

Mar 31, 2010

I'm so totally reminding you...

...that tonight's episode of The Scare-ening will feature the legendary Joe Bob Briggs*. I think you should call in to talk to him- I mean, it's a live program and he's contractually obligated** to take your calls. You can also log into the show's chat room to ask questions if that's more your style.

8pm PST/11pm EST- be there and be square!

* If you don't know who Joe Bob Briggs is, I'm not sure we have anything left to say to each other.

**not true

Track of the Moon Beast!

Click to embiggen!

I realize I didn't mention the awesome musical interlude, or the fact that in the end, Professor Johnny Longbow kills Lizard Paul, who "explodes"- meaning, the screen turns red. What can I say? I start these comics and then they end up in a different place than I'd originally intended. C'est la something something.

I did, however, write about my favorite scene from this film and how much it affected me when I was a dumb kid over at Mermaid, you know, you can read that if you want to.

Mar 29, 2010

a new thing

Check it: comedian, recurring guest on Ghostella's Haunted Tomb, and friend of the ol' FG Bridget McManus has a new show premiering on LOGO TV in about 13 hours (that's 4am PST, kids, the best time slot in the history of ever)! It's called Bridget McManus Presents: That Time of the Month and it's going to have a bunch of...stuff...on it. You can watch a teaser intro here, but it won't tell you anything about anything. I don't know anything about anything, but I do know this: the premiere episode will feature my short film Taste of Flesh, Taste of Fear. KA-BOOM!

Set your TIVOs, or stay up. Or catch it in reruns. Or catch it with Rerun if you have the ability to communicate with the dead. The point is, catch it and getcher lesbian vampire on!

I would also like to mention that next month's episode of That Time of the Month will mark the beginning of an all-new series from yours truly. I'll tell you all about it when That Time draws closer...mua ha ha indeed!


"That's fucking disgusting."

easy like monday mornin'

A few things of note!





Mar 26, 2010

awesome movie poster friday - the GONZORIFFIC edition!

If John Waters and Russ Meyer had a baby, and that baby became a bunch of people and those people made horror movies, they would be Gonzoriffic. If you'll recall (and I know you will), we had Gonzo's Andrew Shearer, Monica Puller, and Rachael Deacon on the completely manic first episode of The Scare-ening.

From their headquarters in Athens, GA, the Gonzo crew makes microbudget films that are funny, gory, and best of all, girl-positive. They make movies without pretension simply because they love making movies- an attitude that's increasingly hard to come by in the indie horror scene, where everyone wants to be famous. None of the Gonzo women call themselves Scream Queens- even though some of them have appeared in more than ten films. I like the way these kids think! Thing is, no matter how I feel about their philosophies or their films, I wouldn't feature Gonzorrific for Awesome Movie Poster Friday unless their productions had...well, awesome posters. Lucky for us they do, proving that microbudget doesn't mean megacrap- also proving that indie horror posters can completely wipe the floor with unimaginative, over-Photoshopped studio output.

Mar 24, 2010

a few of my favorite things

On things and the having of things, I am torn. I'm not materialistic and I try not to buy things I don't need or things that are not useful. I have a fuck ton of movies, but my excuse is that I write about movies. Still, I'm a trader-inner of video games, movies, and books as I'd rather have a few that I love rather than a bunch I never touch. But! I have some horror-related things around that I truly adore- things that may be replaceable, but I'd be a bit devastated if they disappeared from my life. I'm a little bit ashamed of feeling that way about stuff, but then again perhaps it's okay to enjoy things. Oh, how the battle rages within my soul! Anyway. Here are the horror-related things I love most in this workaday world, because I feel like making a list and being self-indulgent. Hooray!

1. My beloved Freddy Krueger candle

This thing is so ridiculous, but his beefy lips and Chiclet teeth make my day every time I see them. Given to me by a friend who would not (or could not) divulge where he got it.

