Filmmakers Eric Bross, Sean Albertson and Matt Lazarus announced today the January, 2014, online release of their short film Goliath. The 10-minute film will be available worldwide to watch for free. The announcement is accompanied by a teaser trailer shared below.
Goliath tells the story of a prison with a gang problem that installs a 12-foot robot guard: Goliath. When it goes berserk, the convicts must work together to take it down.
Principal photography was completed earlier in the year, starring Luis and Daniel Moncada of “Breaking Bad” fame, as well as Fernanda Andrade (The Devil Inside), with a cameo by Godsmack’s Sully Erna.
The short film is based on an original concept by Bross, and his brothers Jonathan and Scott Bross. Goliath was written by Lazarus, directed by Bross, and co-produced by Albertson, Bross and Lazarus. Kenny Roy is overseeing visual effects duties along with visual effects supervisor Rob Stauffer.
“We completed a successful Kickstarter campaign to raise funds to finish animating Goliath, and Kenny Roy and Rob Stauffer are working on that now,” said director Eric Bross.
Producer Sean Albertson adds, “While we are looking forward to producing this as a feature film, we thought the story was too cool to wait to get something out there for people to see. So we did everything ourselves on a much faster time line for this short film.”
Visual effects supervisor Kenny Roy says, “For Goliath I’m excited to bring a level of detail that the industry normally reserves for tent-pole projects; the robot is too badass not to pull out all the stops.”
Goliath aims to follow in the footsteps of Neill Blomkamp’s District 9, which began as the sci-fi short film “Alive in Joburg,” before being adapted into a feature film and released by Sony Pictures.
Watch the teaser trailer below. Goliath will be released for free online in January, 2014.
In an interview with Absolute Punk, ex-Misfits singer Danzig has stated that he has recorded a new song with Doyle, who is also an ex-Misfits member. Danzig stated that the song was recorded in April and is, “…bizarre. I don’t know. I really couldn’t… It’s weird.”
Make sure to check out our exclusive interview with Danzig here.
NBC’s upcoming “Dracula”, starring Jonathan Rhys Meyers as the titular character, premieres this Friday, October 25th. The series “finds Dracula living a double life in London as an American businessman interested in bringing modern science to Victorian society. But his true plan — to exact revenge on those who burdened him centuries ago — is derailed when he falls in love with Mina (“Arrow”‘s Jessica DeGouw), who seems to be a reincarnation of his dead wife. Van Helsing (Thomas Kretschmann) is a brilliant professor obsessed with revenge and power. He may be a greater threat to the public than the titular count.”
While I haven’t seen the show, I’m hoping that it’s a return to having some truly violent vampires onscreen. “True Blood”, for all of its gore, is still fairly silly. And actual vampire films still haven’t recovered from Twilight, all of our cinematic bloodsuckers are still fairly mopey. But it hasn’t always been this way. In fact, it wasn’t even this way five years ago.
Head below for a sponsored look at 5 Of Horror’s Most Violent Vampires!!!
Dracula – THE HORROR OF DRACULA (1958)
Christopher Lee’s performance as the title character of this 1958 Hammer film is truly an iconic one. This film also marked one of the first times that gore began taking the center stage in mainstream vampire films. This messy, bloody, version truly shocked audiences back in the day. Based on the script alone, British censors were super sensitive to the film remarking, “The curse of this thing is the Technicolor blood: why need vampires be messier eaters than anyone else? Certainly strong cautions will be necessary on shots of blood.”
Jerry Dandridge – FRIGHT NIGHT (1985)
Chris Sarandon’s Jerry Dandridge was able to have his cake and eat it too. Not only was he as suave as Billy Dee Williams, he was no slouch in the carnage department either. Not only did he chop the heads off the prostitutes he invited to his house, he was able to pick up and throw a 250 pound bouncer without even thinking about it. And his ultimate form was truly grotesque, with fangs spread out every which way for maximum damage. I also love that he has a temper tantrum and destroys Charlie’s car – just because.
Severen – NEAR DARK (1987)
Out of all the characters on this list, Severen is probably my personal favorite. He’s messy, he’s rude, he’s hilarious and he takes total glee in his gory escapades. Whether or not he’s mocking a soon-to-be victim, using boot spurs to slit people’s throats or ripping the engine out of an 18-wheeler Severen is never less than watchable. One of the signature performances of Bill Paxton’s career and one of the most oddly charismatic vampires out there.
