Showrunners have been dropping on AMC's "The Walking Dead" faster than a walker on the business end of one of Daryl's arrows. The next to go is Glenn Mazzara, and recently he spoke about being a showrunner and more.

Scenestr caught up with Mazzara recently, and the man had the following to say about the situation, the current state of affairs, the finale, and where the show is going in Season 4...

On the death of the much beloved Axel, “To be very honest, I didn’t want to kill off any of the major characters. We obviously didn’t want to kill Rick. Carol was on the chopping block, but I didn’t want to kill Carol because we have a story coming up with her. We looked at the possibility of killing Beth. I don’t think that actor knows that. You know, I love Emily Kinney. But I felt that would have had too big an impact on the group. It would have just devastated poor Herschel. It would have taken him down a path I didn’t want for the rest of the season. And we were already dealing with Maggie’s feelings about her sexual assault by The Governor so we didn’t want to complicate that with mourning for her sister. We talked about killing Carl in that episode! We really did… unfortunately, you know, by the process of elimination, we got to Axel. Now I like Lew Temple’s performance of Axel very, very much, and we were just starting to find that character and develop him in a way that we loved. And we probably could have had more stories with him. But The Governor was the main character in that piece. We needed to make sure he was not ineffectual. Because otherwise he’s not a bad guy that could possibly take out our guys. So that was really important.”

Regarding being a showrunner, “You know, the showrunner provides the vision for the show. I think the showrunner deserves it! They’re driving the creative vision of the show. So even though it is a collaborative medium, the showrunner is the equivalent of the director of a feature film. That’s the person who shepherds the work through the entire process. Showrunners dedicate themselves to the shows. We’re involved in all aspects of the show, both creative and production-wise. We’re responsible for budgets, schedules, wardrobe, casting… there’s no aspect of the show that I’m not involved in, that I don’t approach from a position of authority. You’re approving hair styles, you’re approving wardrobe, you’re approving props, you’re approving this and that. The directors are the ones who are rotating through the system. So I think that’s fair. I think if you look at a show like "Community," that was certainly a show that was Dan Harmon’s voice. It’s a demonstrably different show without him. That’s what we get paid for as showrunners, to add our voices to the show. Darabont had one particular voice, I have another. And the fans see that! The fans recognize that. That is recognition of the dedication of a lot of men and women who pour their hearts and souls into these works.”

And finally on the finale and the roads leading to Season 4, “Well, the next guy, Scott Gimple, has been involved for a while. And Robert Kirkman and Gale Anne Hurd and Greg Nicotero, the creative team, were all producers on Season 3. So there’s no material there that is surprising to them. They were involved in developing that material. That being said, listen… the season finale will be a bombshell, as you say. We wouldn’t be “The Walking Dead” if we didn’t push the storytelling every week. So those folks have their work cut out for them, you know? Hopefully the ratings will hold for this season and at the end of my run they’ll be in a position to have a successful Season 4. We’ll see what happens."

To stay up-to-the-minute on all things walker related, follow @WalkingDead_AMC on Twitter and visit "The Walking Dead" on Facebook. For more be sure to hit up the official "The Walking Dead" page on AMC.com.

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According to Hollywood, teenagers plus supernatural beings equals money-making franchises that can be milked until their creative teats dry, whither, and blow away. So what's the next young adult property looking to make a killing? Read on!

According to THR, Ineffable Pictures has optioned the rights to Lisa Desrochers'Personal DemonsPersonal Demons, Original Sin and Last Rite. The books center on a teen girl with a special ability who is caught in the midst of a love triangle (of course) between an angel and a demon, each of whom are competing to “tag” her soul for heaven and hell, respectively.

This one will not be heading to the big screen though. John Travis, who wrote The Haunting of Molly Hartley and The New Daughter, is adapting the Personal Demons series for television. No word on a network yet, but our money's on The CW. It can't be any worse than "The Vampire Diaries" has been lately, right?

Don't answer that.

Alrighty, kids! We had the opportunity to take in this weekend's horror offering, The Last Exorcism Part II, a bit early and have your review right here. Does it stack up to the original? Yes and no. Read on for the details.

Read our The Last Exorcism Part II review!

Ed Gass-Donnelly directs The Last Exorcism Part II from a screenplay by Gass-Donnelly and Damien Chazelle. Ashley Bell stars. Look for The Last Exorcism Part II in US theaters on March 1st and in the UK on March 15th.

Related Story:Full The Last Exorcism Part II News Archive

Synopsis
Continuing where the first film left off, Nell Sweetzer (Ashley Bell) is found terrified and alone in rural Louisiana. Back in the relative safety of New Orleans, Nell realizes that she can't remember entire portions of the previous months only that she is the last surviving member of her family. Just as Nell begins the difficult process of starting a new life, the evil force that once possessed her is back with other, unimaginably horrific plans that mean her last exorcism was just the beginning.

With Stoker (review) arriving in theaters tomorrow, we had an opportunity today to have an intimate chat with visionary director Park Chan-wook here in New York City about his new take on American Gothic and why this sometimes quirky, always mesmerizing new addition to his filmography came at just the right time in his career.

It should be said that director Park used a Korean translator to interpret his words during the interview.

We also sat down with Mia Wasikowska, who stars as the spiteful teenager India, and Matthew Goode, who plays the menacing Uncle Charlie, so look for those interviews very soon.

Dread Central: Why did you feel you had to make your first English-language film at this stage in your career? Was the talent involved just too good to pass up?

Park Chan-wook: Well, Thirst, which was [director Park’s] last Korean feature length film was ten years in the making. The first time it was conceived was ten years before it was actually made and having finished that film, he came to a time where he had pretty much made all the Korean films that he had developed. So, he felt a chapter in his career came to a conclusion. It basically felt like emptying his guts and he felt rather despondent at the time and felt that there was a turning point needed in his career. If that is an internal reason, there was also the external reason of coming across this great script. It was something that was happening from the inside but also the outside.

