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We just wanted to start this interview by saying thanks to Clint Morris for giving it to us. This Interview was not done by us but was giving to us by Clint, so thanks my friend!

2016 looks to be a big year for Banshee alum Miles Doleac. The prolific actor, writer, director and professor (!) has his own film out-The Hollow; he directed it, as well as co-stars in it – as well as participates, in an acting capacity, in a new TV show called The Containment and a Dolph Lundgren demon-hunter movie titled Don’t Kill It.


You’re a busy name these days. Do you prefer TV or film?

  There was a time not long ago when I would have absolutely said film, but television and television writing, in particular, has gotten so good now. TV scripts and characters in a lot of shows rival, even surpass, what you see in most films. TV has come a long way in a relatively short period of time. I would say that I enjoy the freedom, familial environment and collaborative spirit that is more common in independent film, but, then, I was fortunate to experience all those things shooting CONTAINMENT this fall.


Where did you get you start though? Which medium?

My very first pro acting gig was a small role on a soap, ABC’s ALL MY CHILDREN, followed very closely by some theatre gigs, then, after moving to L.A, I was a stand-in on TERMINATOR 3, did some more theatre, some student films, a bit of work on another soap, DAYS OF OUR LIVES, but mostly, in those days, I worked in food service. I worked at the Brentwood Starbuck’s serving coffee to Steven Spielberg and Kate Capshaw and Robert Downey, Jr and Paul Stanley of KISS. I worked for a catering company that worked the Governor’s Ball at the Academy Awards. That night I’m serving pizza to Tom Hanks’ son and I’m like, I’ve either got to make it or get the hell out of here, but I can’t keep doing this. Eventually, I moved to my favorite city in the world, New Orleans, and kinda broke through there with decent roles in a couple of SyFy Original Films, then a good deal of TV work starting coming.


And do you feel you had a breakthrough role?

 I’m not sure whether that’s for me to decide. I’m hopeful about CONTAINMENT and audience responses to the show and what I’m doing in it. I’m very proud of the work I did in my latest film, THE HOLLOW. I feel like my performance in that film is my most layered work to date. People talk a lot about the small but showy roles I played in BANSHEE and AMERICAN HORROR STORY: FREAK SHOW. The latter was just so vital to the Jessica Lange character’s backstory and so wonderfully disgusting and horrific, it was hard to miss.

Do you consider yourself a character actor? Are you a type?

I do consider myself a character actor. Always have. It was nice to finally get old enough for casting directors and directors to agree. I guess I had to grow into it. I tend to play a lot of villains and authority figures, although I like to think I’m fairly versatile.

Are you playing the villain in Don’t Kill It?

Not exactly. I play the FBI boss who swoops in when things go south and I’m definitely a thorn in Dolph’s and Kristina Klebe’s (the lead actress) sides. I can’t really say much more since my character looms large in the film’s climax and I wouldn’t want to spoil it for folks.


Do you fight demons or Dolph Lundgren in it?


 The Hollow

The Hollow

Who do you play in- your own film – The Hollow?

I play Ray Everett, a corrupt, small-town sheriff’s deputy, with demons a-plenty . Ray runs meth for the town kingpin, who’s making his life increasingly more dangerous and difficult, especially in the wake of the murder of someone of real profile and the white-hot light of an FBI investigation that follows.  Ray’s not a straight-up villain; he’s just severely comprised, morally and psychologically. At the root of so much of his plight is his deep desire to make sure his family is safe and cared for.

What can we expect from Containment?

I’d call it HOMELAND meets 24 meets THE WALKING DEAD. It’s a real departure for the CW and Julie Plec, who’s already done so many great things for the network (VAMPIRE DIARIES, ORIGINALS etc). Julie and the other producers are taking things to a whole new level. It feels so visceral, so current events, which makes its premise all the more terrifying. A mysterious virus with a 100% mortality rate breaks out in a major American city, leading authorities to quarantine a large portion of said city. Then all hell breaks loose.

Has the show been test previewed yet?  How’s it looking?

A few critics and journalists saw a preliminary version of the pilot I believe. That’s all I really know. From what I’ve seen, it looks terrific, incredibly cinematic.

How has the industry changed in the time you’ve been in it – is it a lot more about promotion now than it ever was?

For the independent filmmaker, yes, it’s so much about hustling now, generating buzz. In some ways, that’s because there’s so much product out there now. And I’d have to say that’s the biggest change I’ve seen: the explosion of viewing platforms, streaming etc., which has provided a lot more ways for small films to get seen and a greater demand for product, but also a lot more competition and a lot less money to go around. I think we’re all still learning about how exactly streaming outlets and the instantaneous availability of product is changing our industry. Time was, if your film didn’t get a theatrical release, it was pretty much dead in the water. That’s just not true anymore. I’m something of a purest and still believe that most films are better seen on the big screen, so I insisted on at least a small theatrical for my first film, THE HISTORIAN, although the vast majority of folks who’ve seen it did so via streaming platforms like Amazon, iTunes etc. I have higher hopes for THE HOLLOW, which, because of how we shot it, screams to be seen in a theatre. Let’s hope audiences and distributors maintain an appreciation, a desire, for seeing movies the old-fashioned way, with a bunch of people in a dark theater on a big screen. There’s still something magical about that experience. Anybody who experienced the recent STAR WARS: THE FORCE AWAKENS in the theater knows that. So, while I’m grateful for Amazon and iTunes and Netflix and Hulu and Google Play and the rest for the opportunities they provide an indie filmmaker like me and the quality of product some generate in-house (Netflix’s HOUSE OF CARDS for example), I worry about the marginalization of theatrical viewing, at least for anything except huge Hollywood tentpole films.