Marie – INNOCENT BLOOD (1992)
John Landis’ 1992 vampire film Innocent Blood really is quite underrated and Ann Parillaud’s Marie has to be one of the more violent vampires of her time, especially in the 90′s when creature features were trying to appeal more to “adults.” Her bloodlust was palpable and insatiable and she was almost like a feral animal when feeding. She also manages to turn Robert Loggia into a hilariously physical bloodsucker himself.
Eli – LET THE RIGHT ONE IN (2008)
Lina Leandersson’s turn as Eli in Tomas Alfredson’s 2008 masterpiece Let The Right One In is masterfully deceptive. She often appears like a sweet natured kid, but once her minder gets taken out of commission the gloves are off. When she attacks the old man near the bridge, that’s intense. But she really saves her A-game for that glorious 30 seconds where she beheads and/or otherwise dismembers three bullies at the pool.
What are some of YOUR favorites?
“It’s A Texas fried treat”!
Visual effects specialist Rocky Curby directs this new Halloween Treat, “Happy Meal Horror”.
In the short, “A robot cow searches for its mother in a slaughter house, while being pursued by a killer robot.”
Curby is known for his work on The Amazing Spider-Man, Super 8, The Adventures of Tintin, Thor, Battle Los Angeles and many more.
We’re pretty excited to announce that our V/H/S anthology – directed by Adam Wingard, Ti West, David Bruckner, Glenn McQuaid, Radio Silence, and Joe Swanberg – has won the 2013 Reaper Awards for “Best Indie Release”! V/H/S is avilable on VHS, DVD, Blu-ray and VOD, as well as the sequel, V/H/S/2. Thank you guys for your support!!
Here’s the press release, which also reveals that Lionsgate’s horror-movie deconstruction The Cabin in the Woods has emerged from the 2013 Reaper Awards competition with the top honors.
A deft blend of horror and comedy, the film — directed by Drew Goddard, produced by Joss Whedon and co-written by both of them — turned horror-movie clichés on their head and in doing so captured not only the award for “Choice Theatrical Cut,” but also “Title of the Year.”
The Cabin in the Woods won a total of three awards, also taking “Best Kill” for a scene in which a variety of horror creatures escape and attack their captors.
The Reaper Awards, presented by Home Media Magazine and DreadCentral.com, honored the top horror and thriller titles released between Aug. 1, 2012, and July 31, 2013. Studios submitted contenders for consideration by a panel of judges in conjunction with a consumer vote.2013 Reaper Awards Winners
Title of the Year
The Cabin in the Woods
Choice Theatrical Cut
The Cabin in the Woods
Best Title From the Vault (Catalog or Re-release)
The Fog: Collector’s Edition
Best TV Collection
American Horror Story — Season 1
20th Century Fox Home Entertainment
Best Movie Collection
Daimajin Triple Feature
Mill Creek Entertainment
Best Indie Release
Best Limited Release
Rec 3: Genesis
Sony Pictures Home Entertainment
Best Foreign Release
Juan of the Dead
Best Theatrical Sequel
Paranormal Activity 4
Paramount Home Media Distribution
20th Century Fox Home Entertainment
The Walking Dead: Season Two Zombie Head
Anchor Bay Entertainment
Best Box Art
Lifeforce: Collector’s Edition
Best Big Bad
The Sharks at the Supermarket
Anchor Bay Entertainment
“A 3,000 year old vampire wants to suck my blood; must be Thursday.” — Sookie Stackhouse
True Blood: The Complete Fifth Season
HBO Home Entertainment
The elevators unleash every creature at once
The Cabin in the Woods
Blood-C: The Complete Series
Universal Studios Home Entertainment
Most Anticipated Title
Walt Disney Studios Home Entertainment
To go along with the trailer and poster, Twentieth Century Fox has released a trio of stills from Devil’s Due, starring “Terra Nova’s” Allison Miller and “Friday Night Lights’” Zach Gilford.
Penned by Lindsay Devlin, “After a mysterious, lost night on their honeymoon, a newlywed couple finds themselves dealing with an earlier-than-planned pregnancy. While recording everything for posterity, the husband begins to notice odd behavior in his wife that they initially write off to nerves, but, as the months pass, it becomes evident that the dark changes to her body and mind have a much more sinister origin.”
The film comes from Radio Silence, who collectively delivered the final short on our V/H/S anthology from last year. Matt Bettinelli-Olpin and Tyler Gillett directed Devil’s Due for the team.
Hoping to capitalize on the success of The Devil Inside‘s beginning of the year release, Devil’s Due will bow in theaters everywhere January 17, 2014.
