A Conversation With Alexander Sharp And Peter Malone Elliott For WIRED SHUT | The Fan Carpet

A Conversation With Alexander Sharp And Peter Malone Elliott For WIRED SHUT


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Famed author Reed Rodney (Blake Stadel – Riverdale, The Twilight Zone) seems to have it all –international acclaim for his writing, a sweeping secluded mansion and money beyond his wildest dreams – but life isn’t always what it seems on the surface. Behind the glossy exterior lies the shell of a man, an alcoholic haunted by his past transgressions that destroyed his family.

When a horrific car crash leaves him in bad way, he faces reconstructive surgery and his jaw is wired shut, leaving him unable to speak. Forced to recover at home alone, the isolation threatens to overwhelm him… then his estranged daughter Emmy (Natalie Sharp – The Flash, Supernatural), turns up.  Is she there to reconnect after all these years or does she have an ulterior motive?

 

 

Peter Malone Elliott is a writer hailing from the great commonwealth of Virginia. He graduated from the Loyola Marymount School of Film and Television, where he received the Best Original Undergraduate Pilot or Teleplay award. His one-act play, By The Power Vested In Me, was nominated for Outstanding Writing of an Original Play or Musical at the Valley Theatre Awards. His screenplay, Junior, based on the true story of the 1963 kidnapping of Frank Sinatra Jr., was the Grand Prize Winner of the Script Pipeline Screenwriting Competition out of over 4,500 submissions, taking home the $25,000 cash award. Wired Shut, an elevated home-invasion thriller, is Peter’s debut feature film credit as writer-producer and is to be released on November 30th, 2021 by 101 Films. Peter is currently based in Brooklyn, where he divides his time between developing a slate of new projects (including his debut novel), walking his lovably cranky dog, Panda, and exploring everything that the greatest city in the U.S. has to offer.

 

 

Alexander Sharp was born in 1994 in Vancouver, British Columbia. When he was 15 years old, he directed his first dramatic short film, Thank You, which was recognized by Vision Quest, a rehabilitation program for addicts that screens the film as part of their process. His third short film, Choice, was written, directed, shot and edited over the course of 72 hours as an entry of the 2012 MAD Film Festival in Vancouver, and it received the People’s Choice, Best Director, Best Writing, and Best Cinematography awards. In 2013, Vision Quest asked him to direct another short film for their program, entitled, Look Both Ways. By May of 2016, he had graduated from Loyola Marymount University in Los Angeles, California, where he studied Film and Television Production and Business. His junior thesis film, Impasto, premiered at the Playhouse West Film Festival 2016 in Los Angeles. His first independent short film Ziggy’s Will, screened at Festival de Cannes, Manchester International Film Festival, HollyShorts, Santa Monica International Film Festival and Gig Harbor Film Festival in 2018. Alexander’s debut feature-length film, Wired Shut, is released on Amazon Prime as of November 30, 2021, across North America and the UK from 101 Films. He continues to write and direct films, music videos, and commercials.

 

 

In our interview, The Fan Carpet‘s Marc Jason Ali spoke EXCLUSIVELY to Alexander Sharp and Peter Malone Elliott for their feature film WIRED SHUT

 

So, I’ll just jump straight in shall I? If we go back to the beginning, was there a defining moment for you both to get into the industry?

Peter: Oh, that’s a good question. Alex, you want to take that one first?

Alexander: Defining moment?

Peter: (laughs)

Alexander: Oh man. I mean, credits probably… I don’t know about defining for me, but, jokingly, I did see Indiana Jones as a kid and decided I wanted to be an archaeologist based off of that. But, I guess through then going into acting and then making my own movies so I could be acting in them after high school. And then, through that process, realising that I really didn’t want to be an actor to begin with at all, I really wanted to make movies that were as exciting as Indiana Jones. So, it went from, like, that fantasy of being Indiana Jones to playing Indiana Jones to making movies that are that exciting. And so, it wasn’t defining for me, it was sort of a process of discovery.