DC: So, what was it about the script? Was it the world you thought you could create or bringing India’s dramatic character arc to life that most attracted you?

PCW: Is it going to be too easy an answer if he says all of the above? Well, if you would allow him to add one more to that, he would like to mention that the script was very sparse. It had a lot of room. It wasn’t too dialogue heavy and wasn’t populated with too many characters.

DC: Which is kind of rare for such a popular script that also found its way onto The Black List.

PCW: Probably the people who selected the script to be on The Black List also could see exactly what he saw in the film. Of course, there was great description in lieu of sparse dialogue. While not being busy, it managed not to be dull and it managed to retain a very palpable tension throughout.

DC: You do a lot of really intense storyboarding and I remember being on set and seeing you do a lot of takes over and over again of a lawnmower as the younger Richard Stoker runs off camera. I think a lot of directors would probably just do a couple takes of that but it was obvious that you knew exactly what you wanted. I know that the production was hurried but was pre-production faster also or done at your usual pace?

PCW: Compared with his process in Korea it was extra short on this film. You might not believe this but even during the script development stage in Korea, he would get together with his DP and the Production Designer and sometimes even the cast to exchange ideas. So even if during these exchanges the Production Designer may not sit down and begin to draw designs, they can exchange ideas for what director Park has in mind and what kind of atmosphere he wants in the film. And they can really get ready for what’s coming. Sometimes it will influence what he does with the script as well and how the cast and crew need to prepare. So, it could take as long as one or two years to get ready for a film.

DC: Mentioning the cast, did you allow any room for the actors to make adjustments? Was there any improvisation at all or do you tend to frown at that? Is it so planned out that there’s no wiggle room?

PCW: Well, he is worried thinking about this. Am I giving too much limitation for my actors? His cast, however, would often would come up and thank director Park for giving them so much freedom. When he hears that he breathes a sigh of relief. To clarify, rather than come up directly and say that, he would read interviews where the actors had said those things. He would like to consider himself a director that gives a lot of freedom to his actors but as you rightly point out, he tends to have specific ideas during the preparation stage. And you’re right, there is a version of the performance that he has in his mind after he assembles this cast and places them in this world. He imagines it. If the performance on the day on set deviates from what he had imagined he does get surprised but it needs to be a good surprise, doesn’t it for it to work? So, he’s always on the lookout for such good surprises to happen. He spends an enormous amount of time with his actors before ever rolling the camera. This is where he allows and invites the actors to really bring their ideas to the table. And this happened on Stoker as well and it was a good collaboration.

DC: You always do seem to have great performances from your actors. Was there a performance or a scene that really stood out to you that you were looking forward to filming? If that didn’t wind up being your favorite scene, what was? There’s a lot of memorable moments.

PCW: Well, when he was reading the script, this didn’t feel like an ambitious scene, and by this scene he means the scene where Uncle Charlie and Evie go for a drive and come back home and they are in the kitchen. Uncle Charlie in the kitchen, Evie in the pantry, and India just out in the foyer and they are talking to each other. Do you remember that scene?

DC: I do.

PCW: Nobody might agree with him but it’s a very personal favorite now after having gone through the process of prepping and filming the scene. It utilizes the layout of the floorplan of this great house that we found in Nashville.

DC: That was an amazing house.

PCW: They are engaged in this dialogue and the camera is allowed to capture them on their own in their own performance and he’s able to capture all the subtleties of each performance. That, to him, is his absolute favorite. Especially when India quips [referencing ice cream], “I like the swirl kind”, and when India has the tubs of ice cream shoved under her arms with a sullen face in the basement. It really reminds him of his own daughter, this petulant teenage girl.

DC: Yes, I remember them telling us to stay away from the freezer when we toured the basement. We were not allowed to look in the freezer. So, did you get a chance to go out in Nashville and did the owners of the estate change the house back to what it was originally?

PCW: The Wentworth’s...yes, Wentworth is the name of the owners...loved what Thérèse [DePrez] and her team did with the place. Director Park never heard back whether they returned it to its original state, but he knows that they loved it.

If it was me, I would have kept the place exactly how it was. I wouldn’t even wash the blood-stained wall!

Mia Wasikowska, Nicole Kidman, Matthew Goode, Jacki Weaver, Lucas Till, Dermot Mulroney, Phyllis Somerville, and Alden Ehrenreich star in the film directed by Park Chan-wook. Look for Stoker in theatres on March 1st, 2013.

Okay, this day has been madness. Color us officially exhausted. Wait! What? There's more? Oh, all right! Ahem... Time for some video soundbites from this weekend's other genre offering, Jack the Giant Slayer. Check them out!

Jack the Giant Slayer hits US theatres on March 1st and arrives in the UK three weeks later on March 22nd. Concurrent with its debut in 35mm and digital theaters, Jack the Giant Slayer: An IMAX 3D Experience will be released in IMAX theaters.

Synopsis:
An age-old war is reignited when a young farmhand unwittingly opens a gateway between our world and a fearsome race of giants.

Unleashed on the Earth for the first time in centuries, the long-banished giants strive to reclaim the land they once lost, forcing the young man, Jack (Nicholas Hoult), into the battle of his life to stop them. Fighting for a kingdom, its people, and the love of a brave princess, he comes face to face with the unstoppable warriors he thought only existed in legend...and gets the chance to become a legend himself.

Acclaimed filmmaker Bryan Singer directs the 3D action adventure Jack the Giant Slayer, starring Nicholas Hoult as Jack. The film also stars Eleanor Tomlinson as Princess Isabelle; Stanley Tucci as the deceitful Roderick; Ian McShane as Isabelle's father, the besieged King Brahmwell; Bill Nighy as General Fallon, the ferocious two-headed leader of the giant army; and Ewan McGregor as the loyal knight Elmont.

