Devon Sawa Day

 

‘Some actors with horror movie credits can be a little embarrassed about dabbling in the genre. Not Devon Sawa. When the Final Destination and Idle Hands star Zooms EW to talk about his horror roles, he is wearing a T-shirt emblazoned with artwork from the 1985 horror-comedy classic Return of the Living Dead.

‘”I went through my closet,” says the actor. “I was going, ‘I’m doing some horror stuff today.’ First I had an Evil Dead shirt on, and I was like, ‘Nah.’ Then I put my Monster Squad T-shirt on. But I ended up with Return of the Living Dead. This poster was on my wall when I was a kid for many years. The film said, ‘F— you, it’s a horror movie, but we’re going to have fun.’ It really is a great film.”

‘Truth is, an Evil Dead tee might have been a little too on the nose given that Sawa’s new film Black Friday costars that franchise’s lead actor, Bruce Campbell. In director Casey Tebo’s movie, the pair play employees at a toy store whose sales season turns to bloody mayhem after its customers are infected by an alien parasite.

‘”I’ve been a fan of Bruce since I was a little kid,” says Sawa. “When Army of Darkness came out, I was at the age when I was watching that video cassette over and over and over. I’d be lying if I said I didn’t use a lot of Bruce Campbell in Idle Hands. I was just a gigantic fan. Also, he is a super-nice guy, there from the minute we start ’til the minute we end. What you’d think he’d be like is what he’s like. He’s just that guy.”

‘The Canadian actor’s Hollywood career began on the supernatural side of town, when he played the “human” version of the titular ghost in 1995’s Steven Spielberg–produced Casper.

‘”It means a lot to me,” he says of his breakout role. “I was working in Vancouver on Canadian stuff, and they did a nationwide casting call for Casper. Somehow my cassette was given to Spielberg. I remember my grandmother had to come with me, because my parents were away, and she’s this little Polish woman. We walked onto this massive stage and met Spielberg. She could not care less about him because she was in this world where there was a roller coaster and a big house built in the stage. It was a magical time.”

‘Here, Sawa looks back at a career fully stocked with ghouls, zombies, and killer dolls.

Idle Hands (1999)
“I remember it being like summer camp. I always tell people it’s a tie between Seth Green [his Idle Hands costar] and Jason Schwartzman [with whom Sawa worked on 2002’s Slackers], where you got to set and you didn’t stop smiling. And [then with] the rest of the cast, Vivica A. Fox and Jessica Alba, it was a great time. I was fearless at that age. I didn’t care what people thought.”

Final Destination (2000)
“What I remember the most is just being blown away by the finished product. I think those filmmakers, James Wong and Glen Morgan, were geniuses. There were so many things they were doing that they didn’t discuss. They had a vision. They did the bus sequence, and I didn’t know what they were doing. When I saw the film, it was like, ‘Oh my god, that’s what they were doing!’ For many years, I thought I couldn’t [imagine being in another Final Destination film]. I thought that ship had sailed. But I think seeing how they rebooted Halloween, I would be interested. I love that they redo the premise at the beginning — it’s always this one person having a premonition. I love to see these new cast members come and seeing their take on it. If I come back, I come back. If I don’t, I don’t. We’ll see.”

The Exorcism of Molly Hartley (2015)
“It was a little bit disappointing because it was made for video on demand and that was it. It didn’t matter how good or bad it was, that’s where it was going, and that’s the thing I found frustrating. I liked doing the film. I’m actually talking to the director, Steven Monroe, about another script he’s got.”

Death Rider in the House of Vampires (2021)
“I don’t think I’m ever going to have an experience again like Death Rider. Glenn Danzig [Misfits singer and the film’s writer-director] is a punk rocker first — an out-of-his-mind rock star. I mean, there was one point where we shut down because he didn’t like the color of a wall, and they painted the wall, and then we had to let the wall dry. There was a couple of days we went out to the desert because he had to get this shot, and we sat there all night long, and, yeah, it’s frickin’ Glenn Danzig, you know what I mean? Thank god Eli Roth was there because at the beginning I was kind of scared. It was not the typical way of filmmaking. Eli was just like, ‘We’re going to be part of something. We’ve just got to enjoy this!’ And that’s what did it. We had fun.”

