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"Leaving Las Vegas" star Julian Sands -- the ex-beau of Jodie Foster -- was
busted for child abuse just hours after arguing with his 13-year-old son Henry
on a car ride home.

The actor, who also starred in "Arachnophobia" and "A Room with a View," spent
the night in a West Hollywood jail after Henry sprang from the car and stood on
a corner howling to passersby that his father had attacked him.

"Julian was driving Henry and his son's friend when an argument erupted in the
car," revealed an insider.

The pair argued about what music to listen to, and at first Julian got his way.
But then Henry began humming off-key and mimicking his dad, disclosed the

"Henry mocked his father and hummed the wrong tune. That infuriated Julian.

"They started yelling at each other, and when they were two blocks away from
home, Julian told him that maybe it would be better if he got out and walked
the rest of the way.

"Julian felt Henry needed to blow off steam and that a short walk would do the
trick. So Henry hopped out of the car with his friend and Julian took off.

"But the teenager started telling people his dad had beat him up and threatened
him with a golf club."

Standing at the side of the road, Henry "was sobbing and crying," said an
eyewitness. "He was taken to the police station by a bystander."

Julian proclaimed his innocence -- and after sorting through the facts,
authorities let him go. Deputy Niels Gittisarn, of the West Hollywood Sheriff's
Station, told The ENQUIRER:

"After the arresting officer had interviewed all the witnesses to the incident,
he made a decision to release Mr. Sands. There will be no criminal charges
brought against him."

Article from Fangoria


Reviewed by MIKE HODGES

Let it be said right away that Paco Plaza’s ROMASANTA: THE WEREWOLF HUNT (which opened this month in Spain) is, in every respect, light years ahead of the half-dozen films previously produced by Brian Yuzna and Julio Fernández’s Fantastic Factory. Indeed, it’s one of the best werewolf movies ever made. It hits all the right buttons and delivers what discerning horror/fantasy fans crave: mystery, suspense, shocks, blood ’n’ guts, tons of Gothic atmosphere and a pervading sense of dread. This is a tense, edgy, chillingly macabre tale, graced by passionate and credible performances from a fine cast of actors. The film packs a real punch, and the impact is heightened by the knowledge that it’s based on true events.

Elena Serra and Alberto Marini’s script is adapted from award-winning novelist Alfredo Conde’s book ROMASANTA—UNRELIABLE MEMOIRS OF A WEREWOLF, an apocryphal, first-person account of the criminal exploits of Manuel Blanco Romasanta, a traveling tinker-cum-handyman who carried out a string of savage murders in the forests of the Galician hinterland in the mid-19th century. He was finally caught and put on trial in 1853. Incredibly, his claim that he couldn’t be held responsible for the killings since he suffered from lycanthropy was sustained by some highly influential “scientists” of the day, and the case attracted such media coverage both in Spain and abroad that Queen Isabel II herself intervened to have the original death sentence revoked. Instead, Romasanta was condemned to life imprisonment. He died in prison under circumstances which remain unclear to this day (indeed, historians haven’t been able to ascertain with certainty in which prison he was incarcerated), allowing the filmmakers sufficient license to include their own historically improbable but dramatically satisfying and moving climax.

Conde’s tome was written with reference to archival documents from the actual trial, and the film displays the same respect for historical authenticity. It’s refreshing to see a period horror picture which isn’t littered with stupid retro-technology, anachronistically “hip” one-liners, Indiana Jones-style heroes or flying-wire martial-arts punchups. Instead, ROMASANTA is a welcome return to adult, character-driven storytelling without being in any way pretentious, dull or ponderously “respectable.” In fact, the film cleverly interweaves several narrative threads, maintaining a sense of mystery and menace from the first scene to the last—all credit to Serra and Marini. Plaza’s canny adherence to the “leave it to the viewer’s imagination” approach to horror ensures that the several flashes of stomach-churning butchery never threaten to upset the carefully evoked atmosphere of creeping unease. These realistically rendered scenes of carnage, courtesy of Barcelona FX house DDT, are included to serve the story rather than pander to the gorehounds.