Peter: Indiana Jones 6 starring Alexander Sharp. It’s coming out, be on the lookout.

Alexander: I think it’ll work.

Peter: (laughs). For me, you know, writing has been in my blood. My mother is a New York Times Bestselling novelist and my sister is a very accomplished theatre director, so, storytelling has kind of always been, you know, the inevitable thing I was eventually going to fall into (laughs). It was just a matter of actually figuring out what medium I wanted to do. And I eventually decided on doing film, storytelling, screenwriting, visual, because the visceralness of visual storytelling that the medium affords is something that really appealed to me. That said, I do other things too, I just finished a novel, I’ve written plays. So I’m, across the board, interested in storytelling, but it’s always been in my DNA (laughs).

 

Awesome. That’s an awesome pedigree there. So what was it about Wired Shut that made you want to tell this story on the screen?

Peter: Well, so Alex and I, we kind of reverse engineered this one. We had done a short together and Alex had done a bunch of shorts independent of me, and we realised we wanted to do a feature. And, you know, we, obviously as two young film-makers, we realised “Oh okay, if we’re going to do a film, it has to be something we can do for not a lot of money. There can’t be a lot of locations. There can’t be a lot of characters. What can we do within that framework that would be interesting to us?” And we both loved and watched the movie Cape Fear, the Scorsese remake at the same time. And when the movie finished, we turned to each other like “Oh okay this. Something like this. Right. Good good. Okay cool.” (Alexander & Peter laugh) and so it kind of built out from there. In terms of the nugget of the Wired Shut story, someone in my life was going through the same surgery that Reed, the main character, has, I was watching her go through this, you know, drinking out of a straw, you know, having to have ice packs wrapped around her head. And I was like “well, wait a minute, what if we did something like that in a home invasion thriller. I don’t think that’s been quite done before. That’s interesting, that might be the way in here”. And then it kind of just snowballed from there.

Alexander: Yeah, yeah. That’s pretty much how we got here. We just took notes off of one of Peter’s friends at the time, basically. But… yeah it’s like the question of how do you do… okay so how do you want to do a feature? Okay, how do you qualify a feature? Okay, it’s got to be 90 minutes. Oh okay. Well, how do you have anyone pay attention to anything for 90 minutes without going to various locations and have an intricately woven plot and all this stuff. It’s a very simple film. It’s really a story about a father and a daughter and, you know, if balanced correctly, the experience of watching characters and investing yourself in characters and observing behaviour and the conflict, all of the behaviour earns drama as far as I’m concerned, behaviour earns the fun of it. If you can set up in the first, you know, 45 minutes a chessboard, even though it’s three characters and even though it’s one location, for the final 45 minutes you can have them go at each other with pure sensationalistic, awesome, cat and mouse violence, and just play with tension. So, it’s a small film, but it’s a through and through classic enclosed home invasion thriller with three characters.

Peter: Yeah and it’s something Alex and I both really love. It’s slow burn stuff, you know, stuff that ratchets up the tension really increment by increment, but then the walls get kind of blown out in the last act, like Alex was saying. That was a dynamic we were really interested in playing with. Yeah.

 

Awesome. So who inspires you in the industry? Obviously this was inspired by a friend of yours, but who inspires you in the industry?

Peter: Oh? That’s a tough question Marc, but good for you (laughs). I’ll give you a few. I love Aaron Sorkin, I think his work is brilliant. It’s very different but I love his stuff. I think Taylor Sheridan is one of the best working screenwriters nowadays. And even if you don’t care for his movies I encourage all screenwriters to read his scripts because it’s just a masterclass in “less is more” and it reading like a piece of art, but not being overwritten and novelistic, it’s just such incredible writing for screenwriting. And it’s not just the standard “this is a blueprint to make a movie”, it is that, but also so much more. So whenever I’m working with writers, I always point them to his scripts, look at what he’s doing, look at what he’s conveying with such few words. And in terms of other writers, I love Sam Shepard, I love Southern Gothic stuff. I love my mom’s writing, obviously. There’s a bunch more (laughs).