Singer directed from a screenplay by Darren Lemke and Christopher McQuarrie and Dan Studney, story by Darren Lemke and David Dobkin. The film is produced by Neal H. Moritz, David Dobkin, Bryan Singer, Patrick McCormick, and Ori Marmur. The executive producers are Thomas Tull, Jon Jashni, Alex Garcia, Toby Emmerich, Richard Brener, Michael Disco, and John Rickard.

The creative filmmaking team included director of photography Newton Thomas Sigel, production designer Gavin Bocquet, editors John Ottman and Bob Ducsay, and costume designer Joanna Johnston. The music was composed by John Ottman. Dominic Tuohy served as special effects supervisor and Hoyt H. Yeatman Jr. as visual effects supervisor.

Jack the Giant Slayer is a New Line Cinema presentation, in association with Legendary Pictures, an Original Film/Big Kid Pictures/A Bad Hat Harry Production of a Bryan Singer Film. It will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

For more info visit the official Jack the Giant Slayer website.

Here's a quick look at the terrors to come as CBS Films has slipped the opening moments of The Last Exorcism Part II online for all to see. Check them out now, and look for the flick in theatres Friday, March 1st.

Read our The Last Exorcism Part II review!

Ed Gass-Donnelly directs The Last Exorcism Part II from a screenplay by Gass-Donnelly and Damien Chazelle. Ashley Bell stars. Look for The Last Exorcism Part II in US theaters on March 1st and in the UK on March 15th.

Related Story:Full The Last Exorcism Part II News Archive

Synopsis
Continuing where the first film left off, Nell Sweetzer (Ashley Bell) is found terrified and alone in rural Louisiana. Back in the relative safety of New Orleans, Nell realizes that she can't remember entire portions of the previous months only that she is the last surviving member of her family. Just as Nell begins the difficult process of starting a new life, the evil force that once possessed her is back with other, unimaginably horrific plans that mean her last exorcism was just the beginning.

Let us just say this... if ever the bomb drops and civilization is decimated, if the Earth can be repopulated by people who look like actress Eliza Taylor, then bring on the friggin' nukes, man! We'll meet you at ground zero!

According to Deadline Eliza Taylor (pictured) has been cast opposite Henry Ian Cusick as the lead in The CW's drama pilot "The Hundred". Based on the Alloy books by Kass Morgan, the Warner Bros. TV-produced "The Hundred" is set 97 years after a nuclear war has destroyed civilization when the space station housing human survivors called the Ark sends 100 juvenile delinquents back to Earth to investigate the possibility of re-colonizing the planet. Cusick will play Kane, an ambitious officer aboard the Ark who has his sights set on the Chancellor’s job.

Look for more on this one soon!

More casting news has come in for Michael and Peter Spierig's sci-fi action-thriller Predestination, featuring Daybreakers star Ethan Hawke. Sarah Snook has just landed the lead female role in the flick, and we have the skinny for you right here.

The Spierig brothers wrote the original screenplay, which chronicles the life of a temporal government agent sent on an intricate series of time-travel journeys designed to stop future killers.

The directing duo will produce with Brisbane-based Patrick McDonald of Wolfhound Pictures and Tim McGahan of Blacklab Entertainment. Shooting begins April 8 in Melbourne.

"Predestination is based on the classic Robert A. Heinlein short story 'All You Zombies.' No, it's not a zombie flick, but it's one of our favorite short stories and is unlike anything you've ever read before," said the Spierig brothers. "The short is on many sci-fi lists as one of the greatest short stories of all time and the mother of all time paradox tales. Heinlein is considered one of the great science fiction masters alongside Phillip K. Dick, Isaac Asimov, and Arthur C. Clarke."

More as it comes.

Matthew Goode (Watchmen, Match Point) strolled into the press day for Park Chan-wook’s latest, Stoker (review), wearing a belt so we were all immediately nervous. After all, Goode’s character, Uncle Charlie, prefers, at times, to use his belt for something other than just holding up his britches.

Jokes aside, Matthew was almost as charming as his sociopathic character in the film as we spoke, a similarity that added a little menace to the proceedings.

Dread Central: How do you feel being chosen for this type of role, a sexy killer?

Matthew Goode: Typecast again! It’s a Park Chan-wook film so you think that you’re probably doing something right. I was lucky, my good friend Colin [Firth] became too busy to do it. That was the first time I’ve ever had that happen. It wasn’t offered by any stretch of the imagination. It was a process as you’d imagine with Nicole and Mia already attached to do it and Director Park and a really great script. I knew it was going to be competitive. And a few of my good friends were in the hat but it just comes down to the director’s taste and luckily on this occasion he went with me!

DC: What does this director’s style bring? Visually, when you see the film it doesn’t look like a Hollywood film at all. What was his approach?

MG: He’s so fastidious. I haven’t seen anyone come to pre-production with ninety percent properly made in his mind, then drawn out frame by frame. Which in some ways was slightly disconcerting. It’s all pre-determined. He storyboarded the hell out of it. Not stick men but beautifully drawn images with a team of people doing it. He was like, “We can’t start filming in this location yet because I haven’t got the color of the walls the same as this eggshell.” That was mind-blowing. He had to adapt himself because it would have taken twice as long in Korea. Just his meticulous nature, I suppose, and we were lucky to have his cinematographer Chung-hoon Chung. But I think the script is sparse of language with only Nicole having a lengthy speech and so that kind of is linked to the operatic nature. It’s not the most naturalistic dialogue. Everything is there for a reason and it’s a clue for something else and that adds an extra level of intrigue.

DC:What was it like shooting the duet scene at the piano? Was that particularly challenging? Do you play the piano?