It looks like we could be getting another Alien game, though after the hot mess that was Aliens: Colonial Marines, I’m not sure there’s much demand for one right now. Either way, 20th Century Fox has filed a trademark for something called Alien: Isolation — we know it’s a game, because it’s filed for “computer game and video game software, downloadable mobile software, and decorative magnets.” Decorative magnets, you say? I’m sold!
Obviously, this shouldn’t be taken as confirmation that there’s a follow-up to Colonial Marines incoming — it may be something else entirely, like the start of a brand new franchise, or maybe it’s just something fancy to slap on your fridge. More after the break.
According to Kotaku, the game, which may be the next-gen Alien game developer Creative Assembly was hiring for last spring, may star Ellen Ripley’s daughter.
Their source, who claims to know what’s in the works at Sega, says it’s a first person shooter with elements of stealth and horror. Supposedly, it’s inspired by Dishonored and BioShock and will follow Amanda Ripley as she mows down “clones and soldiers” on a space station, with aliens playing a significantly smaller role in the combat.
Apparently, Sega’s original plan was to announce the game at E3 in June, but they delayed the announcement to continue working on the game. They’re taking Colonial Marines’ overwhelmingly negative reception seriously. That’s smart.
If all of this proves true, I’m glad Sega isn’t looking to release another awful Alien game. The last tarnished the franchise pretty badly and managed to be the cause of developer TimeGate’s closure. I’m not sure about the focus on clones and soldiers as enemies — I can’t say that sounds very fun. If a majority of the game features a single alien, to me, this sounds more like Call of Duty in space. What do you think?
While it doesn’t have a commentary, I’ve seen the Blu and it looks fantastic. There are several special features, one of which details the real life family who inhabited the house the Perron’s buy in the film. There are also several interviews with Lorraine Warren and a look into James Wan’s scare-crafting technique that bolster the disc. While the highlight is still the fantastic film itself, there’s enough in the way of bonus material to keep you engaged for a bit after it ends.
Directed by James Wan (Saw, InsidiousThe Conjuring stars Vera Farmiga and Patrick Wilson as Ed and Lorraine Warren; Ron Livingston and Lili Taylor as Roger and Carolyn Perron.
Head below for a quick look at an infographic celebrating the film’s release.
It starts off innocent enough. A pizza delivery boy enters a house, isolated in the woods. A woman’s voice beckons him upstairs. He sets the pizza on the table, grabs a candle and slowly climbs the stairs, anxious of what might be waiting for him in the darkness of the second floor. Then, before things can get frisky, a doll guides him downstairs so the devil can eat his face. Credits.
Watch me play the free indie horror game Pizza Delivery after the break!
If you’d rather play the game yourself, you can get it here.
Previously on The 13 Days of Horror…
Day 1: John Carpenter Would Approve Of This Free Halloween Game
Day 2: A Horror Game Where You’re Hunted By Robot Velociraptors
After Dark Films presents the story of a leprechaun’s revenge in Red Clover arriving on DVD, Digital Download and Video on Demand October 22 from Lionsgate Home Entertainment.
Starring Billy Zane (Titanic), Courtney Halverson (Keith) and William Devane (The Dark Knight Rises), the frightening horror film tells the story of the residents of Irish Channel whose lives are forever changed after engaging in a fight for their lives against a vengeful demon. Featuring an audio commentary with cast and crew, the Red Clover DVD will be available for the suggested retail price of $26.98.
“Sixty-six years ago, the town of Irish Channel, Louisiana was the site of a horrible massacre on St. Patrick’s Day. While some blame a terrible storm that blew through the town, there are those that know the truth but will not talk about what happened. Since the incident, St. Patrick’s Day festivities have been banned, but now that the mayor believes it is time to bring celebrations back, will this quiet town become the site of a second attack?“
Bloody-Disgusting have been very vocal about our love of Valiant’s new incarnation of “Shadowman”. Valiant’s re-launch breathed new life into this classic ’90s character, and did a great job of establishing a new mythos, strong supporting cast and delivering some fast-paced action.
Valiant recently announced that writer Peter Milligan (“Hellblazer”) and artist Roberto De La Torre (“Daredevil”) will be taking over “Shadowman” as the new creative team with issue #13. Milligan is no stranger to the occult and the arcane arts having done a legendary run on “Hellblazer”, so he’ll find himself right at home here in the pages of “Shadowman” playing with the voodoo of New Orleans. De La Torre’s dark and gritty European style is perfectly suited to capture the unsettling elements of the story that Milligan is brewing. This is a match made in hell and it will be exciting to watch them dive into the “Shadowman” mythos.
