MY HORROR AUTOGRAPH COLLECTION

Clive Barker (Author)


Dario Argento (Dir, The Bird With the Crystal Plumage, Suspiria, Deep Red)


Herschell Gordon Lewis (The Godfather of Gore)


Herk Harvey (Dir, Carnival of Souls)


Linnea Quigley (Return of the Living Dead; Savage Streets; Silent Night, Deadly Night; Night of the Demons)


Autographs M.I.A.: David Cronenberg, Tom Savini.

My Top 10 Willy Inducing Moments

As per The Horror Digest, here are My Top 10 Willy Inducing Moments in random order:

1. "PSYCHO" (1960, Dir: Alfred Hitchcock)


The look Norman gives the audience... that's right, he looks at the audience, breaking the 4th Wall in such a way that we don't even realize it at the time... at the end of "Psycho". This, mixed with his "I wouldn't even hurt a fly" speech, is shiver time... even before Mother's skull appears in a double exposure.

2. "SESSION 9" (2001, Dir: Brad Anderson)



The final voice over from the reel-to-reel recording of the final session... when we finally hear from the personality known as Simon and discover exactly where he lives... Goose bumps.

3. "DEEP RED" (aka "Profondo Rosso", 1975, Dir: Dario Argento)



Dario Argento's laughing mechanical puppet from one of the essential gialli (that significantly predates that talking, mechanical puppet in "Saw").

4. "SCREAM OF FEAR" (aka "Taste of Fear", 1961, Dir: Seth Holt)



Susan Strasberg discovers her father's corpse (for the first time) in Hammer's excellent "mini-Hitchcock".

5. "INVASION OF THE BODY SNATCHERS" (1956, Dir: Don Siegel)



The pay-off (later) to this innocuous dialogue:

Becky: [laughs] I'm not the high school kid you use to romance, so how can you tell?

Miles: You really want to know?

Becky: Mmm-hmm.

Miles: [after kissing her] Mmmm, you're Becky Driscoll, all right!

6. "PRINCE OF DARKNESS" (1987, dir: John Carpenter)



Those video transmissions; unclear images of something... bad.

7. "LOST HIGHWAY" (1997, dir: David Lynch)



Robert Blake makes a phone call to himself... and answers at the other end.

8. "THE HAUNTING" (1963, Dir: Robert Wise)



The "Whose hand was I holding?" scene.

9. "BLACK CHRISTMAS" (1974, Dir: Bob Clark)



Many moments to choose from in this one, but the eye through the crack in the door has it!

10. "HALLOWEEN" (1978, dir: John Carpenter)



Michael emerges from the darkness behind the world's most famous Final Girl. A semi-slow burn.

PUBLISHED IN RUE MORGUE! A NEW KICK FOR ME

Hey! My first piece for Rue Morgue Magazine has been published in the June 2010 issue, #101. It's a Cinemarquee article about the 1957 giant grasshopper flick "Beginning of the End". I'm a huge fan of Rue Morgue, so this is an A+ experience for me. Managing Editor Dave Alexander was an ace in his editing advice. Yay for me, I say.

Link-o-rama: Rue Morgue Magazine

FLORID (22 min)

Florid from Rob MacDonald on Vimeo.


In the early 90's, Rob MacDonald and I made a short film called "Florid". It details the attempts of a group of homeless people to leave their freezing cold home in P.E.I. on Canada's East Coast for the warmer temps of Florida.

Recently, we had it digitized. Revisiting it, I can see all kinds of things I'd change (I'd move the camera more... at least once, I'd use more close ups and cut more during conversations, I'd emphasize the winter weather, I'd have the talent show winners we see at the beginning come back for a showdown during the second talent show, I'd change our protagonists' talent [sorry, Rob], and I'm not sure about the ending, though Rob and I agreed it had to be happy). And I'm not sure about those cuts to black we used as transitions. All I can say is that we were all fans of Jim Jarmusch's stuff like "Stranger in Paradise" and "Down By Law", and that was our influence there. Having said all that, I'm fond and proud of "Florid". I think some of the jokes/situations work well, I love the story and the characters, and most of all, I love what the actors brought to their roles. And my dad, Russell, hand lettered the opening credits and some of the signs used as props in the film.

We also shot some stuff that didn't make it into our final cut. My favourite piece that didn't make it was a montage of three of the main characters completing their assigned tasks: Lawrence stealing a shopping cart, Millie phoning Florida for some information and reaching Burt Reynolds, Jimbo trying to get into the library, but not being able to operate the door.

Since we finished the project, Rob and I have toyed with the idea of turning it into a stage musical, which I think would work beautifully. The short as it is was very positively reviewed by Hank Stinson in the late great Arts Atlantic Magazine, and it won the Viewers Choice Award at the 2004 Reel Island Film Festival. Two of my favourite comments that "Florid" has received are from filmmaker Mille Clarkes who called it "a PEI classic if there ever was one", and the other is from Darrin Dunsford who said it was "like 'Goin' Down the Road' with a happy ending." And I'll take that, with thanks.

PAUL NASCHY & CHAS BALUN

A while ago, two important figures in the history of horror film passed away: Paul Naschy, whose 1968 “Frankenstein’s Bloody Terror” this site takes its name from, and Chas Balun, whose writing about the genre helped define what that art is all about.