Star Julian Sands turns in a solid performance, effectively conveying the key character traits attributed to the title character—a cold, vain, cruel and calculating but irresistibly seductive (literal) ladykiller. Female lead Elsa Pataky gives what is easily her best performance to date; following her turn in Fantastic Factory’s BEYOND RE-ANIMATOR, she’s been rewarded with a role far removed from the teen fodder and light comedy of her TV and early film roles. Here she gets to finally prove her mettle, emoting through the whole range from naive, retiring younger sister through passionately responsive lover to gutsy, singleminded avenger of her family’s murder, all without falling into cliché. John Sharian shines as Antonio, another unfortunate “cursed by lycanthropy,” and David Gant as criminal pathologist Professor Philips and Gary Piquer as an attorney are two class acts who bring dramatic gravitas to their respective roles. Indeed, Gant’s performance conjures up memories of the great Peter Cushing.

Also noteworthy is the splendid cinematography by Javier Salmones, which won the Best Photography award at the recent Malaga Film Festival. At last, the cinematic potential of the brooding Galician countryside has been fully exploited on screen, resulting in wonderfully dramatic and evocative imagery. The well-judged camerawork and editing combine to make the real wolves used by the production seem truly savage.

There are just two personal (and very minor) reservations. The spectacular wolf-into-man transformation scene, with bubbling membranes and goo galore, while technically polished, seems a little out of place (might one suggest it’s more Yuzna than Plaza?), and the use of silver bullets is more of a Hollywood embellishment than based on actual folklore. But let’s not look a gift wolf in the mouth; ROMASANTA is a modern horror/fantasy classic.

Julian Sands: Shifting Sands

Julian Sands: Shifting Sands

After 20 years in Hollywood, Julian Sands returns to our screens as Laurence Olivier, no less, in a drama on the critic Kenneth Tynan, writes Gerard Gilbert

Published: 01 March 2005

Tomorrow night, BBC4 is screening Kenneth Tynan: In Praise of Hardcore, Chris Durlacher's play about the relationship between the theatre critic Kenneth Tynan and Sir Laurence Olivier during the formative years of the National Theatre, and it will showcase a bold piece of miscasting. The comedian Rob Brydon, the cuckold taxi driver Keith Barret in BBC2's Marion and Geoff, plays Tynan. Though you can't blame Brydon for such an audacious escape from Keith Barret, a character in danger of defining him, the comedian is wrong as the brilliant, quicksilver, chain-smoking Tynan - too lugubrious and too stolid. Far more Keith Barret than Ken Tynan, in fact.

Tomorrow night, BBC4 is screening Kenneth Tynan: In Praise of Hardcore, Chris Durlacher's play about the relationship between the theatre critic Kenneth Tynan and Sir Laurence Olivier during the formative years of the National Theatre, and it will showcase a bold piece of miscasting. The comedian Rob Brydon, the cuckold taxi driver Keith Barret in BBC2's Marion and Geoff, plays Tynan. Though you can't blame Brydon for such an audacious escape from Keith Barret, a character in danger of defining him, the comedian is wrong as the brilliant, quicksilver, chain-smoking Tynan - too lugubrious and too stolid. Far more Keith Barret than Ken Tynan, in fact.

Comparisons may be invidious, but the portrayal of Laurence Olivier, on the other hand, is a small miracle. And what comes as a pleasant surprise is that the man behind this well-judged portrait of Olivier in his later years is Julian Sands, an actor missing from British television for over two decades, presumed lost to Hollywood.