Bloody-Disgusting jumped at the chance to talk with writer Peter Milligan about his take on “Shadowman” and where we can expect the series to head in the coming months. Milligan has some really interesting things planned for Jack Boniface and he is about to peel back the layers of his past, while shining a light on the horror aspects of the title.
Bloody-Disgusting: Tell us how you came to get involved with ‘Shadowman’ and what do you think got you the gig?
Peter Milligan: Warren Simons at Valiant asked me to write a short (I think 8 page) ‘Shadowman’ story. To do this I read all issues, and gave Warren my thoughts on the book and where it could go. Warren liked my ideas, we had a chat, and he asked if I’d be interested in writing the book. By now I was really intrigued by the book so jumped at the chance.
BD: Did you go back and take a look at any of the old ’90s Valiant books or were you focused on the groundwork that Justin Jordan has built?
PM: I have seen some of them – digging in the archaeology of the book as it were – but I took the groundwork that Justin did as my starting point.
BD: As a writer, how do you make the book accessible to new readers when this is issue #13 of the series?
PM: One of the good things about Jack Boniface – and to a degree Alyssa – is that they’re pretty new, or at least certainly aren’t in possession of all the facts, or at least are in a position where they’re potentially finding out new stuff about the world and their strange place in it. So in many ways we’re right with our hero in being confused or enlightened by what’s happening. And anyway, in comic book terms being only 13 issues into a series is really nothing.
BD: In the series so far, ‘Shadowman’ has really straddled the line between being a superhero and horror title. Where do you see the book and what are the aspects of a book like this that you saw appealing as a writer?
PM: First off, I see the book staying dark. And not afraid to get weird. There are superhuman elements in it, in that Jack sometimes morphs into this tough looking bastard wearing something that looks suspiciously like a costume, and when he does he sometimes beats up bad people. But that’s as far as it goes.
In truth it was the darker more horrific aspects of the book that appealed to me. But what makes it really interesting is that Jack isn’t your usual horror character. He’s not your normal superhero kind of character either. Jack is very nuanced. I think it’s difficult to answer if ‘Shadowman’ is (or will be) a force for good. There’s not a lot that is “black and white” about this book, especially for one shadows and shadowmen.
BD: In the eight page prelude to your run, you explored the idea that Jack’s upbringing in an orphanage has made him emotional and violent. How will his past and his inability to deal with those emotions factor into his role as ‘Shadowman’?
PM: This was really my way in to understanding and getting to know Jack. I felt that the way he’d been portrayed wasn’t the whole, or the whole true picture. I’ve known a few people who’ve gone through the ‘care” system, which can sometimes seem like a pretty ironic term for it. One thing I’ve noticed is that not many kids who come out of these systems come away untouched. I’m not say they’re all so damaged they can’t function but in my experience there is generally something there. I think the real strong or fortunate characters can sail through untroubled but most come away from some ghosts and demons they have to deal with for much of their lives. I see Jack as being in this latter category. And I see his relationship with ‘Shadowman’ and the Shadow Loa as a way of exploring this.
BD: How does Jack’s relationship with the Deadside come into play as the series progresses?
PM: I want to look at that whole Deadside thing again. Of course, it’s there, it’s always bubbling under the surface of the book. But we will learn new and troubling facts about it that will make Jack’s trips there a bigger deal.
BD: Master Darque has played a large part in the book so far with Justin Jordan exploring his origins. What role will he play in the book moving forward?
PM: Initially he won’t be playing quite such a huge role but I’m not throwing anything that’s good from the first 12 issues away. Darque is like a dark shadow lurking in the background but initially I want to explore other aspects of Jack’s life.
BD: Will the city of New Orleans play a larger part in the series as you delve deeper into your run?
PM: I think it’s already played a pretty large part. But if anything we’ll be even more aware of New Orleans. New Orleans and the spirit of voodoo that inhabits much of its past and of course pervades much of ‘Shadowman’’s history.
BD: Joining you on the book is artist Roberto de la Torre. What was it about his style that makes him perfect for this book? As a writer to you write things that play to Roberto’s artistic strengths?
PM: I didn’t really know much about his work but it’s clear he has a really expressive European style. I find this refreshing. It helps stamp this book even further as something different from most other things out there.
BD: Outside of ‘Shadowman’, what other books are you working on and what can you tell us about them?
