{"id":65397,"date":"2011-08-29T15:11:44","date_gmt":"2011-08-29T22:11:44","guid":{"rendered":"http:\/\/www.shockya.com\/news\/?p=65397"},"modified":"2011-08-29T15:11:44","modified_gmt":"2011-08-29T22:11:44","slug":"interview-bereavements-brett-rickaby","status":"publish","type":"post","link":"https:\/\/www.shockya.com\/news\/2011\/08\/29\/interview-bereavements-brett-rickaby\/","title":{"rendered":"Interview: Bereavement's Brett Rickaby"},"content":{"rendered":"

\"Brett<\/a>Brett Rickaby has made quite the name for himself in the horror genre over the past year. No, he didn’t have a lead role in The Crazies<\/I>, but thanks to a particularly disturbing performance, he practically wound up becoming the face of the film. Still, that was only Rickaby scratching the surface of his potential because it’s in Stevan Mena’s Bereavement<\/I> that the actor really gets the opportunity to show what he’s capable of and, boy, does he seize the opportunity.<\/p>\n

In 2005’s Malevolence<\/I>, Mena introduced us to Martin Bristol, a six-year-old boy who was snatched up and emerges as a ruthless killer years later. What happens during that time gap? That’s where Rickaby’s Graham Sutter steps in and Bereavement<\/I> kicks off. Sutter is Martin’s kidnapper and takes the boy to his dilapidated pig farm where he shows little Martin how he tortures and kills his victims. As Sutter wipes the slate clean after every brutal lesson, nobody ever knows what happens at the old pig farm, that is until Allison (Alexandra Daddario) gets a little too curious for her own good.<\/p>\n

Graham Sutter is absolutely out of his mind, however, it seems to take a very sane and mindful man to bring a character like that to life. While Rickaby labels The Crazies<\/I> the easiest film he\u2019s done and Bereavement<\/I> the toughest, both productions still required quite a bit of work on his part. In honor of Bereavement<\/I>\u2019s August 30th DVD and Blu-ray release, Rickaby took the time to tell me all about his preparation process, inhabiting the mind of a sadistic killer, his exciting and well-deserved plans for the future and much more. Check it all out for yourself in the interview below.<\/p>\n

\"Bereavement\"<\/a><\/p>\n

Can you tell me about how you got involved? Had you seen Malevolence<\/I>?<\/B><\/FONT>
\nBrett Rickaby:<\/B> I have seen Malevolence<\/I> although that came after the offer. It\u2019s actually an offer<\/I>, which to this point in my career is relatively rare. It was a straight offer; I didn\u2019t even audition for it. I wasn\u2019t the first one that it was offered to, so I don\u2019t know where they were exactly in the process, but there was a little bit of time before they actually ended up going and shooting.<\/p>\n

I was in New York actually; I\u2019d just finished working on a Sam Sheppard play at The Public theater, which was kind of nice. I\u2019ve always been a huge Sheppard fan and I got to play a quintessential Sheppard man. I\u2019d just finished that project, I was on the tarmac here in LA and I had just turned my phone on and there was a message, I called my manager and there was an offer. I took a look at it, I read the script that day and I was like, \u2018Okay, here\u2019s a little I can do something with.\u2019 It was basically the first leap for me so I was very excited about that as well, but also as something I could definitely do something with. It was not long after that we get talking with Stevan [Mena], the director, and they encouraged me to take a look at Malevolence<\/I> and I did and there wasn\u2019t that much of Sutter in Malevolence<\/I>, which is good for me because I felt pretty wide open to create Sutter as I saw, working hand-in-hand with Stevan from that point on. <\/p>\n

When you\u2019re offered a role as opposed to auditioning for it, does that change your thought process during the period leading up to having to sign on that dotted line?<\/B><\/FONT>
\nYeah. I think you\u2019re probably more apt, [laughs] at least I am at this point just because of the novelty of it on some level. It\u2019s an ego stroke and so you\u2019re like, \u2018Oh, wow! Hey, this feels good. I\u2019m somebody! I\u2019m important!\u2019 So, on some level, yeah, it definitely feels good to be wanted in that way.<\/p>\n

I\u2019ve always taken things based on whether I think I\u2019ve got something that I can contribute; is there something I can do with this role? Obviously there have been times when I\u2019ve taken things just because I need to work, but if I feel like I don\u2019t know what I\u2019m gonna do with this thing – that doesn\u2019t happen that often. I usually find something to relate to. That\u2019s our job as actors. You start out you don\u2019t relate to it, well, you gotta find something and once you find that key that unlocks it, then things start to open up a little bit. Usually, early on in the reading of it, I\u2019ll know whether I\u2019ve got something to bring and I felt it immediately when I read this, which I know is kind of weird. [Laughs] You\u2019ve seen it; you know how brutal it is.<\/p>\n