Black Friday (2021)
“I hadn’t done comedy in a long time. I did Idle Hands and then a few years later Slackers. To be quite honest, on Slackers I felt a little out of my element. It had Jason Segel and Jason Schwartzman, who are comedy geniuses and very much into improv. I felt a little bit out of my league with those two guys, and I kind of started veering away from comedy. But when I got the script for Black Friday, it felt a lot like Idle Hands — like we could play it straight, play it grounded, and let the craziness of the situation be the comedy. It just felt like a good fit, like a time to revisit comedy again. It’s nostalgic for me, to have practical effects and someone like Robert Kurtzman [legendary makeup effects artist] doing them, because he’s been around the block and done everything, from back in the day up to stuff with [filmmaker] Mike Flanagan. There’s something about being on set and having buckets of different-colored bloods and people in prosthetic face masks. It just feels real. It feels good.”

— Clark Collis

 

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Stills

 

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Further

Devon Sawa @ Twitter
d.sawa @ Instagram
DeVoN sAwA dOt CoM
Devon Sawa @ IMDb
Devon Sawa Reflects On His Iconic Roles
On Film: Interview with Actor Devon Sawa
How Halloween Made Devon Sawa Consider A Final Destination Reboot
Give Me Devon Sawa, Or Give Me A Hobbit Hole
Devon Sawa on going from teen heartthrob to SLC Punk!
Devon Sawa bellies up to the coffee bar in his ‘chill room’

 

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Extras

Devon Sawa REACTS to 1997 Throwback Clip

you take my breath away

Devon Sawa on His Career Reboot

 

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Interview
From Rue Morgue

 

Did you love horror as a kid?

Yeah. I really did. When I was a young fella in the ’80s, I had a ABC video card in Canada, so ABC video would let me and my friends rent whatever we wanted at a very very early age – I’m talking six or seven years old, we were renting things like Elm Street, Pumpkinhead – you name it, we were renting it as soon as we could. Horror was always in my life, I was always watching horror, I’ve always been a huge fan.

You were in some of the most influential horror movies of the ’90s, including Final Destination and Idle Hands. Why do you suppose these films have aged so well?

I think Idle Hands is better now than it was back then! I don’t know, it’s just the simplicity of the films. They weren’t relying too much on special effects, so those didn’t have to age at all, which is kind of practical. Like old, classic scares. It was just the simplicity of the films.

Having worked in the horror genre so long, what’s changed the most about horror movies in the past 25 years?

It just keeps changing. For a little while it’ll be teen horror films and then it’ll go on to haunted house, ghost stories. It’s always becoming fresh [again]. I think with the release of Crawl last year, I think we’re going to go back to those kinds of films, which I’m very excited about. I had such a great time [with that one], and then there was also Ready or Not.

In the 1970s, Margaret Atwood wrote that Canadian literature tends to struggle to find a sense of national identity that differentiates it from British or American cultural output. Does this apply to Canadian horror movies, in your opinion?

Canadian cinema, for some reason, has always kind of struggled with being taken as seriously as American [cinema], and it’s so strange, because the actors we produce, the directors we produce, the crews that we produce, are all top-notch but for some reason, we have to have an American come up and produce it, I don’t know. I don’t know if that answers your question? It does struggle to be taken seriously, I think. It’s crazy because I went up there to Winnipeg and everybody was just killing it. The crew, the cast was just hard-working it is a little bit of a struggle to be taken seriously in the mainstream. It’s crazy because Final Destination was 90% Canadian! The director and the writer and some of the producers – a large portion of it was Canadian.

I really loved The Fanatic, which kind of caught me by surprise. Tell me how you got involved with that project and how was it to work on?

I did another movie with John Travolta two years back, and he read manuscript for The Fanatic and I had to fight Fred Durst for the part. He wasn’t feeling it at first, and I just decided to go down to the studio and put myself on tape. I think I must have done every scene [for my character], it was like a 20-minute tape of just all the scenes and I sent it to him and he watched it and that was it, he gave me the part. Travolta pushed for me a little bit because we had worked together, and I did it. It was a wild experience and you know, people love it and people hate it, but at the end of the day, it was a lot of fun.

I have to ask what it was like to work with Glenn Danzig on Death Rider in the House of Vampires.

Holy shit, you’re the first person I’ve had to answer about this. I haven’t done anything since I worked on it, but I gotta see the film. Listen, Eli Roth came on and he kind of talked me off the ledge a couple times because it’s like doing a movie for the biggest punk rocker in the history of punk rock. He’s Glenn Danzig, and things aren’t normal sometimes in I guess a good way? They were unconventional, that’s for sure. But look, we’ll see, everyone had a great time, it was just very unconventional.