Awesome.

Alexander: I’m a big lover of cinema in a classic way. And I mean I could go on, I could chew your ear off for the next (laughs) hour.

But, what I will say is I really am a cinema fan to my core. One of my favourite movies and arguably one the greatest movies ever made, you know, 2001: A Space Odyssey, Lawrence of Arabia, Jaws, Being There (1979) with Peter Sellers. These are films that take their time and are classic and don’t rely on, you know, really really choppy editing and fast cameras and lots of dialogue that’s really snappy and not necessarily a plot that’s super intricate. It’s the sort of wash over you as an experience it. And you can tell a story with a camera, if you’re doing it right you don’t necessarily need a lot of dialogue and that’s how Peter and I approached this one. The hope is that Wired Shut sort of washes over you and, you know, my other hope is that people watch it on a TV as opposed to on a telephone.

Peter: (laughs). Also Hitchcock was a big influence for us too. Alex and I both love Hitchcock (Alexander agrees). So for me, writing the script, Rear Window, Misery, I mean Misery is not a Hitchcock movie, Rear Window was a big reference point, and so was Misery and so was Cape Fear. Those are kind of the three touchstones of what we were going for, I think, hopefully anyway.

Alexander: Yeah.

 

 

Yeah. I mean, you kind of touched on it a little bit there, but what is your preferred genre and do you have any favourite films?

Alexander: I don’t necessarily have a preferred genre. I suppose I tend to gravitate, you know, I tend to gravitate to drama and thriller and action as opposed to comedy. I tried comedy in film school and it’s incredibly difficult, it’s actually much, much harder to do on just about every front, whether it’s acting, directing or writing. It’s incredibly hard to make people laugh. But I’m interested in, whatever the genre, you know, David Fincher said “there are two types of movie; ones that entertain and movies that scar”, and that can cross genres. But on the note of, you know, thrillers and horrors, Jaws is a masterpiece because nobody looked at the ocean the same way again (laughs). I mean, I don’t go the beach and not think of a shark (laughs), and that’s the power of cinema, I love that. So, genre, maybe not as specific, but as long as it’s powerful and can scar and can maybe change you for life, that’s really the power of the medium.

Peter: For me, I love Fincher as well, for me, the two kind of sandboxes I play in, writing wise, are, you know, grounded, gritty thrillers with a touch of horror, like Wired Shut is. And I also write a lot of historical period dramas too, I have World War II drama that’s based on one of my mom’s novels, (loosely?) inspired by my grandfather, that’s making the rounds now with a producer attached. So those are the two things I’m interested in doing, you know, gritty, grounded thrillers and then historical stuff, those are my two preferred (vehicles?) of choice. That said, I do enjoy watching movies in other genres too, you know, it’s not just limited to those. In terms of my own writing that’s typically what I focus on.

 

Excellent. So you’ve worked with some great talent, do you have a wish list of who you’d liked to work with?

Peter: Wow, I mean, the answer’s yes. I mean, one of my favourite actors working nowadays is Oscar Issac. I would watch him do just about anything and he has such a range. Same thing with Andrew Garfield, I think he’s brilliant too. Those are probably my top two actors of the moment. And I’ll watch anything with Jessica Chastain too, so.

Alexander: I……are we just talking actors or can I say……?

No (directors? Writers?) anyone.

Alexander: My mind, music is so influential to me, I think if I was living a different life I think I would probably try something with music, not necessarily a band, but I probably would fall into, you know, film composing, not that I am any good at it whatsoever, but I love film music. I listen to it while I drive my car and it really influences my writing process, and when I’m even constructing a scene or coming up with a story altogether I’ll throw on a soundtrack. I feel like if I was in, you know, the same room with the great Hans Zimmer and we were working together on the same thing I think I would just about die and go to heaven. I just feel like we would speak the same language. Not to say that I am on his level, but I think I would be a really eager fan and also be excited to be working with him. I love Hans Zimmer’s work, I think he really nails the emotion of the stories in all of the music he does for all of his films.

