures or the period hairdos you had to wear?
WARD: Um, I don’t know. That’s a really good question! Or the Playtex bra, or the girdle. I have to say, I really like the period stuff, I really like becoming a character, but you’re very limited to the person who’s doing your hair, the way the director wants it, the way the studio wants it. It was a bit of a struggle about the size of it and the shape of it. Somedays, it was great, and other days, I couldn’t believe it got so big. I just wanted them to trim it down somehow, with CGI effects.
FLICK ATTACK: You’ve been acting for 20 years now. Going back to the beginning, out of the four films you did for Full Moon Pictures — and I’ve seen them all — did any of them buy you a tank of gas?
WARD: Exactly! Well, yeah, sure! Charlie Band gave me my first job, which was Crash and Burn. And I think I had done one or two guest spots right before that. It was a feature film and a three-picture contract, even though it was just paperwork — it didn’t guarantee anything. It felt like a much bigger deal than it probably ended up being professionally, when you look back on it: “Oh, yeah, these are straight to video.” But they were all distributed by Paramount and it was great. He had quite the machine going there. He took a shine to me and really believed in me and I owe a lot to him! He gave me a bunch of movies there I feel like I cut my teeth on. Even though it was a small production, I feel very fortunate that that’s where I got my start. It was real moviemaking.
FLICK ATTACK: This isn’t much of a question, but did you know I watched Amityville 1992: It’s About Time just because you were in it?
WARD: No, but I’m really flattered!
FLICK ATTACK: And would you believe I’ve seen it three times now?
WARD: Noooo, you’re kidding!
FLICK ATTACK: No, I’m not.
WARD: Those movies are fun. Those movies are so fun. They’re genre movies: You kinda know what to expect, and it’s fun to take the ride. Even though it was a small movie, again, and there are bits that are silly, I suppose, but it’s a legacy, the Amityville series. “I’ve been in an Amityville film.” You know, that’s pretty cool, I think! I like that I can say that.
FLICK ATTACK: Is it strange that when a lot of people hear your name, they automatically picture you attached to Blossom‘s older brother?
WARD: I wish they did, because then they would’ve seen the movie! I nearly killed Michael Stoyanov on that movie, Freaked. First of all, he came from a sitcom, so he was used to this really easy work schedule. Such lazy work, let me tell you. So he was getting used to these long hours and crazy locations, and we’re strapped together the entire time. He quit smoking and was getting married as soon as the movie was done. So he was under so much pressure! I was going to be the death of him, I know. He was annoying, but he’ll admit to it. I loved him then and I love him now, but he could be a pain in the ass. There was a rule that we couldn’t be strapped together for more than 20 minutes at a time before a break.
FLICK ATTACK: Within a span of two years you worked with both Pauly Shore in Encino Man and Jeremy Piven in PCU. Did SAG’s health plan cover the therapy bills this had to have cost you?
WARD: You know, they were both really, really good to me. They were really sweet. It’s funny now to me how famous they become. Pauly was very kind. He never pulled any diva stunt with me, but we weren’t that close, either. Jeremy was so our team captain on that one. We were all kids — I mean, Jon Favreau was in it, David Spade was in it — and we were all crazy and on the loose in Toronto for two months. He was a good leader.
FLICK ATTACK: You were on General Hospital. Did your time there coincide with James Franco?
WARD: It’s funny, because my character actually introduces his character, but because I was working on something else, I couldn’t be in the scenes where he was supposed to show up.
FLICK ATTACK: You got robbed, basically.
WARD: Yeah, yeah.
FLICK ATTACK: And our 15 minutes are up.
WARD: Ohhh …
FLICK ATTACK: It was a pleasure to talk with you.
WARD: Yes! And thanks for watching Amityville! And thanks for knowing Freaked, too!
FLICK ATTACK: Well, I have to admit I’ve had a crush on you since the ’90s, so …
WARD: Aw, that’s very sweet! And now, look, we have a daughter, Audrey! —Rod Lott
Dwight H. Little is the director of Halloween 4: The Return of Michael Myers, Marked for Death and the new, live-action, video-game adaptation Tekken.
FLICK ATTACK: Were you familiar with the video games at all?
FLICK ATTACK: You know a movie of yours I really liked? The Phantom of the Opera.
FLICK ATTACK: I think Halloween 4 is among the best of the sequels, but you never got to do another one since.
FLICK ATTACK: Yeah, but Tekken doesn’t have Kathleen Kinmont taking off her shirt.
FLICK ATTACK: Speaking of, has appearing in the film affected your dating life?
FLICK ATTACK: And now it’s making its Syfy debut. How’s it gonna play alongside the lofty standards established by 
FLICK ATTACK: As a kid, did you notice that nearly all the African-American superheroes — few as they were — had to have “Black” in their names, like Black Panther, Black Lightning, Black Vulcan?
FLICK ATTACK: I forgive you. So I was doing last-minute IMDb research and I learned that we both have daughters named Audrey, and you and my wife have the same middle name, so obviously, we share excellent, impeccable taste. 