PM: I can’t talk about a number of things right now but one thing I can talk about and am very excited about is TERMINAL HERO, for DYNAMITE. That series is being drawn by the very talented Piotr Kowalski.
BOOM! Studios is diving head first into horror in January with the release of the new 4-issue mini-series “Curse”. To launch their foray into the horror genre the company has enlisted some creative heavyweights in writers Michael Moreci (“Hoax Hunters”) and Tim Daniel, and artists Riley Rossmo (“Bedlam”, “Green Wake”) and Colin Lorimer (“Harvest”, “UXB”) to launch their new creator owned project with BOOM.
“Curse” is the story of Laney Griffith, a man who will do anything to save his son from leukemia, but the cost of treatment has broken him financially. When he pursues an elusive murderer in the wilderness of his small, rural community, in the hopes of securing a substantial bounty, Laney is confronted with something he never could have expected: a werewolf. The captive Lycan, in human form, turns Laney’s life upside-down, forcing him to confront his haunted past and race against the clock—because the wolf will return, and Laney’s son’s condition continues to worsen. “Curse” is a story of a family’s survival at all costs.
Bloody-Disgusting: Tell us a little bit about “Curse” and how this project came about.
Tim Daniel: Mike and I were looking to work with Riley Rossmo. We finally got on a call together. Riley mentioned a desire to draw werewolves and as it just so happened earlier that week we had been batting around the idea of a werewolf story. The notion was to take the traditional tale – the hunting down of the beast, and give the hunter a very different motivation.
Michael Moreci: Tim has to get credit for most of the inception of “Curse”. For starters, he put us all in a room and got us talking. And, the whole idea of the father with the werewolf captive as a means to collect a bounty for his ailing son was all him. Tim and I started jamming from there. I liked the concept, a lot, at first mention, but I thought it needed something more. The more we hashed it out, the more it began to live in mind; that’s when the development of the crime story intertwined with this deeply personal survival tale began to take hold. Once that happened, I was like “okay, this is it—we’re ready for ignition.” It’s been a great ride since.
BD: Tell me about the relationship between Laney Griffith and his son.
TD: Loving. All they truly have is each other. We wanted it to be as authentic and true to what we both know and understand as fathers ourselves. Laney Griffin’s son Jaren is sick, possibly beyond being cured, but like all good parents, Laney is willing to sacrifice everything to change that. There’s a set of blinders he’s wearing in pursuit of keeping his son alive. Laney is a staunch provider, and despite his unflagging resolve, he’s a very vulnerable provider. Jaren sees both sides of his father, the resolute and vulnerable, and responds to that as children are wont to do, with a lot of love and tender concern despite his condition.
MM: I had always heard the maxim that as a parent, you’d do anything for your child. And in a way, I understood it—but I didn’t fully get it, not until I became a father myself. Having a son of my own, I understand the depths to which I’d go to protect him, to keep him safe and healthy. There’s nothing I wouldn’t do to maintain these essentials. That’s a lot of where Laney and Jaren exist. “Curse” really pushes that to its limits—just because you’ll do anything for your child doesn’t mean it’s easy.
BD: The plot deals with a father pushed to the limits. Tell me about the themes of parenthood as they relate to this book…
TD: ”Curse” has to be every parent’s absolute worst nightmare – a dying child. I mean, it even feels silly, almost trivializing to say that, but, I’d go one step further. The parent brain, in order to survive, almost walls itself off to the possibility of anything of that magnitude ever happening. I don’t even like taking my daughter to the doctor for routine vaccines; I just don’t have to see her in pain. As a parent, nothing is off the table for me in terms of surrounding my daughters with love and affection. Laney is no different in that regard.
MM: I once described being a parent as the most beautiful thing in the world—yet potentially the most horrifying as well. Because Tim’s right, in your mind, though you never want to even consider it, you know the terrible things you’d do to protect your child. Every parent knows that primal fear mixed with boundless love—it’s so intense, and that’s why seeing your child in any sort of pain and making that fear palatable is so unbearable.
BD: The main character, Laney Griffith, is racing against the clock to save his son’s life from leukemia. Was it necessary to research that aspect of the story and does feel strange when writing scenes about a child in peril?
TD: It was necessary to do some light internet based research, which was pretty straight forward; determining the most common type of Leukemia to affect children, the typical age range of those children affected, the bevy of resulting treatments and their side effects. With “Curse”, what matters too is the cost, because Jaren’s condition is not just threatening his life, it’s also threatening to break Laney in every manner possible – financially, emotionally, rationally.