Peter: Trent Reznor too is another great film music person, I always loved his stuff.

Alexander: Yeah. Oh yeah. And very different.

Peter: Very different. Yeah.

Alexander: Kind of reinvented the wheel for film music back in 2011 with The Social Network.

Peter: Yeah. Yup, yup, yup.

 

Yeah definitely. So are there any other aspects of the film industry that you’d like to pursue? like any other roles like, I mean obviously you’re writer/directors. But do you want to step behind the camera? Do you want to do cinematography? Anything like that?

Alexander: Yeah, I think I’ve basically decided that directing is probably it for me, because I’m a control freak and all directors are control freaks (laughs). But no, I love cinematography, I’ve shot a number of things myself. I’ve worked under other directors myself as a cinematographer. If it has to do with a camera or pacing a scene or even colouring shots, I love all of that. I love everything that goes into images and, I suppose the images is sort of a language, to me, that I understand. And so whether it’s cinematography or colouring or editing or even lighting, you know, I have a lot of respect for grips and gaffers, they don’t get enough credit.

Peter: Yeah, the unsung heroes of film-sets.

Alexander: Yeah, I think… but I don’t know too much about the producing, the business side of it, I should say. I don’t know that that is interesting to me as much as the crafting of the images.

Peter: Yeah. So, for me, Wired Shut was such a wonderful and awesome experience on all fronts, but it’s such a wonderful learning experience, because, you know, given the small nature of the movie Alex and I had to do basically everything (laughs) right. You know, from filling out all the insurance paper work to, you know, running around on set getting actors from the dressing rooms etc. etc. So I have such a newfound respect for all aspects of film-making and being on set and producing, particularly. That said, I don’t know that I would want to do all of those things again and wear that many hats on set again (laughs), but it was a wonderful learning experience and I have such a respect for now for “below the line” producers, like you can’t even imagine. In terms of future, I’d love to direct something eventually, you know, I’m in no huge rush to do that, you know, I’m more focused on writing at the moment. But eventually, when the time comes, I’d love to step behind the camera some day. Yeah.

Alexander: Peter, when your director day comes and you direct a masterpiece, which you will, can I shoot it?

Peter: Sure. Absolutely. Done. You heard it here first.

Alexander: We’re on record.

Peter: We’re on record (laughs).

Alexander: Marc you go that?

Marc: Yeah I did. (laughs)

Alexander: Okay!

 

 

Right. Awesome. Fandoms are a big part of the industry, who or what are you a fan of?

Alexander: Oh yeah. Well, I would say as far back as I can remember as a kid, my dad showed me a lot of what has influenced my love of movies today. And that really started with movies like; Indiana Jones, James Bond, Jason Bourne, 24 with Jack Bauer, not to put that on the same pedestal, but in the same wheelhouse of a genre. Action adventure and the transportive experience that you have as a kid, watching these sort of heroes, you know, go to their wits end in the name of justice and globe-trotting, you know. It’s anything like that, that really, really gets me excited on a fan level, you know, I just about lost my mind when we just got the latest Bond film; No Time to Die, I was like a kid again. So that really excites me on a… I don’t know, guilty pleasure might be wrong, but like, you know, as a fan kid of cinema, that’s where that is for me.

Peter: I was going to say; “Alex if you don’t put flipping James Bond somewhere I’m going to be incredibly shocked” (everyone laughs). For me, besides what I mentioned before about loving period dramas and gritty thrillers, I love anything that takes risks. I really respect, you know… the way the industry is trending now it’s getting harder and harder to make art-house/ mid-budget movies that are risky and that aren’t easy to “sell”. So whenever I see a movie, or TV show for that matter, that is really bold, that’s something that I’m always going to watch and, even if it’s not my cup of tea, I’m going to respect the creators of it for taking that chance and getting something like that made in this climate.