MG: It was actually quite liberating in the end but I hadn’t played the piano for twenty-odd years. So, coming back into the fold with a Philip Glass piece was unbelievably daunting. It was a lot of arpeggio and luckily I don’t have a bad-size hand, so it wasn’t hard to leap around. It was hard work but it was really great working with Mia. We learned about three-quarters of it but some of it was just too hard. We were able to fake some of that so he was always given the opportunity to shoot the whole thing from whichever angle he wanted to. And we kind of recognized that in the vocabulary of filmmaking when someone starts playing a musical instrument you’re like, “Hang on, is he really playing?” So, [Director Park] was able to dip down and you can go, “Oh! They are!” It’s not a trick on the audience but it’s a nice payoff.

DC:People will just think it was CGI.

MG: [Laughs] Oh yes, people will think we’ve got green gloves on!

DC: How do you think Charlie saw his relationship with India? Is she a daughter? Lover? Protégé? Also, this movie brings up so much about evil being inherent. Can you expand on that?

MG: It’s what Director Park calls bad blood. That there is a predisposition in the family bloodline to do these acts. With Charlie, he’s isolated, he’s lonely. It’s not a vampire film but there are some things that are similar. The idea of it. That he is trapped in the past and never really grew up. So you wanted to confuse the audience my being very masculine but there’s almost an innocence as well. He must have heard that this niece is like him and that is very powerful to him. He’s not alone. We didn’t seek to answer every question. Audiences are intelligent and I think it gets fairly boring when everything is concrete. With these kinds of complex emotions I don’t think you can answer those questions. It never became a sexual relationship but, as you see, when Mia is in the shower, there is a definite link between sex and violence. I think India sees him as being a tutor almost and he needs to go.

DC: Right, where the antagonist takes on the role of mentor. Like, in The Hitcher...at the end of that movie, C. Thomas Howell is a man. He just had to be put through hell to get there. At the end of Stoker, India is definitely a woman. Do you think she’s better off having met Charlie? Did he help her find her true self or was it probably better to never have you come to visit at all?

MG: Is she better off? Is the world better off? Ultimately, she’s essential to the story and we are kind of, bizarrely, happy for her to get away from the tendrils of her mother which, again, is another complicated relationship.

DC: How involved was Tony Scott in this production and did this lead into The Vatican with Ridley Scott?

MG: Tony, god rest his soul, was not around behind the scenes and either was Tony. My relationship with Ridley...he was going to do a film called The Counselor with an amazing cast and I was up for a part in that and then Cormac McCarthy said he’s too young which was really depressing but Ridley really liked me. Low and behold, he said he’d love me to be in this.

DC: The timing couldn’t be more perfect.

MG: I was deciding between two roles so I take it as kind of a sign. But the cast they’re getting together is tremendous and hopefully Bruno Ganz (Downfall) will play the Pope.

DC: Well, the actual Pope isn’t busy anymore.

MG: Yes, he’s learning his lines right now!

DC: Was it difficult speaking through a translator with Director Park on set?

MG: It was actually very easy. He does talk from time to time as well. Get a couple of Lagavulin’s in him and he won’t stop. The only thing that was tricky at the beginning was who do I look at and I’m not being facetious. The translator will come over quickly and tell you something and it all became very truncated and you work in a kind of shorthand. And if not, just gesticulate wildly.

DC: Going back to your character being a complete sociopath, what was it like doing some of the murder scenes in the film?

MG: Yeah, it was slightly uncomfortable in some ways. When we were filming with Alden [Ehrenreich] we had to hold up filming for several hours because there were some issues about safety. I’m coming up from behind and have to throw a belt over and I can’t see him so we had to get that right. It became slightly choreographed so you came out of it slightly.

DC: Was a dummy ever used instead of the actor? So you could really go for it?

MG: No, you couldn’t. It wasn’t a dummy but it was a dummy over my shoulder that I carried.

DC: How many of Charlie’s letters were actually written? Did you read most of them?

MG: A lot of them. It’s amazing. Our Production Designer was just unbelievable...

DC: Yes, I remember meeting her [Thérèse DePrez] in Nashville.

MG: Yeah, she’s absolutely fabulous. So it’s that thing of attention to deal where it’s just done for you. Everyone on their team had the most calligraphic handwriting. What kind of school teaches you how to write like that? But yeah, it was done which just adds an extra layer of confidence.

Mia Wasikowska, Nicole Kidman, Matthew Goode, Jacki Weaver, Lucas Till, Dermot Mulroney, Phyllis Somerville, and Alden Ehrenreich star in the film directed by Park Chan-wook. Look for Stoker in theatres on March 1st, 2013.

Get ready for a boatload of goodness for Matt Orlando's A Resurrection! Check out our exclusive image gallery! Archstone Distribution will be releasing the film in theaters on March 22, 2013. Look for it!

The film stars Mischa Barton, Devon Sawa, Jonathan Michael Trautman, and the late Michael Clarke Duncan. This was Michael's last film before he passed. The film was directed by Matt Orlando and produced by Jamie Kennedy Entertainment.

Synopsis
A down to earth school psychologist tries to help a mentally ill student who actually believes his brother is coming back from the grave for revenge on the students who killed him.

With a release coming up quickly, look for more soon!

You know what time it is, kids. Get out your plates, sit down for a feast, and get ready to dig into three exclusive new stills from the next episode of AMC's "The Walking Dead" entitled "Clear." Chew slowly, it's the good stuff!

"The Walking Dead" Episode 3.12 - "Clear" (airs 3/3/13)
Realizing they are heavily outgunned against the Governor's forces, Rick leads an expedition to get more weapons. Written by Scott M. Gimple, directed by Tricia Brock.

To stay up-to-the-minute on all things walker related, follow @WalkingDead_AMC on Twitter and visit "The Walking Dead" on Facebook. For more be sure to hit up the official "The Walking Dead" page on AMC.com.

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Discuss "The Walking Dead" in the comments section below!

The Doctor Gash's Top 10 Greatest Horror Movies…Ever! series is in the books, and we've had an incredible response from you guys with tons of likes and great comments both here and on the Dread Central Facebook page.

We're going to take one last look at the 10, and you can feel free to keep the discussion going in the comments section.