It\u2019s a real challenge, too, because, man, I read it and there\u2019s so many dead bodies. I kill so many people. How am I gonna work against that? That\u2019s one of the things I always look for as an actor; I\u2019m always looking for the opposites. I know I kill this many people; where do I find the humanity in this guy? There\u2019s got to be something to bring out the humanity. If he\u2019s a jerk, if he\u2019s a killer, where\u2019s the humanity? Or if it\u2019s a \u201cnice person,\u201d where are his flaws? That\u2019s what I\u2019m looking for. I found it in the vulnerability of Sutter. Obviously he has some mental illness going on; he\u2019s got some mistaken thinking and his own thinking causes him all this torment, which creates the actions.<\/p>\n

\"Bereavement2\"<\/a><\/p>\n

I had to find out where was he broken. He got broken somewhere along the lines and I had to go back to that and try to dig into that. We don\u2019t get to see that that much in the film and I think that that\u2019s okay. We want to see him kind of get it, but on some level, I want the audience to relate. They don\u2019t have to understand intellectually, but on some visceral level to still kind of end up feeling a little but sorry for the guy. If they can relate on some level, then that\u2019s better; that makes it even worse because who wants to think, \u201cI actually kind of feel bad for this guy.\u201d Why should I feel bad for the killer? But I think it\u2019s better that way and hopefully I was able to pull a little bit of that off.<\/p>\n

Did you use that same approach when you played Bill in The Crazies<\/I>? I can kind of see it working for that role, too.<\/B><\/FONT>
\nWith Bill it was a totally different thing. To date, The Crazies<\/I> was the easiest film I\u2019ve done and Bereavement<\/I> is the hardest film. And they were back-to-back, so it was really interesting! There was so little energy that I had to use to do Bill in The Crazies<\/I>. One of the things that Breck Eisner, the director of that, talked to me about was the stages of the illness and a lot of that had to do with disorientation, that the virus was disorientating and zapped you of all this energy and whatnot. This was a good challenge for me in a way to learn to play with economy. I like big emotion as an actor. I love to go for stuff. I love to commit to stuff. I had to really rely on my thoughts; it\u2019s one of the things that Breck talked about as well, that your worst thoughts sort of become your predominant thoughts and I said, \u2018Okay, well, then I\u2019ve just got to be willing to just sit there with no energy and think bad things.\u2019 So in that way, there wasn\u2019t really all that much that I had to put into it. But as far as me trying to solicit empathy from the audience, I never tried to do that with Bill where I made a concerted effort to do that with Sutter in Bereavement<\/I>. <\/p>\n

What is it like for you personally having to get into that type of headspace? Is it though to jump in and out of?<\/B><\/FONT>
\nThe Crazies<\/I> was easier for me just to think about thoughts. We as humans, they\u2019re not as extreme as Bill or Sutter, but we as humans have how many thousands of thoughts a day? And where do they come from? The bad ones we get used to turning away, right? And we like to think about the good ones; for the most part. Sometimes we\u2019re depending on how habitualized we are; we can\u2019t help but to think about bad thoughts because that\u2019s what we\u2019ve been presented with and we train ourselves in a way. I\u2019ve come to learn that, for me, just for me, I think that a lot of the problems that I suffer in my own life, are a result of my own making and a result of my own thought process.<\/p>\n

Knowing that, this is good news for me as an actor because I know that stuff on film, theater or whatever, it\u2019s all about drama! So I, as an actor, need to look for the drama. I need to go to the bad stuff, so I\u2019ve got to be willing to do that. But then once it\u2019s done, I\u2019ve gotta let it go. Sometimes that\u2019s easier said than done. It was easier with The Crazies<\/I> because it was just about thoughts, but thoughts that also lead to emotions and that was much more the case with Bereavement<\/I>. I\u2019d been working on this in a personal way for a while in my acting. I made a concerted effort maybe about seven years ago to really try to strengthen and grow as an actor; it was really time to challenge myself to grow if I wanted to have more of a career. I had been working with developing a flow of emotion that was greater, but that also demands more of you mentally. Many times the demands of working in TV and film, acting is like landing a jet on a head of a pin. It\u2019s like, \u201cGo,\u201d and it has to happen now and you don\u2019t have the same luxury of prep time you have in the theater. Something needs to be delivered and it needs to happen now because we\u2019re not shooting this scene again tomorrow. You gotta bring it. That\u2019s something that I made a concerted effort to practice, that emotional flow.<\/p>\n

\"The<\/a><\/p>\n

That said, sometimes when you\u2019re on set, you have to sort of keep the engines warm, so sometimes leading in you need more prep time and sometimes leading out, it takes a little cool off time and sometimes that can be a little messy on set and while on a personal level I just want to learn to be comfortable within my own skin [laughs], I got so interested in trying to placate my ego and be an important person, I try not to step on people\u2019s toes. However, you know, sometimes when on set the boundaries get crossed over a little bit. You try to be polite and whatnot, but if you\u2019re playing a serial killer and you don\u2019t have the room to create, sometimes you can step on people\u2019s toes on set. It becomes a little tricky when you\u2019re playing somebody who\u2019s as volatile as Sutter, so there were a couple times on set where, you know, people got a little scared. [Laughs] I say laughingly.<\/p>\n