2. Secrets in the Shadows: The Art & Life of Gene Colan

I saved up my pennies to nab a copy of this limited-edition hardcover (1000 copies)! The amazing Gene Colan took sketch requests for about 50 people, and I was one. The gorgeous Dracula above is inside the cover. Da-rool.

3. The Polaroid of me and Adrienne Barbeau

Met her at a signing for her autobiography There Are Worse Things I Could Do and she was so damn nice. It's a totally goofy picture and we had fun taking it- two people holding a giant Polaroid camera always makes for a lovely time. And yes, my face really is that yellow.

4. The tape of my interview with Marilyn Burns

Aside from the pure delight at sitting in a hotel room talking with Marilyn fucking Burns, this interview was a personal milestone in a few ways: first, I'm fairly sure this was the first face-to-face interview I'd done with anyone (save the one with my gramma for my 7th grade Social Studies class). Second, though it originally appeared in a Q & A format on Pretty/Scary, a revamped, rewritten, and longer version of the interview was published in Sirens of Cinema magazine, marking my first foray into the magical world of "print". I tape over interviews after I've transcribed them, but this one I'll keep. And yes, I use cassettes. I love showing up at roundtables and plunking down my big-ass Radio Shack tape recorder amidst the micro-sized, fancy mp3 recorders the kids use today.

5. My copy of Fangoria #10

I talked about this puppy way back when I first started talking about the awesomeness of 1981. I've got a bunch of genre mags around, new and old, but Fango #10 kind of sums up my childhood relationship with horror. Gross pictures, cartoons, Hammer movies, slasher movies, Count Fango...I tells ya, it's magic with staples running down the spine.

6. My Black Christmas DVD...

...signed by Margot Kidder. At conventions (and, I suppose, elsewhere) autographs are fairly pricy. Because I am not rich, I tend to be both picky AND choosy about the ones I get. Way back before the remake was even a fart in the brain of whoever farted up that fart of a remake and Black Christmas was still kind of on the down-low, I handed her my DVD amidst all the Superman fans handing her pictures of Lois Lane to sign, and she was surprised anyone even remembered the movie. Say what? Black Christmas is the shit. I'd actually like to get it signed by the rest of the cast members, even Mrs. MacHenry, even though Marian Waldman is dead.

7. My Exorcist mini-poster...

...signed by Linda Blair. Again, yes I'll pay- it's Linda GD Blair! But what I love most about it is...well, look what I made her write. She's aces in my book. Of course, she always was, so I guess she's...more aces now.

8. My horror village

Because my mom is the raddest, she buys me retarded horror stuff, like this horror village. You know, it's like one of those Christmas villages, but this time it's (you guessed it) horror. There's Nancy's Elm Street house, Stately Leatherface Manor, the Dawn of the Dead mall...all kinds of cool stuff with little mini Jasons and Michaels and Leatherfaces and Hari Krishna zombies. We have them all lined up next to each other on a shelf so it looks like Freddy and Jason are neighbors. It's awesome and I love it.

9. Curtains on VHS

I've talked about this, too- a VHS copy of a mediocre (with a few fucking GREAT scenes) out-of-print slasher movie is one thing. A VHS copy of a mediocre (with a few fucking GREAT scenes) out-of-print slasher movie that you bought at Tori Spelling's yard sale is quite another. I'm still not sure that all really happened.

10. Tomb of Dracula #1-70

It took me a few years to assemble a complete run of Marvel's Tomb of Dracula, but dammit I did it in true comic nerd style, scrounging through boxes at shops and cons. A few issues are in stellar condition, a few are in crappy condition, but I don't care. It's the first complete run of anything I've ever collected (beyond, you know, a 10-issue run or whatevs), and it'll likely be the last. Meeting writer Marv Wolfman and artist Gene Colan and asking them to sign my copy of #69, the first comic I ever bought, was a thrill.