Paul Naschy, d. November 30, 2009

Naschy, born Jacinto Molina, was the Spanish successor to Lon Chaney, Boris Karloff, Bela Lugosi and Lon Chaney Jr. In his career he managed to play versions of many of the classic monsters, his most popular character being werewolf Waldemar Daninsky, a role he essayed in 12 films. Alternating between (and sometimes combining) the task of scriptwriter, director and star, Naschy’s enthusiasm for the genre comes across in each and every one of his features, from his crazed Gotho the hunchback in the insane “Hunchback of the Morgue” to his well… crazed strangler in the giallo “Blue Eyes of the Broken Doll”.

I’ve been watching a lot of Naschy movies lately, both before and after his death in November of 2009. Of note, I’ve revisited “Frankenstein’s Bloody Terror" for the first time since the mid-70s’. It’s a lot of fun with its combination gothic atmosphere and “modern” setting. No Frankenstein though, but for a brief mention in the prologue. Apparently, the North American distributor was contractually obligated to deliver a Frankenstein pic, so the name was added as an afterthought. Naschy’s there as Daninsky, however, fighting vampires and wearing some mighty impressive getups.

I’ve also experienced the aforementioned “Hunchback of the Morgue” and it really is one of the most off its rocker movies I’ve ever seen. Naschy’s portrayal of Gotho is a little too hilarious for me, unfortunately, though he received accolades for his performance. Here, he’s a necrophile who is tricked by a mad scientist who promises to restore his deceased love to life, if Gotho will continue to provide him with bodies for his experiments. The movie is a mind fuck of the first order as campy hunchback and goop creature scenes are mixed with disturbing footage of rats actually being set on fire and a real beheading, as the filmmakers were given the okay to decapitate a corpse. The story goes that Naschy downed some scotch before hand, but was unable to continue beyond the first slice into the corpse’s neck. Yikes! Strong stuff and completely insane when mixed with the other less intense content.

“Blue Eyes of the Broken Doll” is a giallo of, if not the first order, then the second order. It’s got everything we love about gialli, from convoluted storytelling and set pieces, to nudity, violence and a lyrical title. “The Hanging Woman” is not a star vehicle for Naschy, but he makes an impression as a sleazy gravedigger in this entertaining Scottish-set period piece about inheritance, covens and the living dead. And the Naschy-directed “Panic Beats” is a gory good time that features plenty of double-crossing as the spirit of a knight returns every 100 years to slash, chop and spindle unfaithful spouses. Bottom line, there are plenty of Naschy flicks out there waiting for you to discover if you haven’t already. Check out the invaluable Mark of Naschy website in the links section for more in-depth information.



Chas Balun, d. December 18, 2009

Chas Balun wrote about horror movies with humour, love and in his own voice. An opinionated (Thank God!) writer, Balun didn’t mince words when he felt something was worthy of scorn, just as he was incredibly generous when he felt something was worthy of praise. His writing is responsible for turning many of us who were fear fans in the 80’s on to flicks we’d never heard of, particularity a lot of Euro-Horror. “Nekromantic” anyone? My copy of Balun’s “Deep Red Horror Handbook” fittingly and proudly houses an autograph I was able to eke from the silver marker of Dario Argento, a filmmaker Balun championed, at the Toronto B-Festival premiere of “Two Evil Eyes”. Balun’s other essential writing includes “Horror Holocaust”, “Beyond Horror Holocaust”, and “Gore Score”, as well as his “Deep Red” magazine, and pieces for “Fangoria” and many others. Also a talented artist who did illustrations for many of his publications (check out some of his t-shirt work at www.RottenCotton.com), Balun’s writing helped change the way we look at horror films, and gave birth to a generation of writers.

A HARRY HALLOWEEN

It's been a long time coming (i.e. in posting), but this year I spent my favourite holiday (Halloween) with my favourite band (Blondie) in the place where I was born (Halifax, Nova Scotia).

This was the third time I'd seen Blondie. The first time was at the CNE in Toronto in 1982. Duran Duran opened. The show was taped for HBO and it is finally available on DVD as Blondie Live in Toronto.

The second time was in the summer of 2008 in Orillia, Ontario in support of the 25th anniversary of Parallel Lines (my favourite album of all time). I was amazed at how fresh the band sounded as they tore through Hanging On the Telephone, Picture This, Sunday Girl, et al. It was an amazing concert.

This year's show was just as terrific, and very, very intimate. Debbie Harry wore a version of the dress that her Barbie doll wears (Mattel is releasing a Debbie Harry Barbie doll this month), and at the beginning of this Halloween show she sported a black eye masque. She was funny, sexy, off centre, and I was reminded of just how diverse her voice really can sound... little girl sexy, jazzy, full throttle punk, radio friendly, bluesy, funky...

I love Blondie. Their music has always been a distraction from the crap of life and a guide to new things undiscovered... punk, rap, art, the underground, things just on the horizon. Sometimes the mix of styles and moods on a Blondie album is like listening to the greatest LP that K-Tel never got around to releasing. Great hooks, impressionist lyrics, all delivered by the most beautiful front woman in the business. To my way of thinking, they still haven't been given the due they deserve for opening doors and delivering the goods. God bless Blondie.

Here's some clips from the 31/10/09 show that someone captured most likely on their cell phone:

Tokyo Transit Dreams

Laura O'Brien and I have collaborated on our first Flash animation. Jeez, what a pain in the ass! Not because of Laura (she is an excellent collaborator), but because our brains weren't built to function the way Flash asks them to. With tips from Beth Scott (whose brain DOES function the way Flash asks it to), however, we were able to get all 52 seconds of mostly repeated motion up on Youtube. The result is "Tokyo Transit Dreams", a simple animation with a simple concept... Do reserved people get wild in their dreams? Mentally blink and you'll miss it.