I would have loved to include so many films on this list. Believe me, it was really tough to get it down to just 10. The top 8 films were easy for me to name; however, numbers 9 and 10 were very difficult because each film placed toward the end of the list meant it was another one I couldn't include. Some ones that I would have loved to include but just missed my cut were mentioned by many of you in the comments section and I thank you for that.

Here's some of the titles that just missed my cut: Jaws, Alien, Nosferatu, Friday the 13th, The Evil Dead (and actually Evil Dead 2 was the sequel that was closest to making the list), Hellraiser, The Shining, The Devil's Rejects (another sequel…calm down Zombie haters, I didn't include it on the 10!) and The Thing. Hey, looking at that list, there's another Top 10…Gash's 11 through 20! Ah, maybe I should quit while I'm ahead.

Anyway, here's how the 10 dropped…We kicked off the list with a film that may have taken many of you by surprise. Wes Craven's genre-reviving slasher Scream (1996) came in at Number 10 and made the list for breathing some much needed life into the horror genre in the mid-90's with a film that was as much a tribute to horror that came before it as it was a blueprint for what was to come. Scream was a launchpad for the careers of many of its young stars and brought unique and intelligent horror back to the limelight of mainstream cinema.

Following at Number 9 was sure to be the most polarizing film on the entire list. The Blair Witch Project (1999) has always been a love it or hate it kind of film. And those viewers to appreciate what the filmmakers were attempting to do understand that this film is a study in tension and suspense. In addition to that, The Blair Witch Project launched the modern day found footage sub-genre of horror and used the internet to market the film in a way that was absolutely unheard of at the time, but still copied today, nearly 15 years later.

Another Wes Craven film landed on the list next as A Nightmare on Elm Street (1984) placed at Number 8. Introducing us to Freddy Krueger, the supernatural child-murdering monster who stalked his prey in the one place they couldn't avoid, their dreams. Although the series got somewhat goofy as it went along, the original Nightmare was incredibly tense and downright scary. Krueger was a brilliant character that audiences were immediately drawn to. The film was bold, bloody…and simply brilliant.

Although the monster has become a harmless part of society today, when the horror classic, Frankenstein (1931) was initially released, the movie was absolutely shocking. Coming in at Number 7 on Doctor Gash's Top 10 Horror Movies…Ever!, Frankenstein was a tale of one man's hubris gone awry with grave-robbing, torture and child murder. It stunned audiences 80 years ago and still stands strong as one of the most impressive horror films ever created.

As horror movie antagonists go, Norman Bates is one of the most memorable ones in the history of the genre. Norman is innocent, even playful when we first meet him, but as his layers are peeled back, we discover he is an incredibly sick and demented man. Helmed by the great Alfred Hitchcock, the Number 6 film on the list, Psycho (1960), like Frankenstein, holds up remarkably decades after its release. And the final scene, when Norman has finally completely become Norma, is one of the most chilling you'll ever see.

Kicking off the top five was a film that not only launched a horror franchise, it created an entirely new monster, the zombie. George A. Romero's Night of the Living Dead (1968), comes in at Number 5 on the list and was the origin of the walking dead. Little could Romero have known that the monster he created from inspiration he gleaned from Richard Matheson's book I Am Legend would go on to become the darling of horror fans everywhere. Simply put, you wouldn't be setting your Sunday nights aside to watch "The Walking Dead" if Night of the Living Dead didn't start it all off on a lonely Pennsylvania farm 45 years ago.

The most critically-acclaimed horror film on record comes in at Number 4 on the list. Not only did The Silence of the Lambs (1991) win a slew of Academy Awards, it introduced us to one of the most cerebral and frightening serial killers ever committed to celluloid. Yes, Hannibal Lecter did appear on screen before The Silence of the Lambs (Brian Cox played Lecter in Manhunter), but it was Anthony Hopkins' mesmerizing 16 minutes of screen time that would solidify Lecter as the certifiable nightmare he became…and make Silence one of the greatest horror films ever.

Another legendary slasher landed at the Number 3 film on the list. John Carpenter's Halloween (1978), with all its links to Psycho, introduced us to the nightmarish shape that was Michael Myers. Jamie Lee Curtis launched her career with this devilish film and she's still going strong today. Who would have thought that being chased by a guy in a modified William Shatner mask could be so lucrative?

My personal favorite movie comes in at Number 2. The Texas Chain Saw Massacre (1974) is a film that's so gritty and intense it feels like you're actually peeking in at true atrocities being committed. The Sawyer Clan are dirty, evil and absolutely out of their minds. The line between acting and true brutality was certainly blurred in the legendary dinner scene that leads to the climax of the film. Perfect horror.

Finally, Number 1. The Exorcist is an assault on the psyche. It’s a true good vs. evil story, and honestly, at its culmination, we're not really sure who won. Filled with shocking imagery and a powerful story, The Exorcist is brutal. Linda Blair's portrayal of Regan MacNeil, accentuated by the amazing voice-over work of Mercedes McCambridge, created perhaps the most chilling character ever to haunt the silver screen. For my dollar, there is nothing scarier.

That's it, folks! Thank you again for all your comments. Now it's your turn to share your personal Top 10 with us in the comments section below! Got get 'em!

Moments ago rocker turned filmmaker Rob Zombie announced via his Twitter account that the soundtrack for his upcoming film The Lords of Salem will be in stores on April 16th. That's just a few days before the release of his latest CD, Venomous Rat Regeneration Vendor, on April 23rd.

The film itself opens nationwide on April 19th including New York; Los Angeles; Boston; San Francisco; Chicago; Philadelphia; Washington, DC; Miami; Dallas; Houston; Detroit; and more.