"If one is reported as having set up camp overseas, it's as if one has made oneself unavailable," says Sands, who went to America in 1987 after the global success of A Room with a View, and who made his last appearance on British television in 1982. When Sands was offered the part of Olivier, however, he suggested that he'd make a better Tynan. "Olivier is such an icon, and I didn't want the responsibility. Tynan is a largely unknown creature, so one has more freedom to play him. Also, the age Olivier is in the piece is much older than I am," says Sands, who is 46. But Durlacher, who wrote and directed the International Emmy-winning George Orwell: A Life in Pictures, didn't want an older actor playing Olivier. "He talked about Olivier's martial presence... his vigour," says Sands.

Kenneth Tynan: In Praise of Hardcore documents the machinations during the early years of the National Theatre, with Tynan's battling credo of "goad, lacerate and raise whirlwinds" conflicting with Olivier's more cautious and enigmatic administrator. Their unlikely relationship began on Olivier's appointment, in 1962, as the National's artistic director. Tynan, a theatre critic of colossal repute, wrote to Olivier offering his services as literary manager.

"Olivier was dismissive at first. I think it was his wife Joan Plowright who urged him to reconsider," says Sands. "On Olivier's side, initially, there was great resentment because Tynan had been unkind about Vivien Leigh in his reviews. But he had a respect for Tynan's intellect.

"If Olivier's camp considered Tynan a bit of an Iago, then Olivier was a Mark Anthony. He was all soldier. He wasn't brainy; he was all heart and blood. Tynan, in turn, was enamoured of Olivier's majestic presence, his startling physicality. And, unlike some, he believed him to be a great artist."

This mutual admiration didn't extend to bisexuality, believes Sands, although there is a homo-erotic charge in Olivier's scenes with Tynan, and despite the rumours that Olivier had affairs with Douglas Fairbanks Jr, Noël Coward (who was, apparently, madly in love with Olivier) and Danny Kaye. "I'm certain there was no sexual relationship between them," says Sands. "I'm equally sure that Olivier enjoyed whatever frisson he could create. It boils down to his desire to dominate, and one of the quickest ways to dominate, or gain approbation, is to flirt. Olivier was a great flirt."

Olivier has rarely been portrayed by other actors. He was played in walk-on parts in a couple of cheesy American TV mini-series about Marilyn Monroe, while Anthony Higgins played him in 1989, in a soupy dramatisation of his relationship with Vivien Leigh. In Kenneth Tynan: In Praise of Hardcore, Julian Sands gives such a clever, minimalist performance that it comes as a surprise to learn of the depth of his research, watching interviews with Olivier and talking to those who knew him. "I had a long lunch at the Garrick with his son Tarquin. A lot of what he said is actually in his book, My Father Laurence Olivier, but hearing him say it was extraordinary because he is physically very similar to his father, and about the same age as the Olivier that I am playing. His impersonations were extraordinary, but it was more useful to me when Tarquin was just being himself. The spirit of his father hovered like King Hamlet's ghost."

Sands describes playing Olivier as "osmosis", of doing the research and then forgetting about it. Copying mannerisms is a "cul-de-sac", he says. "If you watch Olivier's interviews, he has this reptilian tongue; it seems too big for his mouth. My pursuit of that became distracting, so I let it go. The thrill was finding the right pair of glasses. They became totemic."

Above all, he didn't want to "impersonate" Olivier. "As soon as you say that you're playing Olivier, people do their impersonations - all based on his film of Richard III," he says. "And they all sound like demented Daleks." In fact, it was being taken to see Olivier in Richard III at the age of eight, by his mother, a stalwart of the amateur dramatics society in the Yorkshire village where Sands and his four brothers grew up, that first inspired his thespian longings. A scholarship to an arts-friendly school further fostered it. And theatre remains his first love, although it is in movies - in particular, European art movies - that the peripatetic Sands has made his home.