 

 

Absolutely. So if there a book you’re a fan of, that hasn’t been adapted to film, TV or Netflix yet, that you’d love to be a part of?

Alexander: Ooooh. That’s a good question.

Peter: I’ve already adapted it. It’s my mom’s World War II book that’s going around, making the rounds, now. That’s the thing… it’s a story that’s very close to my heart and I hope it gets made. And I would love to talk about it more if and when I can. (laughs).

Marc: Awesome. Looking forward to that. What about you Alex?

Alexander: I would say though I don’t have a script yet, I’ve always loved the idea of doing a spy movie. Not necessarily the over the top nature of something like James Bond and the adventure of that, but like a sort of a classic spy film. Ace of Spies was a show that came out, oh god, decades ago now, but it was, I think, a BBC show, I could be wrong about that, but it certainly was an English show and Sam Neill played Reilly the Ace of Spies, and he was a real guy. And it’s just fantastic, I mean, it’s a realistic spy story. So I think I would have a lot of fun adapting that true story with enough research and homework done on it, to, sort of, just say that I’ve done a spy tale and it was based on a real guy.

 

Awesome. Looking forward to that too. So with the popularity of streaming services like Disney+, Netflix and Shudder and of course they’ve been the lifelines for the last couple of years, what do you think the future of cinema is? I know, it’s a big question.

Peter: That is a big question. Wow. I think… (laughs)… this might not be a very popular answer, but I think there’s going to be more and more of what HBO Max did this year, where they, you know, do a Day and Date release, and then also, simultaneously put it on their streaming service. I think that’s going to happen more and more and more, and I think the industry is going to have to completely reevaluate how they deem a theatrical release a “success”. I don’t….with the exception of, you know, the Marvel movies and the big tent-pole franchises, I don’t know if, you know, box office numbers are going to be, you know, the supposed gold standard of whether a movie is successful or not. I think things are going to have to change and they already are trending that way, but I think that’s going to be the next five years, for better or for worse.

Alexander: Yeah, I would actually agree with what Peter just said. I think that…. that’s an interesting question, I don’t know. I mean, you know, the industry was already changing so drastically and then it got even more blind sided, the Covid pandemic came and hit us from the left flank. And it was like “oh now we’re changing even more”. What I will say is that I believe that… I firmly believe that, you know, this sort of rumour that the death of cinema is nigh, I don’t really think cinema is so inherently a part of us as a society, as a culture. We just need it, there’s no other feeling you get. I mean, I don’t really believe that cinema is really going anywhere, at least anywhere fast. I mean, you go, you’re sitting in a room with strangers and all the lights are off. And a good movie will have all of those strangers feel the exact same thing at the exact same time. A room full of strangers can all laugh together. A room full of strangers can all, you know, shriek together, whatever the reaction may be. And that’s the power of cinema. It reminds us that, you know, you’re not alone in the universe. There’s the escapism of it, but there’s also the beauty of the storytelling which I don’t think you can capture from TikTok. I don’t think you can capture it on Instagram television. I think you can capture it a different way very well with TV and series. But the format of movies, I don’t think is going anywhere.

Peter: No. There’s always going to be theatres, it’s just the volume of things that are presented in theatres and how many people actually go. I think when we look back at this juncture in history of say 30-40 years from now, I think it’s going to be viewed in a similar way as the progression from silent movies to talkies. You know, it’s going to be a huge shift and things are going to be different. There’s always going to be a need for content, for storytelling, but the avenues in which it’s articulated are going to change and, you know, people kind of need to get onboard with that, for better or for worse, unfortunately.

 

Yeah they do absolutely. So what are you working on at the moment that you can talk about, without getting into trouble?