The Lords of Salem stars Barbara Crampton as Virginia Cable, a camera operator for a local kid's show at Salem Public Access TV called "Lobster Joe's Fishy Fun Show"; Brandon Cruz as Ted Delta, a local Salem drug counselor; Michael Shamus Wiles as Jarrett Perkins, owner of Salem's Engine House Pizza; Michael Berryman as Virgil Magnus, 50% of a well-known witch hunting duo called "The Brothers"; Sid Haig as Dean Magnus, the other half of "The Brothers"; Christopher Knight as Keith Williams, aka Lobster Joe, the host of "Lobster Joe's Fishy Fun Show", a staple of local Salem television; Patricia Quinn as Megan, the town's palm reader; Judy Geeson as Lacy Doyle, owner and landlady of Heidi Hawthorne's apartment; Ken Foree as Herman Jackson, one third of The Big H Radio Team; Richard Lynch as the film's protagonist, Reverend John Hawthorne; Lisa Marie, who plays Priscilla Reed, a woman who gives her all to support "the cause of the coven"; Billy Drago as Judge Samuel Mather, a key player in the history of the Lords; Dee Wallace as Sonny, a self-help guru; Bruce Davison as Francis Matthias, author of the book Satan's Last Stand - The Truth About The Salem Witch Trials; Maria Conchita Alonso as Francis' wife, Alice Matthias; Torsten Voges as Count Gorgann, lead singer of the Norwegian death metal band Leviathan the Fleeing Serpent; Jeff Daniel Phillips as Herman "Whitey" Salvador, one third of The Big H Team; Meg Foster as Margaret Morgan, the leader of a secret coven of witches in Salem; Ernest Thomas, as Chip "Freakshow" McDonald, the station manager at Salem's #1 rock station; and Sheri Moon Zombie as Heidi, the final third of The Big H Team.

Related Story: Lords of Salem News Archive

The flick is rated R for "disturbing violent and sexual content, graphic nudity, language and some drug use."

Synopsis
Heidi, a blonde rock chick, DJs at a local radio station and, together with the two Hermans (Whitey and Munster), forms part of the "Big H Radio Team". A mysterious wooden box containing a vinyl record arrives for Heidi, "a gift from the Lords". She assumes it's a rock band on a mission to spread their word. As Heidi and Whitey play the Lords' record, it starts to play backwards, and Heidi experiences a flashback to a past trauma.

Later Whitey plays the Lords' record, dubbing them the Lords of Salem, and to his surprise, the record plays normally and is a massive hit with listeners.

The arrival of another wooden box from the Lords presents the Big H Team with free tickets, posters and records to host a gig in Salem. Soon Heidi and her cohorts find that the gig is far from the rock spectacle they're expecting: The original Lords of Salem are returning, and they're out for BLOOD.

You don’t know it yet, but you have a crush on Mia Wasikowska. In Park Chan-wook’s latest, Stoker (review), Wasikowska plays a petulant teenager who transforms into a full-fledged woman by the time the credits roll - and she’s hypnotic.

We spoke with her earlier today in New York.

Dread Central: What’s your take on your character India and her relationship with her Uncle, Charlie, in the film?

Mia Wasikowska: Well, there’s a part of her that I understand, the more universal side of her, feelings of loneliness and desire that are more common with teenagers. But there’s also a part of her that’s a mystery to me. So, you just go back to the basics of acting of imagining and pretending and thinking. The thing that I liked the most about reading the script is that she’s walking a thin line and you’re not sure which direction she’s going in...whether she’s going to be a hero or an anti-hero. And that was cool for me because you don’t quite know who she is until the end. And the dynamic between her and Charlie, I think it was the first time, as an isolated person, she experienced the feeling of somebody really knowing her. There’s a connection there that’s very foreign to her that she’s excited by but also fearful of. You don’t really know who is the hunter and who is the hunted.

DC: Do you think her bloodline had something to do with her actions?

MW: That question is definitely raised but I thought Director Park put it well when he said that it’s not really about bad blood or predisposition, but more that violence is contagious. I thought that was really interesting because you don’t know what would have happened if Uncle Charlie hadn’t shown up. I always thought that was a good way of looking at it.

DC: India is such a quiet character. Was it hard mainly relying on your facial expressions to convey so much emotion at times?

MW: It’s possibly a little riskier. It’s hard to be as sure of yourself when there isn’t that much dialogue. You have to know what they’re thinking at any given moment and how they’re feeling because the words can’t really express that.

DC: What were the differences in terms of working with a very Korean filmmaker?

MW: Well, I don’t know if the differences are because he’s Korean or because he’s just him. I guess the most obvious difference is how much of the film was storyboarded which I really enjoyed. It was pretty amazing to be this well-prepared. In rehearsals we would open the folder of storyboards and he would explain how he was going to shoot it. It was great to have it already there and then we could discuss and collaborate with him.

DC: Had you seen his work before taking the role?

MW: No, I had heard of him and I had heard of OLDBOY but I hadn’t seen it. When I signed on I did a marathon.

DC: And you were never the same again, I’m sure.

MW: [Laughs] Never the same.

DC: Can you talk a little bit about working with Nicole Kidman, especially during the Mommy Dearest scene?

MW: Yeah, luckily our relationship was the polar opposite in real life. She was so warm and kind and nice to me which was really wonderful. Coming from Australia I’ve always looked up to her and she’s one of the first Australian actresses to really transcend working in Australia and doing a whole international career. It was really great.

DC: Were you surprised how sexually charged some of the scenes were when you saw them? It seems like this role could open up some other avenues for you. I was surprised because you’re kind of sexy in the movie towards the end and I wasn’t expecting that.

MW: I don’t know in terms of opportunities, maybe. I was always happy with the piano scene. It’s very intense and basically like a love scene and I was really happy, because we filmed it over a day and it was cut up, and you’re never quite sure if the intensity has translated.

DC: I remember going to the set...

MW: Oh yes, I remember that.

DC: We just met briefly, but it seemed like you were wearing contacts at the time. Were you wearing contacts the entire film?

MW: I was, yeah.

DC: So that must have been difficult to work through...

