The logline is When a successful writer/director suggests brunch on her patio little do her four guests realize that before noon the patio will be stained with their blood.

Adrian » Back to the answer: An interesting note - Drew Struzan painted the poster illustration and fans should check out his site www.drewstruzan.com they will recognize the genius of this man [E.T./Star Wars 1-6/Back to the Future I-II-III/Indiana Jones I-II-III et al]. Drew also has a cameo in the film as 'Andrew Nelson'. There are plans to distribute the short but I don't have details yet as the contract is still in negotiation - when I do I will let you know. Cecil B. Cannon, my co-writer in Texas, and I have just completed Ride A Cock Horse the retitled feature film script of Blood Makes Noise. We plan to shoot the feature in 2006 and yes it WILL get an International release.

Rueda » What are you working on now? Tell us about your new film, is it animated?

Adrian » As I mentioned, I just completed the RCH script and am putting the final touches to a script [also with Cecil] which we have been working on for 7 years called The Deleneau Agenda, a conspiracy thriller set in Washington and Texas. I have been asked to direct a film in Texas in a month or so - don't even know the title yet. My wife, Rosemary Marks[she makes a verbal appearance on the Tex Murphy Radio plays] who co-produced the Holly Hunter movie Thirteen, and I are planning to make a project dear to hearts called Life with Oscar, also slated to shoot next year. 2004 A Light Knight's Odyssey is an animation project started about 6 years ago with producer and creator, Harry Kloor- all the voices have been recorded and edited but we have been stalled with the 3D animation Large Format Cinema [like Imax] and plan to start this work next year also. Fans should also check out my history on IMDB type in search box: Adrian Carr

Rueda » How was your first experience behind the cameras?

Adrian » I directed a 40 minute black & white drama in 1973 titled The Spiders about a young man with a mental problem which turns deadly for a man who befriends him, only to be ensnared by the landlady. Several years later in 1982 I was editing a movie called Now and Forever starring Cheryl [Charlie's Angels] Ladd, and after 2 weeks the director was fired and the producers approached me to take over the reins. I said "I'll direct 3 days and see if you like what you see I will stay on - if you don't then find a more experienced director" They liked - I stayed. I have to say this, taking over a film already in production is not easy and was not the ideal way to get you directing debut - but it was my start as a director.

Rueda » What is your opinion about the current situation of Hollywood? And the foreign scene?

Adrian » Hollywood is making a lot of big tent pole movies, blockbusters, but they lack solid scripts and use actors and tout them as 'stars' when all they are, are good well crafted actors. The independent filmmakers are producing the more interesting and memorable movies for my money. Europe and Asia constantly pump out classy movies with solid stories and powerhouse performances without the over hyping of the actors that Hollywood tends to do. There is a serious threat of 'runaway' productions but until the government offers realistic tax incentives in California producers will continue to make movies overseas where they can get more bang for their buck [$].

Rueda » You've worked with veteran actors (Michael York, Joe Estevez, Richard Norton) and rookies, what is the contrast between them?

Adrian » When you work with experienced actors as a director you can focus on the technical aspects of the work. From time to time you will have a suggestions or a note to pass to the actor and know they will nail the nuance on the second take. With inexperienced actors or non actors it is sometimes difficult to get the performance you would like because of time. You can only afford so many takes then you have to move on, keep shooting. You want them to be good, great, but more often than not you take what you can get. In the case of Chris Jones he has not had that much acting training and I have to tell you, he is a natural actor, great instincts and since he helped create Tex, know him better than anyone. When Chris had to perform with the pros - he matched them line for line.

Rueda » How did you enter the videogame's world? Are adventure games and FMV's the best way to tell stories? How is working for a scriptwriter that's also the main character? Have you played their characters? What do you think about it?

Adrian »

Rueda » Would you like to direct a new game? Would it be 3D or Live Action? Adventure game or something else?

Adrian » As I mentioned earlier, I would love to direct a new Tex game [I know there are plans afoot to make that a reality - all the fans keeping the TM fire burning is a true inspiration to us] With FMV on high definition and using state of the art graphics and animation effects. I know the storyline for the next Tex adventure - it is awesome and will have gamers worldwide drooling at the mouth and it will send the benchmark of quality for role playing games into the stratosphere. I would only like to direct the Tex Murphy series and any other game Chris and Aaron conspire to create.

Rueda » What are the most relevant differences between a vactor (virtual actor) and an actor (real actor)?

Adrian » Human emotion is the missing ingredient for 'Vactors', paline and simple, and always will be, because we humans are unpredictable. Heart felt emotions are expressed through the eyes, they are the mirror to the soul and CGI characters have no soul, period. I have yet to be moved by a CGI performance in computer games or the movies.

Rueda » How did you enter Access' studios? What were your first thoughts about this work?

Adrian » I pretty much answered this one earlier - I was in the dark about the whole gaming world but quickly cottoned on to how the 3D world worked and was able to adapt standard filmmaking techniques to the Virtual World, then it became a breeze and I thank all my years as a film editor because it made working on a blue screen stage so much easier to visualize the end product.

Rueda » Do you think that nowadays it's possible to make a Live Action videogame? Will it be someday?

Adrian » I believe Tex is the closet thing to a live-action videogame and with the advancement in computer technology we will take that genre/style of gaming to new and dizzying heights.

Rueda » What do you think about the current scene of videogames?

Adrian » Unfortunately I don't keep up with the current trends except I have noticed the games have become too violent and are a reflection in the breakdown of social behaviour. The violence [not action] is gratuitous and not deserved and thus becomes ineffectual and mind numbing.

Rueda » Bye, and thanks for everything, Adrian!