Well, there you go. I like some stuff I sue me. Or tell me about things you have that you treasure so I don't feel so lame.

wednesday comix: Q & A with Zane Grant, writer of WE WILL BURY YOU

Remember last week, when I reviewed We Will Bury You #1? And then that night on The Scare-ening, Heidi and I talked with Brea Grant, one of the book's writers? And then Zane Austin Grant, the other writer on the book, was a surprise call-in guest? And they were cool? Remember all that? Wasn't it cool? Well, it gets even cooler because Zane went and answered some questions. Questions from ME! Do you think I'm cool??

One thing I love about both Brea and Zane is that they're actually, you know, horror fans. Talking with them obliterates any doubts you may have about their motivation behind writing We Will Bury You, about whether or not it's simply a vanity project for some actress. I mean...who knew The Driller Killer could provide such fodder for discourse?

I'm an only child, but from my understanding, brothers and sisters are supposed to hate each other and pull each others' hair. Why, then, would you want to write a comic book with your sister? How did the idea of working together come about?

We both like comics and horror movies, and we get along really well, so…. I’m always surprised when people ask about sibling rivalry. I think we compliment each other’s strengths and weaknesses well while working together.

Practically speaking, how did you share scripting duties (ie, did you divide up the characters, etc)?

The way we work is we read a lot about our setting and make notes for stories. Then we get together and outline them, so we knew basically what’s going to happen, but not necessarily how it was going to play out. From there, we just traded off scenes, which I think works for the most part. Can you tell what I wrote and what she wrote? I can’t, because we edited each other so much to keep the tone consistent. Brea wrote all the nasty parts while I looked away and covered my ears, and I did the moralizing parts, so that’s breaks down writing duties into solid categories.

Why is We Will Bury You set in the 1920s?

The 1920’s was the first decade of sexual revolution in the U.S. and a lot of different political ideas were being discussed leading up the great depression, which snuffed a lot of those kinds of things out because suddenly more people were just trying to survive. The lack of certain technologies like cell phones and future weapons makes the spread of mass violence scarier as well. Plus, it just had a good aesthetic that works out well as a setting for a visual medium like comics. We wanted to take the magic of pre-code movies and add it to the outcasts of Tod Browning’s films and make it relevant and entertaining.

What are some of your influences for WWBY, both in terms of horror (whether written, cinematic, or other) and comics?

We try to have a lot of reveals in the books, which were inspired by the surprise endings of EC horror comics. And the shallowness of some of the people Mirah and Fanya run into sort of match the EC tone, where people react almost too normally but they are all hiding something. Also, there is a way in which, we are also reacting to Walking Dead, which pushed the genre in a way by showing horror comics can be ongoing and still have some attachment to the traditional horror genre. I mean Swamp Thing is one of my favorite comics, and it’s horror in a way (he fights mermaid vampires, right?), but it seems like an uncomfortable fit for the genre. A lot of Vertigo horror stuff is like that, especially from the 1990’s, where it’s scary and amazing, but the tone is more psychedelic than horrific, which we eventually delve into. We were inspired, of course, by Romero, but there are other pieces we pull from like Wild Zero (which has a trans person), the Greek zombie film Evil, 28 Days Later, and in the first issue we played with the slasher view from the first page. We give you the view from the husband of this woman he is obsessed with and she is dressing, and he’s nuts.

How did you come across Kyle Strahm's work, and what is it about his art that attracted you? Was there a specific style you wanted when you were looking for an artist, or did it strike you when you found it?

We looked a lot of artists, and Kyle’s portfolio stood out because it was cartoony but had the grotesque feel of too many wrinkles to it, which is how we wanted to write this book. We did some color tests with Zac Atkins, the colorist on the book, on Kyle’s work and really liked the way it looked.

How are you working with Kyle in terms of the script? Are you giving him detailed panel descriptions à la Alan Moore, or are you using the "Marvel method", or something in-between?

We don’t write poetry in our scripts, though we hope to some day. I’m not sure if you can get away with doing that your first book, the artist might quit. We tend to stick to basic descriptions, dialog, and reference pictures for some things. When Kyle wants more, he asks. Like we were bad about military uniform research and what revolvers officers were issued, so he just asked and we did some research and got back to him.