MW: Yeah, it was great for the character because Director Park wanted me to have a strong link, like physically, to Nicole and Matthew. They both had blue eyes and we decided that I’d have blue eyes as well. And when Matthew was cast as Charlie it was decided I’d have brown hair like him. But yeah, I’m bad at eyes so every morning, depending on how good it was, it was like a half hour process. It was a pain. I’m just really bad at the contacts!

DC: Why did [Uncle Charlie] he always send her shoes every year?

MW: It explains something about his character, an obsessive thing in him, to send her shoes every year on her birthday that fit her every year. And it’s also symbolic when he brings, on her eighteenth birthday, high heels instead of saddle shoes. It symbolizes her moving from girl to woman. There’s a saying in Korea, which Director Park told me. It translates to something like, “Don’t give someone shoes or they’ll run away.” I think that’s quite nice, especially for this.

Mia Wasikowska, Nicole Kidman, Matthew Goode, Jacki Weaver, Lucas Till, Dermot Mulroney, Phyllis Somerville, and Alden Ehrenreich star in the film directed by Park Chan-wook. Look for Stoker in theatres on March 1st, 2013.

And the eye candy keeps filing in for a gig on The CW's new show "The Hundred" as "Cult"'s Marie Avgeropoulos has just signed up for active duty alongside the recently announced Eliza Taylor and Henry Ian Cusick.

Based on the Alloy books by Kass Morgan, the Warner Bros. TV-produced "The Hundred" is set 97 years after a nuclear war has destroyed civilization when the space station housing human survivors called the Ark sends 100 juvenile delinquents back to Earth to investigate the possibility of re-colonizing the planet.

No word yet on who Avgeropoulos and Taylor are playing, but Cusick will play Kane, an ambitious officer aboard the Ark who has his sights set on the Chancellor’s job.

Look for more on this one soon!

Today, March 1st, the psychological thriller 6 Souls, directed by Mans Marlind and Bjorn Stein and starring Julianne Moore and Jonathan Rhys Meyers, arrives on VOD platforms everywhere courtesy of The Weinstein Company.

We here at Dread Central thought there was no better way to kick off 2013's Indie Horror Month than with an exclusive interview with Moore, one of the greatest modern actresses who has carved out an incredible career in the independent film world throughout the last 16 years. Her impressive body of work has garnered her four Oscar nominations, seven SAG Award nominations (one win) and seven Golden Globe nominations, with Moore taking home the Best Actress award this past January for her performance as Sarah Palin in the HBO political drama "Game Change."

Moore proved her versatility early on in her career after racking up several awards for her work on the long-running daytime drama "As the World Turns" in the late 1980's, eventually making a smooth transition into the world of film with supporting roles in Tales from the Darkside: The Movie, The Hand that Rocks the Cradle, Body of Evidence and The Fugitive.

In the mid-90's, Moore began snagging more leading roles in studio fare like Nine Months and The Lost World: Jurassic Park, but it was her performance as tragic porn star Amber Waves in 1997's Boogie Nights that vaulted her to the forefront of independent 90's cinema, racking up several award nominations and wins for that role alone. After Boogie Nights, Moore continue to win over audiences and critics alike with her work in films like The Big Lebowski, The End of the Affair, Magnolia, Far From Heaven, The Hours, The Kids Are All Right and one of my personal top ten flicks of all time, Children of Men.

Her latest role in 6 Souls as a criminal psychoanalyst finds the actress once again taking on a part unlike any we've seen her in before. Recently we hopped on the phone with Moore for an exclusive chat about her latest thriller and heard more about what attracted her to the project, her thoughts on collaborating with the directorial team of Marlind and Stein as well as with her co-stars Rhys Meyers, Jeffrey DeMunn ("The Walking Dead") and her onscreen daughter, Brooklynn Proulx.

And since we had her on the phone, we couldn’t help but ask Moore about taking on the role of Margaret White in Kimberly Peirce's upcoming retelling of Stephen King's classic novel Carrie- check out all the highlights below, and look for more on 6 Souls next week and more Indie Horror Month coverage throughout the entire month of March.

Dread Central: Thank you so much for taking the time to speak with us today about 6 Souls; how did you get involved with the project?

Julianne Moore:You know, I love a scary movie. I really do. Not slasher movies or ones that are super gory or violent but the ones that make you think and that creep in without you even realizing it. I think sometimes people often mistake gore for horror when horror, when at its best, is subtle and creepy. That's the horror I enjoy and love to watch.

And so I really liked this story and I really liked the directors when I met with them; they impressed me right from the start with their vision for this story. I was very interested in the psychological aspects of my character and how she's very much a scientist but also religious, too, which was a nice character dichotomy for me to use in my performance. Neither side of her beliefs were wholly right, and that's a great conflict to explore.

Dread Central: Because you were working with a pair of directors on this project, did that change up anything for you while working on set?

Julianne Moore:Throughout my career I've found that pretty much all pairs of directors work very differently so it wasn't any harder or easier; I was prepared to work with whatever their style was, and I have to say those guys really had a unique but great approach. Each of them would direct one day, and the other one would be off that day- if Mans (Marlind) was directing that day, then you don't ask Bjorn (Stein) questions that day at all, you ask Mans. It's a style that really works well for them and it wasn't hard at all switching between the two. They've got a great back-and-forth and I think some of that was always there, regardless of who was directing that particular day.

Dread Central: We spend a lot of time in 6 Souls with just you and Jonathan (Rhys-Meyers), and I thought you guys had wonderful chemistry together- did you get a lot of rehearsal time before shooting?

Julianne Moore:We did get to do a little bit of rehearsal ahead of time, yes. I have to say, though, that Jonathan played this role so beautifully; he's just such a sensitive soul and his performance in 6 Souls is so compelling to watch. It's remarkable just how deeply he thought about this role and he just threw everything he had into these characters. That was easy to feed off of and I loved working with him- you never get enough time on these things of course, but when you're working with a guy like him (Jonathan), it's easy to get that chemistry going when you're working with someone who has that kind of energy, even if you don't have a lot of time at your disposal.