Did you see Verotika?

I hadn’t seen it, I didn’t even know about it. I did this movie in Winnipeg, and it was one of the greatest experiences I’ve had in a long time, was this movie in Winnipeg. I’m saying, oh my god, I spoke with artists and everybody was there to work, and then I get this script for the Glenn Danzig project and I thought, Glenn Danzig doing a movie. This is going to be amazing, it’ll be all music, and this and that. And it’s a movie about vampires but it’s a spaghetti western and maybe it’s just I worked on SLC Punk! and Idle Hands, and I thought this might just be fucking awesome. And so I just signed on and a couple of weeks into it I heard about Verotika and I haven’t seen it still but it is what it is. But the nice thing is that he had a great cast this time, and a lot more budget so we’ll see. I think I’ll see Verotika after I see [Death Rider] I don’t want to lose sleep at night for the next 60 days.

 

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19 of Devon Sawa’s 55 roles

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Brad Silberling Casper (1995)
‘Sawa’s first onscreen role proved to be his most pivotal, though he didn’t know it when he sent in a self-taped audition from his home in Vancouver, Canada for the small part of a friendly ghost’s corporeal form in the family ghost flick’s final scene. “I remember it so much,” Sawa recalled of at-home trial. “I had this older actor come over and help me with it and he just convinced me to do the dance.” Two weeks after sending in the tape that happened to grab the attention of the film’s producer Steven Spielberg Sawa received a call that he was coming to Los Angeles for a final audition, “and the rest is history.”‘ — eonline

Excerpt

 

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Timothy Bond Night of the Twisters (1996)
‘At the time of the film’s release in 1996, Night of the Twisters received positive ratings when it aired on The Family Channel, but received very poor reviews from critics, many of whom criticized the special effects used in the film. The Family Channel continued to air the film until 2004, under its Fox Family and ABC Family brands.’ — collaged

the entirety

 

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John Fawcett The Boy’s Club (1996)
‘Three teen boys find a man named Luke Cooper (Chris Penn) in their secret hideout. He claims to be a cop, but can he be trusted? He seems nice at first, but when Luke becomes angry and starts threatening them, will the three stand together and fight back?’ — Prime

Trailer

Excerpt

 

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William Dear Wild America (1997)
‘The fearless young Stouffer brothers — Marty (Scott Bairstow), Mark (Devon Sawa) and Marshall (Jonathan Taylor Thomas) — can hardly imagine going into the family business hawking auto parts in small-town Arkansas. With the begrudging approval of their no-nonsense father, the brothers set out on a dangerous cross-country camping trip, intending to capture on film their encounters with wild animals and the last remnants of the natural world in the rapidly vanishing American West.’ — ctv

Trailer

 

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James Merendino SLC Punk! (1998)
‘While the 1998 counterculture dramedy SLC Punk! never had a wide theatrical release, it’s gone on to become one of the decade’s classic coming-of-age films. An opening-night screening at the 1999 Sundance Film Festival, word of mouth, and the video rental market helped spread the word about this clever punk rock movie—now a favorite among punks and posers alike.

‘The character of Sean (Devon Sawa) is used primarily in SLC Punk! to illustrate the dangers of the hard–struggling lifestyle. When Sean runs away from the police after a drug deal, he’s forced to take a shortcut through the high school football field. The sprinklers on the field get his pants wet, which causes Sean to absorb a massive 100 hits of acid into his bloodstream. The overdose fries Sean’s brain, and when we next see him, he’s a beggar with obvious lingering issues from the incident.’ — Looper

Trailer

Excerpt

 

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John Jacobsen Around the Fire (1998)
‘Simon (Sawa) has landed in strict rehab and he’s barely out of high school. That’s how Around the Fire opens, and it takes the rest of the movie for Simon to reflect back on his life and come to terms with the problems that have brought him to this point. A mother who died when he was very young, a father who remarried quickly and whom Simon always suspected of being unfaithful to his mother, a bunch of unambitious hippie friends, and a chip on his shoulder the size of a headstone — all those contribute to Simon’s lock-up. The film’s engaging young actors try hard but have difficulty overcoming the cliché-ridden predictability of the script by Tommy Rosen and John Comerford. To its credit, Around the Fire resists turning Simon into a teenage martyr, a victim of his family and society. Oftentimes, he is wrong-headed and stubborn; it’s a quality that helps rescue the movie’s realism. Most authentic is the movie’s portrait of the movable hippie feast that travels around with a Grateful Dead-like band. As Simon gets caught up in the group’s swirl, it becomes ever more difficult to date the movie: Until someone mentions the year 1996, I thought the movie had been taking place in the Sixties (including the assumption that the man in the wheelchair whom we later learn is dying of AIDS was actually a war-damaged Vietnam veteran).’ — Austin Chronicle

the entirety

 