Mike carried every scene between Laney and Jaren, which somehow occurred organically in the division of labor. I’m so happy it turned out that way, because he’s a father to a son and there’s a ringing truth to every single panel in those scenes. Every time he’s turned in a script those scenes tore at me emotionally. There’s nothing cheap in Mike’s writing of those interactions.
BD: How will you be playing with the werewolf mythology? How do you approach a classic mythology and make it fresh for readers?
TD: We’re definitely honoring established werewolf mythology, but if “Curse” succeeds, it’ll be because readers find that the story is fresh. Hopefully, it will be very apparent that we did not give a time-tested mythology a self-serving once-over in favor of our story – otherwise, I’d fear that “Curse” would feel exploitive, possibly cavalier or even downright arrogant. An example, the afflicted always turns wolf with the rise of the full moon. We looked at that and said, but there’s a moon every night that presents itself in phases – would the presence of the moon not have some correlative effect on our werewolf?
MM: Truth be told, I’m not too up on werewolf lore. I know the basics: full moon, silver bullet, etc. And, generally, I’m a research rat. But I didn’t even care to dig any deeper because “Curse” is about the raw, human core. What’s so interesting about Anton, the werewolf, is his personal story, which Tim and Riley really made more human than I could’ve ever expected. I’ll put it this way: If someone reads “Curse” and takes issue with our handling of werewolf tropes, they aren’t reading the book the right way.
BD: From an artistic standpoint, how did you approach the werewolves look to make them visually compelling?
TD: Feral. That was the word Riley kept hitting on. With an established and celebrated veteran creator like Riley, you tend to follow his lead. Colin seems to have taken that cue to a degree as well, but at the same time, he has brought his own sensibility to the werewolf design. As a result, both Riley and Colin get to present something unique to the reader because of how the book is structured. They each get to do their own thing. Overall, our werewolves will look fairly familiar based upon screen traditions, but our werewolves are indelibly stamped in each artist’s signature style. We also put some spotlight on the transformation period – going from human to wolf – which really seemed like fertile ground for visuals, one that Colin exploited to great degree in the very first issue.
BD: How do you collaborate on the script together? Does one write a plot and the other script?
TD: Mike is meticulous in every aspect of his storytelling. I buy cheap Halloween masks and act it out. In addition to that, we outlined the entire series. Broke each outline down into an issue. Wrote in-depth scenes with an associated page count. Then assigned scenes to each other. We’d take our individual scripts, combine, then revise the full script several times together. After revisions were completed, the script was delivered to the Boom editors. Their suggested edits would come back to us and we’d revise the script accordingly, often taking nearly all of their notes. The process was arrived at organically and became rather lock-step.
MM: I’m fortunate I don’t live near Tim, because I’m certain he would’ve thrown me from a moving car by now. I have compulsion issues, which means my work is very organized, planned, and controlled. We spent lots and lots of time making this plot as tight as can be. With the threads we’re carrying, we knew it had to be immaculate on a story level. Tim and I aren’t messing around—there isn’t an ounce of fat on this story. It’s lean, essential. Everything counts and, at the end (which we just finished writing), everything comes together in a way that is organic, emotional, and complete—nothing is left dangling. That’s a result of Tim and I sweating over every single detail and having the smart, wonderful editors at Boom keeping everything in line.
BD: Tell me about collaborating with the artists, Riley Rossmo and Colin Lorimer and how they got involved? Why were two artists necessary for this book to portray the look of this book and how will their different styles come together to form one cohesive look/story?
TD: As mentioned, Mike and I were looking to work with Riley Rossmo. We got Riley onboard following our initial conversation, however, he informed us he had several commitments already in progress, chief amongst them, his new Image series, Drumhellar. Mike suggested Colin Lorimer (Harvest, UXB) and already being a fan myself of his amazing work in Harvest – we asked Colin to help make this series a go by divvying up art duties with Riley. I’m still in shock that Colin agreed to work with us and as a result, we have two extremely talented visual storytellers on “Curse”. So, the necessity of multiple artists was borne out of the need to mitigate workload, but then evolved very naturally as the structure of the story became apparent. There is a clean division of labor based upon character POV that eventually comes together at the end of the book. Readers will know when they are being shifted from character POV and in time when Riley or Colin assume control of the page.
MM: It works so beautifully because Riley is chaos and Colin is control. They’re both skilled and immensely talented craftsmen, but in much different ways. But that relationship—chaos and control—plays heavily in the book. Laney is a man who is trying so desperately to obtain some semblance of control in his life. We’re all guilty of that, thinking we can plot a course and stick to it. But Laney can control a captured werewolf about as well as he can control his son getting leukemia. There will always be chaos. Best laid plans, as they say.