He moved to the States in the wake of his dissolving first marriage - to Sarah Sands, now deputy editor of The Daily Telegraph and a novelist ("I turn up as a juggler in her first book," he says). He is on record as having described his relationship with her (he was 18 when they met, and they have a 19-year-old-son), as being like the relationship one has with the postman or milkman. "Neighbourly without being friendly, is what I was trying to say; you know, you see the postman or milkman and there is goodwill but there's no real connection."

Soon after arriving in Hollywood (where he roomed with his friend John Malkovich and struck up a profitable relationship with the British director Mike Figgis), he fell in love with and married Evgenia Citkowitz, daughter of Lady Caroline Blackwood and a former model who is always referred to as a "Guinness heiress". "It evokes some sort of 19th-century industrial wealth, of millions of pounds," says Sands."Would that it were so!" They have two daughters and are based in the West Hollywood hills, although Sands spends every summer here and is keen to do more British television.

"The gauntlet is down. You can print my phone number. As a fortysomething actor, you reach a plateau of maturity from which you can really get stuck in. I'm more enthusiastic and excited about work than ever. I know now what I'm about."

'Kenneth Tynan: In Praise of Hardcore' is on BBC4 tomorrow at 9pm

STYLES OF THE TIMES | June 28, 1992

EGOS & IDS; Gardens of the Stars and Just Plain Ivana

Julian Sands, an actor, wants to become the Robin Leach of gardening. Mr. Sands, left, will be the host of "Jewels in the Garden," a television show featuring the gardens of celebrities. "It will be very similar to 'Life Styles of the Rich and Famous,' " said Sandra Birnhak, one of the producers. The pilot is to be taped this fall. Ivana Trump is engaging in a little name-dropping. Last Thursday, she was identified simply as Ivana on the list of committee members for a hospital benefit. "Her company's name is Ivana Inc., so for marketing purposes she's only using the name Ivana," said Lisa Calandra, her spokeswoman.

Type your title here.

Electronic Telegraph - Saturday 24 August 1996 - Issue 459

Everest overrun by social climbers

TV Guide

Here's what's odd about Julian Sands. You'll be having a perfectly lovely conversation about all the innocent people he's threatened to exterminate this season in his role as billionaire villain Vladimir Bierko on Fox's 24 (Mondays at 9 pm/ET), when suddenly the guy starts talking about taking his kids to the zoo!

What's next? Unleashing laughing gas on CTU?

But it turns out he's making a point about his character. "My children," Sands says in his highborn English accent, "often stare the longest at the creature in the reptile house that's the stillest. Bierko is that snake."

Bierko is indeed the quietest — and most slithery — of menaces. With his Savile Row suits and Russian oil money, you'd expect to find him nibbling Caspian caviar, not scheming to gas half of Los Angeles. And therein lies his dark magic. As Sands puts it, "He's not flamboyant or baroque. He's not Captain Hook or the Sheriff of Nottingham. He just sits there. That's what makes him attractive."

Actually, prior to last week's episode, Bierko was just lying there, unconscious, having been nearly blown to smithereens after Jack Bauer (Kiefer Sutherland) preemptively exploded Bierko's reserves of lethal nerve gas. But like all the best 24 bad guys, Bierko's destined to get badder as Day 5 rolls toward its cataclysmic close. He and Henderson (Peter Weller) will work together for the greater bad, though Sands hedges a bit when asked for specific plot details. All he'll say is, "Henderson's a procurer for Bierko's needs and Bierko's a mechanism to bring about Henderson's greater aim." And, of course, there was that mega-plot twist, one that exec producer Evan Katz promised will "knock your socks off," on April 10. ("Befuddled" and "overwhelmed" President Logan, apparently we hardly know ya.)

And in a season that's already had fans' heads spinning over the deaths of key players like Tony Almeida (Carlos Bernard) and lovable Edgar Stiles (Louis Lombardi), there's no predicting what sort of endgame 24's producers are concocting. "We tend to let our villains emerge slowly, but when they show themselves, we keep increasing the stakes," Katz says. "By this part of the season, Jack's success starts to depend on defeating them — and that almost always requires face-to-face confrontation."