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Rodman Flender Idle Hands (1999)
‘A comedy horror film from 1999 drenched in slapstick gore, punk rock cameos, and ironic teenage nihilism, Idle Hands was a movie I was absolutely obsessed with as a 16 year-old who stayed up until 2 in the morning every day of the week hammering out three-chord trash fires on a shitty Fender practice guitar and watching grimy horror flicks on an ancient TV. The movie was ultimately too gleefully strange and dark to find an audience at the box office, where teenagers were gravitating towards the endless stream of by-the-numbers slasher films provoked by the success of Scream. But it managed to connect with the kinds of weirdos it was always meant for on home video, which is honestly the best way to watch a tongue-in-cheek B movie about a murderous disembodied hand.’ — Collider

Trailer

Excerpts

 

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James Wong Final Destination (2000)
‘At 25 years old I stepped away from the business for five years and most of the time didn’t know whether I was going to come back or not. I had done a series of four or five indie movies that I wasn’t necessarily proud of. Some were horror movies. After Final Destination everybody wanted me to do horror movies and some weren’t as good as others. I was just burnt out.’ — DS

Trailer

Excerpt

 

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Dr. Dre Eminem: Stan (2000)
‘This is one of the most favorite things I have done. I am so proud to talk about that video. Dr. Dre directed it. It was Eminem when he was just coming out. Those 3 days on set were some of the best days I had on set. I was just surrounded by greatness. Dre knew what he was doing those 3 days. You knew how excited he was and he knew what he was doing and what he was getting. So you kind of knew you were being a part of something important.’ — DS

 

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Dewey Nicks Slackers (2002)
‘Another teen comedy with little on its mind but moving to the next gross-out gag, Slackers strains for laughs and features grating characters.’ — Rotten Tomatoes

Trailer

 

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Jeff Burr Devil’s Den (2006)
‘Patrons at a hole-in-the-wall strip club find its dancers seriously out for blood as pizza-faced demonesses pledged to Satan and discover they’ve been assembled for a reason seemingly by chance. Obviously unoriginal fluff that always seems at odds with itself. For every decent practical effect or witty character exchange, we get glaringly a worse example often within the same sequence and this battle remains a constant. Jeff Burr’s limp direction and throughly generic SyFy original-like production don’t help matters. Compounded by Burr helming and writing the far more interesting ghostly WWII outing, Straight into Darkness, two years prior.’ — Jayson Kennedy

Excerpt

 

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Mark Stouffer Creature of Darkness (2009)
‘Originally titled Hunter’s Moon until marketing research dictated such a title was too vague for monster movie viewers so they decided to roll some random title generator dice and came up with the more generic wording combination of Creature of Darkness, the film stars Devon Sawa (Final Destination, Idle Hands, Extreme Ops) as a young man plagued by nightmares in which he repeatedly sees his himself and his friends being slaughtered by a supernatural monster known as The Catcher. His friends attempt to cure him of his recurring nightmares by taking him to a secluded forest (Have these people never seen a horror movie before?) where his dreams indicate to be where The Catcher lurks. Their plan to prove to him that the creature isn’t real backfires when The Catcher turns out to be very real.’ — Dread Central

the entirety

 

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Jason Connery The Philly Kid (2012)
‘After ten years in prison, former championship wrestler Dillon (Chatham) forces himself back into the fighting circuit in order to save the life of his best friend Jake (Sawa). The Philly Kid bills itself as The Fighter meets Warrior. The most obvious link is that, yes, all three are about fighting. Two are about cage fighting. Two are about family. Unfortunately for The Philly Kid, it’s the only one that isn’t about family. It has characters that are technically family. But everything’s over so quickly that we don’t feel any family dynamics. We just see archetypes. Spoiler alert! The only prominent female character is the love interest!’ — Flickering Myth

Trailer

 