BD: All of the names involved in this project had released horror project previously. What is it about the horror genre that you each find so inspiring to keep coming back to it?
TD: Maybe it’s that Horror is pliable. Horror has an infinite number of storytelling uses and applications. There’s a component to the horror genre that makes for a highly compelling visual experience as well, lending itself naturally to the page, screen or imagination. As a reader of horror, I’m not just vacationing here with Enormous or “Curse”, it’s a genre wherein I feel very comfortable telling stories, one that draws on the powerful nostalgia of my childhood as well.
MM: It’s strange, but I’ve been asked this a few times and can never capture a solid answer. I was raised on horror; my older brother loves the genre as well, and I remember watching the first Nightmare on Elm Street with him when I was like six years old (my parents were very liberal with our entertainment). When done right, I think horror is kind of the Greek tragedy of our time, exploring the most painful flaws of people and their society. The stories of our flaws, our dark nature that, like Laney, will do anything under certain circumstances, are the stories I want to tell. Our flaws and how we negotiate them is what makes us human. Superheroics are once in a lifetime, if that; flaws are forever. That’s the stuff you live with day in and day out.
BD: Creatively all of you have had projects released by Image Comics and Dark Horse, what did BOOM bring to the table that made them the perfect home to release this book?
TD: BOOM! has been fantastic. Top-notch professionalism. Ross Richie espoused an immediate personal interest in the book and that was very endearing – very gratifying. Following his encouragement, Ross handed us over to Editor-In-Chief Bryce Carlson and his team. Eric Harburn and Chris Rosa are our editors on “Curse” and we could not have hoped for better story guidance than what they’ve offered on “Curse”, our story is stronger because of those two individuals. Of course, one of the most exciting aspects of having the book at Boom has been the company’s recent investment in the creator-owned publishing realm and astounding partnership with 20th Century Fox. To say Ross has BOOM! moving in the right direction with the creator at the forefront of that movement is a bit of an understatement. Mike and I would greatly welcome the chance for another opportunity to tell more stories with BOOM!
MM: I can’t express Tim’s sentiment any better. It’s been a great and gratifying experience, and fun. I’m deeply appreciative of Ross for taking a chance on “Curse”, Bryce for championing it, and Eric and Chris for making it as good as it is. Boom is doing all the right things, and I’m thrilled, proud, to contribute to their ongoing success.
BD: What other projects are you working on now?
TD: Enormous – the ongoing series. We’ve got 3 issues in the can and a total of six issues, the first arc, scripted. Skinned, which I’ve co-written with Jeremy Holt (Pulp, Southern Dog, Cobble Hill), is a sci-fi romance placed at an as-of-yet-unannounced publisher. Throwback, a dark send-up of 80’s superheroes and behind those titles, several projects at various stages of development.
MM: Hmmm…this is the redacted portion of the interview. Right now, I’m working on the final issue of Hoax Hunters, season one (issue #13) and hashing out a new Hoax Hunters…thing. I’m doing more stuff with Boom, though I can’t say what. Then a new creator-owned project that will be announced soon. And Skybreaker, a Western I write for Monkeybrain is nearly complete—one more issue to go before it moves into print, in color (the digital is black and white), with IDW.
Interview by – BigJ and Jorge Solis
Roque Baños, the man who brought us the chilling, bombastic score to Fede Alvarez’s Evil Dead, has been announced as the official composer of the upcoming Oldboy remake, which is being helmed by Spike Lee. The original was directed by Chan-wook Park and is widely acclaimed as one of the best revenge thrillers in recent years. Baños wrote and scored Oldboy in under a month’s time, and conducted it with the Bratislava Symphony Orchestra in Slovakia.
Baños states, “Adrian’s (Sharlto Copley) theme is dark, but also sad because of his past. Joe’s (Josh Brolin) theme has a touch of epic given his heroic rise. It’s not an entirely epic theme because it has touches of emotion and revenge. Hitting the emotion was key as Oldboy follows the transition of a man who has been confined for 20 years who then becomes more serious. He finds a lot in his life.”
Oldboy hits theaters on November 27th.
The Vicious Brothers (Grave Encounters) are back with an alien-based flick known as The Visitors, and we have a set of new stills that are just out of this world. Well, sort of!
