. . . which is not saying much. Instead of having 12 cast and crew members mostly pat themselves on the back for 10 minutes, 8 seconds, it would be nice if they had an average working class person (such as myself) do one of these DVD features some time, and ask questions likely to elicit interesting and perhaps entertaining answers. For instance, instead of Harold Perrineau (Todd, here) being prompted to opine that DARK DAYS' blood-lusters are sort of a combination vampire\werewolf (I suppose that's similar to an actor\waiter combo, where the customer gets the worse of BOTH worlds), I would ask if he felt himself a victim of racial profiling, being one of first lead characters killed off in the TV hit series LOST, a history that repeats itself in DARK DAYS.
Otherwise, hearing DARK DAYS production designer Geoff Wallace note how he used "tobacco colors" such as cyan (whatever that is) here to emphasize (I guess) how MIStitled this Los Angeles-set sequel actually is (why not pull a George Lucas, and retroactively subtitle the ORIGINAL Barrow, Alaska, outing DARK DAYS, leaving this one to be named something such as 30 DAYS OF NIGHT: A NEW HOPE FOR LIGHT?) is perhaps the grittiest example of surrealism herein.
Otherwise, hearing DARK DAYS production designer Geoff Wallace note how he used "tobacco colors" such as cyan (whatever that is) here to emphasize (I guess) how MIStitled this Los Angeles-set sequel actually is (why not pull a George Lucas, and retroactively subtitle the ORIGINAL Barrow, Alaska, outing DARK DAYS, leaving this one to be named something such as 30 DAYS OF NIGHT: A NEW HOPE FOR LIGHT?) is perhaps the grittiest example of surrealism herein.