Peter: (laughs) I just finished the first draft of my first novel. So I’m currently revising that now, so that’s kind of been taking up most of my year. Writing a novel is incredibly challenging but highly rewarding, it’s very time consuming, much more of a marathon (laughs) as opposed to writing a script. So that’s kind of been my all consuming project this year.

Marc: Awesome.

Alexander: I’ve been doing a lot of music video work for a couple of different artists in Vancouver. So I’m doing to more this weekend for Michelle Creber, I’ve done three already. I did one for Ron Kalmakoff also a British Colombian artist. So I’m kind of making the rounds doing that, which is a lot of fun, because music videos are just tiny bite sized experiments, if you will. I mean, of course, you want to, you know, please the client and have them be happy with the product they’re paying you for, but, at the end of the day, it’s a music video so you can do anything. It doesn’t have to make sense. So it’s a lot of fun and you can try a few different things. I just did one where the artist was crazy enough to let me try it, I’d never done it before, but I just released a music video that’s done all in time lapse. So the photography of it is time lapsed, but also, his performance, he’s singing in time lapse, which I thought was kind of interesting. So having a lot of fun experimenting in that realm of it. But other than that, I’m writing. I’ve got a feature script written, I’m writing another one with one of my best friends in Los Angeles, and I hope to do another feature soon.

Peter: Yeah. And Alex and I have another feature script in the can, ready to go. If anyone’s interested (laughs).

Alexander: Yes that’s true.

 

 

Wonderful. So what are you hoping audiences will take away from Wired Shut when they get to see it?

Peter: Alex, you want to take this one first or do you want me to take it?

Alexander: Well, I don’t want to steal your answer, but I think our answers going to be relatively the same.

Peter: Relatively the same.

Alexander: I hope that it has you lean in. I hope that it is engaging. I hope that, you know, it’s a 90 minute home invasion thriller, so the stakes aren’t that high, you know, it’s not Citizen Kane. But, at the end of the day, it’s your Friday night popcorn movie, that I hope you can have fun with and, at the same time, maybe be moved by the story. At the end of the day, it’s a thriller, but it’s really a story between a father and a daughter desperate to reconnect whether their willing to admit it or not, and there’s a beauty to the story. And, yeah I hope that it’s fun but also beautiful for people.

Peter: Yeah I agree with all of that. Like Alex said, the nugget of the story is a father and daughter trying to re-connect without being able to physically and emotionally, manifesting over the course of a life or death stakes of the movie. So I hope that people enjoy the genre trappings of it all, but also, I hope that there’s an emotional resonance with that father/daughter story. I hope we can accomplish both.

 

Great. To get that chemistry, how important was it to cast the father and the daughter to work well off of each other? Was there a lot that went into do that?

Peter: Oh god, yeah. It was…..we got really really lucky, all three of our actors were just so incredible and just so ready to rock and roll from the get go. I mean, given that we shot this in twelve days, we had to shoot a lot of pages every day, and if the actors weren’t just teed up and ready to go and ready to knock it out of the park, I don’t know if we would have finished the movie frankly, you know. Every single one of them brought so much nuance and preparedness to the role. It was amazing for me to see all of them come to life in front of me on set.

Alexander: The father/daughter that……we……the audition process was very short. We didn’t have a lot of time (laughs) to get it together. I mean, we had the script done in December 2018?

Peter: End of 2018, yup.

Alexander: Yeah. And the locations, sort of, magically revealed itself to us as an opportunity and we, Peter and I looked at each other, and said “okay we can shoot in March, but I don’t know that we’re ready to shoot”. And we just decided “well, let’s get ready to shoot. We have what, one, two months. Two and half months”. So we just decided to go for it. So we didn’t have a lot of time, but what we did do for the father/daughter was; when we brought Blake Stadel in to read for the role of Reed Rodney, which is funny because, of course, he didn’t do any reading because he didn’t have any lines (laughs). But, Natalie Sharp who plays his daughter Emmy, Natalie was in the room for that audition and I wanted to see… I thought that was important, just to the point of your question Marc, I did think that was necessary. To have both of them in the room, we always knew we were going to cast Natalie as Emmy because she’s my sister. But in order to have that dynamic play legitimately on screen, I wanted to see if there was chemistry. So instead of casting them separately, we cast Reed based off his interactions with Natalie in the audition room.