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Steven R. Monroe The Exorcism of Molly Hartley (2015)
‘No one (and we mean no one) was asking for a sequel to the 2008 PG-13 horror film The Haunting of Molly Hartley, but 20th Century Fox felt like the horror genre was lacking just one more possession film, so they dug The Haunting of Molly Hartley up in order to give it this unnecessary, lazy sequel. Molly vomits green liquid, writhes around a lot, hangs upside down like an inverted crucifix, makes the receptionist commit suicide in an act of devotion to satan, talks in a man’s voice, flaps her tongue, shoots bugs out of her mouth, and spells words on her skin. There is no originality to any of it, and the lack of shame present in the film is insulting.’ — Bloody Disgusting

Trailer

Excerpt

 

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James Merendino Punk’s Dead: SLC Punk 2 (2016)
‘The entirety of SLC Punk 2 comprises simple two- to three-minute scenes and music montages, which all fade to black. It’s a vicious cycle that never ends. The acting is nonexistent because the screenplay refuses to offer anything with substance. Any attempt for characters to showcase emotions is for naught, since there is absolutely no foundation to build said relationships. For something that’s been in the making for almost two decades, one would hope for more than a 65-minute shoddy, slapped-together pile of gibberish. Some franchises and their characters should be left alone and admired from afar, and this is certainly one of those cases — an absolute disappointment.’ — Jimmy Martin

Trailer

 

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Fred Durst The Fanatic (2019)
‘THE FANATIC is particularly good, and that’s chiefly due to its two leads, John Travolta (FACE/OFF, PULP FICTION) and Devon Sawa (IDLE HANDS, FINAL DESTINATION). Travolta plays Moose, a film-obsessed simpleton with fabulous hair and a bitchin’ scooter, who inexplicably affords to live alone in Los Angeles as a street performer who portrays a Bobby Cop. His best friend (also inexplicably) is celebrity photographer Leah, played with subtle grace by Ana Golja (Degrassi: The Next Generation), who unwittingly gives Moose the means to get closer to his idol, action star Hunter Dunbar (Sawa). Moose’s efforts to kindle what he believes will be an undying friendship with the conflicted star go awry, horribly, and the film concludes in a climax wrought with tension and menace.

‘A simple glance at the poster of THE FANATIC, or the film’s tagline “All he wanted was an autograph,” let’s you know to expect the film to take a dark turn, and it most assuredly does. It appears that Durst, who co-wrote the script with first-time screenwriter David Bekerman, may have a bit of worst-case scenario view of fandom, but one can expect that from a fellow who found fame during the heyday of MTV’s celebrity culture hurricane. Respite is found in the dark turns being handled professionally, resulting in a pitch-black taut thriller that sets its unease in you and pulls your spine towards the screen with equal compassion and revulsion. It’s a film experience that will get people talking, and a welcome addition to the midnight films of unrequited love that curdles into something more sinister.’ — McEric

Trailer

 

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Glenn Danzig Death Rider in the House of Vampires (2021)
‘Goth-punk figurehead and Misfits co-founder Glenn Danzig wrote, directed, produced, composed, starred in, and co-shot this ridiculous grindhouse homage, his second feature after the 2019 horror anthology Verotika. Death Rider in the House of Vampires follows the mysterious black kerchief-wearing gunman Death Rider (Devon Sawa) as he seeks out, pals around with, and inevitably destroys a cabal of vampires led by Count David Warner, I mean Count Holiday (Julian Sands). There are a few celebrity cameos and bit roles from black tee-shirt faves like Eli Roth, Danny Trejo, and Lee Ving. There’s also plenty of nudity, though none of the men drop trow (c’mon, Danzig, hang dong!). There’s also not much money on the screen. There are, however, a ton of inexplicable crash zooms and rack focuses. Most scenes take a while to end. The small but engaged crowd I saw it with laughed throughout. Me, too.’ — Fangoria

Trailer

 

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Casey Tebo Black Friday (2021)
‘Starring scream kings Bruce Campbell and Devon Sawa, Black Friday takes place during America’s busiest shopping day of the year: the Friday after Thanksgiving, a day meant to screw over customers and workers alike so that companies can make record profits. Right out of the gate, our hero workers, who are expected to bond over this tradition of shared misery, have to deal with unrelenting hordes of aggressive shoppers. But throw in an alien meteor shower-fueled Body Snatcher attack and Black Friday delivers a solid single-location “survive the night” screamer that’s gory, goofy, and surprisingly wise. It’s not laugh-out-loud funny, per se, but it’s usually amusing, and, well, gooey.’ — ign