Considering that, how do you handle working with someone as young as Spencer List?<\/B><\/FONT>
\nSpencer I never really had to worry about. We shot the kitchen table scene where I stab him with the knife, we shot that early on and it\u2019s actually my favorite scene in the movie because of what\u2019s going on between he and I. But, at that point, we barely knew each other and you can feel the tension there in that scene. The more we worked together, the more we knew each other and he is just a total professional. I\u2019ve never seen a kid who had such a clear distinction between \u2018this is real\u2019 and \u2018this is not real.\u2019 He was professional enough and had enough experience and enough savvy, but also took his work very seriously, but was able to flip the switch, go between really getting engaged, really involving himself in the work and then shutting it off after.<\/p>\n

The one who was a little bit harder played the younger version, Chase [Pechacek], played the younger version of Martin and I think he was six or seven at the time. I don\u2019t remember exactly, but I take the knife to his cheek in that scene early on in the movie and that was trickier. That\u2019s a real delicate balance where you want to try to make it okay for him on some level, but then it starts to get too okay and a kid like that who has hardly any experience in front of the camera and know what the world\u2019s about, then you start to lose a little bit of focus and you\u2019ve got to snap him in and break him into the reality and make it a little not okay again and then you gotta make it okay. You\u2019ve gotta be careful not to scar the kid here. There\u2019s a delicate balance there and you just kind of walk it back and forth. <\/p>\n

\"Brett<\/a><\/p>\n

What\u2019s next for you? Are you staying within the genre or looking to branch out, maybe do another stage play?<\/B><\/FONT>
\nYeah, that\u2019s always a possibility. I\u2019ve been thinking about that a little bit. There\u2019s a little bit of a hunger because the reward of being in front of other people live is very visceral, it\u2019s very tactile. It\u2019s almost sensual in a way that it\u2019s so immediate and I love that a lot. It\u2019s been a while and you lose the muscles. If you don\u2019t use them, they get weak, so my stage weights are a little wobbly right now. But we\u2019ll see.<\/p>\n

We\u2019re getting closer to stuff on The Book of Matthew<\/I>. Still got some work to do with that, but acting-wise, I just yesterday closed a deal on a new film called, a little indie called Tentacle Eight<\/I>. I have the lead in that so basically it\u2019s my second lead, but I\u2019m the central character that goes all the way throughout it and I\u2019m not a creep, Perri. I\u2019m not a creep! I kind of hardly can believe it. [Laughs] I\u2019m this NSA code breaker who kind of gets entangled in a plot to reveal the existence of a covert unit within the intelligence community and I actually have a romantic love interest in this film and I\u2019m like, \u2018Wow, that\u2019s never happened for me, in film or TV!\u2019 So, some new territory for me and it\u2019s a good thing. It\u2019s going to be interesting to see with a toned down emotional palate to play in, what colors I end up finding and how do I carry this movie. That\u2019s the great thing about this genre, you asked about the horror genre, it supports such a huge<\/I> emotional palate with which to paint with and I love that. So this is gonna be an interesting. It\u2019s got new challenges for me; it\u2019s gonna be interesting to see with a more limited color palate what I end up coming up with.<\/p>\n

That\u2019s fantastic! I\u2019m excited to see you in that and see you get behind the lens, too!<\/B><\/FONT>
\nOh, thank you! I\u2019m hopeful that happens. I\u2019m still kind of open, if we get some, you know, somebody \u2013 I just want to see that project made. The difficulty with that project is that it\u2019s kind of controversial. We\u2019re trying to walk the middle of the road, to try not to offend people in one way or another with the subject matter, which is not only Christianity, but sort of a more, is this particular church that the lead character gets himself into, is it a<\/I> way, is it the<\/I> way, is it a cult even? It just tells the story of one man\u2019s journey through a particular Christian thing. I\u2019m trying not to offend Christians, nor atheists, but I just want to tell this story and maybe there\u2019s a bit of a dialogue that can happen as a result of that although I think, for the most part, particularly businessmen may be a little bit afraid of that, in terms of what that might wreak, but I think also the public is still a little tentative to \u2013 there\u2019s nothing that fires up an argument quicker than the subject of religion. But I\u2019m not looking to do that so much as just try to open up a questioning and thought provoking dialogue on some level. <\/p>\n

If it does get off the ground, are the people you had involved before still good to go?<\/B><\/FONT>
\nAs of right now, everybody\u2019s still hanging in there. We\u2019ll have to see when we get there. Things will always change when you get to the time, contingent on people\u2019s schedules and negotiations and all that sort of stuff, but right now we still have \u2013 we actually got a few other people gonna be sneaking in there pretty soon.<\/p>\n

By Perri Nemiroff<\/A><\/p>\n","protected":false},"excerpt":{"rendered":"

Brett Rickaby has made quite the name for himself in the horror genre over the past year. No, he didn’t have a lead role in The Crazies, but thanks to a particularly disturbing performance, he practically wound up becoming the face of the film. 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