Freddie Stroma stars in The Visitors, the indie feature written and directed by The Vicious Brothers. Randy Manis, Kim Arnott, Shawn Angelski, and Martin Fisher are producing.
The film centers around a group of college friends who travel to a secluded cabin in the woods for a weekend of partying. As the night is winding down, they notice something strange in the sky: a ball of fire descending through the air, crash landing in the nearby forest...
More on this one as it comes.
Are you a huge fan of Drive? How about Valhalla Rising or Bronson?
What if I told you that writer-director Nicolas Winding Refn was developing a new horror movie? Yup, he is.
He’s tapped Polly Stenham, one of the country’s most acclaimed young playwrights, to pen the all-female horror script I Walk With the Dead.
“He’s got a lot of stick for doing films some people think are violently misogynistic,” Stenham tells Standard. “So he approached me with the idea of doing something different.”
When asked if it be blood-splattered or more of a psychological thriller, Stehham said, “It’s going to have a bit of everything.”
Drive‘s Carey Mulligan, pictured, is rumored to star.
This isn’t completely fresh news as Burton did express interest in directing back in January, and has always had his name close to that role.
He would also produce the sequel to his 1988 classic that starred Alec Baldwin and Geena Davis as a couple of recently deceased ghosts whom contract the services of a “bio-exorcist” – Betelgeuse (Michael Keaton) – in order to remove the obnoxious new owners of their house. Annie McEnroe and Winona Ryder also starred.
Seth Grahame-Smith has been working on the screenplay and presumably finished. Word is that Keaton would return, and that the film may not carry a sequel moniker, and will instead be released as “Beetlejuice”.
More as it comes in.
Thanks to Fabien M., we now have the first five images from The Visitors, the indie alien-horror feature written and to be directed by The Vicious Brothers (Grave Encounters).
For sale at next month’s AFM, “The film centers around a group of college friends who travel to a secluded cabin in the woods for a weekend of partying. As the night is winding down, they notice something strange in the sky: A ball of fire descending through the air, crash landing in the nearby forest…”
Freddie Stroma (Pitch Perfect, The Philosophers) stars. Check out the images and early sales art inside.
There's not a horror fan out there who would not like to make sweet, sweet love to the Scream Factory. Each week they release more and more news that engorges our horror boners. Today is no different.
Via the Scream Factory Facebook Page
We're happy to report that we've gone back into our "vaults" and will be bringing the original 1982 SLUMBER PARTY MASSACRE film to Blu-ray for the first time in early 2014! This will be a brand new HD transfer taken from the original camera negative. We had many requests for this and we're pleased to be able to bring this into the Scream family.
As many of you know, we released this film on DVD back in 2010 along with Parts 2 & 3 as a part of a "Roger Corman's Cult Classics" collection. For several factors (mostly financial), we can only bring you the original at this time on Blu but if sales are solid, we will certainly consider 2 & 3 for the future.
World War Z‘s Sterling Jerins, pictured, has signed for a role in The Coup for director John Eric Dowdle (Devil, The Poughkeepsie Tapes, Quarantine), says Deadline.
Lake Bell, Owen Wilson and Pierce Brosnan star in the pic about a family of Americans who move overseas and find themselves caught up in a coup. They frantically try to escape an environment where foreigners are being summarily executed.
Drew Dowdle, Michel Litvak, David Lancaster and Gary Michael Walters are producing.
Bloody-Disgusting has teamed up with Chicago horror-inspired death metal band Broken Hope to bring you the exclusive music video premiere for “The Flesh Mechanic”, which comes from the band’s latest album Omen Of Disease (order here). The video, which was directed by Corey Soria, features a cameo from Fear Factory guitarist Dino Cazares and is full of gore, violence, and blood, as the song name would suggest. Definitely not for the faint of heart (in which case, what are you doing on this site?)!
The video features amazing, gore-laden traditional horror FX by FX wizard Jamie Grove, who handles make up and creature effects for major motion pictures. Jamie Grove began his career at age 13 and has been working in his craft for 15 years. Jamie’s resume includes his work on such films as The Devil’s Rejects, Halloween, Halloween 2, The Hills Have Eyes 2, Hostel 2, and his current work can be seen in the new Robocop, Captain America 2, and all of the Iron Man movies.
Check it out below!
Tour dates with Deicide, Disgorge, and Necronomicon:
10/22/13 El Paso, TX @ Tricky Falls
10/23/13 Dallas, TX @ Trees
10/24/13 Austin, TX @ Infest
10/25/13 Oklahoma City, OK @ Chameleon Room