Dread Central: How was it collaborating with your onscreen family in 6 Souls?

Julianne Moore:Well, I absolutely loved working with Jeffrey; he's so brilliant and we had such a great time working together. And my onscreen daughter, the lovely Brooklynn (Proulx)- she just really touched me with her performance in this movie. I loved her to pieces; she was always so responsive, and some of my favorite moments in the movie are the quieter ones when it was just the two of us together. I really felt a sense of responsibility for her- she was just a young girl when we made 6 Souls - like 8 or something - but for such a young actress, she's amazingly talented.

Dread Central: I just have to ask because I did a set visit for it last year- was the appeal of coming on board the new Carrie the fact that this wasn't really a remake at all but more about digging deeper into the novel and all that great character stuff?

Julianne Moore:Oh definitely; that was the biggest thing I appreciated about Carrie, that we were revisiting Stephen's (King) novel instead of trying to remake the original movie. There's so much character going on in the novel that never made it into that film, and I think Kimberly (Peirce) really tapped into that with her film. Stephen originally based the story of Carrie on these two girls he knew who were bullied and both mysteriously died in their 20's, and even though it’s a story he wrote several decades ago, it's still so very relevant today. His themes are universal and timeless, and I think that's why people still care about these characters and why you can have multiple takes on Carrie; there's so much material you couldn't get all of it into one movie really.

Dread Central: Margaret White is absolutely one of the more iconic characters in horror; people often see her as the villain, but I feel like despite her actions, they're still coming from a place of love. How did you balance all of that out in your performance in Carrie?

Julianne Moore:Well, I do think Margaret is a woman who is a bit psychotic so it is easy to view her as the villain of the story, but there WAS something very tragic about her because above all else, she really did love her daughter. I mean, if you think about it- she's right. Margaret White was absolutely right- she said the world was going to laugh at Carrie, and that's what they did. They tormented that young girl, and had she listened to her mother, it wouldn't have happened so there is a sense of truth to some of the things she does say even if they seem crazy or their cruel or they're awful to hear.

Margaret's experiences with the outside world have never been good and so in her mind she wants to shelter her daughter from all of that; it just sometimes comes out in very extreme ways. The biggest challenge to me was to find the humanity in Margaret and make her into something more than just the villain; she's strict and she's complicated, but she's not a villain. Not at all.

Special thanks to Julianne Moore for taking time to speak with us; look for more Indie Horror Month 2013 coverage soon!

Fox has once again provided a "catch-up" video of what's transpired thus far on "The Following." Here's everything you need to know from the first six episodes in just six minutes!

For more info visit "The Following" website, "like""The Following" on Facebook, and follow "The Following" on Twitter.

"The Following" Episode 1.07 - "Let Me Go" (airs 3/4/13; repeats 3/9/13)
With the help of attorney Olivia Warren (Renee Elise Goldsberry), Joe Carroll (James Purefoy) makes a case against Ryan (Kevin Bacon) and the FBI to be transferred to a different facility, but Ryan suspects a larger plan may be at play. Meanwhile Emma (Valorie Curry) and Joey (Kyle Catlett) arrive at a meeting point and come across another one of Roderick's men who has a secret of his own.

For more info visit "The Following" website, "like""The Following" on Facebook, and follow "The Following" on Twitter.

Looking more stern than we've seen her previously, American Mary has some new artwork for her May 31, 2013, US theatrical release from XLrator Media, and we'd say she's never looked better! Check it out.

Written and directed by the Soska Sisters, American Mary stars Katharine Isabelle, Antonio Cupo, Tristan Risk, David Lovgren, Paula Lindberg, Clay St. Thomas, John Emmet Tracy, and Twan Holliday.

For more on the film, visit the official Twisted Twins Productions website, like American Mary on Facebook, and on Twitter follow American Mary (@_American_Mary) and the Twisted Twins, Jen and Sylvia Soska (@twisted_twins).

Synopsis
This metaphor for the Soskas' own journey through the independent film industry follows medical student Mary Mason as she becomes increasingly broke and disenchanted. The allure of easy money sends Mary into the twilight world of body modification and underground surgeries where obsessed flesh artists will pay anything and go through any pain to get their unusual procedures done. But Mary soon finds that her new "profession" leaves more marks on her own psyche than on her freakish clientele.

When we initially saw the horror anthology V/H/S we knew that one thing was for sure, the directing team of Radio Silence responsible for the film's haunted house segment was going places. In this case said places lead to Fox and a new film.

According to THR Allison Miller (pictured), one of the stars of TV’s short-lived "Terra Nova", will topline Unwanted, a found footage movie from Fox and Davis Entertainment. Directing team Radio Silence is directing from a script by Lindsay Devlin.

The plot is being kept secret but is described as female-driven, with horror elements. We couldn't be happier for the guys, keep an eye out for more on this one soon.

Pride and Prejudice and Zombies. It's like the revolving door of productions. Names get attached. Names leave. Directors jump ship. Actors refuse offers. If it could go wrong, believe us it had. Yet word has come today that the project remains undead.

THR reports that Panorama Media has boarded the big-screen adaptation of Seth Grahame-Smith's best-seller Pride and Prejudice and Zombies. The Megan Ellison-backed Panorama will produce and finance the mash-up film, and will introduce the project to foreign buyers at the upcoming Cannes Film Market.

Darko Entertainment, Natalie Portman's Handsomecharlie Films and producer Allison Shearmur are already onboard the project, which was originally set up at Lionsgate. David O. Russell penned the screenplay. A director is once again being shopped for.

Pride and Prejudice and Zombies will be directed by someone eventually (or not). It centers on Elizabeth Bennet's quest for love and independence amid the outbreak of a virus that turns the dead into zombies. The story's set in an alternate version of 19th Century England that features deadly ancestors roaming the countryside.