Sands is eager to oblige. Even as he earned a reputation in acclaimed heartthrob roles like the free-spirited suitor in Merchant Ivory's A Room with a View, Sands found himself drawn to the James Bond villains of his English boyhood. Says Sands, "I remember being enamored of the likes of Oddjob, or Blofeld from You Only Live Twice, who sat stroking the pussycat on his lap. They were exotic. And you wanted to grow up to be exactly like them."

But actually playing a villain has some unexpected side effects. "I've noticed people hovering a bit anxiously as I peruse the organic grocery section of my local Trader Joe's," he says. "But once they realize I'm no threat, I usually get smiles."

Charles Sandy
Toronto. The trial of Sandy Charles, a 14-year-old boy who killed a seven year old in rural
Canada and then boiled his flesh in what the lawyers say was an imitation of a scene from the 1989 release Warlock, has sparked further debate in Canada about links between screen violence and the effect it has on children.
The 14 year old has admitted luring the seven year old into the bushes where he stabbed,
bludgeoned and suffocated the child. Charles' lawyers have told the court that the killing was probably inspired by Julian Sands' character in Warlock, who drinks the liqueried fat of a child to gain special powers.

Charles' mother said he had watched Warlock at least 10 times.

The first stories of "flying ointments" were recorded in the early 1400's. In those cases, mention was made only that the witches dreamt they were flying. Watched all night long, the witches were not seen to actually leave, but would awake with lurid stories of far away gatherings.

While the forged "grimoires" produced by the clergy prosecutors wove lurid tales of the boiled fat of a child as the central ingredient of the flying potion, the reality is that the concoction was based on easily available herbs such as aconite, nightshade, belladonna, and alcohol.

The clergy, eager to so horrify the masses as to remove all resistance to the abuses of the Inquisition cast all witches as a threat to the children, just as Hitler would later do to the Jews, and the present government to the internet. This myth of using a child's fat for a flying potion has no basis in historical fact, but persists to this very day, and was used as a story element in the film, "Warlock".

Of all the folk drugs available to the witches, ergot was the most powerful, and the most dangerous. In use as a hallucinogen it was absorbed through the skin, most quickly through the thin tissues of the female genitals. "Flying ointment" was administered by rubbing it on a smooth wooden pole such as a broomstick, and then "riding" the pole.

More about Sandy Charles....

Sandy Charles, 14, of Saskatoon, SK, Canada stabbed and smothered a 7 year old boy in La Ronge SK on 1995-JUL-8. He and an 8 year old accomplice carved 10 to 15 strips of flesh and fat from the body. He took the body parts home, cooked them, and ate them. Charles was suffering from bizarre delusions and becoming schizophrenic when he watched the movie Warlock and its sequel Warlock II at least 10 times. One media source also quotes The Exorcist. The Warlock series are horror movies which describe Gothic Satanist rituals and concepts, including the belief that if a person drinks the liquefied fat of an unbaptised child, they would gain special powers - in this case, the power to fly. He told the police "There's a spirit in my room that gave me these thoughts". He had been contemplating suicide but a voice told him that it might be just as good to kill someone else. At his trial in 1996-JUN, a psychiatrist testified that the accused "did not see the victim as human but as an object whose death was necessary to fulfill his deluded plan". On 1996-AUG-2, he was found not guilty by reason of insanity. The judge concluded that Sandy Charles "was suffering from a mental disorder so as to be exempt of criminal responsibility".

There was no organized Satanic group involved in this murder. Charles was driven by his own delusions and mental illness, rather than by any religious belief in Satanism. The source of the child's particular delusions were based on the "Gothic Satanism" hoax promoted by the movies. That hoax is in turn based on late Middle Age and Renaissance beliefs which are unrelated to Satanism and Witchcraft as they were practiced, then or now.


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