Why do you think comics are the best medium to use in telling this story?

Comics is the best medium to tell any story…. Heh…. But also, I think horror works best as a visual medium, or maybe easiest as a visual medium is more accurate. People have a stronger reaction to seeing pain than reading about it. I do anyway.

In the better zombie films, zombies are usually representative of a societal issue or a certain populace. I have my own thoughts on what they represent in WWBY...did you intend for them to be metaphorical, or did you just choose zombies for your bad guys?

On societal issues and horror, I had an argument with my friend Carrie, who does tryharderyall blog, about Driller Killer a while back because on your blog, you gave it a kind of class analysis, which is my default to reading pretty much everything except that movie. I think Abel Ferrara drills strangers because he is sexually repressed and the gay art dealer and the freaky girlfriend and ambiguous art band singer throw that repression in his face and he can’t deal, and she agreed with your analysis… in the end I saw the film as doing both. Anyway, I think Romero’s films tore apart race and class and gender in nuanced ways that we aspire to, but we use our zombies as heavy handed metaphor for fundamentalist views about economic and cultural values.

How much backstory/history is there going to be for the outbreak in WWBY? Do you think it's important for writers and/or filmmakers to give a reason why the dead return to life?

In the beginning, We Will Bury You was set up as three volumes and the third would have a metaphysical explanation of the gates of hell and how they had to be closed, but no one gets a contract for 36 issues on their first book, so that didn’t happen. Really, I’m of the opinion that it’s not that important why the dead come back. When people try to rationalize zombies, I usually get bored. Whether they explain it through the occult, like Fulci’s hanging priest or Louisiana hotel with a gate to hell installed in the basement, or nuclear waste like in Return of the Living Dead, it just takes away from the fact that most people would never know why, but just have to come up with a way to live.

Are your zombies slow or fast? On which side of the fast/slow zombie horror nerd argument do your loyalties lie?

Fast zombies are scary and have made slow zombies harder to make scary, which is sad. Our zombies are about mass, so they are slow. I’m scared of those rooms in mansions that have walls that close in on you, sometimes with spikes. I want to find the architect who designed those rooms, but that’s a different story. Our zombies are scary like those rooms.

When I think of spiked rooms, I think of Resident Evil. Actually, when I think of ANYTHING I think of Resident Evil. I love Resident Evil.

Talk a bit about being a comics fan and a horror fan. How did you get into each, what are some of your favorites, etc. What do you consider to be the best horror comic of today? Of all time? What's your favorite zombie movie?

I got into comics when I was a kid, but I was scared of horror comics when I was that young. Now, I am a fan of the old EC stuff like Tales from the Crypt and Vault of Horror, but I think the best contemporary horror comics are Locke and Key, Creepy, Walking Dead, Hellblazer, Night Business and pretty much any horror books Ben Templesmith does. Brea actually got into horror films before me, so I would watch stuff she rented sometimes. We had seen all the major stuff like the Elm Streets and 13ths and that stuff, and then about five years ago my friend Orion moved in with me and brought his horror VHS collection, which is in the hundreds. So, I got to know the genre a bit better through that, got to see more Italian stuff, and now my friend Carrie has a pretty good collection of VHS horror, some really good/bad Media stuff. My favorite zombie movie is the original Dawn.

Are you hitting any conventions this summer? Any more comics in your future?

I will be at MoCCA fest in New York April 10th and 11th, San Diego Comicon this summer, and Small Press Expo in D.C./Maryland in September. I hope to do some more cons, and we will probably be in Austin and have a release for the second issue of We Will Bury You the last week in April. I have an article about comics creator Dash Shaw coming out in Looking Glass Magazine this month. I’m teaching a comics writing course to teens at Brooklyn Artists Gym, and Brea and I are working on another series we hope gets picked up… and I want to do a comic version of Driller Killer.

Mar 23, 2010

i wish

the journey is the destination










This week on The Scare-ening...




Mar 22, 2010

ride the white horse




