Trailer

 

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Ben Epstein Who Are You People (2022)
‘Who Are You People tells the story of a sixteen-year-old girl who runs away from boarding school to seek out the biological father her mother always kept hidden and learns the dark secret of her roots.’ — Pop Culturalist

Watch the trailer here

 

 

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p.s. Hey. ** _Black_Acrylic, I couldn’t agree with you more. Or in any country for that matter. And …yes! You to the rescue! Everyone, It’s one of those magical weekends because _Black_Acrylic is back to save the two days (and beyond) a la ‘The new episode of Play Therapy is online here via Mixcloud! Ben ‘Jack Your Body’ Robinson delivers vintage Italo, Swiss Neofolk and new Industrial Gothic sounds too.’ Hope to see you there telepathically. ** Misanthrope, Well, technically not as I’ve spotlit Quin here twice before, but the blog is an onslaught, I fully admit. I think my face seems to be pretty particular and aging just adds unflattering context to it because I’ll bump into people I have seen for, like, fifty years and they spot me in a second. As you well know, I think self-publishing is an utterly legit and, in these times, stigma-free way to go. And never judge one’s stuff based on the judgements of editors and publishers, obviously. A job title doesn’t come with impeccable taste attached. The snow never struck, but it snowed for most of the day, and I think it’s been years and years since that’s happened in Paris, so I’m satisfied. You have a great, untroubled weekend, sir! ** David Ehrenstein, Hi. I cant enter in the NYTimes, but thanks. ** Dominik, Hi!!! Oh, no, no big. That book just bugged me. I might’ve just been in the wrong mood or something. God, I hope your election somehow puts a serious crimp into your internationally notorious fuckhead government. We have the first round of our Presidential election here in a week, not that I can vote or anything. Barring a huge surprise, it looks like it’ll be Macron against the evil, gross Le Pen, which would mean Macron will win and more of the same, which is, you know, not good but a whole lot better than Le Pen running things, obviously. We’ll see. Nah, the snow never made friends with the ground, but it went on and on. And I got to take a long walk under the falling flakes in Paris’s lovely Butte Chaumont park. Not bad. Not bad at all. I hope the RHCP album excited you even more when it was real and in your head. Love making the journalist who’s coming over to interview him today about his new novel ask such unexpected and unprecedented questions that he feels like he’s on acid and lucid at the very same time, G. ** l@rst, Hi, L. Oh, I just restored your old Gaddis post for future publishing. You got the C! Damn, I was at a maskless, packed Puce Mary gig the other night, and I thought, boy, if I’m ever going to get it, it’s now, but I haven’t yet (as far as I know). So sorry. And especially that you missed those two insanely great gigs. Ha ha, well, when I first started writing for Artforum, I did gallery show reviews for them, and I wrote a quite negative review of one of McDermott/McGough’s shows. After that issue was published, I was at some trendy club, and I saw them across the room, and I thought, fuck, I hope they don’t know what I look like, and, sure enough, I saw one of the people in their coterie point me out, whereupon McGough walked up to me and started yelling at me and finished his rant by slapping me in the face, and I’m talking total Will Smith style. In fact I’ve been wondering if he mentions that in his memoir, but probably not. So, yeah, I ‘encountered’ them. ** A.D., Hi. Well, if you’re asking me that question, I think you must already know what my answer is. ** Ian, Hi, Ian. Oh, cool, glad the blog accomplished some outreach. Best of luck with the weed quitting. You going cold turkey? Have you started to enjoy searching for interesting high-like thoughts in your crystal clear mind? Is the outlining going well? I like that part. Take care, sir. ** Brandon, Hi, Brandon! No prob, feel free to come and go as the inspiration to be here pops up or doesn’t. The blog’s loyal and easy. Nice about the cast of your past physically emerging from their status as thoughts. Pretending is the best, obviously, so go for it. My week was good, productive, lots of stuff going on right now. I hope your weekend is like starring in the best scene in your favorite movie! ** Okay. I was chatting with someone here a while back, and Devon Sawa came up, and for whatever reason I thought, would it be interesting or fun or ridiculous to try to make a Devon Sawa Day, and so I set off to do just that, and, lo and behold, I managed to, and then I thought, would it be interesting or fun or ridiculous to give it an entire weekend to play out amongst the blog’s audience, and I thought, yes, it would be, and now here we are to face the consequences of all of those decisions. See what you think. See on Monday.