Peter: Yeah. And speaking about, this is kind of separate from your question, but it’s tangentially related, in terms of casting Behtash Fazlali as Preston that was an incredibly important role for obvious reasons. I knew, because Max Cady was the inspiration for this character, we knew that it’s very, very heightened, you know, and very stylised. And yet, we needed someone to bring a grounded gravitas to it, so he didn’t just become a moustache twirling supervillain. And in the wrong hands, you know, that could have happened and luckily Behtash just blew us away with his reading and brought exactly what Alex and I were looking for in that part. And that also, I think we cast him pretty fast too. 

Alexander: We did. I don’t know if we’re jumping ahead, but maybe you wanted to ask about Preston next. But since we’re here, we did cast Preston really quick, I think Peter and I, we had to do the audition via Skype or Zoom, I’m not sure which one.

Peter: Yeah yeah. We did like an online casting call with one of the casting websites.

Alexander: Yeah. And we met with him over a video call, he was in Toronto visiting his family and I think one of his family members was in the hospital, I think it was quite emotional timing for him. But he did it, he did know who we are and he hopped on a video call and stepped away from his family in Toronto and did the audition for us and, honestly, honestly Marc, Peter and I called each other after that video call, the second after the audition ended and we said “That’s Preston”.

Peter: That’s the guy. Yeah.

Alexander: Yeah.

 

Awesome. And just finally, where can we find you online to keep up with everything you’re doing

Peter: Oh, I’m on Twitter, I’m still kind of new on social media, I only joined Twitter in July so I’m still getting used to it, but (laughs) my Twitter handle is PMEWriter and then I have a website PMElliott.com.

Alexander: As for me, you can follow me on Instagram. That’s basically where I live, I’m posting all my work there and what I’m up to @Alexander.Sharpy and that’s Sharpy with a “Y” because I’m not the felt marker (Peter laughs). But yeah, either that or IMDB, it’s a little more official, but if you want personal Alex, throw me a follow on Instagram.

Awesome. Alright, great. Well, I’ll leave it there, but thank you so much for speaking to me today. It’s been a pleasure. And, Alex, let your sister know that I like her on The Flash, she’s doing really well!

Alexander: Oh great. I’ll tell her that. That’s awesome.

Peter: Awesome.

Marc: Yeah I’m an avid watcher of that. I really enjoy that show.

Alexander: Oh fantastic. Fabulous. Yeah, no, that’s so much fun. I think…..Marc, correct me if I’m wrong, that shows still going, yeah?

Marc: Yes it is. Their in their 8th season at the moment.

Peter: Wow.

Alexander: I think……I don’t……this could be incorrect, but I think she’s still kind of, on call, for her character Sunshine, I don’t know that their quite done with her. Unless they’ve killed her and I don’t know about it.

Marc: No, I think she’s still around. I’m pretty sure.

Alexander: Yeah, no, she’s having a lot of fun with that. So, it’s really cool to see, you know what I mean. Just on the level of your own sister in a show like that playing a villain it’s incredible. I’m incredibly proud and I’m so glad to hear you’re a big fan. That’s awesome.

Marc: Yeah I am. I’ve been watching the show since day 1, so, well since before day 1 because there’s a backdoor pilot on Arrow before The Flash got his own show.

Alexander: Right.

Marc: So, yeah I’ll be watching that tomorrow (laughs).

Alexander: Oh fantastic. Fabulous. Marc, thank you very much.

Peter: Yeah, thank you Marc.

Marc: Thank you very much.

 

 

Photos of Alexander Sharp credited to Karolina Turek and Photos of Peter Malone Elliott credited to Kimberlee Hewitt

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